“Eve­ry tone or sound has, to some de­gree, a rich in­ter­nal life. One can hear it and also make it even more au­di­ble. This in­ter­nal life of a tone or sound can be most mean­ing­fully de­scribed as “the mi­cro­cosm of mu­sic”.
From the first sound im­pulse, a sound growths in time and space into a com­plex tonal and rhyth­mi­cal pat­tern, like a tree from a seed and at some point in time it decays – like eve­ry other thing in crea­tion.

To­day, these in­ter­nally liv­ing struc­tural de­vel­op­ments of tones and sounds can be ren­dered visi­ble and au­di­ble us­ing spe­cial sci­en­tific de­vices.

Thus to­day it is sci­en­tifi­cally and tech­no­logi­cally pos­si­ble to filter out in­di­vid­ual in­ter­nal tonal and rhyth­mi­cal de­vel­op­ments from a tone or sound and, as such, to ex­am­ine them.

And if we spa­tially and tem­po­rally lengthen these acous­tic ex­pres­sions, which may them­selves last only frac­tions of a sec­ond, then we rec­og­nise in each one of them an in­fi­nite num­ber of con­nected move­ments – each of them a com­pletely in­di­vid­ual vari­able tone with its own vari­able pitch and volume, its own vari­able rhythm, its own point and time of ori­gin and a com­pletely unique pat­tern of de­vel­op­ment – noth­ing short of “a per­sonal jour­ney through life”.

Nev­er­the­less, there are fixed rules in their evo­lu­tion, like those we also know in the physi­cal, chemi­cal, bio­logi­cal or as­tro­nomi­cal world as “natu­ral laws” – the natu­ral har­mony laws of the mi­cro­cosm of mu­sic. And the spe­cific term to de­scribe the qual­ity of natu­ral struc­tures in­her­ent in sound evo­lu­tion is “of natu­ral har­monic or­der”. “Mu­sic of natu­ral har­monic or­der” and “mu­sic of natu­ral har­monic logic” thus refer to the natu­ral struc­tures and logic of sound evo­lu­tion.*

The sys­tem­atic in­ves­ti­ga­tion and fo­cused ap­pli­ca­tion of the mi­cro­cosm of mu­sic in the field of medi­cine ap­pears sen­sa­tional in so far as it is pos­si­ble to­day, for the first time, to grasp mu­si­cal struc­tures both quali­ta­tively and quan­ti­ta­tively, to ar­range them in or­der and to re­late their pa­rame­ters to those of the medi­cal meas­ure­ments ob­jec­tively and with re­pro­duci­bil­ity on a sci­en­tific basis.

An ob­jec­tive medi­cal ap­pli­ca­tion of mu­sic should be based on the natu­ral reso­nance ca­pa­bil­ity be­tween the natu­ral laws of har­mony of the mi­cro­cosm of mu­sic and the natu­ral laws of har­mony of bio­logi­cal life. The task is to ac­ti­vate the natu­ral laws of har­mony of bio­logi­cal life via the brain us­ing the natu­ral laws of har­mony of the mi­cro­cosm of mu­sic, and in the course of this to make these more read­ily avail­able to the brain ac­tiv­ity and be­yond this to the en­tire hu­man or­gan­ism.”

Ex­cerpts from a lec­ture of the clas­si­cal com­poser and mu­si­colo­gist Peter Hübner at the Uni­ver­sity of Tel Aviv

* Please see for further explanation the articles:
  “Nature’s Laws of Harmony in the Microcosm of Music” and
  “Music as a Harmonic Medical Data Carrier – An Information-Theory Approach”.