Our ear is natu­rally equip­ped to grasp the mi­cro­cosm of mu­sic; re­cent re­search has proven that our or­gan of hear­ing is bio­logi­cally struc­tured in such a way that it par­ticu­larly con­siders the natu­ral laws of har­mony of the mi­cro­cosm of mu­sic, and that it fil­ters out dis­so­nance as far as pos­si­ble from all pene­trat­ing acous­tic oc­cur­rences.

At the same time, when let­ting sounds through, our bio­logi­cal ear pre­fers that natu­ral hi­er­ar­chy of sounds, which we find in the mi­cro­cosm of mu­sic – con­trary to those ar­ti­fi­cial equal sounds, which we find with twelve-tone mu­sic – that un­natu­ral con­cept of tone “Gleichschaltung”.

Our bio­logi­cal ear there­fore rec­og­nises and pre­fers tones which re­late to each other in a natu­rally or­dered fam­ily re­la­tion­ship – as we also find them in natu­ral fam­ily re­la­tion­ships be­tween us hu­mans, where, for in­stance, the fa­ther has more natu­ral au­thor­ity than the grand­chil­dren, the mother more than the daugh­ter re­quired to attend school.

At the same time, in the mi­cro­cosm of mu­sic, all in­ner fine tones form a kind of clan, a fam­ily re­lated com­mu­nity, in which the lead­ing roles change in the course of the struc­tural evo­lu­tion of the tone or sound.

As our eye can see out­side move­ments in an in­te­grated way, so our hear­ing can also ba­si­cally dis­cern the many form de­vel­op­ments of each in­di­vid­ual tone, and at the same time, ex­tract its pos­si­ble in­ner natu­ral en­ergy of life, in­tel­li­gence of life and har­mony.

It is pos­si­ble and ad­vis­able in to­day’s sci­en­tific tech­ni­cal time torn by nu­mer­ous eco­logi­cal crises that we take up again the works of the bril­liant phy­si­cian and mathe­ma­ti­cian Pythagoras, as well as of our great clas­si­cal sound crea­tors, and con­tinue the re­search and de­vel­op­ments of these great schol­ars of the natu­ral life by vir­tue of our mu­si­cal crea­tive in­tui­tion, and with the help of mod­ern elec­tronic and digi­tal tech­nolo­gies.

Let me end with a his­tori­cal ret­ro­spec­tive view which should con­trib­ute in ex­plain­ing the back­ground of Medi­cal Reso­nance Ther­apy Mu­sic^®.

The his­tory of Medi­cal Reso­nance Ther­apy Mu­sic^® is an­cient – it be­gins at a time when art, re­lig­ion, and medi­cine still formed a unity.

That is why the old­est works of art or reli­gious and phi­loso­phi­cal writ­ings of man­kind re­port of the ef­fect of a kind of mu­sic which forms the soul, puts so­cial life in or­der, and heals man ho­lis­ti­cally.

Even prior to the be­gin­ning of our mod­ern cal­en­dar, in the sixth cen­tury BC, es­pe­cially the fa­mous phy­si­cian, mathe­ma­ti­cian, phi­loso­pher, mu­si­colo­gist and mu­si­cian re­spec­tively, Pythagoras, whom I have al­ready men­tioned sev­eral times, sup­ported the ap­pli­ca­tion of a kind of mu­sic which was struc­tured ac­cord­ing to the laws of har­mony of the mi­cro­cosm of mu­sic, and was to have a bene­fi­cial ef­fect on the life of the in­di­vid­ual in health as well as in har­mony with na­ture.

And the way in which this bril­liant scholar ap­proached this matter, fi­nally made him the foun­der of our sci­en­tific era.

At the time of Pythagoras, mu­sic had the very con­scious task of de­vel­op­ing man ethi­cally. All char­ac­ter­is­tics of this art were con­cen­trated on the ob­jec­tive to natu­rally put the in­ner life of the in­di­vid­ual hu­man be­ing in or­der, and to cul­ti­vate his soul to live with the crea­tor and his crea­tion in natu­ral har­mony – and in this way to also have a healthy in­ner self.