Question: Yes. But now just the second question again: to what extent is Medical Resonance Therapy Music ‘music’?

Peter Huebner: As I have already said before, from a musicological point of view, our European musical history systematically and logically mirrors a process of cognition in the microcosm of music sphere.

Even if, from the point of view of the sound creators, this cognition process runs intuitively – which is simply a sign that our thoughts too, in their very nature, follow a process of harmonic evolution – then today it is possible with the help of scientific cognitive methods to prove that the intuitive cognition of our great classical sound creators coincides with the harmonic reality of the microcosm of music.
One cannot, of course, claim that these music creators sought only to represent and reveal the laws of harmony of the microcosm of music – or, indeed, the extent of their knowledge in this sphere.

It is, however, a fact that, beyond all their creative achievements and diversity in respect of insight into the microcosm of music, a continuity in harmonic cognition can be proven, as we only know in the development of the different scientific disciplines.

From a musicological point of view, European musical history can inasmuch be seen as a pure process of cognition in respect of the microcosm of music, in which the different musical works reveal a greater or lesser degree of insight into this harmonic creative sphere.

On the other hand, we customarily pay scant regard to this cognitive theory aspect and look only at the creative diversity of the sounds – completely removed from these laws of harmony.

So it can also be explained that for centuries it did not occur to the professional music world that historically, at some point, the harmonic process of cognition in the microcosm of music was no longer carried forward, but actually went into reverse.

And it is probably only because I concern myself intensively with this natural science of music, that I am the first one to recognise this today.

But the development in compositional technique made by our great classical composers and the hierarchy they imposed on the individual compositional techniques express very clearly that they too – if only intuitively – attached far greater importance to the microcosm of music and its harmonic structures than today’s qualified musical experts would even think possible.

Even if ultimately the great classical composers mainly wrote homophonic music, they nevertheless regarded polyphony as the higher artistic musical craft – and it is only this that we find in the microcosm of music.

The function of the laws of harmony in space and time cannot be conveyed by homophony; for this one needs polyphony, the counterpoint and the fugue.