It is then a question of whether our classical sound creators can be firstly seen from a humanist view point as intuitive researchers in the sphere of the laws of harmony of the microcosm of music and only secondly as artists and creators of emotionally charged work of sound, in the way that the world of professional music would have us believe.

And if this thesis is correct, then we have to completely revalue and reassess our classical sound creators, their works and their historical significance, as well as their significance for our future.

In early high civilisations music was one of the most highly regarded sciences or arts because, indeed, one saw in music the theories of all other sciences most comprehensively displayed – potentially, at least – whereby the musicological point of view surely predominated.

Nowadays, sight of this has been lost even to the experts. The aspect of musical order has been given second place behind the aspect of emotional excitement, the interpreter before the sound creator. The logical result is that, in terms of music theory, chaos dominates. And then in turn, the music itself has a corresponding effect on society.

The microcosm of music does not know this dysfunction in the interpretation. The sound creations of the microcosm of music develop and disintegrate quite without sensation.

The microcosm of music presents us, then, with a music-nature, the sole purpose of which is to celebrate and expose the creator’s laws of harmony and provide us with a key to teach these laws of harmony once more – there where they are no longer on an even keel.

Socrates propagated such teaching for those energies of the soul which had slipped off balance, and Pythagoras wanted to use it in order to normalise those energies of the human organism, which were no longer on an even keel.

If one looks around today’s music world, one asks oneself, along with Socrates, Pythagoras and numerous other great minds from other high civilisations: is this really still music?

The microcosm of music provides us with the answer of the creator or of nature: it is, at best, a peripheral musical phenomenon – in the same way that long finger nails are a human phenomenon of peripheral importance, the deceased parts of which we find irritating and so cut off.
Surely, however, these fingernail clippings do not represent the core or centre of biological life, as, by comparison, the music industry and those musical experts in its pay would have us believe is the case with their musical productions.

Question: So in our present science-dominated age one can best say about Medical Resonance Therapy Music that it is a medical information carrier, that is to say, it is medically valuable information which has a therapeutic effect – good for the health?!

Peter Huebner: Yes. This harmonic information cannot be adequately conveyed in words alone, and it is therefore that we use the sound as an information carrier; but it is good to use the verbal information as a complement.

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