Most of the mu­si­cal struc­tures used to­day are very simi­lar to the struc­tures used in chem­is­try and there­fore also cause un­wanted side ef­fects. If for ex­ample the aim is to cre­ate a cer­tain en­thu­si­asm for a rock con­cert, it is never the in­ten­tion to pro­duce a scene of de­struc­tion af­ter the rock con­cert and this is there­fore con­sid­ered an un­wanted side ef­fect.

Many other dis­tinc­tions can be made here, span­ning a wide area of sci­en­tific re­search. One such area of re­search is be­com­ing im­por­tant in the age of great eco­logi­cal de­struc­tion and so­cial prob­lems.
For it can be said with cer­tainty that the thought proc­esses of all those in­volved in this prob­lem are not struc­tured natu­rally and can­not there­fore per­form a natu­ral func­tion, nei­ther in the body nor in the en­vi­ron­ment.

The core of en­vi­ron­men­tal de­struc­tion lies in the un­natu­ral struc­tur­ing of the thought pat­terns of the very peo­ple who de­stroy the en­vi­ron­ment.

And since no known me­dium has a greater in­flu­ence on thought than mu­sic and since mu­sic is played and heard eve­ry­where, one may con­clude the fol­low­ing: the un­natu­ral struc­tur­ing of most con­tem­po­rary mu­sic, af­ter the tech­ni­cal noises made by ma­chin­ery and the nu­mer­ous chemi­cal poi­sons, is the most im­por­tant pro­ducer of un­natu­ral thought struc­tures, and there­fore con­trib­utes to en­vi­ron­men­tal de­struc­tion – be it ei­ther ac­tively or pas­sively.

There­fore, when I pro­duce Medi­cal Reso­nance Ther­apy Mu­sic^®, I am very con­scious of this fact and make eve­ry effort to pro­duce mu­sic which has a natu­ral struc­ture and which there­fore sup­ports the natu­ral­ness of thought. So I pro­duce mu­sic with a struc­ture which meets the re­quire­ments of the har­monic laws of na­ture – as I am dis­cov­er­ing them in the mi­cro­cosm of mu­sic.

As well as struc­tur­ing natu­ral physio­logi­cal proc­esses in the hu­man body, I am also en­deav­our­ing, with the help of mu­si­cal struc­tures, to de­velop natu­rally struc­tured spiri­tual thought proc­esses.

If our bod­ies and physio­logi­cal make-up are struc­tured har­mo­ni­ously, even the in­di­vid­ual cells, and pref­era­bly fol­low the har­monic laws of na­ture – which the chrono-medics have proved – and if these same har­monic laws of na­ture, which also af­fect the paths of our stars (as proved by Kepler), even rule our emo­tional bal­ance, and if the same har­monic laws which we are also dis­cov­er­ing in the mi­cro­cosm of mu­sic, de­ter­mine the natu­ral­ness of our thoughts and there­fore in­flu­ence the for­ma­tion of our natu­ral con­sci­ence and will, and if it can now be medi­cally proved, that our spiri­tual state, our neu­ro­logi­cal func­tions and our physio­logi­cal proc­esses are de­pen­dent on, and have an equally strong in­flu­ence on each other, har­moni­cally struc­tured mu­sic is with­out doubt an ideal me­dium to train peo­ple in the natu­ral­ness of thought, natu­ral emo­tional sta­bil­ity and the natu­ral­ness of physio­logi­cal func­tions.
For mu­sic is able to ad­dress these three ar­eas of physi­ol­ogy, the psy­che and the spirit, both si­mul­ta­ne­ously and in­di­vidu­ally.

Pythagoras mainly drew at­ten­tion to the physio­logi­cally struc­tured meth­ods of treat­ment, al­though he ex­am­ined and de­scribed all three types in terms of mu­si­cal struc­ture in­flu­ences.

And Socrates pro­vided con­fir­ma­tion, but placed the greater so­cial im­por­tance on the in­tel­lec­tual and/or ethi­cal in­flu­ence through mu­si­cal struc­tures. The crea­tors of great re­lig­ions by con­trast placed the great­est im­por­tance on the spiri­tual in­flu­ence through mu­sic.
Given this three-fold ef­fect of mu­si­cal struc­tures on hu­mans – in­tel­lec­tual, spiri­tual-emo­tional and physio­logi­cal – Pythagoras at­trib­uted the natu­ral, cen­tral mean­ing and/or func­tion of mu­si­col­ogy, to link the spiri­tual and natu­ral sci­ences ac­cord­ing to ob­jec­tive sci­en­tific cri­te­ria. Re­al­is­ing this idea how­ever brought him se­ri­ous po­liti­cal dif­fi­cul­ties; he was per­se­cuted, be­cause the ruling class at that time of arts schol­ars and reli­gious and po­liti­cal lead­ers rec­og­nised the dan­ger of loos­ing a ma­jor part of their power to ob­jec­tive natu­ral sci­en­tific knowl­edge. Sev­eral at­tempts were made to as­sas­si­nate Pythagoras. He even­tu­ally had to flee and go into hiding.

His school – nowa­days com­pa­ra­ble in its func­tions to the most com­plex uni­ver­sity, which in­te­grates natu­ral sci­ence, spiri­tual sci­ence and the arts – due to the per­se­cu­tion, had to be turned into a se­cret lodge and the in­te­gra­tion of spiri­tual and natu­ral sci­en­tific knowl­edge be­came a se­cret sci­ence.

Nev­er­the­less, one of Pythagoras´ideas was re­al­ised; the field of natu­ral sci­ence gained im­por­tance. This meant that the arts suf­fered a loss of power and be­came part of the use­less, elite scrap heap in the field of "lei­sure time ac­tivi­ties". But his one great idea of sci­en­tifi­cally in­te­grat­ing the spiri­tual and natu­ral sci­ences and the arts is still to be re­al­ised. A ma­jor task which can only be im­ple­mented jointly by natu­ral sci­en­tists, spiri­tual sci­en­tists, art­ists and mu­si­colo­gists and in fact which must be im­ple­mented if the hu­man race is to sur­vive in natu­ral hu­man dig­nity.

The com­ing to­gether of mod­ern mu­si­col­ogy and medi­cine as an or­gani­cally grown field, in which the ob­ject of sci­en­tific study – man – en­com­passes mind, body and spiri­tual state, ought to rep­re­sent an es­sen­tial key in per­form­ing the task of mod­ern medi­cine.
And there is an im­por­tant fu­ture role for Mi­cro Mu­sic La­bo­ra­to­ries^® and phar­ma­ceu­tics to be­come ac­tively in­volved in gain­ing pre­cise knowl­edge on the cor­re­la­tion be­tween spiri­tual, emo­tional and physio­logi­cal proc­esses – be­yond cur­rent medi­cal aid for pa­tients.