In view of their cen­tral po­si­tion in the to­tal spec­trum of the auto­nomic rhythms it comes as no sur­prise that the func­tional ar­eas of breath­ing and pulse rhythm are in an es­pe­cially close re­la­tion­ship to mu­si­cal ex­peri­ence and mu­si­cal move­ment.

As il­lus­tra­tion 19 (mid­dle col­umn) shows, these ar­eas prac­ti­cally in­clude all un­con­scious, half-con­scious and con­scious rhythms of motor ac­tion. These con­tinue on the one hand to the strictly har­moni­cally regu­lated meta­bolic rhythms, on the other hand into the high fre­quency area of the fre­quency modu­lated proc­esses of in­for­ma­tion rhyth­mics.

At the same time, the fre­quency ar­eas of the pulse and breath­ing cover the area in which we have the im­me­di­ate ca­pa­bil­ity of feel­ing rhythms. Here, the fre­quency area of modu­la­tion of the pulse rhythm is in ac­cor­dance with the area of all pos­si­ble mu­si­cal tempi (length of beat), while the range of varia­tions of the breath­ing fre­quency is in ac­cor­dance with the lengths of time in mu­sic.

Hereby, the origi­nal tem­po­ral ratio of length of time in mu­sic and length of beat of 4:1 is taken as a basis, as was sub­stan­ti­ated in the early stages of mu­si­cal no­ta­tion de­vel­op­ment in ob­vi­ous de­pend­ence on the nor­mal fre­quency ratio of breath­ing and heart beat.

The fact that, in later times, too, the mu­si­cal tempi were still re­lated to the cen­tral rhyth­mic func­tions of heart­beat and breath­ing, is widely known. Un­til this day we speak of three-four time, al­though three quar­ters do not make a whole.

From il­lus­tra­tion 19 we can also see that the sen­sa­tion of tones must be clas­si­fied as be­long­ing to the field of in­for­ma­tion rhyth­mics, in which, once again, the con­for­mity to the natu­ral laws of har­monic or­ders take ef­fect.