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Introduction to the University of the Future

Peter Hübner’s Cosmic Educational Program

Peter Hübner
Developer of the University of the Future

Peter Hübner
Open letter to the President of the Justus-Liebig-State-University Giessen, Germany

ARCHIVE

MEDICINE

THEORETICAL FUNDAMENTALS

Nature’s Laws of
Harmony in the
Microcosm of Music

MUSIC + BRAIN
Part 1   •   Part 2

Chronomedicine

Music as a Harmonic
Medical Data Carrier

The Special Status of the
Ear in the Organism

The Ear as a
Medical Instrument

The Significance of the
Soul to Medicine

The Significance of
our Consciousness
to Medicine

The Significance of the
Soul to Human Evolution

The Future of Pharmaceutics

SCIENTIFIC RESEARCH
REPORTS

The American Institute
of Stress

World Health
Organization (WHO)

Republic of Belarus

Stress + Heart Disease

The Unborn Child

Special Care Baby Unit

Harmonic Therapy

The Benefits of
Harmonic Information

Social Medical Significance

Headaches & Migraine

Harmonic Information
as a Modern Medication

Intensive Care Unit

MRT Music / Function

Chernobyl

SCIENTIFIC RESEARCH

Medical Research –
Clinical Observations

MEDICAL RESONANCE THERAPY MUSIC

Medical Music Preparations on CD

STORE





Peter Hübner – The Significance of the Soul to Medicine


When I write a new sym­phony, at the same time tak­ing into ac­count and ap­ply­ing the har­mony laws of the mi­cro­cosm of mu­sic, I might use 100,000 tones and sounds dur­ing re­cording.
But if I mix in only one sin­gle wrong tone, eve­ry child and eve­ry sim­ple per­son can say at once: this is a wrong tone, and this is the only wrong tone in the whole piece of work with 100,000 dif­fer­ent tones and sounds: “That one tone is wrong, and eve­ry­thing else is cor­rect!”

How does a hu­man be­ing come to know this? We know this, be­cause it is built into our sys­tem – be­cause we have the abil­ity from birth to hear some­thing like this.
And as this is al­ready na­ture̱s de­sign, eve­ry hu­man be­ing should be able to hear their own har­mony and/or dis­har­mony within them­selves – but also the har­mony and/or dis­har­mony of an­other per­son.

We should learn to au­then­ti­cally es­tab­lish the level of har­mony in our­selves as well as oth­ers by sim­ple, natu­ral in­ner hear­ing.
And I think, this is a good foun­da­tion for im­prov­ing our health – but at least also for know­ing some­thing about health.

And then there is still the most im­por­tant thing: no­body usu­ally ex­peri­ences di­rectly, what “health” is.

One per­son says: “I am not well for this rea­son.” the other per­son says: “I am not well for that rea­son.” A third per­son: “This hurts me!”
But who ac­tu­ally ex­peri­ences “not hurt­ing” as such? Who ex­peri­ences health in it­self?

It is ab­so­lutely pos­si­ble to prac­tise hear­ing and/or ex­peri­enc­ing it via the in­ner ear or: hear­ing, be­cause: health is pure har­mony: natu­ral har­mony.
When we hear pure har­mony in our in­ner self, then we hear health – and I am the arche­typal clas­si­cal com­poser, and there­fore know what I am talk­ing about.
For, be­fore writ­ing any­thing down, I hear it inside – and I am not an ex­cep­tion, be­cause this is the tra­di­tion of clas­si­cal com­pos­ing: you hear in­ner har­mony, and then write it down.

So in this case one is a writer, and not a crea­tor. The clas­si­cal com­pos­ers of the past have never claimed to be the crea­tors of “their work” – this also ap­plies to my­self. I am not the crea­tor, I am only the writer – I write down, what I hear inside.

And who is the one who “is cre­at­ing”? It may be – na­ture. But who­ever is cre­at­ing – I only write it down. I have com­mented on this suf­fi­ciently elsewhere, ade­quately quot­ing clas­si­cal com­pos­ers from his­tory.

So when I now hear har­mony, I con­clude that my sys­tem – i.e. also my in­ner life – is run­ning ac­cord­ingly, in har­mony. And when I hear dis­har­mony, I con­clude that my con­di­tion and/or my in­ner life is ac­cord­ingly in dis­har­mony.

Thus, when I learn to assess and ana­lyse these ex­peri­ences re­gard­ing a spe­cial edu­ca­tional pro­gram in mu­sic or a spe­cial mu­sic pro­gram in edu­ca­tion, I can fi­nally dif­fer­en­ti­ate be­tween this and an­other dis­ease through my in­ner hear­ing.
And in fu­ture, this pos­si­bil­ity should stimu­late the en­tire field of medi­cine.


Symphonies of the Great Steram No. 1
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