In this Italian publication, pianist Dr. Giovanna Conti (Parma, Italy) presents her discoveries that the biological natural laws of Germanic New Medicine apply not only to medicine but to music as well.
Dr. Conti, who has an excellent knowledge of GNM, found that, for example, Beethovens Symphony No.7, Mozarts Symphony No.40, Chopins Nocturne No.20b, and compositions by Schubert and Bartok, are structured exactly in accordance with the two-phase pattern of each SBS-Significant Biological Special Program of Nature. Each individual composition expresses - through music instead of words - a complete SBS in the composers life, from the DHS (conflict shock) and the conflict active stress-phase to the CL (conflict resolution) and the vagotonic rest- or healing phase.
This implies that music, medicine, and biology are founded on equal principles.
This publication should be read and evaluated by musicologists, philosophers of musics and other scholars in this field. If (like me) you have no foundation in music scholarpship, you can have some difficulty to grasping it. (You can buy this book in this website)
Also, you need some familiarity with the principles of the controversial but (if it's a correct theory of the origin of most diaseses) potentially revolutionary Germanic New Medicine by Ryke Geerd Hamer.
For a brief explanation of this theory, watch:
Video #1
Video #2
Video #3
Professor Helmut Calgéer, professor of music in University of Tubingen in Germany, wrote this letter about Conti's discovery:
University of Tübingen
Hölderlin Straße 19
72074 Tübingen
May 12, 2008
Helmut Calgéer,
Professor of Music
Commentary to the publication “Per una Musica biologicamente sensate nell’ otticia della Nueva Medicina Germanica” by pianist Dr. Giovanna Conti
The discoveries by Italian pianist Dr. Giovanna Conti, presented in the above mentioned book, offer an entirely new understanding of music. Who would have thought that classical music, instrumental music, and folk music are based on biological natural laws? Who would have expected that the Five Biological Laws of German New Medicine will one day serve as the foundation for a completely new appreciation of music?
The notion that our classical composers convey, for example, in every movement of a symphony a complete biological conflict course or SBS -Significant Biological Special Program that took place in their life, is simply fascinating.
What is particularly pleasing for us Tübingerites is that the author has chosen the charming folk song “My College Sweetheart”, which plays at the Wurlinger Chapel of Tübingen, as a typical example of her studies as the lyrics of the song express in synchronicity with the tune the SBS the composer* experienced at the time.
From now on, biographers will have to approach the musical work of a composer, for instance a particular symphony, in correspondence with “conflicts” in the composer’s life. Such a task can, of course, only be accomplished with a good knowledge of German New Medicine.
We musicians are delighted that we have been given such a wonderful “new age of understanding music”, as Dr. Conti puts it. I myself, as a musician and musicologist, am fascinated by this book.
Signed
Helmut Calgéer,
Professor of Music
* N.B.: In 1956, Dr. Hamer composed the love song “My College Sweetheart” for his beloved Sigrid , whom he had met during their medical studies at the University of Tübingen.
