Medicamus Italiana Torino ITALY. A presentation by Alexander J. Graur, Ph.D., MT-BC ©1998-2004 Alexander Graur

Medicamus Italiana TorinoITALY

A presentationby Alexander J. Graur, Ph.D., MT-BC

©1998-2004 Alexander Graur

WesternMedicine

TraditionalMedicine

ComplementaryMedicine

Anatomy

Physiology

Pharmacology

ScientificResearch

Anatomy

Physiology

NaturalPharmacology

EmpiricalExperience

HolisticTradition

©1998-2008Alexander Graur

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Relation between Western Medicine and

Complementary Medicine

WESTERNMEDICINE

Disease

COMPLEMENTARYMEDICINE

Patient

mostly

INTEGRATIVEMEDICINE


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Disease

IMBALANCES

ImmuneSystem

Behavior Electrolytebalance

Neurotransmission

Cellularmetabolism

Patient ©1998-2008Alexander Graur

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Illness = ImbalanceTreatment = rebalance

Treatment

Drug Treatment Complementary Medicine

SIDE EFFECTS = imbalance REBALANCE


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MEDICINEPsychiatry

Behavioral HealthNeurology

AnesthesiologyRehabilitation (post stroke,

cerebral palsy, cardiology)

Music Integrative Neurotherapy™

INTERFACE AREAThe Therapist is a Professional Composer

with knowledge of:

Human Anatomy and PhysiologyBasic Notions in Psychiatry

Basic Notions in Psychopharmacology Next


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MUSIC MEDICINEMUSICINTEGRATIVE

NEUROTHERAPY™


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MUSICIs the science of organizing the sounds in logical structures.

MUSICis a language

MUSICIs organized in

FIVE Dimensions

Three are SPATIAL:X axis:

Rhythm and Melody

Y axis:Polyphony

(including Heterophony and Harmony)

Z axis:The resultant of the interaction between

the horizontal and the vertical dimensions

One is TEMPORALThe evolvement of theSpatial Dimensions

in Time

One is AESTHETICThe reaction of

the Mind and Bodyat the Musical Information Next


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Rhythm and Melody

POLYPHONY

ResultantMusicalEvent

Musical (audio)information

as it isperceived

by the hearing aparatus

Spatial Dimensions of the Music

Rhythm

Metrics

Speed(tempo)

Intervals

SuccessionOf

Pitchesin time

RhythmicalPatterns

MelodyLine

MELODYLayer

DirectionsOf the

Melody Layer

Horizontal Dimensions

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Spatial Dimensions of the Music

Melody Layer

MONODY1 Melody Layer

HETEROPHONY2 and/or more

Melody Layers presented in the same timeand randomly organized

HARMONYSimultaneous soundsdistanced at least by

an interval of a Third (in root position)

CoincidentalJoining

Area

POLYPHONYSimultaneous melody layers

distanced at least byan interval of a Third

Vertical Dimensions

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Temporal Dimension of the Music

Real Time(Ontological Time)

Seconds, Minutes, etc.

Psychological TimePersonal perception of time

Perception of

Time

The music follows strictlythe perception of

the real time.

ISO or

Similia Similibus Curentur

The music delays or anticipates the ontological time

Contraria Contrariis Curantur

NextCopyright 1998-2007Alexander Graur/MPD/SIAE Italy


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Spatial Dimensionsof the Music

Temporal Dimension

InstrumentationOrchestration

Sound Processing

MUSICAL

FORM

(Musical Information as it is received by

the listener.)Information itself is

Abstract and Fractal

It is decoded at the level of theLimbic System



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MUSICAL

FORM(input)

Aesthetic Dimension of the Music

BRAINCerebral Cortex

Afferent PartBRAIN

Cerebral CortexEfferent Part

ORGANISM

Psycho- SomaticReaction

Somatic-PsychoReaction

Copyright 1998-2007Alexander Graur/MPD/SIAE Italy


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FEED FORWARD

FEEDBACK

MUSICAs a

STRESSOR

BRAINAuditory tractCerebral Cortex

Afferent Part


Efferent Part

A N SSympathetic Plexuses

ADRENALGLAND

Catecholamine:Epinephrine

Norepinephrine

BLOOD

Limbic System Thalamus

Hypothalamus

PituitaryGland

AdrenalCortex

CORTICOIDSAnti-inflammatory

Inflammatory

A.C.T.H.S.T.H.

C.R.F.



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Rhythm andMelody Line Design

Physiological Data

Psychological Data

Environmental Data

ECG,BP, Pulse RateBreath Rate

The organization of the thoughtSpecific for each type

of mental disturbs

EEG,PET, MRI

Use of Medical Data tocreate a Musical parameter

(example)

Patient’s reactionsat the external Data:

Speech,music,different sounds,rumors.

Hearing Capacity (S.R.T.) BasicRhythmical and

MelodicalPatterns



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Musical EventMulti-layered

Polidimensional(Space+ Time)

Sound

Organized sounds (Music)Rhythm+Melody+ Polyphony

Musical FormPerceived

as Information

MUSIC INTEGRATIVE NEUROTHERAPY™

The basic principle of Music Integrative Neurotherapy™ is that in order to really heal,

the music used for therapy must be composed based on the medical data of each patient

and must act beyond the psychological conditioning and cultural background of the patient.

The ultimate goal of the therapy is to transmit to the mind pre-determined

information to be stored in the long term memory banks for to be used

as reference for future decisions.

(Rewiring the mind to rewire the brain and organism)

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The specific music used in therapy

acts directly on each organ affected by various disturbs.

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The goals of this therapy are:

1.to change the disturbed behavior of the patient

by acting upon the organs/plexuses affected by a specific disease;

2. to help the body in creating a determined balance

between its physiological functions.

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Basic Principles used to compose

Music as a Treatment

1. Physiological Aspects

Transmission of the Sound The Sound as a Stressor

The Electrical Activityof the Brain

The Electrical Activityof the Heart

The Frequency in time of the Stimuli



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Transmission of the Sound

- Hearing Apparatus- Blood Transmission

MusicAs

Information Cerebral Cortex

- Central Nervous System- Autonomic Nervous System

Organs targeted bythe therapy



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TheOrganized Sound

(Music)


Afferent PartBRAIN

Cerebral Cortex

Efferent Part

ORGANISM

Psycho- SomaticReaction

Somatic-PsychoReaction

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The Sound as a Stressor



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The Electrical Activityof the Brain

Brain Waves:- Theta- Delta- Alfa-- Beta

Sound 1= 100 Hz

Sound 2= 95 Hz

Low SoundFrequencies

Stimulate the Brain to produce comensurate waves

Sound 3 (Binaural Sound)= 5 Hz (100-95)

Simultaneous



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The Electrical Activityof the Heart

Heart Sound Waves

Internal transmission : Blood

External transmission : Hearing Aparatus

Brain Waves:- Theta- Delta- Alfa-- Beta

BrainHeart’sElectromagnetical

Field

Brain’sElectromagnetical

Field

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Changethe rate

Produce



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The Frequency in time of the Stimuli

STIMULI

-External- Internal

Acting as STRESSORSThe

STRESSCHAIN

It is the frequency in time of the stimuli not their nature that determines the hormonal and nervous reactions to stress.

A musical piece structured according to the basic frequency (sound) of the chemical elements targeted toward a specific pathology

could reinforce or partially substitute the effects of the chemical behavior.

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Basic Principles used to composed

Music as a Therapy

2. Psychological Aspects

Specific protocols for each disease

1.Medical Data of each patient

TARGETS:

Organs and Plexuses

Change theDisturbed Behavior



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Medical Data

Specific hearing tests:

a battery of specially designed tests are used to determine:

- the hearing capacity (general and diversified for each ear);

- the SRT (speech reception threshold);

- the eventual range, timbre and intensity of the sound

heard by patients affected by tinnitus.

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Other test results should be taken in consideration if applicable,

but the therapist should run the

Music Integrative Neurotherapy specific tests

in order to determine

the exact state of the patient’s capacity of hearing

and its peculiarities.

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Presenting State test:

the blood pressure and heart pulse before and after the session.

Also the respiratory rhythm and muscular tones before and after the session.

GSR (Galvanic skin response) during the session.

General data: the more recent results of:

blood analysis, urine analysis, electrocardiogram.

If available: electroencephalogram, MRI, PET scan.

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The patient’s file

including:

the history, diagnosis,

previous and actual drug treatment.

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-The Specific Hearing Tests

determines the way in which the passive (listening)therapy will be performed. There are three ways to do it:

- -using the headphones (the most usual); -the speakers

(in patients who do not tolerate the pressure of the headphones upon the head, in mental retardation, dementia, autism and in group therapy);

- portable mini- -speakers attached to various parts of the body in ways that permit the vibrations of the speaker’s membrane to be perceived by the body

(in perinatal help, autism, mental retardation and some cases of apparent or partial deafness).

-This battery of tests is also useful to determine the level of intensity at which the music will be performed during the sessions

(never above the SRT).

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-Presenting State tests are useful in having a comparative chart about the results of each therapy

session and for planning the following session.

-The general data helps in:- making the anamnesis, establishing the targets and planning the cycle of sessions;

-also in determining the basic data for composing the customized music.

- The average value of heart pulse gives an indication for the initial tempo of the music;-The blood pressure indicates both the range of frequencies preferred by the patient’s

hearing apparatus and the intensity limits of the audition;

- the electrocardiogram indicates both the rhythm pattern and the measurement units;

-The electroencephalogram indicates the reaction of various cerebral zones to specific stimuli,

a data that is useful in planning the type of brain waves to be privileged in composing the music.

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-- The urine and blood analysis indicates potential imbalances (abnormal levels) values of the most important chemical elements and trace elements in the organism.

Special attention should be given to the levels of: Potassium, Magnesium, Calcium and Sodium.

During the therapy sessions the appropriate piece has to be planned in order to help the body balance and self-regulate for the lack or excess of those elements

-The history and diagnosis helps to understand what organs should be targeted by therapy and what shape the musical form might have in order

to improve the patient’s condition.-The data about the previous and actual drug treatment helps to understand

which zones of the organism the drugs target, and specially what other effects they produce.

The music must balance exactly those side effects acting in support of the drug’s action.

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Relationship between Music and Images

Brain-Mind

(Consciousness)

INFORMATION(audio/visual) IMAGE

subliminal level(mainly abstract)

MUSICALINFORMATION

VISUALINFORMATION

STRENGTHENSthe effect ofthe therapy



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The Concept of Target

1Thalamus

2Hypothalamus

4Thyroidal

Plexus

5SolarPlexus

7HypogastricSplanchnic

Plexus

6Cardio

PulmonaryPlexus

3Pituitary

Gland

8Lumbosacral

Plexus

CHANGES in

HOMEOSTASIS

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CHANGES in

HOMEOSTASIS

CHANGES in

BEHAVIOR

MUSICINTEGRATIVE

NEUROTHERAPY

NEWHOMEOSTASIS

PROVOKE

RE- BALANCE



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Structure of the session

The ASSESMENT

PhysiologicalData

Blood PressurePulse

Respiratory RhythmHearing Tests

Sensory-Motor SkillsPerceptual-Motor Skills

Loco Motor Skills

Musical SkillsMusical PreferencesOther Preferences:

LiteratureMovies

Television

CulturalData



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BehavioralData

The ASSESMENT

BehavioralData

SkillsNeeds

Conclusions

Strategies:Initial

OngoingTermination

TherapyProposed

Number of sessionsplanned

Attachments:-Audiogram-Test Results

- Therapy Plan


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Form 2

Structure of the session

Introductory

Treatment Protocol

Final

GOALRelax and prepare the patient

LASTING:15 minutes

Targeting the specificorgans/plexuses

LASTING:20 minutes

To stabilize the new homeostasisLASTING:5 minutes

Total Time:40 (forty) minutes

GOAL

GOAL

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Case Management: other Forms

• Therapy plan

• Session plan

• Patient’s Evaluation of the Therapy (optional)

• Customized material

Main Characteristics

Music Integrative Neurotherapy™ - it is an INTEGRATIVE and a COMPLEMENTARY

therapy

- integrates MUSIC and MEDICINE

- integrates AUDIO and VISUAL inputs

- belongs to the Neuroscience group of therapies

- it is conceived as a complement to medical treatment

- the collaboration between clinician and Psychiatrist/Physician is essential in working for the improvement of a patient’s condition

- uses the Audio / Visual relationship to create the premises of a global approach in treating the patient’s diseases.

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WHO BENEFITS

Adult and Juvenile Attention Deficit Disorder - Anxiety and Depression

Alcohol Addiction and Substance Abuse – Autism

– Cerebral Palsy -Dementia

-Stress and Anger Management -Sleep Disorders -- Perinatal Cure

-- Postpartum Depression -- Mental Retardation

-- Speech Disorders -– Schizophrenia

--Multiple Personality Disorder- – Epilepsy -– Tinnitus

--Posttraumatic Brain Injury

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Visit also: www.medicamus.com

Contact the author at: [email protected]

• Rhythm itself has infinities of forms as a result of the combinations and organization of the values – the positive values (sounds) and the negative values (pauses).

• Metric (measure) is the frame in which the rhythm itself evolves; it is expressed by the periodical points of reference, which determines the rhythm’s evolution in time.

• Speed (tempo) determines the amount of the rhythmical movement used in a determinate period of time.

• The rhythmical patterns are the movement itself; while the measurement units of this movement are the metrics.

• Melody is a succession of musical notes (pitches) in time. • In Music language the melody has the same meaning as the sentence in the spoken language. It is the

mean to express and transmit all – from pure ideas to personal feelings.

• The parameters of Melody’s structure are:• a) The number of pitches. According to this parameter, the Melody could be monochordal (one single

note, repeated) or polychordal (two and/or more different sounds). The denominations comes from ancient Greek: (mono = one, single);(poly = more);( chordos = tone, sound).

• b) The quantity and quality of the intervals. The distance between two different pitches in sequence, called interval, determining the whole expression and communicability of the melody.

• The most known organization of the sounds, the Temperate System, uses as basic value for the distance between two different pitches the step.

• This value is composed by nine commas (the comma is the smallest distance unit). The Tone is divided in two half steps.

• The half steps have different values and denominations; the diatonic half step has five commas, while the chromatic half step has four commas.

• Because of this measurement system the intervals (which are quantities) has also a quality, according to the type of half steps contained.

• For example, the Third is a quantity (distance between three different sounds) and has a quality (four diatonic half-steps= major third; two diatonic half-steps + one chromatic half-step= minor third); etc.

• The alternation of pitches creates a line called Melodic Line.• c) The directions of the Melodic Line. There are three basic directions: linear, ascending and

descending. The combination of those basic directions gives the characteristics of the Melody. (Example: linear+ ascending; ascending + descending + linear; etc.) This aspect of the melody is of a primary importance, especially for therapeutic needs.

• The possibilities of the Melodic Line in creating a really mind-body influential music are infinites.• d) The number and order of the Rhythmical Patterns. The Melodic Line could be organized in time by

using one or more rhythmical patterns. • When one pattern is used there is a mono rhythmical melody. • When more patterns are used there is a poly rhythmical melody.

• The Vertical potentiality• The melody has within itself a horizontal trend as well as a vertical

potentiality. The sounds are generated and generate. Any sound belongs to the row of harmonics of other sound; and any sound generates other harmonics (sounds).

• The higher the sound, the more possibilities to belong to more harmonic rows, generated by different sounds.

• • For example the C5 is: the 8th harmonic of C1/ the 12th harmonic of F1/ the

11th harmonic of G1/ the 7th harmonic of D1 etc. In turn it generates the superior part of the harmonic row of those sounds – and 2 or 3 harmonics in the inferior part of the row.

• The possibility of a high sound to generate lower sounds is determine by the nature of the resonant that produces it.

• The relations between the sounds it contains give the Vertical potentiality of a Melodic Line. If the sounds belongs to the first eight harmonics of the same generator the vertical potentiality is relatively poor.

• The variety of Verticality increase when the sounds of the Melodic Line could be considered as belonging to the harmonic rows of more generators.

• It is the difference between monotonality, polytonality and free harmony; • that permits the Vertical Dimension of the music to be easily perceived.

• - the stressors, which are the external agents that start the stress chain; music listening is a stressor agent.

• - the defensive reaction, expressed by the nervous stimuli, the hormones actions, the emotional and/or affective reactions. (the stage of tensional stress).

• - the exhaustion mechanism, which is the reverse of defensive reaction ( the stage of depression stress).

• Music Integrative Neurotherapy uses the Stress chain in all its aspects. The music acts as a stressor; the appropriate musical form creates the desired effect into the body, using the specific processes of the stress. It is a matter of how to compose the music using the right proportions between the elements of sound’s organization. There are different criteria, specific for each disease.

Documents

Medicamus Italiana Torino ITALY. A presentation by Alexander J. Graur, Ph.D., MT-BC ©1998-2004 Alexander Graur