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Medicamus Italiana Torino
ITALY
A presentation
by Alexander J. Graur, Ph.D., MT-BC
©1998-2004 Alexander Graur
Anatomy
©1998-2008
Alexander Graur
All rights reserved
Physiology
Western
Medicine
Pharmacology
Scientific
Research
Anatomy
Complementary
Medicine
Physiology
Natural
Pharmacology
Empirical
Experience
Holistic
Tradition
Traditional
Medicine
Relation between
Western Medicine and
Complementary Medicine
©1998-2008
Alexander Graur
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Disease
Patient
mostly
WESTERN
MEDICINE
INTEGRATIVE
MEDICINE
COMPLEMENTARY
MEDICINE
Patient
©1998-2008
Alexander Graur
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Disease
IMBALANCES
Immune
System
Cellular
metabolism
Electrolyte
balance
Behavior
Neurotransmission
Illness = Imbalance
Treatment = rebalance
©1998-2008
Alexander Graur
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Treatment
Drug Treatment
SIDE EFFECTS = imbalance
Complementary Medicine
REBALANCE
©1998-2008
Alexander Graur
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MEDICINE
Psychiatry
Behavioral Health
Neurology
Anesthesiology
Rehabilitation
(post stroke,
cerebral palsy,
cardiology)
Music Integrative
Neurotherapy™
INTERFACE AREA
The Therapist is a Professional Composer
with knowledge of:
Human Anatomy and Physiology
Basic Notions in Psychiatry
Basic Notions in Psychopharmacology
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©1998-2008
Alexander Graur
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MUSIC
MUSIC
INTEGRATIVE
NEURO
THERAPY™
MEDICINE
©1998-2008
Alexander Graur
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MUSIC
Is the science of organizing the sounds in logical structures.
Three are SPATIAL:
MUSIC
is a language
X axis:
Rhythm and Melody
Y axis:
Polyphony
(including Heterophony and Harmony)
MUSIC
Z axis:
Is organized in
FIVE Dimensions
The resultant of the interaction between
the horizontal and the vertical dimensions
One is AESTHETIC
The reaction of
the Mind and Body
at the Musical Information
One is TEMPORAL
The evolvement of the
Spatial Dimensions
in Time
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P
O
L
Y
P
H
O
N
Y
Resultant
Musical
Event
Rhythm and Melody
Musical (audio)
information
as it is
perceived
by the hearing
aparatus
Spatial Dimensions of the Music
©1998-2008
Alexander Graur
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Horizontal Dimensions
Rhythm
Rhythmical
Patterns
Metrics
Speed
(tempo)
Succession
Of
Pitches
in time
Intervals
MELODY
Layer
Melody
Line
Directions
Of the
Melody Layer
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Spatial Dimensions of the Music
©1998-2008
Alexander Graur
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Vertical Dimensions
Melody Layer
MONODY
1 Melody Layer
HETEROPHONY
2 and/or more
Melody Layers presented in the same time
and randomly organized
Coincidental
Joining
Area
HARMONY
POLYPHONY
Simultaneous sounds
distanced at least by
an interval of a Third (in root position)
Simultaneous melody layers
distanced at least by
an interval of a Third
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Temporal Dimension of the Music
©1998-2008
Alexander Graur
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Perception
of
Time
Real Time
(Ontological Time)
Psychological Time
Personal perception of time
Seconds, Minutes, etc.
The music follows strictly
the perception of
the real time.
The music delays or anticipates
the ontological time
ISO
Contraria Contrariis Curantur
or
Similia Similibus Curentur
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
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©1998-2008
Alexander Graur
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MUSICAL
Spatial Dimensions
of the Music
Instrumentation
Orchestration
Sound Processing
Temporal Dimension
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
FORM
(Musical Information
as it is received by
the listener.)
Information itself is
Abstract and
Fractal
It is decoded at the level of the
Limbic System
Next
Aesthetic Dimension of the Music
©1998-2008
Alexander Graur
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FEED FORWARD
MUSICAL
FORM
(input)
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
BRAIN
Cerebral Cortex
Afferent Part
F
E
E
D
B
A
C
K
BRAIN
Cerebral Cortex
Efferent Part
Somatic-Psycho
Reaction
Psycho- Somatic
Reaction
ORGANISM
MUSIC
As a
©1998-2008
Alexander Graur
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BRAIN
Auditory tract
BRAIN
Cerebral Cortex
Cerebral Cortex
STRESSOR
Afferent Part
Efferent Part
Limbic System
Thalamus
Hypothalamus
ANS
Pituitary
Gland
C.R.F.
Sympathetic Plexuses
A.C.T.H.
S.T.H.
ADRENAL
GLAND
Catecholamine:
Epinephrine
Norepinephrine
BLOOD
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
Adrenal
Cortex
CORTICOIDS
Anti-inflammatory
Inflammatory
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Use of Medical Data to
create a Musical parameter
(example)
ECG,BP, Pulse Rate
Breath Rate
©1998-2008
Alexander Graur
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Physiological Data
EEG,PET, MRI
Rhythm and
Melody Line Design
The organization of the thought
Specific for each type
of mental disturbs
Patient’s reactions
at the external Data:
Speech,music,
different sounds,rumors.
Hearing Capacity (S.R.T.)
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
Psychological Data
Environmental Data
Basic
Rhythmical and
Melodical
Patterns
Next
Sound
Organized sounds (Music)
Rhythm+Melody+ Polyphony
Musical Event
Multi-layered
Polidimensional
(Space+ Time)
Musical Form
Perceived
as Information
MUSIC INTEGRATIVE NEUROTHERAPY™
©1998-2008
Alexander Graur
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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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©1998-2008
Alexander Graur
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The specific music
used in therapy
acts directly on each organ affected
by various disturbs.
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©1998-2008
Alexander Graur
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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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MUSIC INTEGRATIVE NEUROTHERAPY™
©1998-2008
Alexander Graur
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Basic Principles
used to compose
Music as a Treatment
1. Physiological Aspects
Transmission of the Sound
The Electrical Activity
of the Brain
The Sound as a Stressor
The Electrical Activity
of the Heart
The Frequency in time
of the Stimuli
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
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Transmission of the Sound
Music
As
Information
- Hearing Apparatus
- Blood Transmission
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Alexander Graur
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Cerebral Cortex
- Central Nervous System
- Autonomic Nervous System
Organs targeted by
the therapy
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
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The Sound as a Stressor
The
Organized Sound
(Music)
©1998-2008
Alexander Graur
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BRAIN
Cerebral Cortex
Afferent Part
BRAIN
Cerebral Cortex
Efferent Part
Somatic-Psycho
Reaction
Psycho- Somatic
Reaction
ORGANISM
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
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The Electrical Activity
of the Brain
Brain Waves:
- Theta
- Delta
- Alfa
-- Beta
©1998-2008
Alexander Graur
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Stimulate the Brain to produce comensurate waves
Low Sound
Frequencies
Sound 3
(Binaural Sound)
= 5 Hz (100-95)
Sound 1
= 100 Hz
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
Simultaneous
Sound 2
= 95 Hz
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The Electrical Activity
of the Heart
©1998-2008
Alexander Graur
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Internal transmission : Blood
Heart Sound Waves
Brain
Heart’s
Brain’s
Electromagnetical
Electromagnetical
Field
Field
External transmission : Hearing Aparatus
Produce
Change
the rate
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
Brain Waves:
- Theta
- Delta
- Alfa
-- Beta
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©1998-2008
Alexander Graur
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The Frequency in time of the Stimuli
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.
STIMULI
-External
- Internal
Acting as STRESSORS
The
STRESS
CHAIN
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MUSIC INTEGRATIVE NEUROTHERAPY™
©1998-2008
Alexander Graur
All rights reserved
Basic Principles
used to composed
Music as a Therapy
2. Psychological Aspects
Specific protocols for
each disease
TARGETS:
Organs and Plexuses
Change the
Disturbed
Behavior
1.Medical Data of
each patient
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
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MUSIC INTEGRATIVE NEUROTHERAPY™
©1998-2008
Alexander Graur
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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.
Next
©1998-2008
Alexander Graur
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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.
Next
©1998-2008
Alexander Graur
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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.
Next
©1998-2008
Alexander Graur
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The patient’s file
including:
the history, diagnosis,
previous and actual drug treatment.
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©1998-2008
Alexander Graur
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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).
Next
©1998-2008
-Presenting State tests
Alexander Graur
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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.
Next
©1998-2008
-- The urine and blood analysis indicates potential imbalances (abnormal levels)
Alexander Graur
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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.
Next
Relationship between Music and Images
INFORMATION
(audio/visual)
MUSICAL
INFORMATION
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
BrainMind
(Consciousness)
VISUAL
INFORMATION
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Alexander Graur
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IMAGE
subliminal level
(mainly abstract)
STRENGTHENS
the effect of
the therapy
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The Concept of Target
1
Thalamus
4
Thyroidal
Plexus
7
Hypogastric
Splanchnic
Plexus
©1998-2008
Alexander Graur
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2
Hypothalamus
5
Solar
Plexus
6
Cardio
Pulmonary
Plexus
3
Pituitary
Gland
CHANGES
in
HOMEOSTASIS
8
Lumbosacral
Plexus
Next
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Alexander Graur
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CHANGES
in
HOMEOSTASIS
MUSIC
INTEGRATIVE
NEURO
THERAPY
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
PROVOKE
RE- BALANCE
CHANGES
in
BEHAVIOR
NEW
HOMEOSTASIS
Next
Structure of the session
©1998-2008
Alexander Graur
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The ASSESMENT
Physiological
Data
Blood Pressure
Pulse
Respiratory Rhythm
Hearing Tests
Sensory-Motor Skills
Perceptual-Motor Skills
Loco Motor Skills
Copyright 1998-2007
Alexander Graur/MPD/SIAE Italy
Cultural
Data
Behavioral
Data
Musical Skills
Musical Preferences
Other Preferences:
Literature
Movies
Television
Next
The ASSESMENT
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Alexander Graur
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Behavioral
Data
Skills
Needs
Conclusions
Strategies:
Initial
Ongoing
Termination
Attachments:
-Audiogram
-Test Results
- Therapy Plan
Therapy
Proposed
Number of sessions
planned
Form 2
Structure of the session
Introductory
Treatment Protocol
Final
©1998-2008
Alexander Graur
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GOAL
Relax and prepare the patient
LASTING:
15 minutes
GOAL
Targeting the specific
organs/plexuses
LASTING:
20 minutes
GOAL
To stabilize the new homeostasis
LASTING:
5 minutes
Total Time:
40 (forty) minutes
Next
Case Management: other Forms
• Therapy plan
• Session plan
• Patient’s Evaluation of the Therapy
(optional)
• Customized material
Main Characteristics
©1998-2008
Alexander Graur
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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.
Next
WHO BENEFITS
©1998-2008
Alexander Graur
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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
Next
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.
•
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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.
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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.