medicamus italiana torino italy. a presentation by alexander j. graur, ph.d., mt-bc ©1998-2004...
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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
©1998-2008Alexander Graur
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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
©1998-2008Alexander Graur
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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
©1998-2008Alexander Graur
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MUSIC MEDICINEMUSICINTEGRATIVE
NEUROTHERAPY™
©1998-2008Alexander Graur
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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
©1998-2008Alexander Graur
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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
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©1998-2008Alexander Graur
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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
©1998-2008Alexander Graur
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FEED FORWARD
FEEDBACK
MUSICAs a
STRESSOR
BRAINAuditory tractCerebral Cortex
Afferent Part
BRAINCerebral Cortex
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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©1998-2008Alexander Graur
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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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MUSIC INTEGRATIVE NEUROTHERAPY™
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)
BRAINCerebral Cortex
Afferent PartBRAIN
Cerebral Cortex
Efferent Part
ORGANISM
Psycho- SomaticReaction
Somatic-PsychoReaction
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The Sound as a Stressor
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©1998-2008Alexander Graur
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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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MUSIC INTEGRATIVE NEUROTHERAPY™
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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MUSIC INTEGRATIVE NEUROTHERAPY™
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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©1998-2008Alexander Graur
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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
©1998-2008Alexander Graur
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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: graur@medicamus.com
• 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.
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