With the increase of all these and numerous other problems de­spite the most intensive efforts to try and decrease them or at least halt them, the individual person involved must finally come to the conclusion that with all his honest efforts he is similar to Don Quichotte fighting against windmills.
Only with the discovery and/or development of the specialist field of chronobiology and/or chronomedicine, have we become aware of the influence of rhythmical structures in the area of biological life and/or medicine.

At the same time it was revealed that our complex rhythmical biological system is totally helpless and unprotected against the rhythmical influence of music.
Under the viewpoint of this new scientific knowledge, the present music scene, especially with its disrespect of the natural rhyth­mi­cal harmony laws of music, constitutes a very great danger for man­kind.

Music, which does not orientate itself towards the natural har­mo­ny laws of music – and which is therefore unnatural in its char­ac­ter –, educates the person creating music, the interpreter and the listener in the “art” of destruction: directs his entire thinking structurally towards the general destruction of everything natural: almost brings him up in this manner – without him being able to resist.

It is not a coincidence that all social trends, not directed towards a natural development, connect with a kind of music, which dis­re­spects the natural order of the harmony laws of nature – and here the question remains open as to what is the originator of whom: whether music that primarily disrespects the musical natural laws, also lays the foundation-stone for all kinds of trends in society, which go against a natural evolution: which spurs people on to intolerance, violence and revolutions, and inspires them towards open and hidden dictatorships, as well as beyond that to a total and inconsiderate destruction of our environment, the outer area of life.

It may therefore be that the present-day international ecological crisis has its causes in music with very serious consequences, rather than in any other area of social life.

Studies prove that music especially can shape the structure of human thinking and emotions like nothing else, and that music therefore mainly determines the basic attitude of human thinking towards evolution.
The individual musician and the individual persons spreading music, who just about earn their money with music, may so far not have been aware in detail of these facts – any more than many nuclear physicists, chemists or biologists in their particular field.

But the present musicological and medical studies and the dis­cov­eries made accordingly, show clearly that the musician and not least the music marketing people burden themselves with a much greater responsibility in social everyday life than the mentioned scientists do: because the musician influences the people direct with his “art” of feeling and thinking.

In his thinking, the listener is structurally totally helplessly at the mercy of the musical influence. This realisation should have great consequences.

If it has already been recognised and scientifically verified that, ahead of all disciplines, nature has enabled music to influence and manipulate human feeling and thinking to an uncontrollable extent for the individual listener – that with music you can orientate human thinking against nature as well as get it in the right mood for a natural evolution, then the aspect of musical benefits and harm in society should indeed be given absolute priority.

For, whether for instance some scientific achievements are em­ployed for the benefit or harm of human society, is not decided in the mind of scientific research scientists and discoverers, but within the thinking of the user. The researcher, however, has no substantial influence whatsoever on the user’s thinking, and therefore on the use of his developments – the education of the user in the direction of a person with tendencies towards pure destruction, or in the direction of a person who in his thinking and actions follows the example of the harmony laws of nature, happens with the utmost discreet power and mainly by means of music.

At the same time, it is important to differentiate in music clearly between the pure music structure and all other contents loaded with meaning, which are added to music with texts that are either sung or spoken – be they of a political, religious or different nature.
Just as the spoken word at school or in politics or at church, the word sung in a song or opera also has – as far as its meaning is concerned – only an extremely small influence on the thinking of the individual; that is why people are so difficult to better with words. But the music underlying a word has an incomparably stronger influence: a direct structural influence on the listener’s thinking, one that he cannot withdraw from.