This then caused a different abortive development, which robs music entirely of its naturalness, and that is fixed rhythm – the confusion of time and rhythm.

As a living and intuitive musical “with each other” is not on the agenda at all among classical orchestra musicians, but only rigid temporal counting without regard of each other and playing from a sheet of music, the fixed rhythm has developed as a necessary requirement of such a mechanical way of making music – an artificial temporal construction, which they all take as an easy orientation.

This rigid tempo today dominates the entire performance sector of classical music, and starting from there, the whole field of music right up to rock and pop music, and it has robbed music of its naturalness.
Nowhere in nature is there such a rigid tempo or are there any rigid rhythms; they only exist in the world of machines – made up by very limited human minds.

In living organisms each element has its own rhythm, and its own rhythmical development. This development, however, is in constant communication with the rhythmical development of all the other elements: it affects these, and is also in turn affected by them.

Such natural reality of creation has disappeared from classical musical practice – as a result of which it is degenerating into an unnatural, artificial sound structure.

Just take your heart rhythm as an example, it has a basic pattern which is clearly recognisable, but already when you inhale, the rhythm is different to when you exhale, and when you climb up the stairs, it is different than when you walk down etc..

And with the change of the heart rhythm, the other rhythms in your body also change.

In natural systems, the individual elements are in constant rhythmical communication whilst affecting each other – and especially so in naturally structured music.

Introducing intellectual and temporal rigidity, means killing naturalness; life will never be present during such a music performance.

A fixed rhythm turns the music into a lifeless machine, labels the musician a lifeless machine, and deadens the listener’s inner thoughts and feelings.

It is as if you simply froze a pond in which all waves penetrate each other in a natural way: the harmonious with each other of the waves flowing into each other must die in this way.

The naturalness dies in music which is rhythmically fixed and played with the musicians disregarding each other’s play, and these kind of frosty intellectual performances of the great pieces of work of the music masters are kind of dead – without natural living breath, and they therefore have a paralysing effect on the listener’s diverse rhythmical life processes.

I have pointed out the devastating effect of rhythmically fixed music on people’s health in various publications.

Naturally structured music doesn’t know a fixed rhythm – just like everything in nature – , our investigations into the microcosm of music have also made that clear.

Natural rhythms appear to be very simple at first glance: the elephant’s walk, the ocean waves, the wind, moving the leaves in the trees: all that seems to be very simple.

But try to ascertain these multi-layered integrated processes of time, and you will find out that they are very complex.

The interesting thing for the lover of nature is that, according to the spatial proportions of nature, its natural temporal proportions can be found in the rhythmical laws of harmony of the microcosm of music.

In the USA, film-makers tried some years ago to give some sort of metal animals, which they had designed for a science fiction film, a natural, interesting walk, as the broken computer-produced movement of these mechanical animals were regarded as disharmonious by the onlookers, and considered unattractive to the eye.

In the end, the film-makers wanted to give these mechanical animals the walk of an elephant.

They instructed computer specialists to calculate the mathematical formula for the time processes in the movement of an elephant, and to program these into the motor functions of the mechanical animals.

And lo and behold, the rhythmical processes in the elephant’s walk were so complex that they couldn’t establish a formula for it.

The only thing left for them to do was to draw its movements, and to transfer them point by point onto the copy of the mechanical animals.

The field of natural rhythmical musical harmony isn’t developed in the interpreter of classical music in our cultural tradition, and won’t be in future – it is not even strived for, as it was by the mentioned film-makers, from which the mechanical age of the modern symphonic orchestra system logically developed.

The natural rhythmical harmony, however, is one of the most important pre-conditions for conveying that ethical legacy of our great classical tone creators. ^Quotations