But in general, this is not the case, as Beethoven tells us; and so he writes disappointedly:

Our present scientific standpoint on this matter:

The investigations in the area of scientific medicine regarding the use of the Medical Resonance Therapy Music^® and the harmony laws of the microcosm of music have also led to the fact that today a scientifically objective measuring system is available to us, to verify the quality of a musical work and/or also the interpretation of a musical work.

This is the key to the future of music as a whole: the benefit and harm of music is immediately measurable, already at the time when the music is heard, and the incorruptible measuring instruments provide data that are unshakable.

And the results of the investigations have also shown that a change of thinking must take place among music experts and music critics: the objective scientific investigations have shown for example, that the effect of music is not at all dependent on the taste of the listener: that it does not matter at all, whether someone likes a music or does not like it, whether he loves it or hates it, or whether he is indifferent to it. Also the degree of recognition of a performer or orchestra or composer has no significant influence on the medical effect of music.

It turns out that the effect of music, as far as health and education is concerned, only depends on the effectiveness of the laws of harmony, which are applied in the music. And if you look at the music history of classical music, then this must at least have been known to our great classical composers. Because the history of classical music – as far as the music of the great classical composers is concerned – turns out to be a cognitive process concerning the laws of harmony and a specific development of compositional techniques for applying the harmony laws in music as effective as possible.

The classical music of the great sound creators is actually not alone in applying the harmony laws, but the entire creation from the microcosm (quantum mechanics) to the macrocosm (theory of relativity) and the orbits of the stars and planets as well as the biological systems are organised in natural harmony with the help of the harmony laws.

Through astronomic measurements the great German astronomer Johannes Kepler discovered the harmony laws of the microcosm of music as the secret guides of the stars and planets.

And the well-known medical expert for biological rhythms, Gunther Hildebrandt, verified the decisive influence of the harmony laws of the microcosm of music in the biological system.

In scientific medicine, Gunther Hildebrandt was able to prove that man is healthy to the degree that the laws of harmony of the microcosm of music can take influence in him: that there is a direct connection between health and the cosmic laws of harmony, and that biological systems become ill or cease to work where the laws of harmony cease to be applied.

This discovery is the main reason why Medical Resonance Therapy Music^® could win recognition so quickly in scientific medicine and be established in such a short time as a new branch of scientific medicine – and the same applies to Medical Resonance Therapy Music^® as a pharmacological remedy, without any undesirable side effects though.

When a musical work is not created and performed and/or produced according to the harmony laws – and in the case of the so-called “Neutöner” or modern composers even on purpose – then we know that it is harmful to health.
Johann Sebastian Bach calls such deeply unoriented music even “devilish bawling”.

What matters is that in music, too – like in medicine –, we help objective science to get the breakthrough with their methods of measurement: then the damage will stop and the benefit will increase.
All other discussions in terms of taste are useless because they have no natural connection with the medical effect of the music.