We can be­come aware of the mu­si­cal pro­por­tions through the se­ries of in­di­vid­ual waves of pain dur­ing a colic-like at­tack in the stom­ach area, as for in­stance with ureter cramps. Il­lus­tra­tion 9 shows two ex­am­ples of this, in which the time in­ter­vals of such events are pre­sented as fre­quency dis­tri­bu­tions.

In the av­er­age area of the three-struc­tured sys­tem of the auto­nomic rhythms, with the res­pi­ra­tory and cir­cu­la­tory rhythms, two dia­met­ri­cally op­posed func­tional prin­ci­ples of the tem­po­ral or­gani­sa­tion of life proc­esses col­lide, and must be bal­anced (cf. il­lus­tra­tion 7): a tem­po­ral struc­ture which is con­stantly fre­quency modu­lated by the in­com­ing in­for­ma­tion, and an other whose rhythms are bound to a pre-formed har­monic-mu­si­cal or­der. This is then stabi­lised by be­ing con­nected to the en­vi­ron­men­tally syn­chro­nised long wave rhythms.

The rhyth­mic func­tions of this av­er­age area unite both by show­ing a rela­tively wide range of varia­tion of their fre­quency and an­swer­ing de­mands on per­form­ance with fre­quency modu­la­tion on the one hand (e.g. quick­en­ing of the heart and breath­ing at work), and on the other hand, how­ever, – par­ticu­larly un­der peace­ful con­di­tions – search for pref­eren­tial fre­quen­cies and/or fre­quency norms which have sim­ple whole num­bered con­nec­tions and em­pha­sise the fun­da­men­tal har­monic tem­po­ral struc­ture.