Concepts and Ideas

On this page, concepts and ideas are presented or suggested, which     

  • bring the development of harmonics to areas where little or no harmonicswork has hitherto been done.     
  • help to bring the harmony of such people who are looking for harmonics in the direction, but independently do not get on with it.     
  • can serve to carry harmonics into circles, which are yet to be developed for the harmony.


The answer to the question of what harmonics has to do with art or, conversely, art with harmony, does not come naturally.

The aim and task of harmonics is to find and represent correspondences that convey between objectively understandable and describable facts and subjective feelings that can be directly attributed to such facts. The old classic example is the correspondence between on the one hand acoustic wavelengths or frequencies and on the other side tones or sounds.

The ascertainable and describable upper or lower tone series meanwhile convey a highly differentiated and widely scattered sound material with almost inexhaustible possibilities for the development of melodies and chords, ie ultimately of musical works of art. When using these possibilities one speaks today therefore of natural sound music. The rules to be observed in composing deviate in part from the rules of classical harmony taught at music schools.

Since integers and their rational relationships play an important role in micro- and macrophysics, the question arises whether in this way, for example order structures in the atomic range or in the area of ​​the solar system can be used by means of this natural sound music for the design of musical works of art. And so when listening to such compositions micro- and/or macrocosmic orders can directly be experienced.

Analogously, these questions can also be transferred to the design of paintings or sculptures, perhaps also to the architectural design of buildings. And, of course, there is also the question of whether writers of poetry or poetic prose can be inspired, as it were, in a harmonious way to make the experience of structures in nature and in the micro and macrocosm poetic.

This project sets itself the task to pursue these questions in discussions between active artists, art historians and experienced harmonics. The results of these discussions should then be presented on this web site and further processed in the circle of harmonics persons reachable via this website.