“Il flauto magico” still works: Mozart’s secret of ventilation

Klaus Laczika; Oliver P. Graber; Gerhard Tucek; Alfred Lohninger; Nikolaus Fliri; Gertraud Berka-Schmid; Eva K. Masel; Christoph C. Zielinski

doi:10.4081/mrm.2013.498

“Il flauto magico” still works: Mozart’s secret of ventilation

Authors

Klaus Laczika Medical University of Vienna, Department of Internal Medicine 1, Division of Palliative Care, Vienna
Oliver P. Graber University of Music and Performing Arts Vienna, Institute 13 for Music and Movement Education, and Music Therapy, Vienna
Gerhard Tucek IMC University of Applied Sciences, Krems
Alfred Lohninger Autonom Health, Vienna
Nikolaus Fliri Autonom Health, Vienna
Gertraud Berka-Schmid University of Music and Performing Arts Vienna, Institute 13 for Music and Movement Education, and Music Therapy, Vienna
Eva K. Masel Medical University of Vienna, Department of Internal Medicine 1, Division of Palliative Care, Vienna
Christoph C. Zielinski Medical University of Vienna, Department of Internal Medicine 1, Division of Palliative Care, Vienna

DOI: https://doi.org/10.4081/mrm.2013.498

Keywords:

Breathing patterns, Mozart, Synchronisation of biological and musical rhythms, Mozar

Abstract

Background: Synchronisation/coupling between respiratory patterns and musical structure.

Methods: Healthy professional musicians and members of the audience were studied during a performance of W.A. Mozart’s Piano Concerto KV 449. Electrocardiogram (ECG)/Heart Rate Variability (HRV) data recording (Schiller: MedilogWAR12, ECG-channels: 3, sampling rate: 4096 Hz, 16 Bit) was carried out and a simultaneous synchronized high definition video/audio recording was made. The breathing-specific data were subsequently extracted using Electrocardiogram-derived respiration (EDR; Software: Schiller medilogWDARWIN) from the HRV data and overlaid at the same time onto the musical score using FINALE 2011 notation software and the GIMP 2.0 graphics programme. The musical score was graphically modified graphically so that the time code of the breathing signals coincided exactly with the notated musical elements. Thus a direct relationship could be produced between the musicians’ breathing activity and the musical texture. In parallel with the medical/technical analysis, a music analysis of the score was conducted with regard to the style and formal shaping of the composition.

Results: It was found that there are two archetypes of ideally typical breathing behaviour in professional musicians that either drive the musical creation, performance and experience or are driven by the musical structure itself. These archetypes also give rise to various states of synchronisation and regulation between performers, audience and the musical structure.

Conclusions: There are two archetypes of musically-induced breathing which not only represent the identity of music and human physiology but also offer new approaches for multidisciplinary respiratory medicine.