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«Represented in this Nocturne by the two hands (right HH/left hand and left HH/right hand), the two active HHs move together and differently, producing something “strange” that we could interpret, e.g. psychotic attacks, paranoia, hearing voices, etc…. It is to say the so-called “madness”.

Obviously, if we ignore that each SBS runs synchronously on all three levels (psyche-brain-organ) we can’t have a syncrethic comprehension of any symptoms - either organic or psychic!

We have to remember that the schizophrenic constellation is made of one active SBS in each brain hemisphere and generates less organic symptoms than a single SBS. Altogether, depending on the composer’s significant biological experience, a composition can so represent a single conflict+its development and a schizophrenic constellation+its meta-meaning.»

This text is taken from:

““The biological meaning of Music from the point of view of the Germanic New Medicine”

by Giovanna Conti, Ediciones de la Nueva Medicina, España, 2007.

©2007 by Giovanna Conti/Dr. Ryke Geerd Hamer

Tutti i diritti riservati-Alle Rechte vorbehalten-All rights reserved


This video is taken from:

“The biological meaning of Music from the point of view of the Germanic New Medicine”

by Giovanna Conti, Ediciones de la Nueva Medicina, España, 2007.

©2007 by Giovanna Conti/Dr.Ryke Geerd Hamer

Tutti i diritti riservati-Alle Rechte vorbehalten-All rights reserved


She studies piano at the High School of Music of Parma; In 1994 she really deepens her technique and interpretation with M° Américo Pascual Caramuta, becoming his assistant; She brilliantly graduates at the High School of Music of Trento. In 2002 she founds the no-profit musical association Associazione Culturale Musicale Sibelius, taking care about developing and executing original projects of education and teaching which aim to lead the student toward an understanding of music in the context of his experience, through multidisciplinary dimensions of the educational, strarting from the “Phenomenology of piano technique” to reach the revolutionary principles of the Five Biological Natural Laws of the Germanic New Medicine. Both as soloist and in chamber ensemble (duo, quartet, quintet) gives concerts in Parma, Reggio, Florence; she participates in several Masterclasses (including the “Academy of Teatro Cinghio” with Trio di Parma, “Peri” High School of Music of Reggio Emilia with Duo Gulli-Cavallo) and competitions (repeatedly rewarded in “Moncalieri International Music Competition”, Prize “Aqui Terme”, Prize “Città di Racconigi”, Prize “Lido di Camaiore”, “Victoria Caffa Righetti” of Cortemilia)..

At the University of Parma she developes her passion for the language of cinema, and begins working as a teacher in this topic, on behalf of Solares Fondazione delle Arti, making short films with children (being a finalist in the contest "Sottodiciotto Turin Film Festival."

She studies composition with M° Giorgio Tosi and she argues brilliantly the lower exam of the Experimental Course in Composition at the Conservatory of Parma.

She brialliantly achieves her Master's Degree in Organization and Management of Musical Companies at the University of Parma.

In the late '90s she begins to publish short stories in the magazine “Bella Parma” and in 2002 she publishes with the publisher “Malacoda” (Parma), her first novel "Rue de l'arbre sec," winnning the literature section prize in the national competition "Città di Monteverde" .

In 2005 she gets interested in the Germanic New Medicine, and begins a deep study in this field, devoting himself almost exclusively to it. In 2007 Giovanna Conti knows Dr. Hamer personally, and in 2008 she publishes the essay in italian language "Per una Musica biologicamente sensata nell’ottica della Nuova Medicina Germanica", with the publisher "Amici di Dirk"-Ediciones de la Nueva Medicina.

The year 2008 is also the year of the english version of the essay, "The biological meaning of Music from the point of view of the Germanic New Medicine", published in 2009, always with "Amici di Dirk."

In October 2009, during the concert premiere in Karlsruhe-Durlach, she presents the first complete survey criteria for a biologically meaningful music.

Nowdays she is the Director of the Department for the biological meaning of Music at the “University of Sandefjord for the Germanic New Medicine, natural Art and Lifestyle” (UNIVERSITET SANDEFJORD FOR DEN GERMANSKE NYE MEDISIN®, NATURLIK KUNST OG LIVSSTIL).

The biological meaning in performing

from the point of view of the Germanic New Medicine


The Masterclass “The biological meaning in performig” is aimed to students and professionists who want to deepen and make their interpretation (bio)logical from an all new point of view: the one of the Germanic New Medicine. It aims at improving the musician/interpreter technical performances in conformity with his  expressive/biological urges.

The discovery by Giovanna Conti “The biological meaning of music from the point of view of the GNM”, published by “Amici  di Dirk-Ediciones de la Nueva Medicina”, is the scientific fundament of this method.


Meeting innovative methodologies applicable to Music (like Biology and Medicine from the point of view of the GNM) enables the musician/interpreter to extend knowledge, serving the purpose of:

• Carrying out the study phase with greater capability and ease;

• Reducing both muscular and cerebral effort for learning;

• Enriching the interpretation of one’s repertory from the technical and expressive point of view;

• Appearing in more frequent performances of higher quality level;

• Exploring/innovating the communication processes that represent the foundations of musical form and interpretation.

According to the Germanic New Medicine, Biology offers the musician-interpreter the capability of working out an expressive synthesis referring to the bi-phase course which:

• Represents the work;

• Typifies its author’s experience;

• Naturally pertains to the processes of Evolution of the Species;

• Repeats in the musical form and execution same as any expressive system that imitates and replicates Life.


The application of this scientific method to the instrument is based on the system “Phenomenology of Piano Technique” by Maestro Américo Pascual Caramuta; at the time of his death, he appointed his then-pupil Giovanna Conti as his “spiritual heir”.

«[…] The Traditional School follows the empirical method, in which the students try to correspond

with musical models and ideals imposed by the Teacher. Each student is rather a biologicalpsychical-

social identity. The Teacher must respect all these three parts of a whole identity, if he

wants to obtain good results. In Music, the mythos of personality isn't important at all;

the real interest is due to the composition itself. I consider interpretation as an act of love…»

From Américo Pascual Caramuta, Interview on the newspaper "Clarín", Buenos Aires, 12/31/1980.

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