Cavezane’s biomusical proposal: critical analysis of his sonic theorization

Abstract

Background: Music therapy is firmly grounded in evidence-based clinical practice, yet weak institutional control has allowed unverified theories to flourish, notably Gustavo Cazenave’s “biomusic”, which blends esotericism with the Western classical canon. Objectives: This paper critically examines Cazenave’s sonic taxonomy—“characteristics, classes and quantification of sound”—to protect the theoretical underpinnings that legitimise therapeutic music work. Method: A systematic, comparative reading of the 2024 revised edition of Biomúsica. Los efectos de la música sobre el cuerpo y la mente was undertaken. Sections dealing with acoustics and music theory were cross-checked against specialised scholarship to assess accuracy and coherence. Results: The analysis uncovered multiple terminological mistakes, internal inconsistencies and flawed acoustic data. Misuse of basic parameters (intensity, pitch, timbre), ad-hoc labels such as “open” or “femoral” sounds, and erroneous statements about human auditory limits exemplify these flaws. When presented under the banner of music therapy, such inaccuracies threaten both academic progress and client safety. Conclusions: The study calls for rigorous acoustic and musicological knowledge in any intervention claiming therapeutic value. It urges the profession to maintain critical oversight and reject pseudo-scientific appropriations, thereby safeguarding the interdisciplinary dialogue that underpins clinical effectiveness.