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"Therefore the
heaven, which is the archetypal organ of music, appears to have been arranged
in a most perfect manner, for no other object except that the hymns sung to the
honour of the Father of the
Universe, might be attuned in a musical manner."
Philo of
Alexandria |
Music moves people of all
cultures due to patterns
of synchronized activity in several brain areas which, put quite simply,
produce Euphoria.
480 BC Pythagorian mysteries state attention issues from the
senses, as when one perceives beautiful figures and forms, or hears beautiful
rhythms and melodies.
The first erudition exists in melodies and
rhythms regulating human manners and passions to restore the pristine harmony
of the faculties of the soul.
Pythagoras arranged and adjusted
"preparations" and "touchings," divinely contrived mingling of certain
diatonic, chromatic and enharmonic melodies, through which he reversed the
passions of the soul in a contrary direction.
He tempered passion
through appropriate melodies as a salutary medicine.
In the evening,
likewise, when his disciples were retiring to sleep, he would thus liberate
them from the day's perturbations and tumults, purifying intellect to quiet
their sleep while rendering their dreams pleasing and prophetic.
When
they arose again in the morning, he would free them from the night's heaviness,
coma and torpor through certain peculiar chords and modulations, produced by
either simply striking the lyre, or adapting the voice.
Pythagoras
fixed his intellect on the sublime symphonies, he alone apparently hearing and
grasping the universal harmony and consonance of the spheres.
Of all the
inhabitants of earth Pythagoras alone understood and heard these celestial
sounds coming from the central wellspring and root of nature.
He chose
to teach in consequence of the inability of mortal men to truly comprehend the
first and genuine archetypes of wellspring harmonics.
1859 French government commission makes a law that all
musicians tune to A=435
Hz.
1896 A=439 Hz becomes the recognized pitch
standard in Britain.
1910 American
Federation of Musicians, motivated by a grant provided by the Rockefeller Foundation push
for A=440Hz tuning standard.
The initial effort has limited success in
America and in Europe nearly no impact.
Promotions continued as A=440Hz
is perceived as less pleasant, or dull, to most musicians.
1930s Broadcasting
industry makes a push towards total standardization of concert pitch in
Europe and North American.
1936 US time and
frequency station WWV begins broadcasting a 440 Hz signal at two minutes past
every hour, with WWVH broadcasting the same tone at the first minute past every
hour.
1938 Rockefeller Foundation starts funding research to
understand the effects of the new forms of radio entertainment on society.
"The Princeton Radio Project, a social research project funded
by the Rockefeller Foundation directed by
Paul Lazarsfeld (Austrian-American founder of
20th-century empirical sociology), Hadley Cantril (Princeton Austrian
émigré psychologist) and Frank Stanton, Ph.D. ( American Board
of Professional Psychology; A Critique of Present Methods and a New Plan
for Studying Radio Listening Behavior observer, then president of
CBS, Rand Corporation) focus:
studying effects of radio upon
the population.
Theodor Adorno, a
critical theorist whom Lazarsfeld invited to join the Princeton Radio
Project ran into several problems during his research.
Lazarsfeld
brought Adorno into the project hoping that he could bridge the gap between
American and European approaches to research.
Adorno, however, sought
to understand not simply the effects of radio in
mass communications, but the
role played by the "observer" - or "expert" -
in the social order
itself.
This put him in direct conflict with the project and its
philosophy.
For Adorno, wrote Slack and Allor, "not only the processes
of communication but the practice of communication research itself had to be
viewed critically."
Reflecting upon his experience some decades later,
Adorno wrote that, "there appeared to be little room for such social research
in the framework of the Princeton Project."
He noted: "Its charter,
which came from the Rockefeller Foundation, expressly stipulated that
the investigations must be performed within the limits of the commercial radio
system prevailing in the United States."
Thus, "the system itself, its
cultural and sociological consequences and its social and economic
presuppositions were not to be analyzed … I was disturbed." - Andrew
Gavin Marshall
"It is not so much that Lazarsfeld was an American
sociologist," one colleague said of him after his death, "as it was that he
determined what American sociology would be."
1939 "British Standards Institute (BSI) adopts the A=440Hz
standard promoted by the Rockefeller-Nazi consortium at a 1939 international
conference held in London." - Lynn Cavanagh
Rockefeller
Foundation funding established the standard militarized musical tuning
of A=440Hz frequency.
James Tobias reviewed Rockefeller Foundation archives, and
documented investigations leading to psychological warfare applications of
acoustic vibrations, ultimately advanced militarily and
commercially.
Harold Burris-Meyer, an audio engineer, was known for
providing consulting services to Muzak Corporation used to optimize sound
installations in factories for emotional motivation of
workers to not be adversely
effected by factory noise.
The Rockefeller Foundation along
with the US Navy and National Defense Research Committee, acoustic energy
observers, including Burris-Meyer .
Burris-Meyer was commissioned to build speaker arrays deployed on
warplanes such that enemy combatants could be addressed from the air in the
attempt to produce psycho-emotional affects leading to "mass
hysteria."
Burris-Meyer became convinced that "audio control of
human emotions was possible for a large enough portion of an audience
to provide effective crowd
control – a line of research," that John Marshall, "ultimately found
irrelevant for understanding the artistic or cultural values of music … "
but obviously fulfilled a military objective.
This bioenergetic research in
acoustic science focused on producing the social impacts of emotional arousal
and even mass hysteria from sound effects.
"The clear interest here
seems to be in the 'dramatic' use emphasized in bringing audiences, with the
use of the 'sensory appeal' of sound effects, to states of 'mass hysteria.'" - James
Tobias
"Preliminary research and analysis by Walton, Koehler, Reid, et
al. confirms A=440Hz frequency music conflicts with human chakra energy centers
from the heart to
the base of the spine. The
A=440Hz frequency vibration scale stimulates
ego and
left brain function,
suppressing the "heart-soul" link, intuition and
creative inspiration." -
Leonard G. Horowitz
Harmonious alternatives have
been suppressed even though A=444Hz (C(5)=528Hz) analysis found this frequency
more compatible with nature and more pleasant to listen to.
If humanity
were to be optimally suppressed spiritually, the musical tuning of A=444Hz
would be neglected as it has been.
Religious
leaders suppressed the original Solfeggio musical scale in which A=444Hz,
virtually equivalent to C(5)=528Hz, is the "MI" tone or "MIracle" note played
by the Pythagoreans
referenced by Tobias as subscribing to the bioenergetic epistemologies
described by Helmholtz.
In India, the origin of solmization was to be
found in Vedic texts like the Upanishads, which discuss a musical system of
seven notes, realized ultimately in what is known as sargam.
In Indian
classical music, the notes in order are: sa, re, ga, ma, pa, dha, and
ni.
Solmization is a system of attributing a distinct syllable to each
note in a musical scale. Various forms of solmization are in use and have been
used throughout the world, but solfège is the most common convention in
Europe and North America.
The seven syllables normally used for this
practice in English-speaking countries are: do, re, mi, fa, sol, la, and ti
(with a chromatic scale of ascending di, ri, fi, si, li and descending te, le,
se, me, ra).
The use of a seven-note diatonic musical scale is ancient,
though originally it was played in descending order.
Byzantine music
uses syllables derived from the Greek alphabet to name notes: starting with C,
the notes are ni (eta), pa (alpha), vu' (beta), ga (gamma), di (delta), ke
(epsilon), zo (zeta).
In Japanese music, the first line of Iroha, an
ancient poem used as an "ABC" of traditional kana, is used for solmization. The
syllables representing the notes A, B, C, D, E, F, G are i, ro, ha, ni, ho, he,
to respectively.
In Indonesia, Javanese musicians derive syllables from
numbers; ji-ro-lu-[pi]-ma-nem (siji, loro, telu, [papat, normally skipped in
pentatonic scales], lima, enem).
In music theory, the tritone is
strictly defined as a musical interval composed of three adjacent whole tones.
For instance, the interval from F up to the B above it (in short, F–B) is
a tritone as it can be decomposed into the three adjacent whole tones F–G,
G–A, and A–B. According to this definition, within a diatonic scale
there is only one tritone for each octave. For instance, the above-mentioned
interval F–B is the only tritone which can be formed using the notes of
the C major scale.
A tritone is also commonly defined as an interval
spanning six semitones. According to this definition, a diatonic scale contains
two tritones for each octave. For instance, the above-mentioned C major scale
contains the tritones F–B (from F to the B above it, also called augmented
fourth) and B–F (from B to the F above it, also called diminished fifth,
semidiapente, or semitritonus).
In classical music, the tritone is a
harmonic and melodic dissonance and is important in the study of musical
harmony.
The tritone can be used to avoid traditional tonality: "Any
tendency for a tonality to emerge may be avoided by introducing a note three
whole tones distant from the key note of that tonality."
Contrarily,
the tritone found in the dominant seventh chord helps
establish the tonality of a
composition. These contrasting uses exhibit the flexibility, ubiquity, and
distinctness of the tritone in music.
The condition of having tritones
is called tritonia; that of having no tritones is atritonia. A musical scale or
chord containing tritones is called tritonic; one without tritones is
atritonic.
The Augmented 4th, or Tritonus, which spans three whole steps
in the scale, is one of the most dissonant musical intervals around.
It
was considered unpleasant and ugly, and was named "diabolus in musica", "the devil in music" or the
Devil's Interval.
The
Devil's Interval
enjoyed great popularity among composers in the 19th Century, when "you have got lots of
presentations of evil built around the tritone".
"It can sound very spooky. It depends
on how you orchestrate. It is also quite exciting," says Professor Deathridge.
"[Wagner's] Gotterdammerung has one of the most exciting scenes - a 'pagan',
evil scene, the drums and the timpani. It is absolutely terrifying, it is like
a black mass. There is a big connection between heavy rock music and Wagner.
They have cribbed quite a lot from 19th Century music."
A modern
advocate of the tritone is Black Sabbath - the rock outfit led by Ozzy Osbourne
- particularly in their signature song, Black Sabbath, a milestone in the
genesis of heavy
metal.
War Pigs
We're probably not hardwired to hate 'devil's
music'
Western Civilization has chosen
descension focusing on the lower
centers of consciousness like those of
power,
wealth and
pleasure as opposed to
focusing on ascension by tickling
the higher centers of compassion, empathy and selflessness.
We are
engaged in a "conspiracy
reality" in which ultimate power and control is waged bioenergetically
(i.e., biospiritually), through
frequency modulations or
electromagnetic manipulations affecting "consciousness" and impacting biology,
physiology, and human behavior.
Harmony is created by notes sounding
together at frequencies which are in proportion to each other. The proportions
can be expressed by numbers. Low numbers produce consonant harmonies, and
higher numbers give rise to dissonance.
For example, if two notes an
octave apart are sounded together, the frequency of the upper note is exactly
double that of the lower. In numerical terms, upper doh over lower doh = 2:1.
The sound is clear, pure and open.
Sound sol above doh (the perfect
fifth) and the proportion is 3:2.
This sound is brilliant, confident.
Sound fa over doh (the perfect fourth) and this gives 4:3.
The
word "amen" is often set to these
notes.
These two intervals are inversions of each other: doh above sol
gives 4:3 and doh over fa gives 3:2.
Mi over doh (the major third) is
5:4, a lovely interval expressing warmth, gentleness, "togetherness" and much
more; its inversion, doh over mi (the minor sixth) gives 8:5, a curiously
astringent but also beautiful interval.
Doh over la (the minor third)
gives 6:5; and la over doh (the major sixth) gives 5:3 - two more beautiful
harmonies.
In music,
a consonance (Latin con-, "with" + sonare, "to sound") is a harmony, chord, or
interval considered stable (at rest), as opposed to a
dissonance (Latin
dis-, "apart" + sonare, "to sound"), which is considered unstable (or
temporary, transitional).
In more general usage, a
consonance is a combination of notes
that sound pleasant to most people when played at the same time; dissonance is
a combination of notes that sound harsh or unpleasant to most people.
This is a cultural concept as music other than the
European tradition -
Balkan, Arabic, Chinese - does not follow this definition.
The Six
Solfeggio Frequencies include:
UT – 396 Hz – Liberating Guilt
and Fear
RE – 417 Hz – Undoing Situations and Facilitating
Change
MI – 528 Hz – Transformation and Miracles (DNA Repair)
FA – 639 Hz – Connecting/Relationships
SOL – 741
Hz – Expression/Solutions
LA – 852 Hz – Awakening
Intuition and Returning to Spiritual Order
The Frequency of the Voice of
Compassion of the Sustainer MI is 528 Hz - the "Miracle" note of the original
Solfeggio musical scale.
Independently confirmed by observers, this
core creative frequency was used by ancient priests and
healers in advanced
civilizations to manifest healing miracles.
Math scientist Victor
Showell describes 528 as fundamental to the ancient Pi, Phi, and the Golden
Mean evident throughout natural design.
Vic Showell and John Stuart
Reid (pioneer in acoustic research and cymatic measurements) have proven 528 is
essential to the sacred geometry of circles and spirals consistent with DNA
structuring and hydrosonic restructuring.
Schumann resonance is
a global electromagnetic resonance,
which has its origin in electrical discharges
of lightning within the cavity existing between the Earth's surface and the
ionosphere.
This cavity resonates with
electromagnetic waves in
the extremely low frequencies of approximately 7.86Hz –
8Hz.
Conscious thought waves created by the human brain range from
12.5Hz to 40Hz.
This range only includes certain types of dendrites
belonging to brain cells predominantly within the left (the more rational)
hemisphere of the brain, which is the center of activity.
The two hemispheres of our
brain become synchronized with each other at Alpha-Theta border (7Hz -
8Hz), they work more harmoniously and with a maximum flow of information.
The frequency of 8Hz seems to be the key to the full and sovereign
activation potential of our brain.
It is at the
Alpha-Theta border where we
can reprogram our DNA to heal.
8Hz is the frequency of the
double helix in DNA
replication.
Melatonin and pinoline work on the DNA, inducing an
8Hz signal to enable metosis and
DNA replication.
A form of body temperature superconductivity is evident in this
process.
Our survey is incomplete without mentioning that the sound of
432 Hz is the sound of the vocalization
of Om - the harmonic
intonation of nature.
Pulling back the
Veil of Cognitive
Blindness by softly
vocalizing the harmonic intonation of nature - Om -
relax and tune into
Nature.
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