"The brain has a strong propensity
to organize information
perception in patterns, and music plays into that
From an acoustical perspective, music is an
overstructured language, which the brain invented and which the brain loves to
hear." - Michael Thaut
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."
Music moves people of all
cultures due to patterns
of synchronized activity in several brain areas which, put quite simply,
1859 French government commission makes a law that all
musicians tune to A=435
1896 A=439 Hz becomes the recognized pitch
standard in Britain.
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
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 researcher,
then president of CBS, Rand
Corporation) focus: studying effects of radio upon the
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 "researcher" - 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
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
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
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
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
researchers, 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
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
"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.
were to be optimally suppressed spiritually, the musical tuning of A=444Hz
would be neglected as it has been.
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.
classical music, the notes in order are: sa, re, ga, ma, pa, dha, and
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.
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,
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, FB) is
a tritone as it can be decomposed into the three adjacent whole tones FG,
GA, and AB. According to this definition, within a diatonic scale
there is only one tritone for each octave. For instance, the above-mentioned
interval FB 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 FB (from F to the B above it, also called augmented
fourth) and BF (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
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."
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
The Augmented 4th, or Tritonus, which spans three whole steps
in the scale, is one of the most dissonant musical intervals around.
was considered unpleasant and ugly, and was named "diabolus in musica", "the devil in music" or the
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."
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.
Were probably not hardwired to hate devils
Western Civilization has chosen
descension focusing on the lower
centers of consciousness like those of
pleasure as opposed to
focusing on ascension by tickling
the higher centers of compassion, empathy and selflessness.
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.
word "amen" is often set to these
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
a consonance (Latin con-, "with" + sonare, "to sound") is a harmony, chord, or
interval considered stable (at rest), as opposed to a
dis-, "apart" + sonare, "to sound"), which is considered unstable (or
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 European tradition,
e.g., Balkan, Arabic, Chinese, do not follow this definition.
Solfeggio Frequencies include:
UT 396 Hz Liberating Guilt
RE 417 Hz Undoing Situations and Facilitating
MI 528 Hz Transformation and Miracles (DNA Repair)
FA 639 Hz Connecting/Relationships
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 researchers, 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 (a
pioneer in acoustic research and cymatic measurements) have proven that 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
waves in the extremely low frequencies of approximately 7.86Hz
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 yourself back
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