rainbow kokopelli


Mixing music might boost harmony between cultures

Music moves people of all cultures due to patterns of synchronized activity in several brain areas which, put quite simply, produce Euphoria.

"To most people music is intrinsically attractive. Moreover, melodies tend to ingrain themselves in the listener's mind. A tune will haunt the memory during the whole of a lifetime. Here, for example, is a quite uninteresting statement or value judgement. As it stands nobody will pay attention to it. But now set the words to a catchy and easily remembered tune. Immediately they become words of power. Moreover, the words will tend automatically to repeat themselves every time the melody is heard or spontaneously remembered. Orpheus has entered into an alliance with Pavlov - the power of sound with the conditioned reflex." - Aldous Huxley

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 find the effects of new forms of mass media on society, especially radio.

"The Princeton Radio Project, established with Rockefeller funding and directed by Paul Lazarsfeld, Cantril, and Stanton, focused on studying the uses and effects of radio communications upon the population, and almost exclusively led to the field of mass communications research. Theodor Adorno, a critical theorist whom Lazarsfeld invited to join the Princeton Radio Project ran into several problems during his research with his associates. 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 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

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 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 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

chakra frequencies

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.

Western Civilization has gone from 'ascent'—belief in God—focused on the higher centers of compassion, joy, purity and selflessness, to descent focused on the lower centers of consciousness like those of power, wealth and physical gratification.

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 iscreated 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 European tradition, e.g., Balkan, Arabic, Chinese, do 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 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 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 yourself back into Nature.

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