Lovers of Music and Sacred Geometries

Alchemy as dance. Hmmmmm, might explain a few things.

shine on you crazy diamond!

Excuse me, but where do the "sacred geometries" come in? Secondly, 8 Hz is NOT the Schumann resonance frequency. It is only approximately this. Nor is it the alpha wave frequency because these brain waves have frequencies that extend over a range. In other words, there is absolutely no connection between these two vibrations except their happening to have roughly the same magnitude. Only if they were exactly equal could one infer that they were connected in some way. But this is not the case. Dream on, woo-woos.

I was enjoying your response, Physicist, until you got insulting at the end; then I forgot everything you had said.

Me too anima....
and with such certitude!!!

It will be wonderful when people can disagree without insult...

Jeez

I posted this for interest...
I found it intriguing -
not that I ´own´ it...
and as for sacred geometry...
I found the illustrations on the site very interesting.

Just as the Dan Winter information is interesting and complex...
not that I admit to understanding it all...
I certainly enjoy the mind stretch
and the ruminations that such information triggers.

gypsy

love dan winter´s site..

Very interesting. I will enter this URL into my memory banks for perusal when I am free of commitments.

Heya Starless

Yes, I absorb SO much
and then let the rest just wash over me

Interested readers can go here to also enjoy!

[link to www.soulinvitation.com]

I tried to find "www.danwinter.com" and all I got was some stuff about how Dan Winter ripped off the Meru Foundation by stealing their ideas and hasn´t had the decency to show up in court.

Dan Winter sounds like some sort of psychic vampire.

88 psychic vampire????

Doubt it very much.

There´re always two sides to such a ´story´.

The blah blah sounds very strange to me...
as what the argument is about appears to be
´universal knowledge´... hence who could have
copyright on such information?...

or... synchronistic discovery???...

Haven´t involved myself much as it sounds
like rampant negative ego at play

cheers

I´ve seen Dan Winter´s animations and I think they are great but his interpretations and analysis sounds like bullshit to me. Just my opinion of course. Like anyone he does some good and does some bad. So you take the good and leave the bad.

88 ´take the good and leave the bad´

Yup... couldn´t agree more 88

Didja see this site
[link to www.soulinvitation.com]

[link to www.akasha.de]

Fantastic website !
Where can I sample this 432 Hertz music ?

What got me about the Dan Winter and MuMu story or whatever he was called was how can anyone fight or claim rights to stuff that is older than the Earth. Come on this knowledge is for all of us NOT to be copyrighted. Whoever found it was one of lots of people that were refinding it again on the Planet. Hundredth Monkey and all that.

I really like that Emmanuel bloke [link to www.akasha.de]

He is so far out there and as mad as a hatter but when you read through his stuff you can see what a genius he is. I wrote to him once and he is such a funny person.

what a load of BS
yea i will tune my A guitar down to a 432hz A, insted of 440hz, then i will become a god.
YEa right i have tried that bi arual beat frquency shit many times. I can program it myself, let me tell you, you can listen to the 8hz alpha waves aslong as you like and you still wouldent even beable to do your 99 times tables, even though that is insignificantly easy for a super computer. Ive even stayed conscious at 10.5 hz DELTA with very low frequency overlapped carrier waves for high potency. YEa it makes you feel numb and less aware of things,, but thats about as far as it goes!

MAKE THAT 0.5 hz DELTA

are we still at 8 on the schumann resonance?

i thought we had already risen to near 13.

A Brief History of Musical Tuning
by Jonathan Tennenbaum

Reprinted from FIDELIO Magazine,
Volume I, No. 1, Winter 1991-92

The first explicit reference to the tuning of middle C at 256 oscillations per second was probably made by a contemporary of J.S. Bach. It was at that time that precise technical methods developed making it possible to determine the exact pitch of a given note in cycles per second. The first person said to have accomplished this was Joseph Sauveur (1653-1716), called the father of musical acoustics. He measured the pitches of organ pipes and vibrating strings, and defined the ``ut´´ (nowadays known as ``do´´) of the musical scale at 256 cycles per second.
J.S. Bach, as is well known, was an expert in organ construction and master of acoustics, and was in constant contact with instrument builders, scientists, and musicians all over Europe. So we can safely assume that he was familiar with Sauveur´s work. In Beethoven´s time, the leading acoustician was Ernst Chladni (1756-1827), whose textbook on the theory of music explicitly defined C=256 as the scientific tuning.Up through the middle of the present century, C=256 was widely recognized as the standard ``scientific´´ or ``physical´´ pitch (see Figures 13 and 14).




In fact, A=440 has never been the international standard pitch, and the first international conference to impose A=440, which failed, was organized by Nazi Propaganda Minister Joseph Goebbels in 1939. Throughout the seventeeth, eighteenth, and nineteenth centuries, and in fact into the 1940s, all standard U.S. and European text books on physics, sound, and music took as a given the ``physical pitch´´ or ``scientific pitch´´ of C=256, including Helmholtz´s own texts themselves. Figures 13 and 14 show pages from two standard modern American textbooks, a 1931 standard phonetics text, and the official 1944 physics manual of the U.S. War Department, which begin with the standard definition of musical pitch as C=256.[1]

Regarding composers, all ``early music´´ scholars agree that Mozart tuned at precisely at C=256, as his A was in the range of A=427-430. Christopher Hogwood, Roger Norrington, and dozens of other directors of orginal-instrument orchestras´ established the practice during the 1980´s of recording all Mozart works at precisely A=430, as well as most of Beethoven´s symphonies and piano concertos. Hogwood, Norrington, and others have stated in dozens of interviews and record jackets, the pragmatic reason: German instruments of the period 1780-1827, and even replicas of those instruments, can only be tuned at A=430.

The demand by Czar Alexander, at the 1815 Congress of Vienna, for a ``brighter´´ sound, began the demand for a higher pitch from all the crowned heads of Europe. While Cclassical musicians resisted, the Romantic school, led by Friedrich Liszt and his son-in law Richard Wagner, championed the higher pitch during the 1830´s and 1840´s. Wagner even had the bassoon and many other instruments redesigned so as to be able to play only at A=440 and above. By 1850, chaos reigned, with major European theatres at pitches varying from A=420 to A=460, and even higher at Venice.

In the late 1850´s, the French government, under the influence of a committee of composers led by bel canto proponent Giacomo Rossini, called for the first standardization of the pitch in modern times. France consequently passed a law in 1859 establishing A at 435, the lowest of the ranges of pitches (from A=434 to A=456) then in common use in France, and the highest possible pitch at which the soprano register shifts may be maintained close to their disposition at C=256. It was this French A to which Verdi later referred, in objecting to higher tunings then prevalent in Italy, under which circumstance ``we call A in Rome, what is B-flat in Paris.´´

Following Verdi´s 1884 efforts to insitutitionalize A=432 in Italy, a British-dominated conference in Vienna in 1885 ruled that no such pitch could be standardized. The French, the New York Metropolitan Opera, and many theatres in Europe and the U.S., continued to maintain their A at 432-435, until World War II.

The first effort to institutionalize A=440 in fact was a conference organized by Joseph Goebbels in 1939, who had standardized A=440 as the official German pitch. Professor Robert Dussaut of the National Conservatory of Paris told the French press that: ``By September 1938, the Accoustic Committee of Radio Berlin requested the British Standard Association to organize a congress in London to adopt internationally the German Radio tuning of 440 periods. This congress did in fact occur in London, a very short time before the war, in May-June 1939. No French composer was invited. The decision to raise the pitch was thus taken without consulting French musicians, and against their will.´´ The Anglo-Nazi agreement, given the outbreak of war, did not last, so that still A=440 did not stick as a standard pitch.

A second congress in London of the International Standardizing Organization met in October 1953, to again attempt to impose A=440 internationally. This conference passed such a resolution; again no Continental musicians who opposed the rise in pitch were invited, and the resolution was widely ignored. Professor Dussaut of the Paris Conservatory wrote that British instrument makers catering to the U.S. jazz trade, which played at A=440 and above, had demanded the higher pitch, ``and it is shocking to me that our orchestra members and singers should thus be dependent upon jazz players.´´ A referendum by Professor Dussaut of 23,000 French musicians voted overwhelmingly for A=432.

As recently as 1971, the European Community passed a recommendation calling for the still non-existent international pitch standard. The action was reported in ``The Pitch Game,´´ Time magazine, Aug. 9, 1971. The article states that A=440, ``this supposedly international standard, is widely ignored.´´ Lower tuning is common, including in Moscow, Time reported, ``where orchestras revel in a plushy, warm tone achieved by a larynx-relaxing A=435 cycles,´´ and at a performance in London ``a few years ago,´´ British church organs were still tuned a half-tone lower, about A=425, than the visiting Vienna Philharmonic, at A=450.

1. Charles E. Dull, {Physics Course 2: Heat, Sound, and Light: Education Manual 402} (New York: Henry Holt, April 1944).

Yes, 432 Hz is a perfect pitch to tune to. It relates to 72, 108 and 144 beats and as such to the pentagon, from which springs growth and development. Those numbers of beats and their harmonics were highly prized by several ancient musical traditions of the world. They know what they are doing. Have you ever listend, for example, to a master Indian player of tabla?

Furthermore, tuning to 432 Hz puts far less stress on singers´ voices.

The choice of 440 Hz was dictated by exclusive rationalism, without any consideration for all the experience of Mankind. It is somewhat related to the once proposed division of the circle by 400 grads. 360 degrees seemed "irrational" and "arbitrary" to some people, even before understanding the reason why the Ancients chose 360 steps...

Sound, Color, Vibration

These things are taking on new meaning.

I´m a musician. From orchestra to rock & country.
All tune to 440. We use tuners of varying sorts, and watch for the ´hairs´ ( vibrations of frequencies to line up ). Perfect pitch @ 440.
As a vocalist, if I need it tuned down, I drop it a key. No big deal.

Thanks OP.

If you haven´t already read it, I think you might like the book, "Nada Brahma, The World is Sound" (Music and the Landscape of Consciousness) by Joachim-Ernst Berendt.

Peace to you.

The OP was just sharing a link to the concepts of higher intelligence.....


certain people will always take offense to that.

just some info for your thread gypsy that I found useful:

healing frequencies: 396, 417,528, 639, 741, & 852..these are frequencies used in sound therapy with a tuning fork.

528hz is being used to heal damaged DNA.

the lowest is 174hz and is related to the muscular system...as the purring of a cat is very low frequency too it is used to help people relax. Remember how a cat can fall from very high and not get hurt.

285hz is directly related to the thymus.