More harmonious alternatives have been obviously suppressed. For instance, during the past decade, A=444Hz (C(5)=528Hz) analysis found this frequency more compatible with nature.(22) If humanity were to be optimally suppressed spiritually, the musical tuning of A=444Hz would be neglected religiously, 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.(8) Much of this recovered knowledge was suppressed over the millennia.
But enough of the amazing details about 528Hz frequency (A=444Hz) are provided in Hydrosonics journal, LOVE528.com, and LOVE The Real da Vinci CODE, to prompt international outrage concerning the A=440Hz imposition, and a musical revolution. (22)
This knowledge best explains why so many musicians intuitively feel better tuning up, or down, a bit sharp or flat, from A=440Hz “standard tuning.” More natural alternatives, especially A=444Hz (C=528Hz) and A=432Hz, and have been growing in popularity.(21, 22)
Recording artists seek the ultimate musical expression reflected in Divine-human communion. Musicians who are spiritually-sensitive to pitch are compelled instinctively to reject intrusions to pure creativity in harmony with the flow of sacred cosmic energy. Lloyd, for example, an expert and leading critic of A=440Hz tuning, described his innate drive to “tune-up” to a “brighter,” more soothing and inspiring frequency. He described this as “an indelible calling for a higher pitch.”
The British author and composer expressed his preference for precisely A=444Hz tuning. He wrote that this 4Hz higher pitch is more pleasing generally for musicians worldwide. (16) Here are his words:
My own experience in tuning an electronic organ to be used as a continuo instrument with orchestra, in the late 1940s and early ’50s, showed me that New York orchestra musicians could with difficulty be induced to tune their instruments to a’=440 Hz, but that if the organ were tuned to that pitch it would in the course of performance be flat as compared with the other instruments.
If, on the other hand, I tuned the organ to a’=444 Hz, this difficulty disappeared, and I take it that this latter pitch is approximately that at which New York orchestra musicians habitually play, and to which they involuntarily tend to return even if they have started out by tuning their instruments to a’=440 Hz. (16)
Similarly, recent research by veteran piano tuner and custom piano builder, Daniel Koehler, demonstrated the beneficial acoustic and spiritual impact of prototype pianos that include granite bridges to best accommodate the higher tension of strings tuned to A=444Hz (C=528Hz). Koehler reported most enthusiastically (23) that the 528Hz frequency resonates most powerfully and enduringly. Measuring volume and duration of string resonance, Koehler wrote:
“We took an introductory level small grand at 5 feet 1 inch long, and surpassed every 9 foot grand in the world on most of the piano concerning sustain with lack of fall-off.
This is, with no boasting intended, actual fact on which I would stake my 35-year professional reputation.”(24)
A=440 Versus A=432 Standard Tuning
A lot has been written on the A=432Hz tuning preference that is mathematically consistent with the Fibonacci series of numbers, and, therefore, universal design.
Among the advocates of A=432Hz standard tuning is musician and researcher, Brian T. Collins, who launched a website dedicated to posting articles supportive to this growing musical-metaphysical movement for recovering optimal spirituality through music “therapy.”(21)
Collins wrote,
“The current tuning of music based on A=440 Hz does not harmonize on any level that corresponds to cosmic movement, rhythm, or natural vibration.
Mozart and Verdi both based their music on natural vibration, and A=432 was nicknamed the ‘Verdi tuning.’ Most western music, including popular New Age music is still tuned at unnatural A=440Hz.
The difference between A=440 Hz and A=432 Hz is only 8 vibrations per second, but it is a perceptible difference in the human consciousness experience.”(21)
An expanded review of A=432Hz tuning finds it throughout the religious world according to many researchers.
“One of the oldest uses of sound is for ceremonial and religious purposes.
Whether the chanting of a Hindu mantra, the recitation of the Jewish cantor, a Christian hymn, or the call of a Moslem muezzin, sacred sound makes its way into all of the various world’s religions.
According to Robert Lewis, a student of the Rosicrucian Fellowship:‘The purpose of music in religious service is to raise the vibratory rate of a congregation upward through a series of overtones to a spiritual level.’ (21)
In ancient Greece (the school book original place for music) their instruments were predominantly tuned to 432Hz. Within the archaic Greek Eleusenian Mysteries, Orpheus is the god of music, death and rebirth, and was the keeper of the Ambrosia and the music of transformation (his instruments were tuned at 432Hz).(25)
“…[O]ne can make audible harmonics, such as 72Hz (9 x 8 Hz), 144Hz (18 x 8 Hz) and 432Hz; and then further synchronize the music in binaural 8Hz, to reawaken us to the orchestra of our thoughts, in the cathedrals of our minds.
Such musical harmonics may also resonate and upload one into a geometrical progression and harmonic to time, which is generally accepted to be the congruence of the amino acid/codon metabolism within the DNA double helix.(25)
A=444 (C(5)=528Hz) Versus A=432
It is readily apparent from a simple mathematical analysis that A=444Hz and A=432 Hz are harmonically related and both, reportedly, therapeutic. Prove the harmony yourself by simply subtracting 432 from 444. It yields 12; where 1+2=3 in Pythagorean math. Now take 528 and subtract 444 and you also get 12, or 3. Next, take 528 and subtract 432 to get 96; where 9+6=15; and 1+5=6.
This result is identical to 5+2+8=15 or 6.
Notice this set of numbers – 3s, 6s, 9s and 8s – are always exclusively represented by these special natural pure tones, their scales, and their harmonics. This is precisely what Leonardo da Vinci’s mentors emphasized about cosmic scales and mathematics. (21, 22)
Nikola Tesla, too, taught his students about this unique set of numbers, and always applied this math in his research and inventions, including free energy machines, also suppressed by the same petrochemical-pharmaceutical corporatists that advanced A=440Hz standard tuning and nuclear energy.(26)
Tobias (page 91-92) also wrote of these esoteric “epistemologies” in the context of reviewing Rockefeller Foundation and U.S. Navy funding for militarizing music.
He wrote,
“In the course of this large-scale historical transition in which bioinformatic epistemologies drew from and displaced bioenergetic [i.e., biospiritual] ones… [h]istorically, “visual music” theorists have attributed such attempts at writing sound in magnetic, electrical, electronic, or digital media as indebted to a larger history of “color organs,” alchemy, or Pythagorean or neo-Pythagorean epistemologies.
Here, though, we see the tensions in clear detail: at stake is a historical transition between essentially bioenergetic epistemologies after Helmholtz and bioinformatic epistemologies emerging with Turing, Wiener, or Shannon.”(8)
In the grand tradition of “bioenergetic epistemologies,” this author advanced “The Perfect Circle of Sound” – a decryption of “The Real da Vinci Code,” featured in the esoteric artist’s most famous drawing, The Vitruvian ‘Wo/Man,’ that includes the original Solfeggio scale.(27)
Here, the 3s, 6s, and 9s, are exclusively represented by the set of natural harmonics mathematically linked to ancient Pi, Phi, the Fibonacci series, and the construction of the physical universe from sound vibrations acting on water. (36) (See mathematical proofs in Victor Showell’s monographs in the journal HYDROSONICS, and also at LOVE528.com.)
Alternatively, Tobias concluded,
“the Rockefeller Foundation’s careful project management and coordination,” contributed to the materialistic versus metaphysical industrialization of music in the media. (8)
The U.S. Navy’s Musical Manipulations
Besides the U.S. Navy’s administrative control over the National Public Health Service in America, this branch of the military has always been at the forefront of war research, including,
- biological weaponry
- virology
- genetics
- electro-genetics
- DNA recombinomics
- technical developments in electronics
- communications
- signaling
- military intelligence,
…bearing on the subject of frequencies required for producing “mass hysteria.”
Rather than researching electromagnetic and bioacoustic methods of promoting peaceful co-existence, the Navy has invested in space-based weaponry, including satellite communications useful in advancing psychotronic warfare for population control. (10, 29)
In short, U.S. Naval Intelligence oversees or administers the most advanced science in the fields of energy, bioenergy, and communications on behalf of global industrialists. Nuclear, radiological, biological, chemical, and musical weapons for controlling humanity most profitably and effectively fall within the Navy’s jurisdiction.(10)
Given this history, it is not surprising U.S. Navy celebrity, John Calhoun Deagan, is credited for having allegedly persuaded the American Federation of Musicians in 1910, at its annual convention, to,“adopt A=440 standard tuning for orchestras and bands…” (30)
Also, around this time, the Rockefeller and Carnegie Foundations began providing grants to support the pseudoscience called “eugenics,” or “racial hygiene.”(21)
The Rockefeller Foundation and Eugenics
The Rockefeller Foundation has been a prime sponsor of the United Nations’ depopulation program. Terminating six billion people on earth is their current objective.(31, 32) Although most people find this hard to believe, thanks to media propaganda, massive depopulation is being advanced by the world’s wealthiest industrialists, among them Bill Gates who promotes poisonous vaccinations he lectures will reduce nearly 900,000,000 people in the coming years, as shown in the documentary film, PHARMAWHORES: The SHOWTIME Sting of Penn & Teller.
Historic accounts document the Rockefeller Foundation and its corporate, medical, political and financial associates organized and administered eugenics – the “science of genetic differences between the races” – a mass murder program invented by the Anglo-American cartel and adopted by the Nazis.(10, 28) A=440Hz tuning, along with Psychiatric Genetics, was instituted at this precise time with more Foundation money.
For this new field of “science,” the Foundation reorganized medical education in Germany, creating and henceforth directing the “Kaiser Wilhelm Institute for Psychiatry,” and the “Kaiser Wilhelm Institute for Anthropology, Eugenics and Human Heredity.” (14) The Rockefellers’ chief executive of these institutions was the infamous fascist war criminal, Swiss psychiatrist Ernst Rudin, assisted by his protégés Otmar Verschuer and Franz J. Kallmann.(14)
In 1932, the British-led “Eugenics” movement designated the Rockefellers’ appointee Rudin as the president of the worldwide Eugenics Federation. The movement called for the killing or sterilizing of people whose heredity made them a perceived burden. (14)
The Rockefeller Foundation’s German grantees drew upon existing American (i.e., Virginia’s) “racial hygiene” statutes. Verschuer and his assistant Josef Mengele collaborated on reports for special courts which enforced Rudin’s racial purity law against cohabitation of Aryans and non-Aryans. (14)
The Cult of Militarized Music
According to Tobias, the wartime economy provided greater funding for musical research and development for opportunists with conflicting military and “non-profit” interests. As military funding increased, in September, 1941, Burris-Meyer was encouraged by the Navy Sub-committee on Sound Sources of the National Defense Research Council to receive $50,000 for another one year contract to deliver what was called his “command performance.” (8)
In January 1942, in a letter to John Marshall, Burris-Meyer stated his belief that military applications of his acoustic research would be used in the entertainment industry following the war. Soon thereafter, a California defense contractor planned to develop “wired music” installations to deliver Muzak-style ambient sound in movie theaters. (8)Tobias detailed,
“[t]he power of sound control to create musical, corporeal synchronization.”
That is, people’s bodies would bioenergetically entrain to the musical frequencies and electronically-engineered sound effects that would be most emotionally charged causing people to act in certain programmable ways. This would occur “across a variety of environments,” and “across the war-time economy…” Tobias noted that Burris-Meyer had, in service to this risky vision, been “requisitioned by the Navy,” and with R.L. Cardinell, co-wrote, a “Guide to Industrial Sound,” published by the War Production Board (73 200R, RG 1.1, Series 200, Box 282, Folder 3353). (8)
“Sound control,” according to Tobias, “worked for the Rockefeller Foundation, as… a general signifier of cultural, factory, and military industries…”
Tobias’s legendary characters considered the long-term implications of militarizing music,
“in terms of both conflicts between ‘trade’ and ‘research,’ as well as… the Foundation’s goal of developing non-profit, educational, industrial, and military institutional networks…” (8)
This, Tobias wrote,
“is, in fact, the crux… in the overall commoditization of listening across educational, artistic, working, consuming, and military environments… [T]he ‘culture industries’ were the commercial arm legitimating a broader control of consciousness.” (8)
As in the 1500s, wherein Shakespearian plays were promotionally pivotal in advancing English as the New World language, the twentieth century’s mass mediated musical manipulation of culture and consciousness is hereby exposed as the modus operandi of the Illuminati.
“Sound control,” according to Tobias, “worked for the Rockefeller Foundation, as… a general signifier of cultural, factory, and military industries…”
Tobias’s legendary characters considered the long-term implications of militarizing music,
>”in terms of both conflicts between ‘trade’ and ‘research,’ as well as… the Foundation’s goal of developing non-profit, educational, industrial, and military institutional networks…” (8)
This, Tobias wrote,
“is, in fact, the crux… in the overall commoditization of listening across educational, artistic, working, consuming, and military environments… [T]he ‘culture industries’ were the commercial arm legitimating a broader control of consciousness.” (8)
As in the 1500s, wherein Shakespearian plays were promotionally pivotal in advancing English as the New World language, the twentieth century’s mass mediated musical manipulation of culture and consciousness is hereby exposed as the modus operandi of the Illuminati.
On May 16, 1949, Rockefeller Foundation’s Charles B. Fahs ran into Burris-Meyer on the train platform at Penn Station in Newark, and rode with him to Philadelphia.
Burris-Meyer was in uniform as a naval officer, heading to Washington for further military research work… on,
“the problem of the control of human emotion as a determinant of action.” (8)
“B-M points out… the realization that we were moving into an era when such control of human emotion would be technically possible which led to the development of Nazism in Germany. It is clearly indicated in Mein Kampf and in the work of Goebbels.
According to B-M, his wartime work demonstrated that means to control emotion with sufficient precision to determine the action of from two to eight percent of a given population…
While this percentage of a population is small, it is perhaps quite adequate to be decisive. There is no use ignoring the possibility of such techniques and hoping that the disturbing visions of what the effects in politics might be will go away.
The question is rather, as in the case of the atom bomb, whether the techniques will be mastered and utilized for democratic purposes before they are exploited for totalitarian purposes.
This is the background of B-M’s conviction that this work is important and urgent in the United States.” (8)Following Hanns Eisler’s deportation from the United States to Germany where he joined the East German intellectual establishment, a 1958 interview he published is noteworthy.
Defending the East German youth under attack in West Germany,“for indulging in what he agreed was the false ecstasy of ‘boogie-woogie’ and the ‘stupid’ fashion of American-style jeans,” Eisler commented in reference to politics, youth, and urgent insurmountable social challenges.
“[T]he American culture industries have a monumental influence over the entire world.” (8, 33)Continued on next page…
