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Conspiracy To Detune Us From Natural 432Hz Harmonics?

 
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escargot1Offline
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PostPosted: 05-01-2014 09:49    Post subject: Conspiracy To Detune Us From Natural 432Hz Harmonics? Reply with quote

Dunno if this has been touched on before. I've been reading about if for some time now and am still trying to get my head round it.

Conspiracy To Detune Us From Natural 432Hz Harmonics?

Quote:
August 6, 2013 - Most music worldwide has been tuned to 440 hertz since the International Standards Organization (ISO) endorsed it in 1953. The recent rediscoveries of the vibratory / oscillatory nature of the universe indicate that this contemporary international concert pitch standard may generate an unhealthy effect or anti-social behavior in the consciousness of human beings.

...

What is 440 Hz?

440 Hz is the unnatural standard tuning frequency, removed from the symmetry of sacred vibrations and overtones that has declared war on the subconscious mind of Western Man.


Lower down the page is a video with explanatory text. (I forgave the poor spelling as English may be the writer's second language. Wink )


Here's another video - The Musical Conspiracy of 440 hz (432 hz)

Other videos are available. I'm trying hard to make out the differences and am starting to feel anti-social now. Laughing
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MythopoeikaOffline
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PostPosted: 05-01-2014 11:10    Post subject: Reply with quote

Really, this is probably more to do with changes in the public's musical tastes over time than some scientific conspiracy to manipulate people.
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Pietro_Mercurios
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PostPosted: 05-01-2014 11:44    Post subject: Reply with quote

It would certainly explain The Proms, especially the Last Night. Cool
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OneWingedBirdOnline
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PostPosted: 05-01-2014 12:11    Post subject: Reply with quote

Quote:
Other videos are available. I'm trying hard to make out the differences and am starting to feel anti-social now. Laughing


What was considered standard tuning has changed over the centuries anyway, iirc we're 3 semitones sharper now than in the baroque era.

This itself only really applies to the western tonal system.

I don't think it's any odds. Laughing
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JonfairwayOffline
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PostPosted: 06-01-2014 12:54    Post subject: Reply with quote

I think a far more interesting sound type conspiracy would Binaural beats and isochronic tones within music tracks




Isochronic tones are a very effective audio-based method of stimulating the brain. You may have heard of another method called binaural beats. Both of these methods are examples of a complex neurological process known as brainwave entrainment (pronounced: "ehn - TRAIN - mint"), which enables the use of audio or visual stimuli to affect the brain and help people with a variety of problems. To learn more about brainwave entrainment, click here.

At its simplest level, an isochronic tone is just a tone that is being turned on and off rapidly. They create sharp, distinctive pulses of sound, as seen in the pattern below:

http://www.transparentcorp.com/research/isochronic_tones.php

these beats and tones help information taken in the brain to be easily accepted in laymans terms ... it depends on what they want you to take in !!!

and i would better rename it Brainwave Entrapment
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IamSundogOffline
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PostPosted: 06-01-2014 17:20    Post subject: Reply with quote

Mmmmm...I'm having a little difficulty understanding how any particular frequency can be "unnatural" or "removed from the symmetry of sacred vibrations". Or who or what would be behind such a "conspiracy". Who comes to arrest you if you tune to 432 Hz instead?

Here's a weird and actually true fact about western music. The interval of the perfect fifth is common to the music of virtually all world cultures because it derives from the physics of a vibrating string or column of air. The upper tone of a P5 has a freqency that is exactly 1.5 the freqency of the lower tone, a pure mathematical relationship has been understood since the time of the ancient Greeks. But we don't use it! We de-tune our fifths to 2**(7/12) or about 1.4983. This convention was established sometime around 1700 so that we can have 12 major/minor keys corresponding to 12 chromatic notes per octave - an arbitrary choice, really - and have them all sound the same. They are all equally slightly out of tune, our ears are just used to it.
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gncxxOffline
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PostPosted: 06-01-2014 17:58    Post subject: Reply with quote

Is this conspiracy an update of the so-called "Devil's Chord" or "Devil's Interval" of medieval music superstition fame?
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IamSundogOffline
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PostPosted: 06-01-2014 20:57    Post subject: Reply with quote

That's something different. The "devil's interval" aka the dimished 5th is an interval - the "distance" or difference in pitch between any two notes. Different intervals have different subjective qualities - a perfect 5th sounds stable/grounded, a major 3rd sounds "happy", a minor 2nd sounds irritating (vastly overgeneralizing here). A diminished 5th, the "devil's interval", sounds ominous - e.g. the opening riff of "Purple Haze". In the middle ages this interval was actually banned from sacred music because it was thought to be evocative of the devil. Today it's used all over the place.

Escargot's "conspiracy" addresses something entirely different, specifically the frequency that we tune our instruments to. First off, music employs freqencies across the entire range of human hearing - about 20 to 20,000 Hz. Western music uses something like 100 distinct frequencies as its official "notes", each of which can be colored in an infinite variety of ways with overtones, attack and decay characteristics, etc. An ensemble can tune their instruments to any frequency they like, and if they want to sound good together they're generally advised to all tune to the same one. We've adopted a standard that says the pitch we call "A above middle C" is 440 Hz, let's all tune to that. It's akin to the definition of how long a meter is, so that e.g. if I go sing with another group I'll know how hard I'll have to strain to hit that high Bb. However, groups will sometime tune to 443, or 435.17, or whatever, there's no law.

As long as we're in tune, no matter what frequency we've tuned to, the music will sound exactly the same - well, within practical limits, instruments and vocal cords do sound subtly different when tuned a bit higher or lower, but each in their own way based on their physical properties.

The notion that A440 generates anti-social behavior and that 432 or whatever is more in keeping with "the vibratory / oscillatory nature of the universe" is without any doubt a preeiminent example of bovine excreta at its most malodorous. The impact of Beethovan's 9th has a bit more to do with the artistry of the composition and the performance than the frequency that the orchestra tuned to.

Sorry if my tone is overly didactic, it's just that this is the sort of thing that really makes my piss boil.
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gncxxOffline
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PostPosted: 07-01-2014 18:35    Post subject: Reply with quote

I was thinking more of the cultural superstition angle rather than the actual mechanism of the interval, but thanks for the detailed reply anyway. Time to take the piss off the hob, I think.
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AscalonOffline
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PostPosted: 08-01-2014 13:41    Post subject: Reply with quote

IamSundog wrote:
That's something different. The "devil's interval" aka the dimished 5th is an interval - the "distance" or difference in pitch between any two notes. Different intervals have different subjective qualities - a perfect 5th sounds stable/grounded, a major 3rd sounds "happy", a minor 2nd sounds irritating (vastly overgeneralizing here). A diminished 5th, the "devil's interval", sounds ominous - e.g. the opening riff of "Purple Haze". In the middle ages this interval was actually banned from sacred music because it was thought to be evocative of the devil. Today it's used all over the place.

Escargot's "conspiracy" addresses something entirely different, specifically the frequency that we tune our instruments to. First off, music employs freqencies across the entire range of human hearing - about 20 to 20,000 Hz. Western music uses something like 100 distinct frequencies as its official "notes", each of which can be colored in an infinite variety of ways with overtones, attack and decay characteristics, etc. An ensemble can tune their instruments to any frequency they like, and if they want to sound good together they're generally advised to all tune to the same one. We've adopted a standard that says the pitch we call "A above middle C" is 440 Hz, let's all tune to that. It's akin to the definition of how long a meter is, so that e.g. if I go sing with another group I'll know how hard I'll have to strain to hit that high Bb. However, groups will sometime tune to 443, or 435.17, or whatever, there's no law.

As long as we're in tune, no matter what frequency we've tuned to, the music will sound exactly the same - well, within practical limits, instruments and vocal cords do sound subtly different when tuned a bit higher or lower, but each in their own way based on their physical properties.

The notion that A440 generates anti-social behavior and that 432 or whatever is more in keeping with "the vibratory / oscillatory nature of the universe" is without any doubt a preeiminent example of bovine excreta at its most malodorous. The impact of Beethovan's 9th has a bit more to do with the artistry of the composition and the performance than the frequency that the orchestra tuned to.

Sorry if my tone is overly didactic, it's just that this is the sort of thing that really makes my piss boil.


Your tone is perfectly pitched*. Well said.

A



*Did ya see what I did there? Smile
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drbastardOnline
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PostPosted: 08-01-2014 14:09    Post subject: Reply with quote

IamSundog wrote:
Sorry if my tone is overly didactic, it's just that this is the sort of thing that really makes my piss boil.


More boiling piss? Is your bladder a kettle or summat?
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IamSundogOffline
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PostPosted: 08-01-2014 20:37    Post subject: Reply with quote

Ascalon wrote:

*Did ya see what I did there? Smile
I did note it, yes.

drbastard wrote:
More boiling piss? Is your bladder a kettle or summat?
Really cold here, been sitting on the radiator.
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