Our body’s DNA is coded to resonate on the scale of A4= 432 Hz

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Our body’s DNA is coded to resonate on the scale of A4= 432 Hz Empty Our body’s DNA is coded to resonate on the scale of A4= 432 Hz

Post by Ria on Fri May 26, 2017 1:33 pm

1)Our body’s DNA is coded to resonate on the scale of A4= 432 Hz
The following evidence is taken from the link: https://www.bibliotecapleyades.net/ciencia/ciencia_cymatics18.htm
All credits go to the author of the article for compiling and rewriting the information, Mr. Brendan D. Murphy, as well as the biologist Mr. David Deamer and composer Ms. Susan Alexjander. The cutting of the subsection of the article is intended only to provide evidence that our DNA’s tuning corresponds to the harmonious scale of A4=432 Hz and the adopted standard pitch of A4=440 Hz is disharmonious and serves no further purpose to plagiarize their work.
Below is a excerpt of the article:
C#=544 Hz – NOT 554 Hz!
A.K.A The Breakthrough that Didn’t Quite Break Through
In a ground-breaking research collaboration initiated in the late 1980s, biologist David Deamer and composer Susan Alexjander sought to directly ascertain the frequencies emitted by the bases of our DNA (A, G, C, T)- Adenine, Thymine, Guanine, Cytosine
They did this by directly measuring the infrared absorption spectra of DNA molecules. These DNA frequencies were then arranged as “scales” of tones and subsequently used as the basis for Alexjander’s musical compositions.
The atomic bonds within these base molecules, “bend, stretch, and rock upon absorbing infrared light with a specific frequency related to the energy and strength of the bond and the mass of the nucleus of the atom.”
A tighter, smaller bond from, say, hydrogen, will absorb light with a higher wave number (number of waves per centimeter), and a higher ‘note’ in the infrared spectrum.”
A spectrophotometer was used to ascertain the frequencies of the different bases.
Inside this device, infrared light with frequencies ranging from 600 to 3000 wavenumbers (in units of cm-1) was passed through each sample, being absorbed in specific frequencies, which the instrument plots as a spectrum.
Once the wave number was identified, it was converted to hertz using the following equation:
Frequency (Hz) = velocity (speed of light) x wave number
Because this process involves infrared light – not sound – frequencies, huge numbers (megahertz) were obtained, that, if translated directly into hertz would be far beyond human hearing (and thus useless for creating a musical composition, as intended).
Recognizing that if they were to halve the numbers they were getting – and keep halving (decreasing them by octaves at a time) until the number fell within the audible range of sound frequencies, they would end up with the same notes only at much lower (audible) octaves.
Each DNA base yielded 15-18 notes; 60 in all. Interestingly, it appears that none of the bases emitted an A# – it was the only note of the diatonic scale missing.
Once this data was collected, it was converted into a human hearing range and programmed into a Yamaha DX7 IID synthesizer.
They needed to use a “special electronic keyboard… because the tunings that were derived were almost all microtones” ( which are tones smaller than a regular semi-tone, the smallest interval generally used in Western music). [xiii]
This presented Alexjander with a formidable challenge regarding creating actual musical compositions out of these tightly-packed clusters of DNA base notes.
At first, there was no seeming organization or order to what she was seeing or hearing when experimenting with the 60 different microtonal DNA notes on her synch.
Our body’s DNA is coded to resonate on the scale of A4= 432 Hz Cymatics18_05_small
Then, after weeks and weeks of experimentation with different sound combinations, a “tonal center” began to emerge.
One pitch, in particular, seemed to lend meaning and coherency to the challenging microtonal morass – a pitch common to all four bases: C# (!)
Adenine: 545.6 Hz
Guanine: 550 Hz
Thymine: 543.4 Hz
Cytosine: 537.8 Hz
Average DNA Hz = 544.2
This is where their project gets particularly interesting for those of us interested in sound-based healing, Just Intonation tuning, and the acoustic laws underlying creation.
You see, in today’s bastardized standard tuning (Equal Temperament), C#=554 Hz/A=440, and C5=523.
Look carefully at the frequency values of each DNA base above and you see that all four of them are fairly close to being tuned to this standard tuning (where A=440, the “Nazi tuning”). This C# “is positioned almost exactly in the center of the absorbency rates and shows up as the average. This C# seems to act as a balancer for the entire spectrum of frequencies,” as Alexjander put it.
She further observes that most of the gongs, bells, and drums of the non-Western world are tuned to this C# tonal center – as if we are collectively trying to subconsciously tune to something (natural cosmic harmonics).
What made my jaw drop, however, was not that the four DNA bases’ tuning averaged out at 544 Hz, fairly close to standard tuning where C#=554 Hz (a discrepancy of only 10 Hz).
It was, rather, the fact that when A=432 Hz, as in the ancient Just Intonation tuning system based on nature itself, C# is precisely 544 Hz – exactly what emerged as the dominant, central “organizing” DNA base frequency in Alexjander and Deamer’s research!
Astonishingly, Alexjander and Deemer have apparently missed this crucial correlation. A4=432 Hz is the tuning of the Cosmic Keyboard or Cosmic Pitchfork, as opposed to the A4=440 Hz modern “standard.”
It places C# at 136.10 Hz [544 Hz four octaves higher] “Om,” which is the main note of the Sitar in classical Indian music and the pitch of the chants of the Tibetan monks, who tell us,
“It comes from nature.”
Dameon Keller [xiv]

Now I wish to leave you with a question: Would you trust your own body?
Reference XIII –
The infrared frequencies of DNA bases: Science and Art, S. Alexjander ; D. Deamer, IEEE Engineering in Medicine and Biology Magazine (Volume: 18, Issue 2, March-April 1999) DOI: 10.1109/51.752981, cited by 25
Webpage: http://ieeexplore.ieee.org/abstract/document/752981/?reload=true
Reference XIV-
Dameon Keller, http://dameonkeller.wix.com/esotericartschicago#!sound-&-vibration-and-color-&-light
2)Evidence for solfeggio frequencies helping in human heart rate deceleration:
Title of research paper: Unconscious emotions: quantifying and logging something we are not aware of
Authors: Leonid Ivonin, Huang-Ming Chang,  Wei Chen,  Matthias Rauterberg
Journal: Personal and Ubiquitous Computing, April 2013, Volume 17, Issue 4, pp 663–673
Citation of article: Ivonin, L., Chang, HM., Chen, W. et al. Pers Ubiquit Comput (2013) 17: 663. doi:10.1007/s00779-012-0514-5
Research paper link: https://link.springer.com/article/10.1007/s00779-012-0514-5
Excerpt/ research results from the research paper itself:
It is particularly interesting to look at the effect of the archetypal stimuli on heart rates of participants. According to the statistical analysis, there is a significant difference between the influence of visual and auditory archetypal stimuli on the heart rate of the participants during interval-3 [F (11, 24) = 2875, p = 0.015 (Wilks’ Lambda)]. Surprisingly, the archetypal sounds evoked even stronger heart rate deceleration than the negative sounds. This phenomenon is difficult to explain; however, we have an idea that is based on one of the original purposes of the archetypal sounds, which is to support people in meditation practice. Indeed, to achieve a proper mental state during meditation, people have to move away from their conscious experiences and free their mind from thoughts [51]. This exercise is difficult because the conscious mind can hardly be idle. Therefore, people use the archetypal sounds (for instance, the famous “Om” sound) to keep the conscious concentrated on these sounds while they meditate. Then, one can infer that the archetypal sounds efficiently capture the attention of individuals. This, in turn, allows us to explain the strong heart rate deceleration with Laceys’ theory.
The pattern of heart rate change is influenced by the archetypal pictures to a lesser extent than by the archetypal sounds. This might be that, because for the revelation of archetypal features of the pictures, participants have to be deeply engaged in the contemplation of archetypal pictures.
As mandalas and meditative sounds are religious symbols and, therefore, can possibly elicit conscious emotions in some people, one might question if the emotional responses of participants to the archetypal stimuli is indeed unconscious. In order to investigate this question, it is reasonable to assume that people from Asia are more familiar with mandala than people from other regions of the world because mandala is a religious symbol in Hinduism and Buddhism. Therefore, a presentation of mandala to Asian people might elicit conscious emotional response. However, mandala does not appear in, for example, European religions, and, for this reason, it is unlikely that European people consciously know this symbol. As in our study we had participants from various geographical locations (15 from Asia, 8 from Europe, 8 from the Middle East and 3 from South America), it was possible to compare emotional responses to mandala between the participants who come from Asia and the participants who come from other regions of the world. Analysis showed that for the archetypal stimuli, there is no statistically significant main effect of the geographical region (Asia or non-Asia) on changes in heart rate of the participants [F (11, 23) = 1.724, p = 0.13 (Wilks’ Lambda)]. Therefore, we can conclude that emotional responses to the archetypal stimuli do not depend on the familiarity of the participants with these symbols.


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