Joachim-Ernst Berendt (1987) - According to the Law of the Octave the duration of a planet's rotation, that is, the time a celestial body takes to revolve around its own axis and/or the time it needs for one orbit around the Sun, can be transposed into tones and colors. The tones and colors are analogous to rotation and revolution. In order to arrive at the frequency in Hertz (vibrations per second) from an astronomic period, the reciprocal value has to be formed of the duration (expressed in seconds) [...] The Earth, for instance, has a rotation period of 24 hr, or to be more precise, of 23 hr. 56 min, and 4s, totaling 86,164s. If one takes the reciprocal value, that is, divides 1 by this number, a frequency of 0.00001160577 (an inaudible G) is obtained. Though this G is below the hearing range (which starts at about 16 Hz). transposing it by 24 octaves will create an audible G.
[...] Tones exist, whether we hear them or not. Any music lover knows that a melody can resound within even when it is not being played. A composer hears the music within while notating it and before any sound has been made. For this reason, transposing by octaves is a legitimate process. Even scientists are using it (for instance, to transpose sound of deep sea fish and bats from the ultrasonic range into human audibility or to better understand signals of pulsars and other stars). The octave (1:2) is the most frequent relationship in the universe - not only in music, but anywhere in nature, from the micro- to the macro-cosmos. We use the same names for tones that are octaves apart [...] When a cell divides in mitosis, it chooses the "position" of the octave. The result is the "same cell" again. An octave may vibrate at twice or half the rate (or in powers of two or one-half) but it still is the same tone. It may split the one in two parts or double it, and the result is the same again. Its frequency may be completely different from the basic tone, many Hertz above or below it, but the result is still the same tone again. The octave is the most convincing symbol of unity that we can find in nature. And in nature, it is omnipresent.
[...] Because the Law of the Octave is universal, one can continue transposing by octaves to reach the electromagnetic vibrations of colors. From the tone of the Earth (194.71 Hz) another 36 octaves are required to reach 700.16 Nm (Nanometer), which is analogous to the color of orange-red (also analogous to the tone G and to the rotation of the Earth around the Sun). However, the range of human vision is limited to only one octave compared with the ten octaves of the hearing range [...] The tone of the Earth is the most important tone for all living beings on this planet, whether we leave it inaudible or make it audible by transposing it into higher octaves. It is with this tone that we rise in the morning and go to bed at night; to this tone we do our work, we get hungry, and we love. But other planetary vibrations and tones, especially those of the Sun, the Moon, Venus. Mars, and Jupiter, also vibrate directly into our earthly existence. This is why I call them primordial tones [...] For millions of years, longer and more steadily than any other comparable vibration, the Earth. Sun, Moon, and the planets have been vibrating in cosmic space. Our genes and those of all living beings have experienced these vibrations so often that the processes and mechanisms of genetic programming must have stored them long ago.
[...] The period from Full Moon to Full Moon (the "synodical month") lasts 29 days, 12 hr, 44 min and 2.8s; a total of 2,551,442.8s. In order to transpose the corresponding frequency into the average range of human hearing, we have to transpose it by 30 octaves. The result is a tone of 420.837 Hz (G sharp), a tone of no great importance to our Western music today, but during the Baroque and early Classical periods, it was of major importance. Mozart's tuning fork, for example, had 421.6 Hz. At its pinnacle, Western music was directly connected with the tone of the Moon. Concert pitch started to rise in the middle of the 19th century, striving for the superficial effect of making the music sound brighter. Thus Western music started to turn away from the moon's field of resonance, but the Moon, in all traditions, is responsible for the arts and the artists, being the planet of sensitivity and creativity. In the 20th century, major American symphony orchestras kept raising the concert pitch tone more and more. In doing this, they have banished Western music from its cosmic relationship to the celestial body of the arts and the artists.
[...] The tone of the Sun results from the tropical year lasting 365.242 days or 31,556,926s, and it is C sharp. We can hear it at 136.10 Hz. In Indian classical music, this C sharp is still the fundamental tone. It is called sa or sadja, the "Father of Tones." Bells (e.g., temple bells and gongs) are often tuned to this tone, not only in India but also in Tibet, Japan, and on Bali. The prime word OM, the holiest of mantras, has been chanted to the sa more often than to any other tone. Today classical Indian music remains in a relationship to the Sun, as Western music of the Baroque, Classical and Early Romantic periods was formerly in relationship to the Moon.
[...] The period from Full Moon to Full Moon (the "synodical month") lasts 29 days, 12 hr, 44 min and 2.8s; a total of 2,551,442.8s. In order to transpose the corresponding frequency into the average range of human hearing, we have to transpose it by 30 octaves. The result is a tone of 420.837 Hz (G sharp), a tone of no great importance to our Western music today, but during the Baroque and early Classical periods, it was of major importance. Mozart's tuning fork, for example, had 421.6 Hz. At its pinnacle, Western music was directly connected with the tone of the Moon. Concert pitch started to rise in the middle of the 19th century, striving for the superficial effect of making the music sound brighter. Thus Western music started to turn away from the moon's field of resonance, but the Moon, in all traditions, is responsible for the arts and the artists, being the planet of sensitivity and creativity. In the 20th century, major American symphony orchestras kept raising the concert pitch tone more and more. In doing this, they have banished Western music from its cosmic relationship to the celestial body of the arts and the artists.
[...] The tone of the Sun results from the tropical year lasting 365.242 days or 31,556,926s, and it is C sharp. We can hear it at 136.10 Hz. In Indian classical music, this C sharp is still the fundamental tone. It is called sa or sadja, the "Father of Tones." Bells (e.g., temple bells and gongs) are often tuned to this tone, not only in India but also in Tibet, Japan, and on Bali. The prime word OM, the holiest of mantras, has been chanted to the sa more often than to any other tone. Today classical Indian music remains in a relationship to the Sun, as Western music of the Baroque, Classical and Early Romantic periods was formerly in relationship to the Moon.
Quoted from:
Joachim-Ernst Berendt (1987) - Primordial Tones: Meditation on the Archetypal Energies of Celestial Bodies.
See also:
Joachim-Ernst Berendt (1991) - The World Is Sound: Nada Brahma.
Joachim-Ernst Berendt (1987) - Primordial Tones: Meditation on the Archetypal Energies of Celestial Bodies.
See also:
Joachim-Ernst Berendt (1991) - The World Is Sound: Nada Brahma.
 |
| Sound, Light, Color, Heat = Different Manifestations of Energy. |