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by Riccardo Tristano Tuis





«Music is a science that must have certain rules: they must be extracted from an evident principle, which can not be known without the help of mathematics.

I must admit that, despite all the experience I have acquired with a long musical practice, it is only with the help of mathematics that my ideas are arranged, and that the light has dispelled the darkness».




                                                                                                                          Jean Philippe Rameau

Originally the music was part of the quadrivium, the teaching order in which the four liberal arts called mathematical, namely arithmetic, geometry, music and astronomy, constituted the corpus of higher education with respect to the trivium, the liberal arts such rhetoric, grammar corresponding to , logic and rhetoric.

The position of music among the arts of the quadrivium responded to the representation of the mindset of time that he saw the music as a science based on mathematical laws physical-acoustic and generated by the arithmetic.

Nowadays, however, the music is regarded as the queen of the arts but this is due to the fact that, although it is part of the Science of vibration, was
increasingly secreted in the status of art, limiting the enormous influence that he could exercise on human beings and on social engineering.
No coincidence that philosophers such as Hegel, Schilling, Schopenhauer or Nietzsche put the music in the foreground in their philosophical systems.
Historically, the first attacks on the science of music - which were included in the study of harmonics and proportions taught by intellectual giants like Pythagoras and Plato - were perpetrated by the Roman Catholic Church.
Despite the banning of the study of harmonics and proportions Pope Gregory IX decided to ban the so-called sacred music, the tritone - the interval of an augmented fourth in this way Lydian - defining it as "Devil's Interval" or Diabolus in Musica.

Unfortunately, even during the Enlightenment continued to boycott the musica universalis and scientists like Galileo, Cartesio and Newton - to co-exist with the hegemony of the Church - publicly showed no interest in the harmonics and the golden proportion and this ancient knowledge was lost by successive generations of scientists to this day.

In fact in the mainstream scientific officer only now you start to talk about the importance of the harmonics and of the golden proportion, the latter recently rediscovered by science to the importance also in atomic dimensions (this trend is also shared by traders who have dusted off the sacred geometry and the Fibonacci numbers to make the analysis of the securities stock exchange).
Moreover, the science of the last century, initially with the equation E = mc ² and then with the superstring theory, not surprisingly came to the conclusion that our world is not that a great symphony of harmonic vibrations and inharmonious, and that the matter is just the way we interpret some.

In a recent interview on Science and Knowledge Michio Kaku, theoretical physicist, co-founder of String Field Theory, said that «Physics is the
law of the harmony of vibrating strings, Chemistry are the various melodies that can be played, when these strings collide with one another.
The universe is a symphony of strings.», this parallels between music and strings is more than legitimate even mathematically speaking, and in the continuation of my article I will highlight how the numbers 8, 888 and 24 (multiple of 8), used in the modular functions of the Theory of Everything more accredited in the scientific world, are part of the mathematics of life and are present into the Protocols of the music of Bosman and in my 432Hz Golden Scale.

The High Renaissance genius, Leonardo da Vinci - few know that he was also an accomplished lyre player - anticipated the modern discoveries of quantum mechanics and the modern holographic paradigm with this bold thinking

«At the same laws they obey the waves both of the water both sound and light» (1).

You had to get to the a modern holographic paradigm of David Bohm, a physicist of the most revolutionary of the twentieth century, and the illustrious neuroscientist Karl Pribram, in order to understand the intuition of genius da Vinci.

The entire universe is made of vibrating waves, including our conscious and unconscious thought ... when we look the layout of a brain scan, we are observing a score of thought for four voices: state delta, theta, alpha and beta; and as the latter - called ordinary state of consciousness - is one of the voices of reality, but certainly not the only one.

But in this technological Middle Ages, where the mind digital still believes in the myth of scientific objectivity and still dissect  with a mental scalpel, observation and the observed, art and science and inevitably music and scientism continue to forget that to generate the sounds, you need to know the proportio aurea studied by intellectual giants such as Pythagoras, Da Vinci, Bruno and Bohme.
They will Continue to forget that there is a scientific intonation with which to make the music and that the golden ratios are not covered in the tempered system, forgetting that the relationships between the notes should follow the same mathematical relationships that govern the reproduction of many species, the phyllotaxis and our solar system, or, if you prefer, Sol-La-Re system.
Over the last three years there has been much talked about in Internet of the intonation with the choir at 432 Hz, presenting it at times, as if it were a novelty using slogans such as «there is a new frequency in the air.»


This intonation, in fact, was already widespread in the past, many Italian theaters
and Europeans used it along with at the La 430 Hz and 435 Hz.
These three intonations were used by geniuses like Mozart, Beethoven, Verdi, etc.. to compose their immortal works.



On many blogs and websites dedicated to music at 432 Hz there was much talk of so-called Tuning Conspiracy, the alleged conspiracy on the intonation to 440 Hz, treading hand on sensationalist information that the tone at 440 Hz was imposed at the first international conference organized by the Nazi propaganda minister Joseph Paul Goebbels, who introduced her as the official German intonation.


Researchers such as Vassilatos say that even in the days of massive parades National Socialist the Nazis were using infrasound to create states of malaise among the population.
The pitch at 440 Hz, compared to 432 Hz, tends to further stimulate the central nervous system, and probably, already at the time of the Nazis was known as the different intonations would create different feelings and physiological responses in listeners.
But the alleged Tuning Conspiracy of modern times could be explained simply by the fact that Hitler, as a deep admirer of the great composer Richard Wagner, he ordered at Goebbels to choose the A at 440 hertz as official German intonation only because Wagner and the Romantic School employed precisely this intonation.


Historically, already in 1815, at the Congress of Vienna, Tsar Alexander I asked for a sound more "bright" and this request was then supported by all the royal families of Europe.
Also the Church supported a intonation highest, conjecturing that more was high and most closely to God.
In Europe, the 440 hertz appeared with the Russian and Austrian military bands, but in 1917 it seems that the American Federation of Musicians accepted the 440Hz as the standard pitch in 1920 and so did the American government.

Only in September 1938, the Commission of Acoustics Radio Berlin requested the British Standard Association to hold a conference in London for to use in the international arena the intonation at 440 Hz of the German radio.


It was the International Standardizing Organization, to put internationally the 440 hertz, and in 1971 this intonation was further recognized in legal terms by a delegation appointed by the Council of Europe, despite a referendum carried out by French musicians against the imposition of this intonation.


To do this, however, need an introduction.But beyond the historical,one that I wish is to do some clarity of so much misinformation and conjecture appeared on the web about the 432 Hz which, in this way, he created two opposing factions: the pros and cons of 432 Hz .
To do this, we need an introduction.

Since ancient times, it was realized that the human body and nature were based on proportio gold.

The irrational number, whose approximation is 0.618, is known as the Golden Mean number and is defined, the ratio of the golden section or golden ratio.
For LaRouche and the Schiller Institute, the same human voice as well as being the basic tool for the music, it is a real living process aureus.
LaRouche noted as the Da Vinci, through its morphological studies, has shown that all living processes have their own internal geometry based on the Golden Section.
The Schiller Institute has done its stronghold the concept that music is the product of the voice and, before that, of the human mind.
Since the human voice, and our minds are based on the Golden Section also the music must reflect the geometric forms of his two "parents" invoking, along with the Bel Canto, a intonation with the La (A) of the choir at 432 Hz because  this is the intonation more suited to the human vocal register.

Now, if we listened to music based on the Golden Spiral and in tune with our biology, is in some way a music for Life, both biological that perceptive because both use the same math.
Now that we know what proportions to use to create a musical scale that takes account of our biology and of our listening logarithmic, we just have to figure out at which frequencies intone every single note of it.

We will call into question the research of some of the pioneers of neuroscience and studies on the frequencies.
There are numerous laboratory studies have shown that the sound waves are able to modify the blood pressure, respiration, heartbeat, the electrical resistance of the skin, sweating, neuroendocrine response, concentration and brain waves.

ELF waves and infrasound, for example, are the frequencies that most affect us.
Andrija Puharich, physician and pioneer of research on electrobiology and extrasensory abilities of the brain made ​​numerous discoveries about a specific infrasound: 8 hertz.

He discovered that to this frequency, the brain waves activated both extrasensory abilities that the bihemispheric synchronization, and can make us increase the predisposition to learn, to be more creative and to have profound insights of a scientific nature, mystical or behavioral.

Puharich also patented a technology that can split water and 8 hertz were an integral part of the process; made numerous experiments electrolysis with the aid of 8 Hz and its multiples of frequency, creating after 3 days, of the amino acids and primitive forms of proteins with their relative bioluminescence into sterilized water..
The combination of 8 Hz and the Life was subsequently verified by other researchers who discovered that the pineal gland is activated directly by issuing a signal to 8 cycles for second, while melatonin, one of the hormones produced by this gland, endocrine, induces with an identical signal, the DNA replication, strengthening the repair of DNA damage, due to old age and even cell regeneration.

The Epiphysis also helps to release serotonin, with antidepressant action, enhancing the immune system and the central nervous system.
The Dr. Robert Becker, in his book Cross Currents, demonstrated that calcium, which is essential also in the process of healing, it is released at a rate of 16 cycles per second, which is the first multiple of 8 Hz.

As noted out by Dr. Dieter Broers,of the  Institute of Biophysics and of the Department of Clinical Experimental University of Berlin and inventor of the device Mega Wave:

«Ananda was the first to suggest that the pinolina produced by the pineal gland resonates at 8 Hz, and it will be the remedy for cancer.
I have observed this process for a long time, until it has been confirmed, and it was already during my research on the Mega Wave.»

Now that we have begun to understand the importance of the frequency/number 8 and its multiples in our biology, we must note that the normal music at 432 Hz played in equal temperate scale has only the A at 432 Hz which is a direct multiple of 8 but, for that matter, even the A at 440 Hz is a direct multiple of 8.

In my book, 432 Hz: The Musical Revolution, hint of biophysical studies on the angles of 90 °, with which unfortunately are built our houses, which give magnetic imbalances in the human body (in the corners there are specific frequencies similar to those of rheumatism).
If you touch specific points of the corners of your home these biological imbalances are instantly recognizable due to a decline in muscle tension.
Even if the person is not conscious immediately his central nervous system (CNS) is inhibited, with the important neurotransmitter called acetylcholine and in its place, take over his antagonists, for example, the atropine.
This in the long run causes a muscle fatigue and weakness of the CNS.
The Atropine essentially exerts effects of nature excitatory on the central nervous system and in low doses causes slight restlessness, while high doses cause restlessness and agitation.

One of the first tests done in 2005 with the AUMega Music (music composed at 432 Hz but with protocols based on the mathematics of the pentahedron of Sierpinski and, partially, with the mathematics of 8) by Ananda Bosman, was own the seeing if the music at 432 hertz influenced the central nervous system.
The test was done in a private manner by an university professor expert in biophysics linked to environmental biopathologies.

The professor, who prefers to remain anonymous at the time, he discovered that the AUMega Music was able to counteract the harmful effects of electromagnetic fields of the environment that reduce the presence of acetylcholine.

The instant in which the person listened the music of Bosman was stimulated at release of acetylcholine in the body leading to an optimal level his muscle tone; but when the music ceased, instantly, the muscle tone fell and the person returned to be subject to a decrease of acetylcholine.
A quick test on muscle tone (technique used by kinesiologists) or a blood test done before and after listening to music to 432 Hz of Bosman can empirically demonstrate how it can affect on your central nervous system.

From these initial tests repeated in my presence and in front of 30 other people in 2009, you might think that all music to 432 hertz has these beneficial properties.

 Unfortunately, once tested another music to 432 hertz, including nothing less than  the Andantino of Mozart, we noticed that the only intonation to 432 cycles per second was not enough to create a positive feedback to the central nervous system.

Here we make the first distinction that gives reason, both at supporters that to opponents to this intonation.
In fact, there is music to 432Hz that, as the music to 440 Hz, not from any improvement in the CNS, but there is also music to 432 Hz, like that of Bosman, which has a positive effect.
The AUMega Music seems to work because it uses a strict protocol designed by Bosman himself, that the normal music tuned to 432 Hz does not use.

This Protocol further improved by me in a model in which we make use of a
intonation with the A to 432 Hz but, unlike the music to 432 Hz or AUMega Music, is used the Golden Scale, in which each individual frequency of the note corresponds to a direct multiple of 8.
Only with this scale fully quantized on the mathematics of the 8 (1), that I present in my book, we can elevate the intonation with the choir at 432 Hz at its most perfect and consistent.
Hence the title of my book 432 Hz: The Musical Revolution because the revolution is not in itself this intonation as the synergy between a new pitch scale and a intonation fully quantized on mathematics of the 8.
Bosman, rightly, to differentiate their music from normal music to 432 Hz coined the term AUMega Music, I have done the same by creating a logo certification for the music to 432 Hz with the use of "Scala Aurea", the 432 Hz Golden Scale .

 I hope this article makes a little bit clarity on the intonation to 432 Hz, dispelling some myths taste new age but also some gratuitous criticism against this intonation, perhaps due to its superficial presentation, arrogant and sensationalist made ​​in some specific websites.
As said Lorenz Mizler, a pupil of JS Bach, and founder of a semi-secret Society of Musical Sciences in which militated none other than Handel and Bach himself:

«Music is the sound of mathematics.»...

yes, but the math of the 8.


(1) The so-called nodes of Leonardo resemble at the 8 and often in his paintings these nodes are willing to numbers of 8, 32, 96, etc ... all multiples of 8.
The nodes of Leonardo are present massively in the little-known work in the Hall of the Axis of the Castello Sforzesco in Milan, but we can find also in the Lady with an Ermine or the Mona Lisa.
In the six incisions made for its school of painting in Milan as its main theme, there are these 8 masquerading as nodes and there are seven circles in which there is engraved:


An eighth circle encloses the seven smaller circles and the nodes of Leonardo.
Even his version of the ball bearing expected a shape octagonal,
and in his project can be noticed eight spheres.
Why this obsession of Leonardo for this number?
Leonardo is known for his works full of subliminal messages clearly of esoteric matrix, perhaps the supreme genius of the Renaissance was referring to the Law of the Eighth or the knowledge the builders of pyramids in which the eight and its multiples are present in the pyramids of Giza?