Vibration, Music and the Basic Truths of Reality

by **cortez** » Wed Mar 29, 2006 2:37 am

That last blog on RI was fantastic I figure this is in line with the concept, I found it awhile back was meaning to post it somewhere here's the <a href="http://www.miqel.com/jazz_music_heart/vibrational-truth.html">link</a> ----------- From the earliest times Music was potent magic - altering the minds and emotions and thus altering reality thru its effects on the behavior of listeners. Vibrational Basics A note is a single tone, pitch or frequency. A doubling of the frequency of any note produces a higher note with the same pitch, as in middle C and high C on a piano. this is known as an Octave. <img src="http://www.miqel.com/images_1/jazz_music_heart/harmonics-2.jpg"/> Octaves go on forever above and below our musical scale, they are simply halving's or doublings of frequency. One drum beat per second is what middle C sounds like 8 Octaves down. By some strange coincidence, there are 50 octaves from a beat of one per second (the lowest range of the human heartbeat) to the frequency of visible light. A beat or Rhythm is a couple octaves below what we hear as music and light and color are a few dozen octaves above music. <img src="http://www.miqel.com/images_1/jazz_music_heart/harmonics-3.jpg"/> A chord is any two notes or pitches played simultaneously. All chords produce certain sounds which are unique because whenever two notes are played together, a third note or beat is also heard. this third note is not inherent in either note but only as a synergetic consequence of their unity, constructed in the brain. Two notes played together produce a third, three notes played together produce three other notes from the various combinations of two notes, four notes produces six new tones, five produces eleven, and so on. The notes may not always sound like musical pitches because their frequencies may be below 16 cycles per second, the minimum frequency that sounds like a note to our ears. The secondary notes (children, or 2nd level 'iteration' (repeating sequence) of the first notes) interact with one another and create tertiary notes (grandchildren or 3rd level iterations) and so on, to infinity, so that the combinations become rather astounding. The Harmonic Series The notes within any note are the iteration of the harmonic series, wherein if we could hear 'down' into it, any note contains all other notes by way of this harmonic subdivision. But each new generation has less volume than the previous and fades into the background after so many. Even so, a part of you can sense the presence of nearly subliminal notes. It is even possible that the brain picks up on the pattern and carries the iterations out farther than hearing actually allows. Pluck a string and you get a complex wave composed of all the harmonics of the root note. The different standing waves corresponding to different fractions are called harmonics. The first five harmonics on a vibrating string are shown on the right. <img src="http://www.miqel.com/images_1/jazz_music_heart/harmonics.jpg"/> The same Harmonic (father, children, grandchildren) subdivisioning that happens in musical notes and chords happens in any situation where vibrational events are intersecting, including atomic vibration. The wave interactions and phase cancellations that happen in a musical chord are the very same ones that govern â€¢ ways which molecules will bond or repel, â€¢ which waves on the ocean will pass through others, and â€¢ what gravitational orbits the planets fall into - among other things. Standing Waves - sound and form When a vibration or wave reflects off of something, such as another wave, it can interfere with its own reflection. The interference is alternately constructive or destructive as the two waves move past each other. This creates a standing wave . Only waves with certain frequencies can create standing waves. This is because the distance from one node to the next must always be some fraction of the total length (one half, one third, etc.). <img src="http://www.miqel.com/images_1/jazz_music_heart/standing-waves.jpg"/> all objects have a frequency or set of frequencies with which they naturally resonate when struck, plucked, strummed or somehow disturbed. Each of the natural frequencies at which an object vibrates is associated with a standing wave pattern. When an object is forced into resonance vibrations at one of its natural frequencies, it vibrates in a manner such that a standing wave is formed within the object. So the natural frequencies of an object are merely the harmonic frequencies at which standing wave patterns are established within the object. These standing wave patterns represent the lowest energy vibrational modes of the object or complex system. While there are countless way by which an object can vibrate (each associated with a specific frequency), objects favor only a few specific modes or patterns of vibrating. The favored modes (patterns) of vibration are those which result in the highest amplitude vibrations with the least input of energy. Test this: Step into your bathroom and close the door. If it's a bathroom with lots of tile it should be quite resonant. Hum a melody or a variety of different notes .... you will notice one note seems to "Echo" considerably longer and sound louder than the others. This note is the resonant pitch of your bathroom. The room wants to vibrate along with that note - and the note travels thru the surfaces with less loss of energy and therefore echoes louder. This can be used for psycho-acoustical effects by testing and then playing a song in the Root-Note of a room, so that the room itself acts as an amplifier for the vibrational structure of the song. (from blazelabs.com) Music and Geometry: Standing Waves form Platonic Solids "In 3D standing waves, a structure, with all characteristics of a platonic solid, is formed for each standing wave mode. Within an atom, which is the building block of matter, the platonic solid is not formed by salt or known particles, but by electromagnetic waves in vacuum. Both the students of Buckminster Fuller and his protege Dr. Hans Jenny devised clever experiments that showed how the Platonic Solids would form within a vibrating / pulsating 3D sphere. In the experiment conducted by Fuller's students, a spherical balloon was dipped in dye and pulsed with pure sine wave sound frequencies. A small number of evenly-distanced nodes would form across the surface of the sphere, as well as thin lines that connected them to each other. If you have four evenly spaced nodes, you will see a tetrahedron. Six evenly spaced nodes form an octahedron. Eight evenly spaced nodes form a cube. Twelve evenly spaced nodes form the icosahedron and twenty evenly spaced nodes form the dodecahedron. <img src="http://www.miqel.com/images_1/jazz_music_heart/standing-wave-patterns.gif"/> The straight lines that we see on these geometric objects simply represent the stresses that are created by the closest distance between two points for each of the nodes as they distribute themselves across the entire surface of the sphere." the Musical Scale The musical scale is not an accident. It is a natural consequence of pure mathematics and nature. It's more proper to say it was discovered - not invented. This is one reason why music can be seen as the true universal language. Music is vibrational physics and math that is sensed almost as a language be the ear/brain combination. Many musicians tend to overlook or forget this fact. <img src="http://www.miqel.com/images_1/jazz_music_heart/frequency.jpg"/> The scale we use divides the octave based on the harmonic series into 12 notes, the 12th being the same note an octave higher than the first. Many other harmonic subdivisions of the octave are possible yielding scales of 42, 60 even 360 notes (ancient chinese scale) per octave. Music has existed in written form as far back as the ancient Sumerians It is an interesting 'coincidence' that the old frequency for middle C seems to have been about 256, which is a doubling of 128, which is 64 doubled, which is 32 and so on, neatly landing back at the number 1. Spheres of Sound: Illustrated sequence of wave vibrations on the harmonic diagonal (from http://www.lambdoma.com/ ) The tone C is the whole, a ratio of 1:1, therefore C encloses the total space. The tone G*, a ratio of 2:3 or 12 in inverse, falls next in the sequence, so becomes 2 of C. Subsequent tones of F, 3:4; A, 3:8; E, 5:6; B, 9:16; D, 8:9, all become 2 of the previous tone and form comma-like wave motions when drawn, so that an extended line does not twist when it meets the diagonal. It is thus easy to see an expansion or contraction. An expansion goes away from the diagonal, while a contraction moves toward a diagonal. By reducing the scale , the whole takes on the familiar form of the PROGRESSION BY SQUARES, and is likened to a falling body. * Note: For the drawings the ratios are in wavelengths. Some of the wavelengths are in inverse relationship to the frequencies of the notes. Therefore 2:3 in frequencies in music is an F, while 2:3 is a G in wavelength. 41 Octaves above Sound - notes have color We hear about ten octaves of sound and see about one octave of light with our eyes. Because going up an octave is doubling, each octave has a bandwidth (range of frequencies) that is as large as the sum of all bandwidths of the preceding octaves (similar to each time a population doubles). This means that visible light, 41 octaves up from from the middle of our hearing range, is an octave with a bandwidth many times greater than that of all 10 octaves of the hearing range. So the human eye has a very wide range even though it sees in only one octave. Exact Color / Musical Note Correspondence Chart note: in this example C=256. Modern ISO C=261.63Hz There are many ancient and modern interpretations of the correspondences between color and musical notes. This one is completely accurate and non-arbitrary because it is generated by frequency doubling the notes 41 times until we find them in the hertzian band of visible light. <img src="http://www.miqel.com/images_1/jazz_music_heart/embedded-waves.jpg"/> This knowledge may inexplicably have been in the hands of the ancients. In the ancient middle east Aries was given the color red, and in china this sign was given the note F. Same with leo, yellow for the middle east and A# for the chinese, and so on for the other signs/colors. - Rephrased and quoted from "The Oldest Magic: A guide to the prehistory, ancient history, nature of and early influence of Music" <img src="http://www.miqel.com/images_1/jazz_music_heart/music-dimensions.gif"/> <img src="http://www.miqel.com/images_1/jazz_music_heart/music-dimensions-2.gif"/>

by **marykmusic** » Wed Mar 29, 2006 3:33 am

WOW! I can't match this for explanation, but I can show practical applications thereof: <a href="http://www.soundclick.com/maryk" target="top">marykmusic</a> --MaryK

by **Rigorous Intuition** » Wed Mar 29, 2006 4:07 am

Fascinating, cortez. The pictures of the standing waves, and the concepts, reminded me of a theory of crop circle formation. <a href="http://www.lovely.clara.net/crop_circles_sound.html">Crop Circles and Sound</a> <img src="http://www.lovely.clara.net/ccimages/sound3.gif" style="border:0;"/> ... Modern science now shows that these geometric rhythms lie at the centre of atomic structures. When Andrew Gladzewski carried out research into atomic patterns, plants, crystals and harmonics in music he concluded that atoms are harmonic resonators, proving that physical reality is actually governed by geometric arrays based on sound frequencies. Even that primeval Hindu sound, the OM, from which is derived our modern term 'hum', when sung into a tonoscope produces the very geometric shapes attributed with 'sacredness'. Perhaps the most important of these shapes is the hexagon, upon which the Egyptian matrix named the Flower of Life is based. This series of outwardly-rotating divisions of the circle accommodate the branches of the building blocks of life, the amino acids. This Flower of Life has subsequently manifested as a crop circle. As the expression of number in space, geometry is inextricably linked to music since the laws of the former govern the mathematical intervals that make up the notes in the western music scale- the diatonic ratios- hence why the ancient Egyptians referred to geometry as frozen music. In the February 1992 edition of Science News, Prof. Gerald Hawkins used the principles of Euclidean geometry to prove that four theorems can be derived from the relationships of elements in crop circles. More significantly, he discovered a fifth theorem from which he could derive the other four. Despite an open challenge, over half a million subscribers have been unable to create such a theorem, which Euclid himself only hinted at twenty-three centuries earlier in his thirteen treatises on mathematics. So it came as a slight surprise when its equilateral version materialized as 160,000 sq. ft. of flattened barley at Litchfield, Hampshire, in 1995. Since Hawkins' Euclidean theorems also produce diatonic ratios, a link exists between crop circles and musical notes, themselves the by-product of the harmonic laws of sound frequency. Soon, crop circles bearing unmistakable associations with sound then began to appear. One contained a curious ratchet feature from which is constructed a musical diagram also dating to the Egyptians, the Lambdoma. Also known as the Pythagorean Table, it defines the exact relationships between musical harmonics and mathematical ratios. In 1996 another crop circle demonstrated the combination of two important figures: the 3-4-5 triangle and the Golden Mean, producing the geometric diagram necessary to produce musical ratios. But it was a convincing formation at Goodwood Clatford- which had its plants bent six inches from the top- that gave the proverbial nod to sound, for here was a representation of a cymatic pattern etched in 5000 sq ft of barley. Cymatics is the study of vibrational wave patterns. One of its earliest pupils was Margaret Watts-Hughes who, in 1891, captured precise geometric patterns on film as she sang sustained notes into a device containing lycopodium powder. But it would be another seventy six years before Swiss scientist Hans Jenny published the first of his painstaking studies on the transmission of sound through physical mediums, this time in the shape of monitored electronic frequencies. He observed how sound vibration created geometric shapes- a low frequency produced a simple circle encompassed by rings, whereas a higher frequency increased the number of concentric rings around a central circle. As the frequencies rose so, too, did the complexity of shapes, to the point where tetrahedrons, mandalas and other sacred forms could be discerned. Like Margaret before him, Jenny enabled humanity to observe 'frozen music'. ... Below 20 Hz sound becomes infrasonic, and such frequencies are directly involved with biological processes. It is well known that long exposure to infrasound can cause unpleasant conditions such as fatigue and nausea, and such symptoms are reported by visitors to crop circles. When combined with high-pressure, the acoustic power created by infrasound is in the order of kilowatts. In the case of plants, this pressure boils the water held inside the stems in a nanosecond. As water heats it expands, and a close look at crop circle plants reveals tiny holes in their nodes where this superheated water has escaped. With a hollow cavity near the base, and the stems made subtle like molten glass by the heat, the now top-heavy plants collapse into their new horizontal position. Since this 'vapour cavitation' also creates local temperature increases of hundreds of thousands of degrees for a fraction of a second it is not now difficult to see why millions of gallons of groundwater disappear within the area of a crop circle, or why the plants have a cooked, malty odour. Combine this with Levengood's discovery of microscopic blow-holes in the plants' cell wall pits (indicating the rapid boiling of water inside the plant), and everything starts to fall into place. This infrasonic/ultrasonic process also creates a hissing sound, and if you are fortunate enough to visit a crop circle within a few hours of its appearance you will find yourself surrounded by this. Since infrasound is also capable of atomizing water molecules and creating a fine mist, it should be mentioned that in 1996 a farmer out harvesting his field at Etchilhampton saw what he describes as 'a series of columns of mist rising like cannonshot from the field next door'. Mist looks very out-of-place in a wheat field, in mid-afternoon on a dry, summer's day. Yet shortly after the incident a series of thirteen circles connected by a three quarter-mile long avenue and a Sanskrit-type glyph appeared in the very same field. Finally, vapour cavitation is accompanied by a sudden spark of light called sonoluminescence, caused by the production of electrical discharges as the water/vapour is ionized. And the lower the operating frequency, the greater the effect. In a laboratory, 18 Hz has been used as the lowest safety threshold below which the pressure formed by infrasound is known to produce disruption to chromosomes. Every summer, crop circle plants of every variety are sent blind to Dr. Levengood, and some inevitably show unmistakable disruption to their chromosomes. Yet give him samples deliberately produced by field forgers and he'll find something really unusual-perfectly normal plants. The musical scale, constructed on the harmonics of sacred geometry, and now found within the framework of crop circles, represents the mathematical structure of the soul of the world because it embodies the essence of the Universe. So it's no coincidence that a large percentage of crop circles can be identified with- and by- ancient cultures, who to this day honour their histories through song and music, their healing rituals performed with sound or rhythm. This relationship is further extended in Buddhist mandalas, whose elaborate geometries are used to alter states of consciousness. Perhaps it is not by coincidence that crop circle designs mirror these intricate patterns, just as they bear an uncanny familiarity to Jenny's materializations of sound. If sound vibrations are both encoded into and generated by crop circles, is it not possible that they, too, can arouse the individual at a spiritual level? After all, it's through music that whole human experiences are celebrated and carried from generation to generation. It is very probable that it is for this reason that the very shape of the human ear- more specifically the cochlea- is a spiral constructed according to the harmonic laws of tone, just as the same spiral forms the primary basis from which thousands of crop circles have sprung. <img src="http://www.lovely.clara.net/ccimages/sound1.gif" style="border:0;"/> <img src="http://www.lovely.clara.net/ccimages/silburycymatic.gif" style="border:0;"/> See also <a href="http://www.korncirkler.dk/cccorner/musical.html">Crop Circle Music</a> Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=rigorousintuition>Rigorous Intuition</A> at: 3/29/06 1:11 am

by * » Wed Mar 29, 2006 6:19 am

<img src="http://www.miqel.com/images_1/jazz_music_heart/harmonics-2.jpg" style="border:0;"/> <img src="http://www.michaelsharp.org/books/bookoflife/images/yin-yang.jpg" style="border:0;"/> <img src="http://www.chinesefortunecalendar.com/Images/YY50BG.gif" style="border:0;"/> This ****** demonstrates the mode patterns of vibrating circular and rectangular plates, usually called "Chaladni Plates" in honor of 18th century scientist Ernest Chladni. Chladni conducted extensive work on fixed circular plates and developed Chladni's Law which states that modal frequencies of fixed circular plates varies according to f~(m+2n)^2, where n is the number of circular nodes and m is the number of diametric nodes. <a href="http://www.phy.davidson.edu/StuHome/jimn/Java/modes.html">Chladni Figures and Vibrating Plates</a> Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=1tal>1 tal</A> at: 3/29/06 11:19 am

by **thoughtographer** » Wed Mar 29, 2006 6:59 am

<a href="http://"http://interactivesonicspaces.interfaculty.nl/mindy_mcgovern/"">platonic sonics</a> A bit of bunk info there, but skip immediately to the bottom and check out the video clips. A little more technical than making a DIY Chladni plate setup, but anyone can easily do this at home. <blockquote>Quote:<hr>SET-UP: Small, waterproofed woofer filled with milk and connected to an amplifier with varying sine wave frequencies being sent through the input. OBSERVATIONS: My initial observations yielded the discovery that the shapes I was foremost interested in (circle, square, triangle, cross, and spiral) were not as apparent as the forms or solids favored by people like Plato, Buckminster Fuller, and various eastern religions (Hinduism, Buddhism, and Jewish mysticism). While these 'new' forms contain aspects of the five basic shapes, I believe that there is something worth investigating within the tenets of eastern mysticism and the geometry favored by Plato and Fuller rather than the universal symbolism behind the five basic shapes. Therefore, my interest in the shapes being researched and experimented with changed from the five basic shapes to the basic Platonic solids or 'Fuller forms'- shapes I characterized as having 2, 4, 6, 8, 10, and 12 points.<hr></blockquote>

by **hmm** » Wed Mar 29, 2006 8:03 am

i had just come from reading a "weird science" article on slashdot and was suprised to see a post on RI that seems connected. <a href="http://science.slashdot.org/article.pl?sid=06/03/27/1315212">science.slashdot.org/arti...27/1315212</a> <blockquote>Quote:<hr> 42 *IS* The answer to Life, the Universe and Zeta "In their search for patterns, mathematicians have uncovered unlikely connections between prime numbers and quantum physics. The gist is that energy levels in the nucleus of heavy atoms can tell us about the distribution of zeros in Riemann's zeta function - and hence where to find prime numbers. This article discusses this connection, and introduces two physisicts who tell us 'why the answer to life, the universe and the third moment of the Riemann zeta function should be 42.'"<hr></blockquote> chew on this for a while... energy levels in the nucleus of heavy atoms can tell us where to find prime numbers. the full article here: <a href="http://www.seedmagazine.com/news/2006/03/prime_numbers_get_hitched.php?utm_source=seedmag-main=rss">www.seedmagazine.com/news...g-main=rss</a>

by **thoughtographer** » Wed Mar 29, 2006 8:09 am

DON'T PANIC!

by **Dreams End** » Wed Mar 29, 2006 11:25 am

42 is the answer...but what's the question? Interesting thread. Thanks for the posts.

by **chiggerbit** » Wed Mar 29, 2006 1:38 pm

So, does life = vibration? Interesting site: <a href="http://www.frank.germano.com/svp.htm">www.frank.germano.com/svp.htm</a>

by **Tubalcain** » Wed Mar 29, 2006 3:36 pm

...we may curiously trace Nature through Her various windings to Her most concealed recesses...by it we discover the power, wisdom, and goodness of the Grand Artificer of the Universe, and view with delight the proportions of this vast machine. By it we observe how the planets move in their respective orbits, and demonstrate their various revolutions. By it we account for a return of the seasons, and the number of scenes which each season displays to the discerning eye. Numberless worlds are around us, all framed by the same Divine Artist, which roll through the vast expanse, and are all conducted by the same unerring law of Nature..." An excerpt from one of my favorite Masonic lectures...

by **heyjt** » Wed Mar 29, 2006 3:59 pm

It's amazing how energising singing and playing music is, pure energy. I am also reminded that even in modern times documented use of sound for magic has occured. Aikido founder Uyeshiba was a master of "The Kotodama", a series of sacred sounds that he used to perform amazing techniques. In Chinese Chi Kung healing, each of the five elements has a sound associated with it. These sounds are hummed or verbalized while doing breath techniques. And for a fictional depiction, there was the final knife-fight in "Dune" between Paul and Feyd, where Paul used some kind of amplifier to enhance his martial shouts during the duel. EVERYTHING IS IN A STATE OF VIBRATION!

by **thoughtographer** » Wed Mar 29, 2006 5:34 pm

<a href="http://en.wikipedia.org/wiki/The_Hum">The Hum</a> <a href="http://en.wikipedia.org/wiki/Lamech%2C_descendant_of_Cain">Lamech, descendant of Cain</a> <a href="http://en.wikipedia.org/wiki/Lamanites">Lamanites</a> <a href="http://en.wikipedia.org/wiki/Nephites">Nephites</a> <a href="http://en.wikipedia.org/wiki/Curse_of_Cain/LDS_historical_statements">LDS historical statements</a> <blockquote>Quote:<hr>Plainly this is not the conventional novel of Cain and Abel, in which an impetuous adolescent loses his head and brains his spoiled brother in a fit of jealousy; it is a carefully planned and executed operation in which Cain slew "his brother Abel, for the sake of getting gain" (Moses 5:50), dismissing his conscience with the thought that all was fair and square since Abel was quite capable of taking care of himself: "Am I my brother's keeper?" (Moses 5:34). This was the philosophy by which Satan seduced the human race, teaching them that "every man fared in this life according to the management of the creature; therefore every man prospered according to his genius, and that every man conquered according to his strength; and whatsoever a man did was no crime." (Alma 30:17.) When God took a different view and called him to account, he still pleaded the profit motive as an excuse: "Satan tempted me because of my brother's flocks." (Moses 5:38.) Being "shut out from the presence of the Lord" (Moses 5:41), Cain started his own establishment, the main line of his descendants being Enoch (who built a city of Enoch), Irad, Mahujael, Methusael, Lamech the father of Jubal and Tubal Cain. (Moses 5:42-46.) Lamech like Cain "entered into a covenant with Satan," and like him "became Master Mahan." (Moses 5:49; italics added.) When Lamech heard that Irad the son of Enoch was violating the secrecy of these terrible things, he "slew him for the oath's sake" (Moses 5:50), since "Irad began to reveal . . . unto the [other] sons of Adam" these top-secret signs of recognition (Moses 5:49). All those who covenanted with Satan were excluded from the holy covenants of God, though they pretended that everything was the same as before. The dirty business spread as such things do once started; Lamech became an outcast like Cain, not because of the murder but because his wives started spreading his secrets--the very ones he had murdered Irad for divulging. "And thus the works of darkness began to prevail among all the sons of men. And God cursed the earth with a sore curse." (Moses 5:55-56.) Collected Works of Hugh Nibley, Vol.2, Ch.4, p.176 - p.177<hr></blockquote> <a href="http://en.wikipedia.org/wiki/Enoch%2C_ancestor_of_Noah">Enoch (ancestor of Noah)</a> <a href="http://en.wikipedia.org/wiki/Deseret">Deseret</a> <a href="http://dune.wikia.com/wiki/Fremen">Fremen</a> Remember, the "Weirding Module" in 1984's Dune is a device invented by David Lynch for his screenplay. An interesting choice, and one that's almost universally despised by Frank Herbert adherents. Sorry, I know this doesn't count as "discussion", but this is all I have time for at the moment. I hate to lean so hard on Wikipedia, but then again -- I don't. I have a straight job too, you know? Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=thoughtographer>thoughtographer</A> at: 3/29/06 2:36 pm

by **PeterofLoneTree** » Thu Mar 30, 2006 2:51 am

If some sort of "sound" can create crop circles with all their fantastic geometric designs, is it not perhaps possible that the same "sounds" with proper tone, or frequency, or resonance, or whatever, could be used to collapse skyscrapers? And didn't somebody post something a while back about a crowd-dispersal sound machine that makes people faint and puke? Read about it somewhere.

by **tigre63** » Thu Mar 30, 2006 3:24 am

Excellent thread <a href="http://www.web-us.com/primitivebeats.htm">www.web-us.com/primitivebeats.htm</a> Monks, Shamans, Drum Beats, Primitive Cultures, Rhythmic Sound & The Brain Studies have shown that vibrations from rhythmic sounds have a profound effect on brain activity. In shamanic traditions, drums were used in periodic rhythm to transport the shaman into other realms of reality. The vibrations from this constant rhythm affected the brain in a very specific manner, allowing the shaman to achieve an altered state of mind and journey out of his or her body . Brain pattern studies conducted by researcher Melinda Maxfield into the (SSC) Shamanic State of Consciousness found that the steady rhythmic beat of the drum struck four and one half times per second was the key to transporting a shaman into the deepest part of his shamanic state of consciousness. It is no coincidence that 4.5 beats, or cycles per second corresponds to the trance like state of theta brain wave activity. In direct correlation, we see similar effects brought on by the constant and rhythmic drone of Tibetan Buddhist chants, which transport the monks and even other listeners into realms of blissful meditation. The gentle pulsating rhythms (binaural beat) of our brain synchronization tapes act in a similar fashion, yet because the frequencies are computer generated, they are precise, consistent and can be targeted to induce highly specific and desired brain states. Much like tuning a radio to get a particular station, our brain synchronization tapes can induce a variety of brain states. Effecting Alertness, Concentration, Focus & Cognition Relaxation, Visualization, & Creativity Intuition, Memory, Meditation Vivid Visual Imagery Deep Sleep, Detached Awareness There are frequencies/rhythms which when dominant in the brain correlate with a specific state of mind. There are generally 4 groupings of brain waves: 1. Beta waves range between 13-40 HZ. The beta state is associated with peak concentration, heightened alertness and visual acuity. Nobel Prize Winner, Sir Francis Crick and other scientists believe that the 40HZ beta frequency used on many Brain Sync tapes may be key to the act of cognition. 2. Alpha waves range between 7-12 HZ. This is a place of deep relaxation, but not quite meditation. In Alpha, we begin to access the wealth of creativity that lies just below our conscious awareness - it is the gateway, the entry point that leads into deeper states of consciousness. Alpha is also the home of the window frequency known as the Schumann Resonance, which is the resonant frequency of the earth's electromagnetic field. 3. Theta waves range between 4-7 HZ. Theta is one of the more elusive and extraordinary realms we can explore. It is also known as the twilight state which we normally only experience fleetingly as we rise up out of the depths of delta upon waking, or drifting off to sleep. In theta we are in a waking dream, vivid imagery flashes before the mind's eye and we are receptive to information beyond our normal conscious awareness. During the Theta state many find they are capable of comprehending advanced concepts and relationships that become incomprehensible when returning to Alpha or Beta states. Theta has also been identified as the gateway to learning and memory. Theta meditation increases creativity, enhances learning, reduces stress and awakens intuition and other extrasensory perception skills. When the brain is in Theta it appears to balance sodium/potassium ratios which are responsible for the transport of chemicals through brain cell membranes. This appears to play a role in rejuvenating the fatigued brain. 4. Delta waves range between 0-4 HZ. Delta is associated with deep sleep. In addition, certain frequencies in the delta range trigger the release of Growth Hormone beneficial for healing and regeneration. This is why sleep, deep restorative sleep is so essential to the healing process.

by **thoughtographer** » Thu Mar 30, 2006 3:34 am

AMMONIA MASER. "A crooked stick will cast a crooked shadow."

Vibration, Music and the Basic Truths of Reality

Vibration, Music and the Basic Truths of Reality

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"By Geometry...

Vibration, music and martial power

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Vibration and Drumbeats

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