Twelve Sovereign Hexagrams: Why do people enjoy "false" music - asks Eduard Heyning

Hi Drew,
I am a bit disappointed by your blog. Can you explain how you, or Alain Connes, can enjoy 'false' music? BW Eduard
Eduard Heyning

Hi Eduard: Considering you only spent 19 minutes on my blog - you must get disappointed fast! haha. Alain Connes math is correct but he has a cognitive bias against nonwestern music. His math is simple algebra as (2, 3, infinity) but he doesn't realize that nonwestern music is actually alchemy meditation training! I guess they don't include that in math studies. haha. But the Mozart Effect is induced by the "adagio" of Ravel's piano concerto in G. This is why it is Helene Grimaud's favorite piece. As she states:

I think what makes a concert so special is that is has to be an emotional event, first of all. I think few people realize how it has to do with a fraction of a second. If something really special happens, time is all of a sudden being suspended. You know it can actually alter time. It can stop for a moment. When all these people are being touched by something you have this element of shared freedom. There is an equality to it, there is something very marvelous. You have to push, sort of go to the limit; and be able and willing to relinquish that control so you can react to the inspiration of the moment....And of course there is the Ravel Concerto in G, which I've always loved and played quite often...and it's one of the most beautiful phrases in music.... It has a purity. It takes after Mozart. ...It's always a lesson of humility. You need to have 100% of your attention in the moment. Physically, spiritually, emotionally, intellectually. That is very similar to what working on a piece of music requires. You basically enter into this tunnel. This piece has to give the keys to its own secrets, basically. ...Bach should be your daily bread....is he probably the greatest of all geniuses, a depth to his music and a wonderful universal quality....

So the trick with the Mozart Effect is the 60 beats per minute creates a right brain dominance as heart beat synchronization with breathing. I discovered this when I memorized Bach's Italian Concerto in F. I also performed Ravel's adagio of the Piano Concerto also - in high school. But as far as "cognitive bias" - it is the same reason why someone who is really into music may be good at remembering faces while not so good at remembering names. Because language is left-brain dominant but the left-side vagus nerve does not connect to the right side of the brain. So right brain dominant listening creates a whole body harmonization since the right brain vagus nerve connects to the left side of the brain.

So Western music "approximates" the natural tuning but only really happens upon the alchemical effects of music through the Mozart Effect. And, of course, most people think slow music is boring. haha. And so when Westerners hear nonwestern music - since all human cultures use the Octave, Perfect Fifth/Fourth as 1:2:3:4 harmonics - then Westerners think the music is unsophisticated, repetitive, etc. Actually the opposite is true! Since it includes the subharmonics as well as the overtones, while Western music does not include the subharmonics, the nonwestern music is infinite energy creation that is the contrary to being simple, as Sir James Jeans points out in Science and Music.

So we have an intersection of biophysics, musical training, philosophy and mathematics. But as math professor Luigi Borzacchini points out, Western math (and hence philosophy and physics) has had a cognitive bias against music ratios that are neither discrete, nor continuous (the early Pythagorean alchemical harmonics) for a long time!

As math professor Luigi Borzacchini states:

We can suppose that the Quadrivium in its earlier Pythagorean version did not know any discrete/continuous opposition.

This is a deep structural error of Western math. It has moral implications but it is not dependent on feelings of what is good or what is enjoyed, etc. Rather it is based on what is the truth.

Obviously we think "math works" and even that "math is beautiful" as Ian Stewart argues is the case for symmetric mathematics. haha. So this all goes back to Plato, Archytas and Philolaus. They pulled over a deep canard on modern industrialized humans. It is very rare for someone to realize the truth of the situation and the training required is special. Western music can be a gateway to the larger truth of nonwestern music. Only Western music tries to "compromise" the tuning and then even claims that this "compromise" is Pythagorean! haha. That is the greatest lie of all. And so the music is then used as propaganda to say it represents "harmonic justice." So, as economics professor Michael E. Hudson points out, Archytas and Plato then argued that logarithmic distribution of wealth was harmonic justice since music is tuned by logarithms. haha.

Obviously if people are "hard-wired" to think this way from an early age - then things are not going to change. It's a structural problem even though it goes against the grain of truth. So it can not last. Alain Connes says the future will be "schizoid" since each individual will have multiple spacetime clefs going on in their heads at the same time. I quote him in my 2012 pdf, "Alchemy of Rainbow Heart Music" that is free online. So he, like Luigi Borzacchini, thinks the future is some sort of quantum computing consciousness as Artificial Intelligence.

Thanks for your excellent question!

drew

So for example in the book Foundations of Internal Alchemy: The Taoist Practice of Neidan

 we find, on page 130, Table 6: Sovereign Hexagrams" stating

the twelve "sovereign hexagrams" (biguas) and their relation to other duodenary series: earthly branches, bells and pitch-pipes, months of the year, and "double hours"

So that is the real "star map" of acoustic alchemy from ancient times - the early Pythagoreans used the same tuning as the Chinese. haha.

Thank you Eduard! Yes Dr. Victor Grauer's book "Sounding the Depths" presents the evidence that the music of the original human culture spread around the world, based on this alchemical shamanic training, that was the core focus of the San Bushmen culture. So then in China, Dr. Grauer describes, how this was the Yellow Emperor alchemy tuning secret. Well Grauer doesn't get into the alchemy training so much but Dr. Bradford Keeney does. He is a jazz musician who was also a psychology professor - and his grandfather was a minister in southern U.S. And so Keeney had this kundalini vision in Church from his intense music training and spiritual training. Then he traveled around the world studying shamanism and finally focused on the San Bushmen culture.

So Dr. Grauer gives music examples from around the world. http://soundingthedepths.blogspot.com/p/audio-visual-examples.html; Unfortunately I don't think his book is still online for free. Anyway there is also the Traditional Music Channel on youtube. https://www.youtube.com/channel/UC4gNHCugaKSSCpaI2hL2Jmg and Dr. Bradford Keeney gives music examples on his blog - http://sacredecstatics.com/blog/ So if you read through that - he posts music examples. He doesn't get into music tuning much but he does emphasize the secret is that the legs shake when the knees are bent - and the thigh muscles are sore. So the legs then shake 7 to 9 beats per second - and this creates a standing wave resonance with the Schumann frequency of the Earth's cosmic ray energy being filtered in as lightning horizontally traveling.

So also the collaborator of Dr. Stuart Hameroff, an Indian scientist in Japan, - they have determined that the quantum nonlocal consciousness is "anharmonic" meaning not as Western music tuning but it is as traditional Indian tuning from the "three gunas." So then Hameroff realized that ultrasound - or this scientist in Japan - he documented that ultrasound resonates the brain microtubules with 3000 times greater electrical conductance amplitude. So in music theory this is called the "HyperSonic Effect" and is documented in Gamelan music of Indonesia. The gongs amplify the ultrasound, since the gongs have the ELF subharmonics. So this natural pentatonic tuning harmonics creates stronger ultrasound resonance due to the infinite noncommutative phase of the 2/3 and 3/2 as C to F and C to G.

Given the existence of musical-instrument energy above 20 kilohertz, it is natural to ask whether the energy matters to human perception or music recording. The common view is that energy above 20 kHz does not matter, but AES preprint 3207 by Oohashi et al. claims that reproduced sound above 26 kHz "induces activation of alpha-EEG (electroencephalogram) rhythms that persist in the absence of high frequency stimulation, and can affect perception of sound quality.[4]
Oohashi and his colleagues recorded gamelan to a bandwidth of 60 kHz, and played back the recording to listeners through a speaker system with an extra tweeter for the range above 26 kHz. This tweeter was driven by its own amplifier, and the 26 kHz electronic crossover before the amplifier used steep filters. The experimenters found that the listeners' EEGs and their subjective ratings of the sound quality were affected by whether this "ultra-tweeter" was on or off, even though the listeners explicitly denied that the reproduced sound was affected by the ultra-tweeter, and also denied, when presented with the ultrasonics alone, that any sound at all was being played.

 So now it's been discovered that the ultrasound has to be above 32 kHZ.

It is well known that HFCs with specific structure ranging between audible and inaudible frequencies induce avoidance behaviors in humans (e.g., the so-called mosquito alarm [8], [9]). Contrary to the hypersonic effect, the mosquito alarm may arouse a sense of displeasure in humans. Therefore it is incumbent on life science research to delve into how differences in the frequency of applied sounds affects the physiology of humans.

 The gamelan music was newly recorded live on location using an originally developed system, with a high-speed, one-bit coding signal processor [11] in Direct Stream Digital (DSD) format having a sampling frequency of 5.6448 MHz. The electrical signal contained a wealth of HFCs, even reaching 100 kHz and above.