Friday, September 24, 2021

Professor Emeritus Borzacchini officially responds and so do I.

 

You touch a point that was at the beginning of my enquiry: music theory. Music is somehow part of language, and somehow opposite to language … Music for normal people is RH based, music for professionals is LH based. Was it caused by the discovery of the written music (neumes and afterward pentagram notes) in the 1oth-11th century by Guido d'Arezzo?

 

I read also that antisemitism in the West was tied to the spreading and development of national written languages. I think this is due to the same tautological logic paradoxes in written language that cover up the "negative judgment paradox" from music theory, as you detailed. Yes there is a phenomenon known in Western music training as overdoing it - a scientist talked about how the neurons get too cross-wired or something. I think this problem is the limitation of Western equal-tempered music theory. 


Music in nonwestern cultures was focused on trance healing along with dancing. So there is a much deeper level of mind-body transformation as meditation and medicine via theta and delta brain waves that in fact are subharmonics as quantum beats. We think of nonwestern music as "childish" because it lacks equal-tempered harmony yet the natural tuning has more subtle frequency emotional depth - in the quarter tones or just the "bending" of notes. Also the syncopation of rhythm is based on a much deeper transformation in our mind and body - I'm talking about music as the "infinite spiral of fifths" as Sir James Jeans stated in his book, "Science and Music" - "all simplicity disappears."


In our original human culture the females sang all night during the Full Moon while the man danced all night to heal the females via female N/om energy. A good music book on this is "Sounding the Depths" by Dr. Victor Grauer. He tracks the traces of our original human culture music in the music around the world. It is basically like the Antipodal singing of other mating animals only in humans this creates what was called "Aeon" energy in the ancient Pre-Socratic Greek culture. It's a neurohormone ionization via ultrasound and infrasound (ELF Schumann resonance as quantum biology). Dr. Stuart Hameroff goes into this quantum biology music analysis more with his "Orchestrated" reduction analysis with Nobel physicist Roger Penrose. 


Music, in its true sense, resonates with the nonlocal foundation of reality that our original human culture called N/om - a type of negentropic reverse time "phase harmony" healing energy - first documented by Louis de Broglie in his Law of Phase Harmony. It is strictly NOT Western equal-tempered tuning music that in India was known as the "materialistic" mode. The spiritual healing music of the San Bushmen intentionally uses gibberish words!


Left brain dominance in Western musicians - yes this is what happened at the limitation of Western tuning with Serialism and 12-tone music that developed into computer avant-garde music composition. Western professional musicians are trained to be very precise technically but they lack the accuracy of the true transformative power of music. The "chills" or "frisson" as vagus nerve activation increasing dopamine - in Western music this is the limit for most people. There is a secret though that goes deeper.
The academic music composition program I was accepted into - the professors (trained at Princeton) told me that the "masses" were just not ready yet for their 12-tone type atonal music. I argued otherwise - that in fact the natural octave, Perfect Fifth and Fourth are universal to all humans based on the "blues" music.


This blues tuning would be the Phrygian mode of ancient West Asian Cosmic Mother cave meditation that Dr. Peter Kingsley documents. The Phyrgian mode is based on the noncommutative phase of the Perfect Fifth as a undertone. The 2/3 as C to F (Perfect Fifth undertone) is not accepted in equal-tempered Western tuning! Philolaus flipped his Lyre around to hide the change in the One as root tonic! So that now "0 to 8" root tonic was used as a new root tonic for 6/8 as 4/3,  Perfect Fourth to create a logarithmic octave of 12 to 8 and 8 to 6 for the root tonic of 0 to 12. Richard McKirahan has the details in his "On Philalaus" article.


There was a switch in the Greek Miracle that you document so well - and this was originally from the use of a Lyre instead of the focus on a Panpipe for music tuning. A switch from Dionysian Pythagorean healing music to Apollo music as Logos "reason" ratios for a left brain dominance. Philolaus literally "flipped" his Lyre around to first create irrational magnitude music theory, as Dr. Richard McKirahan documents. This is what I call the "Liar of the Lyre."


Science has now documented an "inverse Doppler Effect" in the Panpipe and flute music - that a street flute musician friend of mine called "Cave Jazz." So that the supposed equal-tempered tuning in a Pan Pipe is actually noncommutative phase. The panpipe tuning of the Chinese traditional scale is thus based on flipping the 3/2 and 4/3 without any attempt to "contain" the infinity as a closed materialistic geometric magnitude. Reality is based on a formless time that we inherently can not see but we can logically infer and listen to.


Our original music instrument is the female voice - as the "Eland Bull Dance" documents. In the Amazon jungle - this female singing is called "Icaros" - a sacred shamanic power that is transmitted. Ch'an meditation calls this "converting jing to shen" - the electrochemical energy is ionized from neurohormones into increase neurotransmitters as a kind of laser spirit holographic biophoton energy. Listening to the source of sound is a process faster than not just Fourier time-frequency uncertainty but faster than the speed of light! Olivier Costa de Beauregard's book "Time: a physical magnitude" gives more details. This is also called "direct perception" with the pineal gland as a kind of spacetime transducer of an inverse Fourier noncommutative phase that is nonlocal negentropic information - as Alain Connes also argues.


Dr. Elizabeth Marshall Thomas shared how a musicologist discovered the SAME "Eland Bull Dance" song among the two oldest dialects of human language. Meaning - that same music existed before humans "split" into two different languages - way back some 40,000 years ago. So the depth of music is also a logical inference of the Self as formless awareness. Whereas the Platonic real of Form - as "Twoness" - was what I call the Liar of the Lyre - a reificiation of music into a left-brain dominant spatial measurement symbolic paradigm based on irrational magnitude. 


Professor John Curtis Franklin has traced this ancient Lyre transition to Sumeria. For example the Lyre is found in Egypt not until later. Originally then the music enabled a right-brain visualization as deep memorization process. The epic history poems were originally songs. And it was the music that enabled the right-brain dominant memorization of great detail. Anyone who has memorized Bach would know this - I memorized Bach's Italian Concerto in F Major. It is the slow "middle movement" that induce a theta REM heart synchronization via the 60 beats per minute resonance and a very strong alpha brain bliss serotonin energy via the right side vagus nerve to the heart. So this is a holographic memorization process or coherent biophoton spirit memorization. Dr. Theodore Reik's book "The Haunting Melody" also argues that music is the secret key to accessing the subconscious and even unconscious knowledge. So when we get a melody in our head of a song - if we then remember the words of the songs - those words reveal our present subconscious emotions. Since the left brain vagus nerve does not connect to the right brain then left brain dominance cuts us off from the healing power of music.


Only the heart resonance is inherently syncopated as noncommutative phase with the right side of the heart as a "secret pinhole" to nonlocal formless awareness "proto-consciousness" of the Universe as Roger Penrose calls it. A loud OM sound is heart emanating from the heart - as a subharmonic or quantum beat of the "spin" between the proton and electron. All thoughts are logically based on the "I-thought" and so to logically infer the source of all thoughts then the left-brain dominance is reversed back to its right side heart origin, via the right side vagus nerve - as a frequency transduction of energy. Dr. Andrija Puharich documented this in his parapsychology research for the U.S. military. He called it the Phonon-Hydron Effect from ultrasound splitting water aka  ELF PHONONS-HYDROAMPLIFICATION.


It's proven from tinnitus research that the highest sound we hear externally actually resonates the whole brain as ultrasound. Dr. Stuart Hameroff's research was corroborated with ultrasound resonating the microtubules as the basis for a tryptophan "pi resonance" in the tubulins - a kind of Inverse Doppler Effect just as found with panpipe and flute music. Our collagen is piezoelectric - so the dancing by the males then resonates this formless awareness Music as a Phase Harmony of the Universe.
Dr. Manfred Euler has written about the two ears as a kind of quantum acoustic "double slit" experiment. The quantum phase coherence is proven at the microsecond wavelength - between the two ears and in a quiet room - the intensity of sound detected is at a subangstrom and subatomic wavelength. The "measurement problem" of quantum mechanics thus reemerges as a relativistic quantum Phase Harmony through the truth of music as noncommutative phase mathematics. The ultrasound resonance of microtubules is thus also a subquantum beat of a nonlocal resonance of the "pi resonance" proton-electron magnetic moment or spin force - the noncommutative phase "causative force" as Professor Basil J. Hiley calls it - a private "inner" automorphism as Alain Connes calls it. The 720 degree 1/2 spin of the electron can inherently not be seen but it is now used for quantum teleportation technology via satellites (as my former Quantum Mechanics Professor Herbert J. Bernstein designed).

Alain Connes has argued that the future of quantum technology will make human cognition more like orchestration - the skill of transposing in "real time" multiple "spacetime" clefs - this is something I trained in with a former University music professor - when I was in high school taking private music training. Yes this is a true brain twisting skill to be sure - but Connes is wrong to think that unwritten music is less sophisticated. There is an ancient wisdom to human music that is tied to our pineal gland synchronization with the lunar cycle governing growth of life on Earth via water cycles. Water is a macroquantum molecule with negentropic energy as the water cools to just before freezing. This is called the "fourth state" of water or EZ water  that creates virtual photons and a nonlocal proton energy. It is also created through pressure with the microtubules of collagen and neurons - "in vivo" versus in vitro. Anthropology professor Christopher Knight and his colleagues have documented this origin of human language from a lunar synchronization of "hidden estrus" female singing as emotional healing mind-body transformation. Dr. Brad Keeney gives more details in his article, "Re-Entry into First Creation" and what Keeney calls the "shaking medicine" of our original human culture music. Even Noam Chomsky now agrees that music provides a probable explanation for the origin of human language and human thinking. Chomsky told me that he does not have time to investigate the noncommutative phase music origins of human thinking.



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