The Music of the Spheres

On DavidM’s recommendation, I picked up and started reading Stephon Alexander‘s The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe. Dr. Alexander would like us to appreciate the large scale structure of the cosmos as a musical structure, and demonstrate how new possibilities of understanding Kosmos emerge if we contemplate it as musical form in the tradition of Pythagoras or Johannes Kepler.

This way of appreciating Kosmos as a musical composition is infinitely superior to today’s tendency to imagine it as a technical construct generated by a computer programme, or as being a simulation created by “future selves” or a master “artificial intelligence”, which becomes a technocratic mythology. And it also deserves to be recognised, understood, and appreciated as an example of, and contribution towards, a “metanoia” of emergent new consciousness. For there are, indeed, consequences for consciousness, life, and society whether we imagine Kosmos as a technology following a machine logic, or as Art. Dr. Alexander is mostly correct in re-imagining Kosmos as expressing a musical structure rather than a machine one (this the New York Times review of his book, which I linked to above,  largely overlooked). The logos of Kosmos is more appropriately considered as musical, and improvisational, rather than mechanical or technocratic. Dr. Alexander’s intuitions about this are sounder (and saner) than those of the technicians. Our reality is not a computer simulation so much as a symphony or musical score.

What impresses me about Dr. Alexander’s sensitivity in this respect is how it also exemplifies a shift towards “aperspectivity” and the arational, those aspects of the new consciousness, or metanoia, anticipated by Gebser (and probably also by Marshall McLuhan in some respects). Here, the emphasis once again shifts from the eye to the ear, and the intuitive, as the principal organ of knowledge, and therewith to listening, which is more in keeping with the idea of mindfulness. This is also the most appropriate response to the problem of “visualisation” that presently plagues much of natural science, which “visualisation” largely means perspectivisation, and therewith the “point-of-view” consciousness structure called “mental-rational”.  In some ways, we can say that “visualisation” is actually metamorphosing into “vision”, and the rational, correspondingly, into the imaginal.

Vision, in the sense William Blake uses it, is different from visualisation just as much as the Imaginal is different from the Rational. Vision and the Imaginal corresponds to the meaning of Gebser’s “aperspectival” and “arational” as characterisitics of the new integrality, and both are implicated in what we call “intuitive apperception“. Dr. Alexander’s approach in reimagining Kosmos as musical form is a step towards intuitive apperception as against the mere binary logic of a digital universe conceived as computer simulation. Rather, 0 and 1 might be better considered as states of silence and states of sound, otherwise known as Kaos and Kosmos, or non-Being and Being, Formless and Form, Absence or Presence, or Nothing and Something, correspondingly.

The mythical consciousness, though, because it predates alphabet, script, and literacy, is largely a cosmos of the polarities of silence and sound (the word “myth” being related to “mouth”).

Dr. Alexander’s turn to music parallels also what we find in Rosenstock-Huessy’s “metanoia” as the return of the ear in his “grammatical method”. The world, he says, is “God’s poem”, which again emphasises Art and the musical structure. His formula for new science also is consistent with Alexander’s Kosmos: “respondeo, etsi mutabor” or “audi, ne moriamur” are intended to supplant the Cartesian formula “cogito ergo sum” by shifting the emphasis from thinking to listening. “I respond, although I will be changed” or “listen, lest we die” both emphasise the primacy of the listening or mindful mode of consciousness. True listening is inner silence, a self-emptying that is symbolised by the Buddha’s empty begging bowl or the Christian Holy Grail — the empty cup awaiting it’s inspiration or fulfillment. Begging bowl and Holy Grail both symbolise the state called “Inner Silence”, or Emptiness or Void.

Essence is emptiness, All else accidental

Emptiness brings peace to your loving, All else disease

In this world of trickery, Emptiness is what your soul wants.

– Rumi

There is also a connection here that Alexander is probably not aware of — the return of the Dionysian, for jazz is Dionysian music (as opposed to Apollonian music), and highlights Nietzsche’s prescience in this regard about the return of the repressed. Jazz is improvisational, or spontaneous, and in that sense emergent. The Kosmos, as “God’s poem” or as “Jazz” or as Dionysian music, underscores Nietzsche’s insistence that thinking should be like dance: “You philosophers! Learn how to dance!” Shiva also dances to some invisible music. And as if to emphasise this, upon his final breakdown Nietzsche was found in his rooms in Turin, dancing naked to some inaudible music by his Italian landlady. (And even during the years of his mental debilitation, Nietzsche could still play piano flawlessly, still hearing his Dionysian music despite his senility).

It’s very significant that Alexander’s post-doc supervisor at Imperial College, the noted physicist Christopher Isham, encouraged Alexander to pay more attention to “the unconscious” and especially Carl Jung, and to trust in the creative spontaneity of the “unconscious”. Isham was aware of the fruitful association of the quantum physicist Wolfgang Pauli and Carl Jung that contributed to some of Pauli’s breakthroughs in quantum mechanics. This has been documented in Arthur Miller’s Deciphering the Cosmic Number: The Strange Friendship of Wolfgang Pauli and Carl Jung, which I’ve recommended in the past as an example of the return of the Hermetic philosophy and of great importance in relation to Gebser’s cultural philosophy.

Arthur Miller also wrote “Einstein, Picasso: Space, Time and the Beauty that Causes Havoc, noting the uncanny resemblance of Einstein’s theories with Picasso’s art, which Gebser also noted. After reading quite a ways into Alexander’s book, his jazz hero John Coltrane should probably be added to that, for Jazz is, in some respects, the musical equivalent of Picasso’s art, and Coltrane apparently tried to interpret Einstein in and through jazz. So, perhaps Arthur Miller’s book should have been “Einstein, Picasso, Coltrane“. And it’s also notable, too, that both Miller and Alexander have noted that whenever Einstein felt stumped by a problem in physics, he turned to music — not to a computer or calculator, but to a piano!  Alexander achieved his own creative breakthroughs beyond the stagnation of “shut up and calculate” by taking Isham’s advice, turning to his saxophone, jazz improvisation, and Carl Jung.

(By the way, a “computer” was originally a man or woman paid to perform complex or difficult mathematical calculations. The name was transposed to the machine later).

The significance of Alexander’s work is not only as a contribution to Gebser’s cultural philosophy and the anticipation of “aperspectival” consciousness structure, but also an antidote to the Mechanical Philosophy, presently in its attempt to revision Kosmos as a computer or artificial computer simulation constructed by mysterious technocrats or artificial intelligences, which is only a bizarre attempt to preserve the mechanical model. It makes more sense that Kosmos is more nearly like a symphony than a computer programme, and more like Rosenstock-Huessy’s “poem” or a musical score than an algorithm.

And it really does matter how we imagine it.


32 responses to “The Music of the Spheres”

  1. donsalmon says :

    Beautiful. Reminds me of Biologist Mae Wan-Ho’s idea of “Quantum jazz” (comments from our yoga psychology book):

    There is a way of “control” which is still deeper than that which can be initiated from the inner realm. Biologist Mae Wan-Ho gives intimations of this deeper way in her description of a state of integration which she refers to as “quantum coherence” – a state which involves simultaneous, nonlocal connections between all parts of an organism. She extends this notion of coherence to the interconnection between the organism and its environment, and has even suggested that the entire universe may exist in a profound state of quantum coherence.

    Describing the nature of coherence in terms of a musical performance, she writes:

    “To get a feeling for [the coordination of activities involved in the workings of an] organism, imagine an immense super-orchestra, with instruments spanning the… spectrum of dimensions from molecular piccolos of 10-9 (one billionth) meter up to a bassoon or a bass viol of a meter or more, performing over a musical range of seventy-two octaves… [T]his super-orchestra never ceases to play out our individual songlines, with a certain recurring rhythm and beat, but in endless variations … Always, there is something new, something made up as it goes along. It can change … as the situation demands, spontaneously and without hesitation. What this super-orchestra plays is the most exquisite jazz, jazz being to classical music what quantum is to classical physics. One might call it quantum jazz. There is a certain structure, but the real art is in the endless improvisations, where each and every player, however small, enjoys maximum freedom of expression, while maintaining perfectly in step and in tune with the whole. There is no leader or conductor, and the music is written as it is played.”

    From the perspective of yoga psychology, Mae Wan Ho’s description points to the capacity of the awakened soul to “see” in one all-encompassing and joyous gaze the whole Divine Reality in whom, as St. Paul said, “we live and move and have our being.”

    • donsalmon says :

      I should add, the spirit of jazz can be applied to classical music. My piano teacher, Robert Helps (sic:>)) told me once he always aspired to play Chopin, Beethoven, Bach, etc as if he had absolutely no idea what note was coming next, as if he was simply Present, in the Silence, and the notes emerged spontaneously, effortlessly, utterly new in each moment.

      • davidm58 says :

        Here’s an example of me playing “quantum jazz.” Four of us in the Monkey Puzzle Orchestra sat down and discussed the kind of feel and ambiance we were going to go for, and we listened to some other music for inspiration. Then we went into the garage studio, and Joe Jowdy, normally a drummer, sat down at the keyboard, and I picked up my flugelhorn. Without further discussion, he started playing in a simple pentatonic mode (which Alexander discusses in his book), and I joined in. Totally improvised, except for some flourishes filled in later by Ted Rosen). As Alexander quotes Mark Turner, “When I’m in the middle of a solo, whenever I am most certain of the next note I have to play, the more possibilities open up for the notes that follow.”

        • Scott Preston says :

          That’s cool. You’re a musician as well? I was raised up a bagpiper, given my heritage, at which I was proficient, but I loathed them. Old bagpipers tend to succumb to respiratory diseases. The German word for bagpipes “Dudelsack” (like Doodle Sack) always seemed to me the most appropriate name.

          Today, though, I do look like I just crawled out of the Highlands about 500 years ago. Put me in a kilt and set a claymore in my hand and I’ld probably look pretty barbaric and ferocious — beard, long hair. I don’t look much like the picture in my “about” page any longer. But please, please, don’t put a set of bagpipes in my hand!

          • davidm58 says :

            Interesting! I like the pipes – my grandfather, from the Isle of Lewis, was a bagpiper. Are you familiar Martyn Bennett, a multi-instrumentalist, including bagpipes. I love his album “Bothy Culture.”

            • Scott Preston says :

              For some reason, this video doesn’t play for me.

            • Scott Preston says :

              As long as we are in confessional mode… when I was piping, I remember seeing this old film clip from the First World War of a piper who climbed out of the trenches and started marching up and down rousing the troops to go over the top, until some German sniper popped him off and he tumbled down into the trenches.

              Damned fool. But it was sort of expected of you as a piper to be a damned fool in that way, especially in the British imperial army — march up and down along the trenches rousing the troops until some sniper popped you off. And the Canadian army wanted me for the same reason.

              I found it quite repellant, in fact the whole martial strain around the image of the bagpipes was quite repellant. But I never felt quite the same way about piping again after I watched that chappie get popped off by a German sniper while fiddling on his Dudelsack. It didn’t strike me as heroic at all. It struck me as tragically clownish.

        • Scott Preston says :

          I might mention, though, that there is a form of “jazz bagpipes” or improvisational piping known as Piobaireachd (sounds like peebracht). It has its charms, I suppose. Here’s an example of Piobaireachd

        • Charles Leiden says :

          david, beautiful playing. Good writing Scott. I play the piano, grew up listening to the Beatles and sixties music and now play in a band that plays many of those songs. One could suggest that the universe is more appreciated than intelligible. I agree with “And it really does matter how we imagine it.” The mechanical philosophy is a dead end, as you say.

          • Scott Preston says :

            Appreciate. I like this word. In its fullest sense: “to recognise the worth of” or “to understand fully and recognise the full implications of”. That’s the approach taken in the arts: “music appreciation” or “art appreciation” meaning to evaluate, also, interpret, critique, while “recognising the worth of”. In other words, appreciation is connected with gratitude, celebration, revaluation of values, while depreciation, it’s contrary, is very much connected with “devaluation of values”.

            This is just the right word we are looking for as a more encompassing approach to things and events, more so than analysis — appreciation in this fuller sense. It doesn’t forgo the analytical approach, whichi is useful, but places in in a higher context. This is the new mood we are looking for to counter the cynical or depreciative. And this is, I think, Nietzsche’s emphasis on gratitude versus resentment.

            This is somewhat akin to Alexander’s approach to the cosmos as “jazz” or as musical structure — that is in line with the approach of art appreciation, and it strikes me that this is also the approach of Nietzsche with his aesthetic philosophy — life as art, and to be approached, intellectually, in the mood of appreciation in this broader sense.

            • abdulmonem says :

              All true spiritual experiences are built on appreciation that leads us to gratitude the purpose of all religions, the human awe standing naked in front of the artistic creations of the one as entrance to the presence of the one.

            • abdulmonem says :

              After I have made my comment , the other side of the coin hits me. The dismal turmoil of our world and how it fits in the domain of the music of the sphere scenario. How easy the human forgets his balance, then I realize, the importance of the sufis admonition, in sadness do not forget joy and in joy do not forget sadness. The embrace of the opposites. How difficult to maintain the station of equanimity.

            • Scott Preston says :

              That’s quite similar to Blake’s “Excess of sorrow laughs. Excess of joy weeps.” But it also corresponds to the “art of the warrior”, as he described it to Castaneda: to balance the terror of being alive with the wonder of being alive.

            • abdulmonem says :

              It becomes apparent that the need for cultural diversity is a very important factor in seeing the human unity that calls to further the sustenance and enhance human solidarity and help to overcome the prevalent different phobias and to lessen the arrogance of some misled culture.

            • Scott Preston says :

              The “transparency of the world” rests upon insight into the unity implicit in the diversity, or pluralism. This is really the basis for the meaning of “transparency of the world” as Gebser uses it.

            • abdulmonem says :

              For me it is the who who puts the unity ,the diversity the transparency and the consciousness in the world to let the human through the alone transparent glass of his given consciousness and through his oneness to see the diversity of the world and to remember the original oneness behind all this diversity. It is my vision of which I am responsible is the main factor in my self-realization without underestimating the visions of others which help me to appreciate those who are seekers in the path of the ineffable one. I do not want to be argumentative but I like to be clear of what I am talking about, recognizing the source without flying with un-grounded speculations, assumptions and interpretations and talk about god like any other phenomenon of his creations. I enjoyed reading the introduction to Morin chaotic universe, and his talks about the four systems and the rotational recursion among them and the basic malleable laws of our universe and his negation of the existence of a center for command and control, what I found lacking the explanation of how all these opposites and systems come about or who puts the operation of the rotative recursivity among them. I am sorry but I feel obligated to say something for god after all humanity is charged with responsibility of bearing witness to the one. I think Morin pointed to the two basic attributes of the divine that of creation and that of command and it is clear from watching the universe that all creatures enjoy the spirit of creation but most of them lack the spirit of command which the spirit of knowledge and wisdom. It is the problem of the world with its leaders that lack the spirit of command in the realm of truth and justice which are the odor of knowledge and wisdom.

            • InfiniteWarrior says :

              Hi abdulmonem. I, for one, am latching onto your repeated use of the word, wisdom, which is a very different thing from intellect, intelligence or even our present, one-dimensional understanding of “knowledge”. That last, especially, is currently and primarily a reference to the kind of “knowledge” — i.e. “education” and cultural conditioning — that prompted Yoda to suggest, “You must unlearn what you have learned..” (And I’m in no way jesting here.)

              I recall very distinctly someone noting that the Zika spraying incident in SC, which neighbors the state I live in, was due to a lack of intelligence among our supposed “leadership”, to which I respponded, “Our ‘leaders’ are as intelligent as everyone else. What they don’t have even a flirting acquaintance with is Wisdom.” To my astonishment, we agreed.

              No idea what prompted me to say that, but I think it’s true. It matters not a whit to me whether one calls it “Wisdom”, “God”, “Allah”, “Jehovah”, “Truth”, “Love”, “Compassion”, “Consciousness” or any of the other thousand and one names (or more) we’re wont to give it. We’re all talking about the same thing: something that transcends our puny, human understanding.

              You go ahead and say anything that comes from your heart anytime you please. I, for one, am listening.

            • Charles Leiden says :

              abdulmonem –

              You wrote -It is my vision of which I am responsible is the main factor in my self-realization without underestimating the visions of others which help me to appreciate those who are seekers in the path of the ineffable one.

              My feeling is that each of us imagines a vision of the realized human being and this is related to how each of us imagines the “ineffable” This becomes our standard. Culture, through myths and narratives, plays the influential role in the dynamics of this process. I would suggest that what most humans think they are, is what some observers call the “cultural ego.” One just takes on the characteristics of their culture and identifies with those values. At some moment, one is given an insight that there may be a deeper self, a self that different from the ego. This starts a journey of awakening.

    • Scott Preston says :

      Man that was quick reply. You must have lightning fingers. I’ve heard of Mae Wan-Ho, but haven’t read anything by her. What is the source for that quote?

  2. davidm58 says :

    Excellent! I couldn’t have said it better myself.

    To underscore the parallel with Gebser’s thinking, recall that Gebser points out on page 56-60 of EPO that the magic structure emphasis was on what was heard from the sounds of nature, and not on what was spoken. He notes “the extraordinary role of silence within the magic structure” – remember the images of humans without mouths depicted in EPO.

    Gebser’s discussion on the mythical structure, beginning on page 61, speaks of “a process whereby the rhythm of nature with its conspicuous auditory emphasis becomes, in a purely natural way, temporal.” Here the mouth comes into play with speech and report. “Ever since Homer, the muse has been invoked to begin epic or hymnic song in which mythic events have their formulation in language; and the muse possesses the myth-articulating mouth.” (p. 64)

    Here is a very insightful quote from Gebser on page 67, which reflects the equal importance of listening, speaking, and reflecting:
    “Myth is the closing of mouth and eyes; since it is a silent, inward-directed contemplation, it renders the soul visible so that it may be visualized, represented, heard, and made audible. Myth is this representing and making audible: the articulation, the announcement, the report…of what has been seen and heard… What in one instance is a mute image is, in another, a sounding word; what is viewed inwardly, as in a dream, has its conscious emergence and polar complement in poetically shaped utterance.

    “Thus the word is always a mirror of inner silence, and myth a reflector of soul.”

    The mental structure, by contrast, shifts away from the polar nature of reflection (silence) and then the sharing of wisdom (speech). Instead we see the emergence of discursive thought, directed toward objects and duality. Drawing energy from individual ego rather than from reflecting polarity (p. 75). The receiving ear declines in importance, as the outwardly directed and perspective taking eye gains importance.

    “From this particular point on, that is, from hyperdistinctness, either as mental illumination or as the measurable rendering -visible of objects and things, the inexorable downturn into the quantitative mass begins: the gradual decline to where the contentual void – now autonomous – releases those chain reactions incongrous with the earth that engender complete disintegration.”

    In the integral a-rational, a-perspectival structure, as Scott mentions above, “the emphasis once again shifts from the eye to the ear, and the intuitive, as the principal organ of knowledge, and therewith to listening, which is more in keeping with the idea of mindfulness.” Though I cannot locate at the moment where Gebser describes this. Gebser does talk about integral music in chapter 9 of part 2 (p. 454 and following). His emphasis is on the classical domain, discussing Stravinsky, Hindemith, and others. A discussion of jazz here would have shown even more integral connections, in my opinion. Gebser does make note on page 460 of “the attempt of music to realize arationality. Some of the appropriate keywords, such as ‘open music,’ indicate the aperspectival and consequently arational character of the new music.” This short description fits perfectly the late stage music of John Coltrane and other “outside” jazz artists, such as Ornette Coleman and Pharoah Sanders.

    As Stephon Alexander describes, “Coltrane….was using sound and music to unravel eternal truths about the universe. He expanded the two-dimensional space of tone and time into a hyperspace that included sonic manipulations such as multiphonics–playing simultaneious overtones–and sheets of sound.” (p. 217)

    “Among Coltrane’s last three recorded albums were Stellar Regions, Interstellar Space, and Cosmic Sound. The inspiration for Interstellar Space was Coltrane’s study of Einstein’s theory of general relativity and the expanding universe hypothesis. He correctly realized that the expansion is a form of antigravity. In jazz combos, the gravitational pull comes from the bass and drums. The songs in Interstellar Space are a majestic display of Coltrane’s solos expanding away and freeing themselves from the gravitational pull of the rhythm section. Coltrane believed thatt eh complexity of the cosmos flows into the actions of humans, and he practiced endless hours to be a conduit of this cosmic force. In his song “Jupiter,” one can hear Coltrane literally channeling the orbits of Jupiter’s moons in his improvisation.” (p. 218)

    “If one of the fundamental functions of the univers, as I’ve argued, is to improvise its structure, perhaps when Coltrane improvises, he is doing what the universe does, and what the universe did was to create a structure that would come to know the universe itself.” (p. 228)

    This is a good place to mention two other books, both by the Gebser inspired and noted German jazz critic Joachim-Ernst Berendt. “The World Is Sound: Nada Brahma; Music and the Landscape of Consciousness.” (English translation in 1987); and The Third Ear: On Listening to the World (English translation in 1988). Stanislav Grof called The World Is Sound “groundbreaking…a fascinating exploration of the importance of music, sound, and vibration for spiritual development…” Yehundi Menuhin said of The Third Ear, “The magic of listening brings us closer to the central core of the universe. To begin to comprehend…life it is not sufficient to touch and see.”

    There’s also the recently published (2013) integral jazz book by Ed Sarath: “Improvisation, Creativity, and Consciousness: Jazz as integral template for music, education, and society.”

    • Scott Preston says :

      Very good. Thanks for bringing that in.

      It’s one of the interesting things about Naydler’s book The Future of the Ancient world, too. He had a “eureka moment” when he realised that the Egyptian hieroglyphs weren’t meant for reading, but for singing, not like an alphabet, but more like a musical score.

  3. abdulmonem says :

    I enjoyed reading all and enjoyed listening to the sound of the souls aspiring to join the symphony of the universe. It seems this yearning is the same over the human landscape, I remembered , Ibn Arabi, talking of the music of the letters dancing across space and time to make meaning of forms and non-forms, He used, the melody of the compassionate pens writing and rewriting the never standing still creation. In the quran we read the emphasis on reading written words aloud in a musical tonal patterns, in order to feel the power of the sound of language in its improvisation of meanings in the divine domain of the nonphysical manifestations and the physical manifestations. They say consciousness can not be effective until it is turned in sound . Silence is a vibrational sound audible only to the ear of the devotional,attentive soul. The mysteries of the divine never end, the composer and conductor of every thing who put consciousness in this vessel of clay to make him appreciate his beautiful creations . My soul quivers in his presence and keeps wondering at the endless epistemic and agnostic journey to him. Please keep sounding. Thank you all.

  4. Andrew says :

    I could have bought Spiral Dynamics if it had been framed within the musical mode metaphor . I rejected completely the obvious power gambit which was SDI….
    Nice playing, David!
    Signing off from the Co2 infested city that is Vancouver, B.C.!

    • donsalmon says :

      Great point, Andrew. And if you came to Spiral Dynamics through Wilber, it’s even more linear and control-oriented.

      You might enjoy looking at Sri Aurobindo’s “The Human Cycle.” Actually, the word “cycle” may conjure up caricatures of the “East” as stuck in “Eternal Return”, a world going nowhere but “circles.” Sri Aurobindo’s understanding of the Vedic view is actually one of complex spirals, never arriving at the same point, but spiraling out from and out to Infinity. It’s available free online.

      There’s also a wonderful book, I think from the 70s, “”The World is Sound” by German music journalist Joachim Berendt. Here’s a nice article that makes reference to it:

  5. abdulmonem says :

    Thank you InfinitWarrior for your accommodating heart. Hermann Hesse said it the tones of the calm hearts recognize each others in their appreciation of the true, It is a world of tonal patterns that recognize each other in the domain of the good and the domain of the ugly in a never stopping process of categorisation. It seems we are moving to face our created self beauty for beauty and ugliness for ugliness. Inayat Khan the sufi also said, the cosmic system works by the law of music, the law of harmony and whenever that harmony is lacking in any way, then in proportion disaster comes to the world or the self. This is clear to the vigilant watchful heart who see in the destructive forces that are running amok in our world as a result to the disharmonious movement of our world. Nothing runs aimlessly and god oppresses no one but it is our work registered for us to face. We are all receivers of his words ,some are aware and work to expand their consciousness to be able to accept the never ending words of the one and some are oblivious and not interested in any endevour to improve the self for god and not for any other reasons.
    Yes Charles but the aim is to leave the limited and the boxed to the field of the limitless who we will return to consciously ,realizing that it is true. Listening to silence is a tool for the enhancement of consciousness, just like the sound of certain alephabetical formations that help to enhance the contact with the source of knowledge and wisdom. Blues are the sound of the oppressed soul that has learned to cry to the only conductor of the musical symphony of the cosmos .like Jacob who told his sons that he broadcasts his sadness to the only one that truly hears.

  6. InfiniteWarrior says :

    Let’s disregard any creeping “conspiracy theories” and consider this for a moment: The A=432 Hz Frequency: DNA Tuning and the Bastardization of Music.

    That caused me one of those “Hmm…” moments. I haven’t tried the 432 player yet, so I’ve no idea how much, if any, difference it makes. But for someone who finds “the music of the spheres” so discordant as to be painful at times, I have to wonder if there isn’t some kernel of truth in it.

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