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For some years there has been a lot of talk about music tuned at 432 Hz (Hertz) as a natural resonance with the frequencies at the base of our body and the entire planet. However, I often notice a certain confusion and some inaccuracies about this topic that generate equally skepticism about it. Therefore, as a composer and researcher in the field of psycho / vibroacoustics, I feel the duty to clarify and deepen some aspects about this definition in this article.
When we refer to this tuning we speak of resonance with the planet as we refer to the Schumann resonance, which is a group of extremely low global electromagnetic resonances, excited by the electrical discharges of lightning in the cavity formed by the earth’s surface and the ionosphere. It owes its name to the physicist Winfried Otto Schumann, who predicted this phenomenon mathematically in 1952. The surface of the Earth and the ionosphere interact like two plates of a gigantic capacitor, where the Earth is the negative part and the ionosphere the positive part. These frequencies, despite to what I often read, fluctuate continuously. For many years this frequency has been around a constant of 7.83 Hz with slight variations. Since June 2014, it has changed. The monitoring at the Russian Space Observing System showed a sudden peak of activity at about 8.5 Hz. Since then, in the following years, data have been recorded that highlight the accelerating Schumann resonance creating electromagnetic waves always at very low frequency (ELF ) but whose main peaks have slightly raised, oscillating between 7.83, 14.3, 20.8, 27.3 and 33.8 Hz.
The Earth is a living organism and it is an energetic structure of a higher order of which we are part. British biologist and essayist Rupert Sheldrake describes our bodies as nested hierarchies of vibrational frequencies that manifest as discrete systems within larger and more complicated systems. A universe of vibratory structures from elementary to ever larger and more complex ones. In fact, the entire universe, from sub-atomic particles, to the most complicated life forms, to nebulae and galaxies, can be considered as a gigantic set of resonant energy fields, all always in constant interaction with each other. Therefore, it is quite plausible to believe that an externally imposed vibration could have an influence on our physiology and that of our Planet.
As for over two centuries various scientific studies have shown in the field of cymatics, the science that studies the morphogenetic effects of sound waves (see the studies by Chladni, Hans Jenny, John Stuart Reid etc.) and as Prof. Carlo Ventura (director of the laboratory of molecular biology and stem cell bioengineering at the Institute of Cardiology of the University of Bologna, working in collaboration with the University of California) the exchange of impulses that generate information and the consequent cellular behavior is today evident and measurable. Through his research, Prof. Ventura has shown that cells vibrate (as does the whole universe) and by producing the right frequencies and making them listen to stem cells, they receive the information to become specific cells of our organs. The vibration therefore has the power to trigger well-being and healing. In his experiments Prof. Ventura uses an atomic force microscope to observe and measure the electrical impulses of the cells and translate them into an audible vibrational range. In this way he was able to ascertain that the vibrational impulses with which the cells communicate (in a healthy organism) are consistent with the 432 Hz tuning and that therefore thanks to a combination of different specific tones (harmonics) in constant variation it is possible create a harmonic resonance phenomenon with living organisms. In fact, using a tuning with the A at 432 hz, due to the principle of harmonics according to which multiples and submultiples of that frequency are added to a produced sound, the other octaves will also begin to vibrate for “sympathy”, entering with more probability into natural resonance with our planet, as 432 is both a multiple of 3 and 2 unlike all the other tunings, and precisely for the principle of harmonics described above, the music that follows this tuning can more easily enter into resonance with the structures vibrations that surround us.
The same principle of resonance applies to the human organism. As has been shown by various researches, the genetic matrix [3, 2; 2, 3] contains a sequence of 7 numbers, which correspond to the entire circle of fifths and at the vibrational level are based on the ratio 3: 2. Once again, for the same reason as described above, tuning with the A at 432 hz is more likely to resonate. That any piece of music can influence and benefit the listener with beneficial (or evil) effects on the whole sphere of his feeling, thinking and acting to the point of affecting his own physiological life, certainly is not to be denied. So this doesn’t mean that using the classic 440 hz tuning or other tunings you create dissonance, as I often hear. We are simply less likely to create resonance with our cells and with living organisms. There are sublime musical compositions that use the classic 440 hz tuning and that like all music can have tangible psychoacoustic effects, for example by stimulating the release of endorphins, involving the limbic system (which is the center where emotional responses arise) which contains a large number of endogenous opioid receptors. With this I want to highlight that when we talk about the beneficial effects of music we must not only consider the tuning but many other parameters of the composition such as the scales, the chords, the intervals, the timbre of the instruments that generate the wave and the volume with which you listen. In short, all the fundamental elements of music can become therapeutic, especially the intervals. The interval, for example, is an element that gives “objective” content to the music, in fact all the people who freely experience the interval live the same content and the same magical energy. Each melody has within itself the content of the intervals with which it is formed. Contents that often act unconsciously on the person. Once understood, the intervals reveal the music as a breathing rhythm of the being that with a continuous movement connects us with the Cosmos. When an interval resonates on a physical level, thinking evaluates its pitch and our deepest being feels its quality.
I hope that the reader (perhaps a musician) is intrigued or at least intrigued by the theoretical considerations set out above, that they are a good starting point on which to reflect and reason. And maybe create.
