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Sonic Media


The following information is in reference to Chapter 12, page 157 of The Power Of Sound.

Muzak Sensory Media

In any conversation involving application-specific music and technology, the infamous American company, Muzak, must be mentioned. Beginning in 1922 with a patent for transmitting music over power lines, Muzak in 2009 offers the MV, an internet-based delivery system, with an archive of 2.6 million possibilities and an accessing device of 11.2 ounces.

While Muzak has stayed within the domain of music programming for business—with a premise that background music boosts productivity—what I find to be quite interesting is their current company description. Muzak has evolved beyond the soundwaves of music to an understanding of frequency and the whole sensory system, to wit:

“Muzak creates relevant sensory experiences that touch more than 100 million people daily. Businesses of all sizes trust Muzak to enhance their brand image using strategic integration of branded sensory media, including: music, digital signage, targeted custom in-store and on-hold messaging, custom scent and exciting live events that reach customers in store and beyond.”2

Contact:  www.muzak.com/muzak.html

The Beamz

Based in Scottsdale, AZ, Beamz Interactive, Inc. is an interactive music products company that develops innovative musical instruments and music software to enable people of all ages and skill levels to play music. Its premier product, the Beamz, is an affordable new musical instrument that allows people to make music by simply passing their hands through any of the six laser beams that each triggers different streams of musical notes and sounds.

Beamz players can access over a hundred songs, both originals and top hits, for inspiration to create their own music. Beginners and children can play with ease, while more experienced musicians will be amazed at its limitless possibilities to arrange, compose, produce, and record music. Powered by a computer through a USB port, the Beamz is easy to install and begin using—reading music is not required.


Sight Through Sound – A Device that “Sees” the World Through Hearing

There are minimally 15 million Americans suffering from some form of significant visual impairment.3 The Cognitive Aid System for Blind People (CASBLiP) uses lasers and digital video images to create a three-dimensional acoustic map, which, when relayed through headphones, enables users to “see” the world with sound. Developed by a consortium of European universities, the project is funded by the European Union.

Once developed, this is how the CASBliP project will work: as you move around, the sounds received via headphones will alter and the stereo audio system will enable you to interpret sounds and then place them in accordance with their distance to you. For example, as you walk away from an object, the sound will decrease. Walk closer to an object and the sound will increase. If an object is on your right, you’ll hear it on your right and you will also be warned via audio tone to get out of the way if something is headed straight for you.4

The iPhone’s Voice Control

In July of 2009, Apple released Voice Control, a voice user interface that allows you to control the iPod and make calls on the iPhone–without touching a keyboard or screen. Your voice is doing the driving! While there have been many attempts at speech recognition in the past, Apple’s entry into the field signals a significant breakthrough. In conjunction with the work done by other leading edge software companies, including Google, the integration of advanced speech integration into computerization will have an effect on us all, far beyond control of music players and cell phones.5

The Sounds of Google Earth

Google Earth is a downloadable navigation tool that allows users to scan the planet using steerable satellite images. Any programmer can add a layer of data to the Google Earth program. In 2007, a US software company, 30 Proof Media, created a sound-embedding program that allows you to click on a computer image of Antarctica and hear native sounds of that exact region.

California-based bioacoustician Bernie Krause has always been quick to employ emerging technologies. Having spent the past 40 years collecting sounds from around the globe, he created The Wild Soundscape Tour.6 Through expanding technological synergies, one can now see the Amazonian rain forest, and also hear the monkeys, jaguars, birds, and musical frogs that call it home. The same is true with the wild places of Zimbabwe, Costa Rica, Madagascar, Indonesia, and Yellowstone National Park. Urban soundscapes of New York, London, Paris, and Lisbon are listenable as well.7

The Temple of Sacred Sound

The Temple of Sacred Sound is an interactive website designed for people to create sounds together online, worldwide! “Global harmonization – assisting and enhancing peace and harmony on the earth,” is the primary purpose says Jonathan Goldman, renowned sound worker and site creator.

Launched in 2008, TempleOfSacredSound.org features three chamber pages, each designed for a different toning sound. Every page features a background sound composed of thousands of voices from around the globe. After passing through introduction and protocols pages, a user selects a chamber to enter: OM, AH, or HU. If users have a microphone they can tone into it to hear themselves interacting with the sounds, though this is not necessary for use of the site.

The Temple is based on the principle that thoughts and intentions can be projected within sound and that focused sound can be used for transformational purposes.

On February 14, 2009, in concordance with the 7th Annual World Sound Healing Day, people throughout the planet toned the “AH” sound while projecting peace at 12 AM EST. The Global Consciousness Project (based in Princeton, NJ), uses random number generators form throughout the planet to collect data. The numbers should remain equally without pattern, however, during times of unity in the global consciousness the numbers become less random.* Data gathered from the GCP shows a peak following the noon toning on Valentines Day of ’09. (http://noosphere.princeton.edu/valentines.09.html)

Contact: Jonathan Goldman

P.O. Box 2240, Boulder, CO 80306 USA

Tel: (303) 443-8181

Fax: (303) 443-6023

Email: info@healingsounds.com

Web: www.templeofsacredsound.org

<FN>*The Global Consciousness Project, also called the EGG Project, is an international, multidisciplinary collaboration of scientists, engineers, artists and others, collecting data continuously from a global network of physical random number generators located in 65 host sites around the world. The archive contains more than 10 years of random data in parallel sequences of synchronized 200-bit trials every second.

Natural Frequency Music as a Healing Tool

Alan Howarth is a film composer and sound designer. He’s created scores and sound effects for many Hollywood blockbuster films including Star Trek, Raiders of the Lost Ark, and The Little Mermaid.

Looking beyond the entertainment realm for ways to apply his passion for sound, Alan Howarth’s research led him to frequency studies in what he refers to as Natural Frequencies. It began with a book entitled The Rods of Amon RA by Wesley H. Bateman about the mathematics of sacred geometry memorialized by the Giza Pyramid and other ancient structures. Batemen spent over 25 years looking at the Great Pyramid of Giza as a mathematical model and discovered that the original architects had designed dimensions and proportions to reflect a very sophisticated mathematical system which Batman called RA Mathematics. The essence of the math was based on the geometrical mathematical ratios of Pi (3.14159…) and Phi ( 1.618…), and Batemen suggested that the math of the pyramid described certain frequencies related to these ratios.

In 1991, Howarth contacted Bateman and collaboration began from which eventually birthed RA Natural Frequency Music. In 2004, Alan teamed with Dr. J.J. Hurtak and the Academy of Future Science and began field research by traveling to the Yucatan Peninsula of Mexico and making acoustical recordings to measure the resonances of 200+ Mayan temples. In 2005, they also traveled to the Kings Chamber in the Great Pyramid in Egypt. In 2008, Hurtak and Howarth published a white paper in association with the University of Mexico City that documented that a majority of the Mexican sites resonated to the same Pi- and Phi-based frequencies found in the Egyptian pyramids. It was striking to discover that two separate cultures, separated by over 4000 years and 8000 miles, would choose to build structures that contained the same precise acoustical properties! They determined the resonant frequencies of the sacred sites by using a standard technique used in acoustical measurements. This involves playing “pink noise” (a sound that contains an equal amount of all audio frequencies) and standard audio test tones played over a calibrated speaker placed inside the selected chambers of the ancient locations, then re-recording the sound that has been reshaped by the acoustical properties of the structure. These recordings were later evaluated using computer frequency analyzers.

Howarth and Hurtak’s acoustical research confirmed Bateman’s original mathematical predictions about the frequency properties of these ancient structures. The hypothesis was that the architects of these ancient structures were well aware of acoustics and chose precise dimensions of these structures to create areas of specific resonant properties. The consistency of a majority of the resonant frequencies confirmed this. After analysis of their research, they were able to conclude that the frequencies used in earlier times were somewhat different to the frequencies that are now standardized in our western music.

Howarth and Hurtak determined that the adjusted reference frequency for the note “A,” currently standardized at a frequency of 440 Hz, can be changed to make A=432 Hz for a PHI ratio. The PHI ration is related to the physical body and is present in all natural designs and throughout the proportions of the human body. When music is re-tuned to A=432 Hz, it resonates the body’s physical properties and is useful for therapies that address conditions of the body. Howarth’s research showed that when music is tuned to the PI ratio, the note A is changed to A=424 Hz. According to the researchers, this adjusted “A” and the related harmonic frequencies have brain wave and other psycho-acoustic properties. The selection of PI frequencies are more useful in sound therapies because they are related to mental states; these PI tunings are harmonics of frequencies in the range of alpha brain waves, only several octaves higher in pitch. Referring to the concept of Sympathetic Vibration, single tones as well as music can be applied to the nervous system and can cause an entrainment into various states of mind.

Further investigation into the history of musical frequencies has revealed the first tuning fork, invented in 1711 by John Shore, was tuned to A=423.5 HZ. Mozart, Handle and many of the great composers of the period created and performed their music tuned to this frequency range. It was not until 1925 that the music industry selected A=440 as an industry standard.

Howarth ‘s expertise in film sound effects work also led him to further investigate the tunings of whale songs, dolphin communication and the sounds of birds. Computer analysis of these recordings revealed that the sounds of these animals are also tuned to these PI and PHI frequency tonal centers. In fact, he believes that “all of nature is tuned as a ‘Grand Living Orchestra’ that resonates on these frequencies naturally.”

Alan Howarth has created a patented music technology that digitally converts any musical recordings tuned to our standard reference of a=440 into what he calls RA Natural Frequency Music™, formats that are adjusted to PI and PHI frequency references. He has made this technology available on the website www.RAmusic.com. From the website, any music file can be uploaded and converted into the adjusted tunings and downloaded back to the user’s computer. Additional features will allow the digital streaming of any Internet radio through the website and convert the radio signal in real-time into the adjusted tunings.


Alan Howarth


Email: alan@alanhowarth.com

Web: www.RAmusic.com

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