View previous topic | View next topic


Page 4 of 5
Goto page Previous  1, 2, 3, 4, 5  Next

715000.  Tue Jun 01, 2010 3:41 pm Reply with quote

I can hear all of them except the 18kHz one, my boyfriend can only hear anything below 16, but said he could 'feel' the 17 one.

715099.  Wed Jun 02, 2010 2:56 am Reply with quote

Can I mention Dame Evelyn Glennie - a world-class percussionist?

The fact that she is profoundly deaf never got in her way - read more here.

Did I mention she's a bit of a babe?

715161.  Wed Jun 02, 2010 6:28 am Reply with quote

@Posital-Yes there is a great TED-Talk by her, about listening with the whole body.

I am going to bring Pythagoras and Kepler in to this :
"To Kepler himself, however, the planetary laws represented far more than the description of a physical mechanism. In the tradition of the legendary Greek philosopher Pythagoras, Kepler did not view science and spirituality as mutually exclusive. The deeper significance of Kepler's Laws is that they reconcile the emerging vision of a Sun-centred planetary system with the ancient Pythagorean concept of armonia, or universal harmony. "

Kepler :

"Pythagoras was the first who told about celestial music, or Harmony of Spheres., He believed that the universe is Harmony sounding. His opinion was that planets, going round the Sun, touch ether and so cause sounding. As planets have own orbit of rotation, its radius represents a length of sounding string and consequently each planet has own diapason, and together they produce some harmonious accord the majority of people can not hear by force of habit....

Let's remark that ancient Indian and Greek philosophy as well as Sufism affirmed that the universe was not silent. The universe is penetrated by vibrations of celestial bodies which sing creating unusually beautiful and harmonious sounding. At the end of the 20th century, science came to the same idea. "


RE:Snowflakes, Infrasound and the Music of the Spheres...

"Interpreting the 'Song' Of a Distant Black Hole:

Astronomers in England have discovered a singing black hole in a distant cluster of galaxies. In the process of listening in, the team of astronomers not only heard the lowest sound waves from an object in the Universe ever detected by humans, but they've also discovered an important clue about the formation of galaxy clusters -- the largest structures in the cosmos.

Dr. Andrew Fabian and his colleagues at the Institute of Astronomy in Cambridge, England made their discovery using NASA's Chandra X-ray Observatory, an orbiting X-ray telescope that sees the Universe in X-ray light just as the Hubble Space Telescope sees it in visible light.

The black hole is situated in the center of a galaxy amid a group of thousands of galaxies collectively called the Perseus Cluster and located 250 million light years from Earth (meaning it took the light from these galaxies 250 million years to reach us). The sound waves coming from it are in the form of a single note, so rather than a song it is really a drone.

Using the piano keyboard's middle C note as a reference point for the middle of the piano key music range, Fabian's team determined the note is a B -flat. On a piano, the B-flat nearest middle C is located midway between 1/8th and 2/8th of an octave away. In musical terminology, this B flat is 1-1/2 steps from middle C.

The Perseus cluster black hole's B-flat, by contrast, is 57 octaves below middle C or one million, billion times lower than the lowest sound audible to the human ear! In terms of frequency (the time it takes a single sound wave to pass by), the lowest sounds a person can hear is 1/20th of a second.

The Perseus black hole's sound waves have a frequency of 10 million years!"

Music of the spheres blog:

715319.  Wed Jun 02, 2010 11:44 am Reply with quote

B-flat is also the note at which Buddhist monks chant.

715450.  Wed Jun 02, 2010 6:18 pm Reply with quote

The Earth is Flat?

Spud McLaren
715452.  Wed Jun 02, 2010 6:31 pm Reply with quote

Bondee wrote:
B-flat is also the note at which Buddhist monks chant.
Some of them are completely bloody tone-deaf, then.

I had always assumed that the plethora of tones generated by a group of them was due to them not giving a tinker's cuss about pitch. However, when you listen to the resulting undertones, I'm now not so sure that it isn't done on purpose...

715456.  Wed Jun 02, 2010 6:58 pm Reply with quote

I imagine that we all have different frequencies and are given different matra´s to slowly, via resonance, manipulate it towards the desired "Buddha Frequenze".. If this is the case, surely a device of some sort could do the same?

I´ve been listening to the Northern lights:

715477.  Wed Jun 02, 2010 8:36 pm Reply with quote

I recently borrowed The Art of Looking Sideways (by Alan Fletcher) from the library. A huge tome filled with vast quantities of informational snippets and musings, vaguely about creativity, design, thought, and what makes us human. Anyone reading this forum would enjoy it. Just don't drop it on your foot.

Anyway, here's a fragment from it:
Alan Fletcher wrote:
Masks of Aeschylus: Ancient Greek theatrical masks were instruments. The interior cavities created resonances for the voice which could trigger a state of ecstasy in both actor and audience.

Vitruvius writing on amphitheatres: "due to suitably placed reflecting walls, the voice is supported and strengthened when two identical sound waves, arriving at the same point at the same time, combine to produce the sum of its effects". He also mentioned sound reflectors of ceramic built into the rows of seats.

715584.  Thu Jun 03, 2010 7:58 am Reply with quote

busk31 wrote:
@Posital-Yes there is a great TED-Talk by her, about listening with the whole body.

Thanks - it's brilliant.

715586.  Thu Jun 03, 2010 8:05 am Reply with quote

@RLDavies-Sounds like a great book. I found this on acustics in Amphitheatres:

"As an aside, it's worth mentioning an obvious problem sometimes encountered in oval Roman theatres, as opposed to the semi-circular Greek amphitheatres: echo. This occurs when sound waves reflect, or "resonate," back and forth off the walls before dissipating. Most opera houses and lecture halls follow the acoustic example of the Greek amphitheatres, while sports stadiums (where audience noise is usually welcome) follow the Roman one.

Of course, this all presumes ideal conditions. The perfect acoustics described here might be corrupted considerably in an amphitheatre full of spectators at the crowded performance of an Aeschylus play. The bodies and clothing of the audience would absorb and dissipate the sound waves, which could not skim off the tiered stone seats, so ironically an unpopular play, instead of a full house, might prove to be most worth attending --at least from an acoustic point of view. Nowadays, mechanical amplification (speaker systems) are set up when plays are performed at Segesta and Taormina, so the entire issue has been rendered academic. But to historians it remains a fascinating proof that traditional architectural wisdom is sometimes the most reliable."

In singing there is a term called "Singing in the Mask" About the resonance of the voice:
"Singing in the mask is "real," albeit slightly confusing.

It definitely has to do with where your voice is resonating. Your chest voice resonates in your chest, if you put your hand on your chest as you speak you can feel the vibrations occurring there. On the other hand, if you speak like a little kid or flip up into falsetto or head, the chest vibrations stop. This is because they've moved to a different place of resonance, usually somewhere around your sinus cavities.

Singing in the mask is when you place your resonance into those sinus cavities. You've probably felt the ones I'm talking about. They're the ones that hurt around your nose and above your eyes when you have a cold or when the weather is changing. It generally first happens on an pure Eee or a Ooh sound, and you let the voice float around the front of your face. (It's always hard to describe voice stuff, isn't it?) Just keep pressure off your voice, and don't force it, let it be floaty and pure to feel this resonance at first.

Your voice actually has the ability to make the things around you vibrate at the same frequency (try singing a vowel sound into a piano. The soundboard will resonate with the same tone. Pushing the sustain pedal [furthest to the right] down will make it even more obvious.) Your sinus cavities with resonate with the sound of your voice as the vibrations echo and bounce around up there. This causes a distinct feeling of light buzzing or vibrating in your face in the area where you would wear a mask!
Hence why it's called singing in the mask, or "mask resonance."

715732.  Thu Jun 03, 2010 1:41 pm Reply with quote

Busk: It is indeed a very good book, and I notice it's available from Amazon at a stupidly low price.

Your discussions about voice made me think of another connection between voice, pitch, and psychological effects (specifically religious feeling).

In ceremonial magic one is taught how to "vibrate" words of power. This goes back at least to ancient Egypt -- surviving magic papyri use a verb (not found elsewhere) to specify something the sorcerer is supposed to do with his voice to put power into his spell. Wallis-Budge translated this as "drawl" in the 19th century, but admitted he had no idea what was actually intended.

Magical "vibration", or "voice of power", involves holding the voice at a single lowish pitch and stretching out the word so that it takes an entire breath to complete. You're supposed to feel the vibrations throughout your being, and visualise the sound of the word echoing through the universe. It's a learned technique that takes practice, especially to find the appropriate pitch that works for you (i.e. has the correct resonant frequency).

715756.  Thu Jun 03, 2010 3:00 pm Reply with quote

What if I generally vibrate at a 7.555426625 Hz surfing along in my life on that specific channel.I will meet people and they will be surfing along on their specific channels. Would I be attracted to people of a particular range of frequenzy? Or repelled by others? Say, one that is close to my own or make some kind of resonance so that 2 become 3, . Will places of a certain character have more appeal to me by way of sound?..That I cant even hear, mind you?..Will a trip to the ocean recharge my chakras through Infrasonic sound? Will chanting a Mantra change my frequenze to 7,556? Somebody invent the machine I need...

715848.  Thu Jun 03, 2010 7:37 pm Reply with quote

RLDavies wrote:
It is indeed a very good book, and I notice it's available from Amazon at a stupidly low price.

I don't think £17 comes within my definition of 'stupidly low', so I'll have to have a look for it at the library in the morning.

715988.  Fri Jun 04, 2010 9:17 am Reply with quote

samivel wrote:
RLDavies wrote:
It is indeed a very good book, and I notice it's available from Amazon at a stupidly low price.

I don't think £17 comes within my definition of 'stupidly low', so I'll have to have a look for it at the library in the morning.

Stupidly low for the sheer quantity. The dang thing's 2 1/2 inches thick, and weighs enough to put my shoulder at risk if I pick it up wrong. The page numbers go up to 533, but each number actually counts the double-page spread, so there's 1066 pages if you count them in the normal way.

Considering it's theoretically a design book and hence intended for a limited audience, I would have expected a price in the £40-£50 range.

716031.  Fri Jun 04, 2010 12:22 pm Reply with quote

Ah, well, fair enough then.

I couldn't find it in the library today, and the online catalogue thing says that the only copy in Hampshire Libraries is 6 months overdue, so maybe I'll have to find £17 for it after all.


Page 4 of 5
Goto page Previous  1, 2, 3, 4, 5  Next

All times are GMT - 5 Hours

Display posts from previous:   

Search Search Forums

Powered by phpBB © 2001, 2002 phpBB Group