BillFitzmaurice.info

escapemcp wrote:http://www.collective-evolution.com/201 ... -to-432hz/

Yeah, right. You forgot to include the author's picture:

Why do 434Hz when you can tune to 333hz? Or much lower to 33Hz?

I'm not sure why you would take the time to read this sort of thing, but if you do some serious research, you will find concert pitch has been all over the map in the last 400 years.

I don't believe the Nazis had anything to do with arriving at 440, If there is any legitimate supportive literature supporting this theory, I would be interested in reading this.

byacey wrote: I don't believe the Nazis had anything to do with arriving at 440, If there is any legitimate supportive literature supporting this theory, I would be interested in reading this.

Not that 440 matters, it's an arbitrary assignment anyway. It's the frequency in Hz assigned to the middle 'A' note, which in and of itself means absolutely nothing. You don't like a song played in the key of A? Play it in A flat. The author of that treatise must have flunked both history and music theory.

Bill Fitzmaurice wrote:

byacey wrote: I don't believe the Nazis had anything to do with arriving at 440, If there is any legitimate supportive literature supporting this theory, I would be interested in reading this.

Not that 440 matters, it's an arbitrary assignment anyway. It's the frequency in Hz assigned to the middle 'A' note, which in and of itself means absolutely nothing. You don't like a song played in the key of A? Play it in A flat. The author of that treatise must have flunked both history and music theory.

Actually, it's not even about changing key by a half step....it's more ridiculous than that - the change suggested in only about a third of the way to the next semitone (half step).

But, none of that really matters, because he feels better when listening to music that way......sheesh. Nothing like objective testing......

Bruce Weldy wrote:

But, none of that really matters, because he feels better when listening to music that way......sheesh. Nothing like objective testing......

Not that I'm on board with this particular psycho-acoustic diatribe, but the personal perception of music can't really be tested objectively. It's kind of like trying to describe "red" to a blind man. You can tell him things that are red, tell him how red makes you feel, or even explain how certain wavelengths of light activate parts of the eye, but you'll never make him see "red" in his mind. we don't have the words for that.

It certainly is possible that certain frequencies vibrate people's ears differently. If he finds music tuned to 432hz to be more pleasant that other tunings, who are we to argue?

I would be interested, though, to see a double blind study on this.

BrentEvans wrote:It certainly is possible that certain frequencies vibrate people's ears differently.

All it means is that the instruments will be tuned a tiny bit lower. They won't sound any different. The person who wrote this piffle has no idea what 440Hz tuning means, let alone how tuning an instrument higher or lower would make any difference to what's heard. This stuff is as scientifically valid as astrology.

42

If 432Hz makes him feel good and at one with the universe, and 440Hz creates inner turmoil and anxiety; what happens when a violinist plays 4th finger vibrato on the D string? Violent mood swings?

Grant Bunter wrote:42

Finally someone is making sense.

The answer to the ultimate question of Life, the universe, and everything.

In some blues it is considered the 'sad' side of the note. Not completely flat, mind you. There is a difference in tuning a few cents one way or another, but that's art....

next time I do something bad ill blame the 440hz tune

don't blame it on the...
..etc...
...blame it on the 440

I'd be more interested in listening to changing from minor to major keys, or the other way around. Good string of vids on youtube, no doubt your favourite music has had this treatment - would post some examples but can't get youtube at work.

byacey wrote:...you will find concert pitch has been all over the map in the last 400 years.

If anyone is interested, Hermann von Hemholtz's work "On the sensations of tone", in particular the chapter called "The history of musical tuning in Europe".

https://ia600208.us.archive.org/9/items ... lmrich.pdf

reportably span nearly 2000 years of tuning standards.

When I get a chance, I'll read it, but if someone gets there before me, please let me know if A440 came up anytime as the standard before 1926...