Spring 1998 - Future History 2.7

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Journal Cover Dear Reader,

We live in a time of vast musical findings, and the “vibratory fingerprints” of history are becoming known. A new application and synthesis of music is taking place by scientists and musicologists in their study of the distribution and amplitude of musical tones. Recordings in the rooms and chambers of the monuments of ancient civilizations are giving us new revelations.

Is there an acoustical solution to the riddle of the pyramids? Our observations showed that the physiological acoustics of the ear were merely a secondary phenomena within the great architectural plan of the pyramid, and that the highest and deepest harmonics could only be charted through a greater internal sensitivity and an understanding of overtone harmonics. Since the seventeenth century physicists and music theorists have written about the existence of the overtone series that attract the sensitive musical ear to the geometry of sound. But even before that music theorists, as early as Pythagoras and as late as Descartes, understood overtones in terms of tones produced by successive divisions of a string into equal parts.

Today some music theorists are again asserting the relevancy of overtones to music. The six-pointed fractals in England and their cymatic counterparts in the studies of Hans Jenny contain Euclid’s theorem and show the design of an immense complexity built into nature, as well as the by-products of the harmonic laws of sound frequency.

The ancient temples, including the Temple of Solomon and the Great Pyramid as well as those from Mexico to Brazil, were more than merely a mixture of unique stone walls; these are forms created to resonate with our very being. Nevertheless, it was our amazing discovery to find that some of the special stones used in the Great Pyramid, for example, function as precise resonators! A person orchestrating strong pulses from the upper cavities in the interior of the pyramid can create huge gong-like sounds that resonate throughout the upper and lower chambers. When one simply sits in the sacred rooms and taps the wall or vocalizes hieroglyphs, a clear and sustained sound is produced.

The Psalmist tells us to rejoice (Psalm 150) and to laud the Divine with tambourine and horn. Let us understand the insights of vibration in what Christ taught us as our privilege of hearing the vibrations of “rocks that will sing.” Let us realize we live at a time when we are gaining the knowledge of the music of the spheres, which will allow us to move materials of finite size and dimensionality through one of the portals opening into the Father’s House of Many Mansions!

— J.J. Hurtak, Ph.D., Ph.D.

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