Vibro-Acoustic Sound Healing The Science and History of Harmonic Medicine
Quantum Energetics is dedicated to exploring the frontiers of vibrational sound healing by combining ancient harmonic principles with modern technologies to impart pure ratio sound energy directly into the physical body. The following article outlines the scientific and medical basis for sound healing along with a brief introduction to Cymatics (the geometry of sound) and the ancient science of harmonics.
Sound is a Powerful Force of Nature...
The same power that enables sound to burst a crystal wine goblet also gives it the ability to disintegrate a cancer cell. Sound can stimulate sadness, joy, and everything in between. It can improve learning, memory, and creativity, and it can reduce stress or pain. Sounds can trigger pleasurable memories, release stuck emotions, and induce deep relaxation. Sound can also harmonize the body’s energy system and create spontaneous physical and spiritual healing.
Since ancient times, sound has been used to stimulate healing in body, mind, and soul. Pythagoras, the sixth-century B.C. Greek philosopher and mathematician, is credited with being the first to use music to heal the body and the emotions. The belief that sound can support healing has been an integral part of many of the world’s cultures, from the most ancient Hindu mantra practices to the rituals of Chinese healers, South American shamans, and Sufi mystics.
Sonic therapies can balance and harmonize the human bio-field and assist the body's ability to align with it's own inherent healing capabilities, while also working to enhance and expand the beneficial effects of all bodywork and energetic healing practices. Through the use of vibrational therapies and diagnostic tools tuned to the subtlest and most profound aspects of our being, light and sound frequencies can create a foundation for reinstating and supporting the physical, neurological, and spiritual health for which the human body was designed. Along with increased access to heightened states of awareness and well-being via these modalities, the coherence engendering effects on the subtle body can be immediately felt by the recipient.
Vibro-Acoustic Healing and the Science of Sound
Sound medicine is both an art and a science that works through a process called sympathetic resonance, where one vibration affects another vibration. The term “vibro-acoustic” comes from the Latin verb vibrare (to vibrate, to wave) and the Greek verb akouein (to hear). “Vibro-acoustic” as it relates to healing may be defined as “the process of the propagation of sound vibrations through the body.”
The development of vibro-acoustic healing technology is based on the recognition that our bodies consist of cells that naturally vibrate in sound frequencies; that external vibrations can influence how the human body functions; and that specific vibro-acoustic sounds and therapies can be purposefully used as a medical intervention by creating more harmonious vibrations in our cells and organs.
These discoveries were made at the University of California a few years ago. When disease developed, the sounds of cell vibrations changed. For example, cancer cells sound different from normal cells. When we are healthy, our cells are vibrating at their natural harmonious frequency. When we’re ill and out of balance, our cells are vibrating at a disharmonious or “ill” frequency. To activate the healing process, we can use “healthy” sound vibration to remind the “ill” cells of their natural “healthy” vibration. When the “ill” cells begin to vibrate (to “dance”) at their “healthy” vibration, they begin to heal and repair themselves. We hope that in the future doctors will be able to “hear” these differences, thus enabling them to diagnose illnesses at the onset.
Medical Studies & Research
Many medical studies and researchers from around the world are clearly demonstrating that sound can be used to restore health and transform us at the core of our being:
A Kaiser Permanente study found that pain medication can be reduced by up to 30% by playing music to patients.
University Hospital of Cleveland reports that a single 30-minute music therapy session significantly boosts the effectiveness of the immune system.
Yale University researchers find that music has a way of communicating with autistic patients who otherwise cannot be reached or helped.
The Cornell Cancer Prevention Center in New York has cancer patients play crystal and Tibetan Singing Bowls, and finds that patients recover 50% faster after chemotherapy treatments when the bowls are played.
The Albert Einstein College of Medicine has discovered that sound helps people affected by disorders of the brain, and that sound therapy is highly beneficial for stroke victims, psychiatric patients, and patients with Parkinson’s and Alzheimer’s disease.
Pregnant women can use music to “block” pain.
Sixty percent of patients require less anesthesia when music is played during surgical operations.
Sound improves oxygen metabolism in healthy cells and destabilizes and disintegrates cancer cells.
Infants who listen to classical music gain weight faster, have fewer complications, and are released from the hospital, on average, a week earlier than babies who do not listen to classical music.
Patients who receive music therapy while undergoing bone marrow transplants begin producing white blood cells two days earlier than those who don’t have music therapy.
In coronary care units, patients listening to classical music have fewer complications, such as irregular heartbeats and problems with high blood pressure.
The Father of Acoustics
The eighteenth-century German physicist and musician Ernst Chladni - known as the pioneering father of acoustics (the science of sound) - showed that sound affects matter in his 1787 publication, "Discoveries Concerning the Theory of Music", where he discovered a way to make visible what sound waves generate. When he drew a violin bow perpendicularly around the edge of a plate covered with fine sand, the sand formed intricate geometric patterns, which today go by the term "Chladni figures". Chladni demonstrated once and for all that sound actually does affect physical matter and has the quality of creating geometric patterns.
On a deeper and more fundamental level, every “thing” is energy. Energetically, all "things" (including all aspects of the human body) have certain vibratory frequencies that produce unique geometrical signatures, including sound. Thus, there is a connection between sound, vibrations, and physical reality, as what we see and experience as “physical” is a static representation of sound vibrations resonating, or manifesting, into form through the medium of various materials. This gives sound and vibrations both the potential to create, and the power to destroy, depending upon how it is used.
We will now go deeper into the science of sound.
Cymatics: The Geometric Structure of Sound Vibrations
The term 'Cymatics' was coined by Swiss doctor, artist, and researcher Hans Jenny, and is derived from the Greek work 'kyma' meaning 'wave' or 'kymatica' meaning 'matters pertaining to waves'. The following 1-minute "Hidden Worlds" video provides a brief introduction to these concepts:
In 1967 - Two hundred years after Chladni - Dr. Hans Jenny published "Cymatics - The Structure and Dynamics of Waves and Vibrations". For many years in the 1960's, Dr. Jenny investigated the three-dimensional aspects of the effect of vibration by conducting sound experiments that show what happens when one takes materials like sand, spores, iron filings, mercury, water, gases, and viscous substances, and places them on vibrating metal plates and membranes. Using simple sine wave vibrations (tones within audible range) on these malleable mediums created beautiful geometrical signatures and motion patterns which vary from the nearly perfectly ordered and stationary to those that are turbulently developing, organic, and constantly in motion. He was also able to produce wave motions, spirals, and wave-like patterns in continuous circulation. In his research with plant spores, he found an enormous variety and complexity, and yet there was still a pervasive unity in the shapes and dynamic developments that arose.
What Dr. Jenny pointed out was the resemblance between the shapes and patterns we see around us in physical reality and the shapes and patterns he generated in his investigations. Jenny was convinced that biological evolution as the result of vibrations, and that the nature of these vibrations is what determines the ultimate outcome. He speculated that every cell has its own frequency, and that a number of cells with the same frequency created a new, higher-order frequency that is in harmony with the original. This in turn might form a physiological structure such as an organ, which also creates a new frequency in harmony with the preceding ones.
In the 1960’s, Dr. Jenny investigated sound vibration further by inventing a cymatic instrument called a “tonoscope.” This allowed him to view the 3-dimensional physical image of various sounds, including human vowels and tones. He observed that the moving 3-dimensional shapes and formations composed on the tonoscope created precise geometric signatures. Dr. Jenny also noticed that when vowels of ancient sacred languages such as Hebrew, Sanskrit, Egyptian, and Tibetan were pronounced, the vibration took the shape of the written symbols for these vowels, while our modern languages failed to generate the same result. This suggests that by sounding sacred texts and singing sacred vowels in these ancient languages, it is possible to transform physical reality by influencing our cellular structure to resonate into a more coherent shape.
In essence, Jenny was saying that the key to understanding how we can heal the body with the help of tones lies in our understanding of how different frequencies influence genes, cells, and various structures of the body, and how exposure to specific sound vibrations and frequency signatures allows a person who is “out of tune” to heal.
From a wide array of scientific research in music cognition, neuro-physiology, genetics, acoustics, mathematics, and quantum physics, Richard Merrick has shown that the human mind is able to organically measure the degree of dissonance in sound and mentally anticipate the direction of resolution in music harmony. He also developed a set of principles and mathematical models to explain how we perceive music. Naming this system harmonic interference theory, he found a way to demonstrate how harmonics – the overtones of a musical note – play a common role in both sound and the structure of our anatomy.
The theory proposes that life grows within a balance between resonance and damping – just like a vibrating string – and that music perception is a built-in pattern-matching relationship between the harmonic geometry of sound and identically corresponding structures in the ear and the brain. It is from this organic pattern-matching process that the musical qualities of consonance, dissonance, tension, and resolution can be defined mathematically and then visualized geometrically as crystalline and quasi-crystalline structures. Thus, the harmonic properties in human physiology suggest that the entire body is a form of crystallized music.
The Vitruvian Man - Leonardo DaVinci
This is clearly expressed in the popular illustration of the Vitruvian Man by Leonardo DaVinci, which represents the mathematical “squaring of the circle”, whereby the perimeter of the square is equal (as near as possible) to the circumference of the circle (3.14). First proposed by Roman architect Marcus Vitruvius Pollio in the first century BC, the squaring of the circle is intended to represent the harmony and balance in the ideal human form.
The circle implies an inside-out resonance of the of cellular structure, while the square represents an outside-in damping effect to contain the outward push of cellular resonance. From this perspective, all organic life can be defined as energy resonating outward into space, which is then pushed back inward into specific shapes, depending upon which harmonic proportions are emphasized by the DNA as a quantum resonator. In other words, life is a form of resonance and space is life’s resonating chamber, or damping container. Indeed, space itself is interacting with the structure of life.
This can be measured in many ways using the Vitruvian Man as a model by superimposing a harmonic geometrical lattice of right-angled standing sound waves, showing researchers such as Merrick that the mathematical geometry of harmonics can proportionally account for our body structure, and that our bodies (and all life) resonates (grows) into the containment geometry of space.
Superimposing a harmonic lattice over the Vitruvian Man also reveals ancient religious icons, sacred geometrical patterns, and the mysterious symbols used by various esoteric fraternities, including the Freemasons. Leonardo DaVinci was a master freemason.
Freemasonry is an esoteric society whose well-known symbol represents the circle (compass) and the square (squaring tool) with a “G” (Geometry) in the middle. Other sacred geometrical patterns that can be found on the harmonic lattice of the Vitruvian Model include the Egyptian Flower of Life (sixth century BC), Metatron’s Cube, and the Vescia Piscis. The harmonic lattice also reveals the Hebrew Tree of Life, the Hindu Chakra System, and the Gnostic Cross, the latter of which turns the Vitruvian man into a kind of archetypal crucifix.
The Suppression of Ancient Harmonic Science
So, why is this science completely absent from general public awareness? Why are these relatively simple understandings not a part of scientific, religious, musical, or historical discourse, much less our entire educational system?
It is becoming increasingly clear that, for thousands of years, knowledge of the harmonic geometry of sound has been kept secret from the masses by the Church, by associating Paganism (the belief of God in nature) with the perfectly divine ordering principle of nature revealed by harmonic philosophy and sacred geometry. Establishing and promulgating a social system of control that regulates admission to the afterlife – whereby only the faithful could reach God through the Church, rather than through the study of self and nature – The Roman Catholic franchise suppressed this ancient science with over one thousand years of Canon Law. This is why the tritone interval of a half-octave, nicknamed Diabolus in Musica (“Devil in Music”), was banned from sacred music in 1234 AD by Pope Gregory IX (it is still banned to this day). Surely the Church was well aware that the tritone could reveal the symmetry in music harmony and open the door to the “carnal knowledge” of harmonics in the body, the mind, in nature, and in the Universe. Thus, harmonic ideals represented by symbols such as the Pythagorean pentagram and the Hebrew hexagram were cast by the Church as evil pagan symbols associated with satanic worship, witchcraft, and occult rituals.
Vibro-Acoustic Resonating Chambers The Gothic Cathdrals & The Templar Knights
Ironically, when Vitruvius’ writings were revived and printed in the 1400’s, they became the inspiration for the architecture of the magnificent churches and cathedrals in Europe, which were also designed and based upon knowledge brought forth by the Gnostic Cathars and the Knights Templar, to be built as resonating chambers for sound and music to heal, amplify, and alter consciousness during worship and prayer. The Cathars, who studied harmonic properties in numbers, geometry, and astronomy in Southern Europe, were systematically threatened, exiled, or executed by the Church throughout the eleventh (11) to thirteenth (13) centuries. The Knights Templar, the primary keepers of the Egyptian temple mysteries, were then infamously hunted down and murdered by the Roman Catholic Church on Friday, October 13, 1307. Similar methods were employed for those who espoused the “Round Earth” theory. Yet, it was this geometric and harmonic wisdom behind Leonardo’s revolutionary Vitruvian man, and the new “perspective” it brought to Western European consciousness, that lead to the birth of the “Enlightenment”, the “Age of Reason”, and the Scientific Method.
What About Science?
More recently, at the other side of the two-dimensional spectrum of debate, science continues to ignore, well, the science. Leading up to the enlightenment, the study of harmonics and the natural philosophy that followed it was called Musical Universalis or “Music of the Spheres.” Yet, from the beginning, the “scientific method” was designed to discourage its study.
The exclusion of music and “pagan” harmonic principles from modern science was first suggested in a letter from the astronomer Galileo to his daughter, apparently prompted by his desire to avoid torture and imprisonment by the inquisition. Later, this proposition was also supported by Newton, Descartes, and others who wished to find a way to co-exist with the Church during this period, when the study of harmonics was separated from mathematics and science and placed under the jurisdiction of the less grounded “humanities”. Ironically, as these relationships became increasingly institutionalized, the scientific establishment relegated the idea of the unifying properties of harmonics in nature to the unsavory status of religious dogma.
The Scientistic Paradigm
Regardless, in the Twentieth century the anti-harmonics campaign reached its zenith in the Michelson-Morley experiment which apparently “proved” space to be an empty void with no intrinsic structure or measurable effect on matter. This belief was quickly accepted as the cornerstone of 20th-century scientific thought and education, with Darwin’s theory of natural selection being elevated as the explanation for why life takes the form it does. More than anything, this worldview has socially engineered a materialistic cosmology and a spiritual void, with space and the Universe as a cold, separate, meaningless, hostile, and random accident. In this reality, selfishness and brute force are projected into human nature as the prevailing mechanisms behind survival and evolution, which leads to nihilism as the popular consensus while serving as the cosmological foundation for free-market ideologies that view both species and planet as resources for exploitation.
The truth is that for the past 350 years a complicity of convenience has existed between the institutions of western religion and science that avoids any mention of harmonics and the vibro-acoustic healing power of sound medicine. Yet, all along the Holy Ghost was but a blueprint for humankind existing deep within the fabric of space.
Recently, famous physics experiments using sophisticated instruments clearly indicate that space does indeed have a measurable effect on matter. Still, the entrenchment of the scientific and educational establishments politically refuse to acknowledge the possibility of any structuring properties in the vacuum, or how an unseen and precise intelligence in space might play a role in the formation of life. However, while the rest of science continues to powered by Newtonian machinations, quantum theory continues to propose a cosmos composed of coherent harmonic waves crystallizing into matter within a polarized cubic space lattice, akin to a physical hologram. As we move into the future, life will no longer be accepted as accidental, and geometry will be taught to our children as something sacred. Then, we might model our societies and civilizations based on the coherence demonstrated so beautifully in nature and the human form. These are fundamental principles underlying the efforts of the Quantum Energetics Foundation.
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Sound Frequency Can Create Spontaneous Healing
Sonic Therapies Can Assist in the Harmonization of the Human Bio-Field
"Vibro-Acoustic Healing" means "The Propagation of Sound Vibrations through the Body"
Harmonious Frequencies for Your Cells and Organs
Healthy Cell Vibrations
Mozart is Medicine
Sound Improves Oxygen Metabolism
"Uni-Verse" = "One-Song"
Chladni Figures (Sand)
"Cymatics" by Dr. Hans Jenny
Sound Wave Geometry
Sound Wave in Sand
Results of Dr. Jenny's Research
Dr. Jenny with his Tonoscope
Sine Wave Vibration
When pronouncing vowels of ancient sacred languages, the vibration takes the shape of the written symbols for these vowels