![]() She discovered a new method of tuning the piano that involves both the frequency C = 128 Hz and the frequency A = 432 Hz. One of Renold’s heartfelt questions concerned the correct concert pitch. When she heard about Rudolf Steiner’s pitch suggestion of c = 128 Hz, she immediately put it into practice and experimented with it for many years in America and Europe. Maria Renold (1917–2003) spent her childhood in the USA, where her parents emigrated to found eurythmy therapy in New York. She studied eurythmy and later violin and viola and toured with the Bush Chamber Orchestra and the Bush String Quartet. Only in listening, which alone must count as a “real” standard for us then in precise clarification by calculating what has been heard. In such work, Maria Renold gains the certainty of the distinctions, tests countless hearing people, does not give up taking Rudolf Steiner’s statements seriously, interpreting them, harmonizing them with one another. ” ![]() In our time of hearing, we feel differently. Raising this to full consciousness is a much attempted endeavour. ” Even in antiquity, they sought to constantly redesign their tonal laws and harmonious relationships. Not only because of the daily music-making, but because she wanted to find and organize the destinies of mankind in the tones. And the right tones should harmonize with the whole cosmos, the planets and the zodiac. Her book was published in German in 1985 and has become a modern classic of musical research. Maria Renold p.131 Of intervals, scales, tones and that Concert pitch c = 128 Hz 1 Hertz is the tone CĪnyone who deals with 128 HZ will very quickly come across Maria Renold. Her book “Of Intervals, Scales, Tones and the Concert Pitch C = 128 Hertz” is, so to speak, the bible of the 432 Hz and 128 Hz community. First and foremost, she deserves the thanks of frequency research. Schlesinger – C equals 128 Hz equal to the sun – can be seen as a gift, through which he opened up access to this “actual C” to western mankind.” ![]() ![]() It follows that our time second is by no means an arbitrarily fixed unit.Īs a time measure of a sub-octave of the tone C = 128 Hz, it is anchored in people like this tone itself and thus creates a real connection between people and music, insofar as both are integrated into the flow of time. One of the main characteristics of music is that it has no spatial form, but runs exclusively in time. “Ībout the future importance of the tone C, Rudolf Steiner said: “F has actually already been added to the five old tones d, e, g, a, h to a very high degree, but not yet the actual c. That really has to come in with all of its human emotional significance.” By definition, this requires one second of time for one oscillation. Although it is imperceptible to human ears – the lower limit of hearing is around 16 Hz – physical inaudibility does not rule out its effectiveness. However, the C = 1 Hz belongs to the tone C = 128 Hz as the seventh sub “ As is well known, the second as a unit of time cannot be found in natural phenomena and is therefore regarded by science as an arbitrary quantity. ![]()
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