Several new functions in the CoRe Frequency Module allow to combine age old concept of harmony based on geometry, number systems and proportions found in nature with the very successful scanning algorithm of CoRe. :
An overview of this function can be found here http://energetic-medicine.com/rife-frequenc-therapy-healing/
The whole idea of traditional Rife therapy was to find the particular frequency to blow up an enemy virus or bacteria – Rife called this the MOR the mortal oscillatory rate – I call this allopathic energy medicine that has as its basis the philosophy to kill what is considered not to be good.
This technology and philosophy was always based on single frequencies that were taken from old records of which frequencies had worked in the past for a given disease
Rife therapy works based on agitation of the self-healing powers of the body – just like hot and cold showers make us more alive – so also energetic frequencies stimulate greater aliveness.
Bringing traditional knowledge together with the intuitional capacity that makes decisions based on a connection to the informational matrix. The Golden Mean is one of the most common proportions that evolution has favored or possibly that was part of the design principles of evolution – but certainly it is not the only significant proportion occurring in nature. Using the CoRe algorithm to find the most resonant base for the duplet of frequencies of which the second one has for example a golden mean relationship to the first one – in this way we merge intuition which is based on a connection to the informational matrix and which is simulated by the CoRe algorithm and left brain knowledge based on centuries of experience that some proportions are particularly meaningful. These significant proportions can either be musical scale proportions or mathematical proportions that are based on certain exceptional sequences – both is now integrated into the new CoRe Dual Frequency Module. Panning is an additional means to create interference between the two hemispheres in that the channels move between right and left ear with the set time duration.
I believe that the medicine of the future will combine beauty (information) that is inherent in all – the Harmonica Mundi and Energy into one whole that mutually support each other
– here is a very nice visual introduction to that :
Music is only possible through the tension of the string – this is another example for a state of DLE between the polarities. Tension that New Age mostly wants to discard as a form of stress, is in fact the basis of health and the ability to resonate.
From the beginning we are told that music was ordained by virtue of its implicit doctrine of correspondences. The idea that all things are joined by an unbreakable bond (inviolato vinculo) echoes a passage found in Plato’s Timaeus:
Out of these materials (the elements), such in kind and four in number, the body of the Cosmos was harmonized by proportion and brought into existence. These conditions secured for it Amity, so that being united in identity with itself it became indissoluble by any agent other than Him who had bound it together.
The indissoluble bond, for both Fludd and Plato, was proportion. It was by proportion that like was related to like, as the Macrocosm was related to the Microcosm. Fludd illustrates this idea in his monochordum humaniae microcosmi. In this cut, man the microcosm and his various parts, anatomical, mental and spiritual, are harmonized by an unbreakable chain, i.e. the string and its various harmonious proportions.
by Louis Charpentier
If it is to last, the Gothic monument requires perfect adjustment between weight and thrust; the weight that creates the thrust becomes itself its own negation. The activity in the stone is therefore in a state of constant tension which the art of the master builder can tune like a harp string. For a Gothic cathedral a musical instrument by similitude.
Kepler rigorously investigated auditory space through experimentation. The followers of Pythagoras limited their musical system to the three intervals mentioned above. Kepler sought to determine all of the possible harmonic ratios for sound, and to inquire as to their causes in the domain of geometry and mathematics.
Refuting the musical theories of the ancient Greeks, Kepler questioned if there truly were a “unit” or the “one” common to all the harmonic divisions of the string? Did there exist a smallest interval or “common factor” from which each other harmony could be constructed?
Kepler found that there was not.
Efforts to find a “common factor” left small discrepancies such as 1/81 of an octave (called the syntonic comma in musical terms) between harmonies. Without some system of “tempering” to adjusting for these discrepancies, the “commas” would accumulate on an instrument based on equal steps, such as the piano, throwing off harmonies as one continued up the range.
Vincenzo Galilei (1520-1591), Galileo Galilei’s father and a musical theorist, championed a system of equal tuning that “split the difference” the “commas” represented in order to facilitate composition and performance on the piano.
Kepler regarded this idea as simplistic and mistaken. A more elegant system for tuning, he thought, needed to be found.
Just as planetary orbits were not based on perfect circles, the principles underlying harmony could not be reduced to musical “atoms” without sacrificing true consonance.