:D LOVE this thread.
I'm a musician, and I've been experimenting a lot with this tuning. What originally sparked my interest was "The Mozart Effect". I was curious to see what results I may find, if comparing the historical frequency tunings, and determined that in Mozart's Age, there was a standard universal instrument tuning of A 448. Later, I found the esoteric value of A432, and begin experimenting with both, to see what various effects it had on the psyche. What I have personally experienced is that A432hz in music tends to give a certain feeling of oneness and connectedness, and A448hz seems to give a heightened sense awareness. A440, in some respects I feel has it's place, when conveying a particular emotion, but it's not the most uplifting tuning. sometimes it feels a bit, "muddling".
Here is a historical list of tuning, and who was responsible for adopting it as a universal standard in which manufacturers and instrument tuners to use:
Source: http://www.piano-tuners.org/history/pitch.html
1640 Vienna Franciscan Organ A457.6
1699 Paris Opera A404
1711 John Shore's tuning fork, a pitch of A423.5 He invented the tuning fork, one of which still exists today.
1780 Stines, for Mozart, A421
1780 Organ builder Schulz A421.3
1714 Strasbourg Cathedral organ A391
1722 Dresden's chief Roman Catholic church organ A415
1759 Trinity College Cambridge organ A309
1762 Stringed instruments at Hamburg A405
1772 Gottfried Silbermann built the organ in the main Roman Catholic church in Dresden, and it had a pitch of A 415 at the time.
1780 Organ builder Schulz A421.3
1780 Stein's tuning fork A422.6
1751 Handel's own fork A422.5
1800 Broadwood's C fork, 505.7, which is about half a semitone lower than that of today
1811 Paris Grand Opera A 427
1812 Paris Conservatoire A440, as modern pitch
1813 George Smart adopted for the Philharmonic Society the pitch of A423.3.
1820 Westminster Abbey organ and possibly Paris Comic Opera used a pitch of A422.5.
1828 Philharmonic Society A 440
1834 Vienna Opera A 436.5
1835 Wolfels piano maker A443
1836 Pleyel's Pianos A446
1846 Philharmonic pitch was A452.5 (very high) which lasted till 1854
1846 Mr Hipkins piano tuner (Meantone) A433.5 (Equal) A436.0
1849 Broadwood's medium pitch was A445.9 which lasted till 1854
1858 New Philharmonic pitch C522
1860 Cramer's piano makers of London A448.4
1862 Dresden Opera A 440
1871 Covent Garden Opera House A 440
1877 Collard's piano maker standard pitch was A 449.9
1877 St. Paul Cathedral organ A446.6
1877 Chappell Pianos A455.9
1877 Mr Hipkins piano tuner A448.8
1878 Her Majesty's Organ A436.1
1878 Vienna Opera A447
1879 Covent Garden Opera A450
1879 Erard's factory fork 455.3
1879 Steinway of England A 454.
1879 British Army regulation pitch for woodwinds A451.9
1880 Brinsmead, Broadwood, and Erard apparently used a pitch of A455.3
1880 Steinway may have been using a pitch of A436. According to Steinway of New York, 1880 is right around the time they switched from three piece rims to the continuous rim that is used today. So it is unlikely the pitch was any higher before 1880, yet Steinway of London had a fork A454.7.
1885 In Vienna a pitch of A435.4 was adopted at a temperature of 59 degrees Fahrenheit for A.
1885 At an international exhibition of inventions and music in London a pitch of A452 was adopted.
1896 Philharmonic pitch A439, giving C522
1925 On the 11th of June the American music industry adopted A440.
1936 American Standards Association adopted A440. yet; New York Philharmonic and the Boston Symphony Orchestra, use 442 Hz
1939 At an international conference A440 was adopted.
As you can see, it has been a very long time since A432, however it appears in many ancient cultures. Egypt is one that stands out of course... Buddhist Temples, Mountain Temples.
Another interesting thing to note, to add to all this fascinating stuff, is that when I ran A432 through visualization software, Sacred Geometry shapes appeared at many resonant intervals, very dramatically. I would love to see what music does with a Cymatic Analyzer at this tuning.
Shortly after learning this, I decided to cover "Kashmir" by Led Zepplin, and without thinking tuned my stuff to A432. I came to find out later through someone else: "Oh did you know they had to specially tune their guitars before performing that song every time?"
If you are a musician, who uses professional audio equipment, -32 cents is A440 - 8hz = A432. +32 cents is A440 + 8hz = A448. They great part is, it's still the A note, so you don't lose musical integrity and cause horrible dissonance. The resonance is quite enjoyable.
I'm a musician, and I've been experimenting a lot with this tuning. What originally sparked my interest was "The Mozart Effect". I was curious to see what results I may find, if comparing the historical frequency tunings, and determined that in Mozart's Age, there was a standard universal instrument tuning of A 448. Later, I found the esoteric value of A432, and begin experimenting with both, to see what various effects it had on the psyche. What I have personally experienced is that A432hz in music tends to give a certain feeling of oneness and connectedness, and A448hz seems to give a heightened sense awareness. A440, in some respects I feel has it's place, when conveying a particular emotion, but it's not the most uplifting tuning. sometimes it feels a bit, "muddling".
Here is a historical list of tuning, and who was responsible for adopting it as a universal standard in which manufacturers and instrument tuners to use:
Source: http://www.piano-tuners.org/history/pitch.html
1640 Vienna Franciscan Organ A457.6
1699 Paris Opera A404
1711 John Shore's tuning fork, a pitch of A423.5 He invented the tuning fork, one of which still exists today.
1780 Stines, for Mozart, A421
1780 Organ builder Schulz A421.3
1714 Strasbourg Cathedral organ A391
1722 Dresden's chief Roman Catholic church organ A415
1759 Trinity College Cambridge organ A309
1762 Stringed instruments at Hamburg A405
1772 Gottfried Silbermann built the organ in the main Roman Catholic church in Dresden, and it had a pitch of A 415 at the time.
1780 Organ builder Schulz A421.3
1780 Stein's tuning fork A422.6
1751 Handel's own fork A422.5
1800 Broadwood's C fork, 505.7, which is about half a semitone lower than that of today
1811 Paris Grand Opera A 427
1812 Paris Conservatoire A440, as modern pitch
1813 George Smart adopted for the Philharmonic Society the pitch of A423.3.
1820 Westminster Abbey organ and possibly Paris Comic Opera used a pitch of A422.5.
1828 Philharmonic Society A 440
1834 Vienna Opera A 436.5
1835 Wolfels piano maker A443
1836 Pleyel's Pianos A446
1846 Philharmonic pitch was A452.5 (very high) which lasted till 1854
1846 Mr Hipkins piano tuner (Meantone) A433.5 (Equal) A436.0
1849 Broadwood's medium pitch was A445.9 which lasted till 1854
1858 New Philharmonic pitch C522
1860 Cramer's piano makers of London A448.4
1862 Dresden Opera A 440
1871 Covent Garden Opera House A 440
1877 Collard's piano maker standard pitch was A 449.9
1877 St. Paul Cathedral organ A446.6
1877 Chappell Pianos A455.9
1877 Mr Hipkins piano tuner A448.8
1878 Her Majesty's Organ A436.1
1878 Vienna Opera A447
1879 Covent Garden Opera A450
1879 Erard's factory fork 455.3
1879 Steinway of England A 454.
1879 British Army regulation pitch for woodwinds A451.9
1880 Brinsmead, Broadwood, and Erard apparently used a pitch of A455.3
1880 Steinway may have been using a pitch of A436. According to Steinway of New York, 1880 is right around the time they switched from three piece rims to the continuous rim that is used today. So it is unlikely the pitch was any higher before 1880, yet Steinway of London had a fork A454.7.
1885 In Vienna a pitch of A435.4 was adopted at a temperature of 59 degrees Fahrenheit for A.
1885 At an international exhibition of inventions and music in London a pitch of A452 was adopted.
1896 Philharmonic pitch A439, giving C522
1925 On the 11th of June the American music industry adopted A440.
1936 American Standards Association adopted A440. yet; New York Philharmonic and the Boston Symphony Orchestra, use 442 Hz
1939 At an international conference A440 was adopted.
As you can see, it has been a very long time since A432, however it appears in many ancient cultures. Egypt is one that stands out of course... Buddhist Temples, Mountain Temples.
Another interesting thing to note, to add to all this fascinating stuff, is that when I ran A432 through visualization software, Sacred Geometry shapes appeared at many resonant intervals, very dramatically. I would love to see what music does with a Cymatic Analyzer at this tuning.
Shortly after learning this, I decided to cover "Kashmir" by Led Zepplin, and without thinking tuned my stuff to A432. I came to find out later through someone else: "Oh did you know they had to specially tune their guitars before performing that song every time?"
If you are a musician, who uses professional audio equipment, -32 cents is A440 - 8hz = A432. +32 cents is A440 + 8hz = A448. They great part is, it's still the A note, so you don't lose musical integrity and cause horrible dissonance. The resonance is quite enjoyable.
