道，名， String 「Theory」

Basically, that theory suggests that the physical universe is built out of sound vibrations

↳ Vibe & Resonance，道，名

String 「弦」 theory turns the page on the standard description of the universe by replacing all matter and force particles with just one element: tiny vibrating strings that twist and turn in complicated ways that, from our perspective, look like particles. A string of a particular length — striking a particular note — gains the properties of a 光子 photon, and another string folded and vibrating with a different frequency plays the role of a quark, and so on. In addition to taming gravity, the framework proved attractive for its potential to explain so-called fundamental constants like the electron's mass. 

Everything is vibration

"We are a digital, bioholographic, precipitation, crystallization, miraculous manifestation, of 道， Deo, Divine frequency vibrations, forming harmonically in a hydro-space."

― Dr Leonard Horowitz, author, investigator and speaker

The Law of Vibration

Just as a pebble creates vibrations that appear as ripples, which travel outward in a body of water, our thoughts create vibrations that travel outward into the Universe and attract similar vibrations that manifest as circumstances in our life.

What is illness?

“Emotional issues that are unresolved block the healing vibrations or cause the disease state to return.”

― Richard Gordon

What is the mechanism for healing?

Resonance.

“When two systems are oscillating at different frequencies, there is an impelling force called resonance that causes the two to transfer energy from one to another. When two similarly tuned systems vibrate at different frequencies, there is another aspect of this energy transfer called entrainment, which causes them to line up and to vibrate at the same frequency.” 

— Richard Gordon

Solfeggio Harmonics — 528 Hz

The 528 Hz frequency is known as the "528 Miracle" because it has the remarkable capacity to heal and repair DNA within the body and is the exact frequency that has been used by genetic biochemists.

"528 cycles per second is literally the core creative frequency of nature. It is love," 

— Dr Leonard G. Horowitz, medical researcher 

The ancient inhabitants of what is now China knew of 172 Hz as the fundament harmonic frequency of nature. During 春秋戰國時期（公元前5世紀）， the Spring and Autumn and Warring States Period (5th century BC), China already had 七聲音階, a seven-tone scale. And 絕對音高的概念, the concept of absolute pitch, which indicates that the culture and technology of the 周代 Zhou Dynasty had reached a very high standard. 曾侯乙編鐘, Zēnghóuyǐ Biānzhōng, the Bianzhong of Marquis Yi of Zeng, or Zenghouyi Bells, 65 bell ensemble uses a norm tone (2 millennia before such a concept was instituted in Europe) of 345 Hz (344 Hz would be a harmonic of 172 Hz as 172.06 resonates with the Platonic year {about 26,000 years} Note = F, the Frequency of the Platonic Year/Colour = red-violet {purple} Tempo=80.6 BPM/Chakra = Sahasrar/Crown chakra / Effects = cheerfulness, clarity of spirit, cosmic unity on highest levels / Medicinal utility = antidepressive)

During 春秋戰國時期（公元前5世紀）， the Spring and Autumn and Warring States Period (5th century BC), in China, the great tone of nature was known as 宮 which is the musical note C, while in Tibet, the notes A, F, and G are the sounds of power. The Emperor of China kept the peace by travelling once a year with his entourage to each province to tune the notes of the scale. This procedure maintained peace for thousands of years. (Colour = purple/violet) (Effects = joyful, cheerful, spiritual effect) [PSI].

F is considered the tone of the spirit, while other sources [PM] disagree about the F tone being associated with the Crown chakra, which is how HC/Planetware connects this frequency to the crown chakra. [PM] considers the crown chakra to be associated with the B note and not F.

宮, 商, 角, 徵, 羽 Chinese pentatonic scale

The pentatonic scale has a unique character and is complete in terms of tonality. One construction takes five consecutive pitches from the circle of fifths; starting on C, these are C, G, D, A, and E. Transposing the pitches to fit into one octave rearranges the pitches into the major pentatonic scale: C, D, E, G, A.

基 徵 G 變徵之音 (music) a sound that is high in tone yet solemn and sombre.

1. 宮 the first note of the Chinese pentatonic scale 宮 (ㄍㄨㄥ, C Major pentatonic) mode
2. 商 the second note in the Chinese pentatonic scale 商 (ㄕㄤ, D Egyptian, suspended) mode
3. 角 the third note in the Chinese pentatonic scale, or mi, E 角 (ㄐㄩㄝˊ, E, Blues minor, Man Gong 『慢宮調』) mode
4. 徵 the fourth tone in the ancient Chinese pentatonic scale,  徵 (ㄓˇ, G Blues major, Ritsusen 『律旋』, yo scale) mode comparable to sol in the Western solfège system, G mode
5. 羽 the fifth note in the Chinese pentatonic scale, 羽 ㄩˇ, A mode

十二律, 12 pitches, twelve-pitches scale, bamboo-tuning-pipe

In ancient China, 樂, ㄩㄝˋ, the word music referred also to dance as music and dance were considered an integral part of the whole. The word 舞"dance" similarly also referred to music, and every dance would have had a piece of music associated with it. The most important set of music of the period was the Six-dynasty Music Dance (六代樂舞) performed in rituals in the royal court. Music in 周朝 the Zhou Dynasty — 雅樂 'elegant music' or court ritual music — was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of 陰陽, and this concept has enduring influence, later in Chinese thinking, on music. "Correct" music according to 周朝 Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature. Incorporated within 雅樂 were elements of shamanistic or religious traditions, as well as early Chinese folk music. Dance was also closely associated with 雅樂 music, each 雅樂 piece may have a ceremonial or ritual dance associated with it, of which the most important 雅樂 piece of the 周朝 Zhou dynasty was 六代樂舞, each one of the six being associated with a legendary or historical figure – 雲門大卷 Yunmen Dajuan, 大咸 Daxian, 大磬 Daqing or 大韶 Dashao, 大夏 Daxia, and 大濩 Dahu, 大武 Dawu.

Around or before the 7th century BCE, a system of pitch generation and pentatonic scale was derived from a cycle-of-fifths theory.

陳應時, 上海音樂學院 "一種體系 兩個系統"

湖北博物館展出的曾侯乙編鐘。

鑄造

《周禮·考工記》中記載，「金有六齊（劑），六分其金而錫居一，謂之鐘鼎之齊。」曾侯乙編鐘的合金，銅含量73.66%～78.25%；錫含量為12.49%～14.46%；鉛含量一般小於2%；其他金屬元素含量小於1‰。曾侯乙編鐘的銅與錫的比例大約6:1。

實驗證明，當含錫量為5.76%～12.48%時，鐘的第二分音較強，聲音尖銳單調；當含錫量大於13.03%時，鐘的基音和第三、五分音較強，音色豐富悅耳；而當錫含量高於18%～20%時，青銅會脆而不經敲擊。少量含鉛（<3%）可以讓聲音變短，而含鉛量高又會時聲音乾澀。

鑄後加工

大多鐘在鑄後進行了磨礪加工。一方面，減少了鑄造的缺陷；另一方面，進行了調音。調音時的磨礪是對稱的。

音域

曾侯乙編鐘深埋地下二千餘年，至今仍能演奏樂曲，音律準確，音色優美。這套編鐘音域寬廣，自C2（64.8Hz）至D7（2329.1Hz），共有五個八度音程，又一大二度。

中心音域內具十二半音，可以旋宮轉調，演奏五聲、六聲和七聲音階的音樂作品，音色十分優美。每個鐘可以敲出呈三度音程的兩個樂音（即正鼓音、側鼓音。音差：小三度41個，大三度23個），且互不干擾，亦可同時敲擊產生和聲。全套編鐘可以發出低音、中音和高音三種聲音，下層的大鐘，聲音低沉渾厚，音量大、餘音長；中層較大的鐘，聲音圓潤明亮，音量較大、餘音也較長；中層較小的鐘，聲音清脆、嘹亮，音量較小、餘音較短；上層鈕鐘聲音透明純凈，音量較小、餘音稍長。

曾侯乙墓中還有敲擊編鐘的工具，中上層編鐘用T字形木槌敲擊，下層的大型甬鍾用長圓木棒敲擊。這種演奏方式在墓中出土的彩漆鴛鴦盒的彩繪上得到了印證。

音列

曾侯乙編鐘（以及曾侯乙編磬）上，豐富的文字資料，先秦的樂學體系。

曾侯乙編鐘採用了十二音位體系（是十二律體系的變種），這十二個音可以分為三組，「基」、「角」、「曾」。「四基」即四個基礎音：徵、羽、宮、商。它們分別有兩個變化音：「角」為基音上方大三度，「曾」為基音上方兩個大三度。這樣，十二個音可以包含在這三音組之中了。

按照「姑洗」為宮標音

音位	G	A♭	A	B♭	B	C	C#	D	E♭	E	F	F#
基	徵		羽			宮		商
角					徵角		羽角			宮角		商角
曾		宮曾		商曾					徵曾		羽曾

曾侯乙編鐘中，大多銘文標音都是以「姑洗」為宮。平均來看，姑洗為宮的音，比 A440標準音的音高，要低35音分。而姑洗宮標準音，是甬鐘（中 · 二 · 8）的正鼓音，頻率為256.4Hz。

同時，很多銘文闡述了不同階名的對應關係。比如「獸鐘之下角，穆鐘之商，姑洗之宮，濁新鐘之終」。

曾侯乙編鐘的低音區的音密集；高音區的音比較稀疏。

上層鈕鐘與甬鐘不同均。甬鐘是以姑洗為宮進行標音。上層二、三組鈕鐘以無鐸為宮的音列（無鐸均），上層一組鈕鐘，屬於濁文王均。它們可能來自於其他鐘組，同時，三組鈕鐘均五音不全。

中、下層甬鐘是曾侯乙編鐘的主體。

中層甬鐘，三組鐘構成相互重疊的三個音列。如果三組鐘正鼓音、側鼓音相互補充，可以在C4到G5之間，構成完備的半音階序列。中、低音部分，正鼓音按照徵、羽、宮、商、角重複排列。高音部分正鼓音、側鼓音構成六聲音階：宮、商、角、羽曾、徵、羽（即 C6, D6, E6, F6, G6, A6, C7）。

下層甬鐘，兩組鐘的側鼓音不明顯，正鼓音可以構成七聲音階（下徵音階）。

曾侯乙編鐘, Zēnghóuyǐ Biānzhōng, the Bianzhong of Marquis Yi of Zeng, or Zenghouyi Bells, is the name given to an ancient musical instrument made of bells (called 編鐘 biānzhōng) unearthed in 1978 in the Tomb of 侯 Marquis 乙 Yi of 曾 Zeng in 擂鼓墩社区, Leigudun Community, 南郊街道, Nanjiao Subdistrict, Zengdu District, Suizhou (then 'Sui County'), Hubei Province, China 中國湖北省隨州市曾都區南郊街道南郊街道雷鼓墩社區. The 編鐘 biānzhōng were made in 433 B.C.E.

The 編鐘 biānzhōng are hung on two sets of wooden racks. One rack is 7.48 metres (24.5 ft) long and 2.65 metres (8 ft 8 in) wide. The other rack is 3.35 metres (11.0 ft) long and 2.73 metres (8 ft 11 in) wide. The two racks are perpendicular to each other.

The instrument contains a total of 64 編鐘 biānzhōng, which are hung at three levels and are divided into 8 groups. There are 19 bells in three groups at the top level. 33 bells set in three groups are at the middle level and finally there are 12 bells in two groups at the bottom level.

The biggest bell is 153.4 centimetres (60.4 in) in height and weighs 203.6 kilograms (449 lb) weight. The smallest bell is 20.4 centimetres (8.0 in) in height and weighs 2.4 kilograms (5.3 lb).

Each bell can play two tones with three degrees' intervals between them. The tonal range of Zenghouyi Bells is from C2 to D7. In the middle area of the tonal range, it can play all twelve halftones.

The wooden hammers used to strike the bells were also unearthed from the 曾侯乙墓 Zēnghóuyǐ Tomb.

The original bells are on permanent display at the Hubei Provincial Museum in 武漢湖北 Wuhan. Copies have been made for other museums.

In 1929 George Lakhovsky, a Russian engineer, published a book called, 'The Secret Life' and "waves that heal" which gave birth to an innovative new concept in healing, Radiobiology. In another book titled, 'The Cancer Conspiracy' by Barry Lynes, reviewer Theresa Welsh of The Seeker Books website stated, George Lakhovsky maintained all living cells, from people to parasites, produce and radiate oscillations at high frequencies, and they respond to oscillations of different frequencies from outside sources.

Today, the world is bombarded with electro-magnetic impulses, from those emanating from cell phones to microwaves and researchers fear this may be the cause of increased cancer risks. But what happens when outside oscillations concur with the frequency of internal cell oscillations? According to Mr Lakhovsky, and even some modern scholars, the living being grows stronger.

Every object has a natural vibratory rate. This is called its resonance. One of the basic principles of using frequency as a transformative and healing modality is to understand the idea that part of the body is in a state of vibration. Every organ, every bone, every tissue, every system — all are in a state of vibration. Now, when we are in a state of health, the body puts out an overall harmonic of health. However, when a frequency that is counter to our health sets itself up in some portion of the body, it creates a disharmony that we call dis-ease.

"I learned to listen to my body with an inner concentration like meditation, to get guidance as to when to exercise and when to rest. I learned that healing and cure are active processes in which I myself needed to participate." 

— Rollo May

Comparison of parts of the body to the above-mentioned frequencies

Based on the frequency of sound passing through each and every organ

By Barbara Hero (1996)

Body Function	Musical Note	Frequency
Personality	C+	264
Circulation, Sex	C#	586
Adrenals, Thyroid & Parathyroid	B	492.8 *
Kidneys	Eb	319.88 *
Liver	Eb	317.83 *
Bladder	F#	352 *
Small Intestine	C#	281.6 *
Lungs	A	220 *
Colon	F#	176 *
Gall Bladder	E	164.3 *
Pancreas	C#	117.3
Stomach	A	110 *
Spleen	B	492
Blood	Eb	321.9
Fat Cells	C#	295.8
Muscles	E	324
Bone	Ab	418.3