Acoustic Molecular Resonance  
and Promotion of Altered Biological Patterns

Dr. Joel Sternheimer, a physicist in France, elucidated information of the effects of music on living creatures through the research of physics and molecular biology. He studied elementary particle physics under Louis de Broglie, then at Princeton University. While a student, in the sixties, he also made French folk-rock/protest song records under the name of "Evariste". Then he carved his own path in theoretical physics research, as an independent, but with publications in the big name journals.. As a former musician, he was surprised to findthat the distribution of the mass of particles appear commensurate with frequencies (notes) of the musical "tempered scale". This led him into mathematical research on resonance; and his theory of "ondes d'echelle" (which may be translated as "scale waves" or "scaling waves", but should not be confused with "scalar waves"). In this case, waves (energy and information) are transmitted between two levels of
very different scale - say, the infinitely small, molecular level and the everyday scale of sound waves in air).

Then, in the 80's, he turned to biology. He focused on the vibrations that occur inside the cell, at the molecular level, when a protein is being assembled from its 20 constituent amino-acids. While assembled in the "cell factory" called the ribosome, the amino-acids are considerably slowed and stabilized, compared to their thermal agitation when they are at large in the cell. So a vibration frequency can be calculated. Each of the 20 amino-acids can be transcribed, in the acoustical bandwidth, as a "note".. Then the sequence of amino-acids (always synthesized in the some order for
each protein, cf data available on biology databanks) is transcribed into a sequence of notes, i.e. a melody. Hopefully, these melodies (often slightly dissonant or out of tune), when replayed, would resonate and stimulate (or inhibit) production of specific proteins.

Apparently, they did. Experiments began in 1990. So far on yeast, bread, avocados, melons (fruit conservation), tomatoes (resistance to drought and pests, in Africa), or oxygen-producing blue algae. Small scale, independent research, very few publications, good results. Typical application is 3 to 10 minutes of "music" (played by an ordinary cassette player), once or twice a day. Joel took a patent in 1992, then more international patents.

According to him, the principle is as follows:

Animals and plants synthesize a number of proteins in their body. In the process of synthesis, each protein being formed emits a series of quantum-mechanical signals which are related with the amino acids sequence. By decoding the signals and transforming them into audible sounds, melodies proper to each protein are obtained, which are called, as a whole, "Protein Music". If the Protein Music is in turn played near animals or plants, the synthesis of corresponding protein is controlled through a kind of resonance phenomena. This is the essential difference of the Protein Music from that composed by human beings.

An article in New Scientist magazine (May 28, 1994, p.10), titled "Good vibrations give plants excitations", briefly describes his work, as do a number of websites. For purposes of this discussion, readers are encouraged to look at the following sites: 

While Sternheimer likewise does not state which molecular resonance mechanism he is tapping into, there is a clue in the New Scientist article and internet links that is worth examining.

In each of these sources, there is a musical staff with notes on it. Underneath each note is a capital letter. These letters are symbols for an amino acid. Sternheimer is using a certain note for each individual amino acid, as given in these examples. But on what basis does he make this association?

There is a relationship between mass and frequency that can be looked at. If one goes to the physics formula that converts atomic or molecular weight to frequency, we are given:

frequency = (atomic or molecular mass) x (a constant)

Please see the table of "Energy Conversion Factors" in D. Lide, ed., Handbook of Chemistry and Physics, 76th ed., (CRC Press, 1995), on page section 1-5. In the far left hand column is given various energy units that can be converted to other types of energy units, including frequency. For these purposes we are interested in the symbol "u", which means atomic or molecular mass. When that line is followed across to the far right column which is labeled "Hz", there is
given a conversion number:

2.25234242 e+23

Therefore, to convert an atomic or molecular mass ("u") to frequency, we would multiply the mass by the above conversion number.

Is this the mechanism that Joel Sternheimer is using in his work with sound? Looking at the first musical note "A" in the New Scientist article, it has the letter "M" underneath it, which is the symbol for the amino acid methionine. Its molecular weight is 149.2139, which, when multiplied by the above constant to convert to frequency, yields a result of:

3.360807966 e+25 hz

When this extremely high frequency (at the very highest end of the electromagnetic spectrum) is divided down by octaves to the very bottom of the spectrum in the audio range, (i.e., doubling the wavelength many many times), we come to a frequency at 444.8 hertz, which is indeed a musical note "A", as seen on the musical staff in this article. Analysis of all the succeeding notes and correlating amino acids shown in this musical example reveal the same pattern: Sternheimer indeed seems to be using a mass-to-frequency conversion correlation, and then dividing down by octaves all the way from one
end of the spectrum to the other, to achieve his aim of stimulating the action of certain molecules, proteins, and enzymes.

Now if anyone tries this mathematical computation, you will soon find out that it will take what seems like half a day to divide down by octaves from the top end of the spectrum to the audio range of the spectrum, especially if you are dividing by 2's. One can use a larger divisor, such as 4096 (2 to the power of 14), to achieve these results more quickly.

However, there is an even faster shortcut! One can simply take the atomic or molecular weight, and multiply it by the constant 1.4904752, to get a representative frequency in the audio range. This writer, after having used the long process many times, now uses this constant to get the same results a LOT faster.

Incredible as it may seem that frequencies at the very top end of the electromagnetic spectrum can be "signaled" from the very bottom end of the spectrum, this indeed seems to be what Sternheimer is doing, and he does get results. At this juncture we must ask, however, what type of wave is he using? Would this technique work with the square wave that plasma beam researchers are using? Keep in mind that this technology has been specifically developed to debilitate
rather than stimulate certain things. Or would a sine wave tend to stimulate and a square wave debilitate? Only further research will shed more light on these questions.

Furthermore, would applying the square root of 2 relationship (as described in section 1 of this paper) be a possible mechanism to debilitate certain molecules?

While much more research needs to be done on this aspect of using frequencies to affect molecules in some way, here are a few examples that may shed some light on the possibilities.

Many bacteria need a constant source of the element iron to survive in living tissues. In fact, they have developed mechanisms to rob the body of this element from its more complex molecules. Could sending a "debilitating" frequency associated with iron possibly serve to "scramble" a frequency signaling mechanism for bacteria?

The atomic mass of the most common isotope of iron is 55.9349. (Iron-56 has a prevalence in nature of 91.72%). To arrive at its frequency association, multiply it by the constant 1.4904752, which gives a result at 83.3696 hz. To theoretically debilitate, multiply by Ö 2, which gives us 117.9024 hz. If we multiply this number up by two octaves (x4), the result is 471.6 hz. 

French Physicist Creates New Melodies - Plant Songs

Remember those song birds we used to hear in the fields? The sounds of animals in nature singing a symphony of soft and subtle sounds as all things flow together to create a living and vibrant concerto? Science is now showing that these sounds actually do influence the growth of plants. Researchers have demonstrated that plants respond to sounds in pro-found ways which not only influence their overall health but also increase the speed of growth and the size of the plant.

Many people remember hearing in the late 1960's and 1970's about the idea that plants respond to music. There were lots of projects in high schools and colleges which successfully tested the effects of sound on plant growth. It was determined through repetitive testing that plants did respond to music and sound. The first book which brought this idea to most of us was: The Secret Life of Plants, by Peter Tompkins and Christopher Bird (Harper & Row 1973). In this best selling book a number of astounding revelations about plant growth were revealed. The idea that plants were influenced by sound in both positive and negative ways was demonstrated by several world class scientists at that time.

When we think of plants being affected by sunlight we are really looking at the effect of a portion of the electromagnetic spectrum on plants ? that portion which includes visible light. It should not surprise us that sound also impacts plant growth because it is, in essence, an extension to other parts of the electromagnetic spectrum.

The science was first disclosed in an article by Andy Coghlan which appeared in New Scientist (May 28, 1994, p.10). The article confirmed old ideas by placing them in a scientific context. It tells an excellent story about the impact of sound on plant growth, bringing to light what was before considered esoteric or mysterious science. After reading this short article and those which follow in this issue of the Flashpoints a good deal more will be thought of "singing gardeners" and "plant communicators."

Many people remember reading accounts of plant growth being stimulated by sound waves. At that time, "talking" to plants and playing plants different types of music was used to influence growth. A number of people were using these techniques without being able to completely explain the phenomena. This article is part of that story ? a story which could have a profound impact on the way we grow and produce our food.

Eccentrics who sing to their plants? People playing melodies to organic matter with the expectation that it will help stimulate growth? These ideas were the thoughts of some "non-scientists" until French physicist and musician, Joel Sternheimer, discovered the mechanism for how plants respond to the stimulation of sound waves. Sternheimer com-poses musical note sequences which help plants grow and has applied for an international patent1 covering the concept.

The sound sequences are not random but are carefully constructed melodies. Each note is chosen to correspond to an amino acid in a protein with the full tune corresponding to the entire protein. What this means is that the sounds sequenced in just the right order results in a tune which is unique and harmonizes with the internal structure of a specific plant type. Each plant type has a different sequence of notes to stimulate its growth. According to New Scientist, "Sternheimer claims that when plants "hear" the appropriate tune, they produce more of that protein. He also writes tunes that inhibit the synthesis of proteins." In other words, desirable plants could be stimulated to grow while undesirable plants (weeds for instance) could be inhibited. This is done with electromagnetic energy, in this case sound waves, pulsed to the
right set of frequencies thus effecting the plant at an energetic and submolecular level.

Sternheimer translates into audible vibrations of music the quantum vibrations that occur at the molecular level as a protein is being assembled from its constituent amino acids. By using simple physics he is able to compose music which achieves this correlation. Sternheimer indicated to New Scientist that each musical note which he composes for the plant is a multiple of original frequencies that occur when amino acids join the protein chain. He says that playing the right notes stimulates the plant and increases growth. This idea is particularly interesting because it may lead to the eventual obsolescence of fertilizers used to stimulate plant growth. This new method would be cheap and relatively easily provided throughout the world, thereby avoiding many of the problems associated with the extraction, shipping, environmental and economic costs of chemical fertilizers.

Playing the right tune stimulates the formation of a plant's protein. "The length of a note corresponds to the real time it takes for each amino acid to come after the next," according to Sternheimer, who studied quantum physics and mathematics at Princeton University in New Jersey.

In experiments by Sternheimer, he claims that tomatoes exposed to his melodies grew two-and-a-half times as large as those which were untreated. Some of the treated plants were sweeter in addition to being significantly larger. The musical sequences stimulated three tomato growth promoters, cytochrome C, and thaumatin (a flavoring compound). According to Sternheimer in the New Scientist, "Six molecules were being played to the tomatoes for a total of three minutes a day."

Sternheimer also claims to have stopped the mosaic virus by playing note sequences that inhibited enzymes required by the virus. This virus would have harmed the tomato plants.

The note sequences used by the inventor are very short and need only be played one time. For example, the sequence for for cytochrome C lasts just 29 seconds. According to Sternheimer, "on average, you get four amino acids played per second" in this series.

The inventor also issued a warning for those repeating his experiments. He warns to be careful with the sound sequences because they can affect people. "Don't ask a musician to play them," he says. Sternheimer indicated that one of his musicians had difficulty breathing after playing the tune for cytochrome C.

Plant stimulation by sound may have profound implications. The idea that a cheap source of "electromagnetic fertilizer" has been developed should be exciting for many third world countries. At a time when human progress can be made through simple solutions in agriculture, resources are being wasted in the extraction of mineral and oil compounds for fertilizers. If this method of fertilization were followed the human intellect would prove superior to physical capital in terms of distribution and production of this new technology.

The idea that sound can have a healing effect on humans is being explored by a number of independent scientists around the world. The know-ledge of the "sound effect on proteins" offers insights to health practitioners of the benefits to humans. In addition to the favorable economic factors, the increased vitality of the plant substances can positively impact the health of all humans that consume them.

The patent includes melodies for cytochrome oxidase and cytochrome C which are two proteins involved in respiration. It also includes sound sequences for troponin C which regulates calcium uptake in muscles. Further, a tune was developed for inhibiting chalcone synthase which is an enzyme involved in making plant pigments.

  

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