Alchemy of Rainbow Heart Music

674 Pages·2011·2.45 MB·English

The
Alchemy of Rainbow Heart
Music:
How Paranormal Sonofusion
Subverts the Matrix Conspiracy
By
Moose Dung, M.A.
“What [the author] has revealed goes far beyond what Joe

Farrell, Nick Cook and the other researchers ever suspected.

The Master Plan never died.”
The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
Table of Contents
Introduction: The Absurdity of Civilization and this book: The revolution is now!............2 to 53
Chapter One: The Modern Mentality Creates the Ghost People……………………… 54 to 118
Chapter Two: 666 as the Music Ratio Great Dragon Tuning: The “Secret of the Sect” at the
foundation of Western Civilization……………………………………………………...119 to 181
Chapter Three: The Pythagorean Nine and the Actual Matrix Plan…………………....182 to 227
Chapter Four: Quantum Chaos Freemasonry and the Big Black Triangle UFO.………228 to 303
Chapter Five: The Nonwestern Psychic Music Training for Alchemical Immortality....304 to 337
Chapter Six: The Natural Resonance Revolution and the Stargate Alien Illuminati.......338 to 381
Chapter Seven: Etherealize Pranarchy! Glitches in the Matrix….....……………...…..382 to 465
Chapter Eight: Squaring the Circle: Science as Freemasonic Mass Ritual Sacrifice…..466 to 507
Chapter Nine: Antisemitism and Antiscience: The Surplus Value of Consciousness.....508 to 572
Chapter Ten: Sonofusion Alchemy as the Scientific Explanation for Immortality….....573 to 592
Chapter Eleven: The Rainbow Vortex of Reality versus the Immortal Spirits………....593 to 634
Conclusion: AntiGravity, Anarchism and Astrotheology…………………………....…635 to 668
GLOSSARY OF NATURAL RESONANCE REVOLUTION NEOLOGISMS…….…669 to 675
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The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
INTRODUCTION:
The Absurdity of Civilization and this book: The revolution
is now!
My best known agitprop piece on the internet is my conspiracy expose of the “Actual Matrix
Plan” which I first posted on guerrillanewsnetwork in 2001 and then I posted it in 2002 on Kris
Millegan's conspiracy theory research list.1 This “open” conspiracy “expose” was a summary of
something I discovered right after finishing my masters degree thesis at the University of
Minnesota. What I dubbed “The Actual Matrix Plan,” was first published on a philosophy
website for nondualism – http://nonduality.com/hempel.htm. If I was to summarize this current
book, in a sound-byte, I would say it's “nondualism on acid.” Strangely the conspiracy I
discovered corroborated my masters thesis which was also published online – Epicenters of
Justice: Music theory, sound-current nondualism and radical ecology (University of Minnesota,
2000). After that initial publishing online, “the Actual Matrix Plan” expose has continued to
make the rounds on the internet (translated into Spanish in May, 2011). I spent the next ten years
filling in the research gaps of the Actual Matrix Plan conspiracy. Nobel neuroscientist Gerald
Edelman emphasizes, in a section called “Harmonies,” that symmetry is the crucial foundation
for all science. Edelman states “There is a deep connection between conservation laws and
symmetry.”2 I'm stating that a proper understanding of asymmetry – complementary opposites –
as modeled in nonwestern music, unlocks the secret to breaking the conservation laws.
1 The director of Project Censored, Associate Professor Mickey Huff has said he doesn't think there's “good”
propaganda – (white vs. black) in other words the term “propaganda” can not be expropriated and twisted into a
subversive “right back at you” meaning. So my positive use of “agitprop” is somewhat antiquated.
2 Emphasis in original. Gerald Edelman, Bright Air, Brilliant Fire: On the Matter of the Mind (Basic Books,
1993), p. 202.
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The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
In no way do I claim credit for this book, nor am I claiming any money for writing it. I am
explicitly challenging the reader to take a wild ride. Admittedly I throw in a bit of non sequiturs
as if I'm playing free jazz: The logical connection is there but on a slightly different level that
will be made apparent soon after. There may appear to be a contradiction – and it is one on a
conceptual level. Then I will cycle in earlier information but at a higher level of intensity, using
it in a new manner – a spiraldance. It's a free improv book and also a bit of a “coming of age”
memoir – although in a non-traditional manner.
Most chapters I make liberal use of “fair use” block quotes – only because I could think of no
better way to present or word the information. Of course I cite the original sources for the quotes
I use and I claim no credit otherwise. Joseph P. Farrell has a similar use of block quotes in his
books written on similar topics although I disagree with his ancient cosmic war civilization
analysis as per Michael Cremo's Forbidden Archaeology Hare Krishna metaphysical science.3 I
also repeat information in this book – sometimes word for word – but this repetition is cultural.
I've read that in some cultures a story will be repeated over and over for emphasis with the idea
that repetition creates a depth of meaning. This repetition is similar to trance music which this
book focuses on revealing in a new light. In other words form is content.
Other chapters in this book have next to no footnotes simply because I'm reporting my own
personal experiences. In this book, as a disclaimer, I never pretend to present the truth –
although I occasionally use the word “prove” to apply to my work. Haha. If you want to read
this book as fiction – by all means do so. This whole book is just my own personal opinion –
like an op-ed. Ridicule is to be favored in my opinion. Bring it on. On the other hand this book
3 Michael Cremo used to have a link to my masters thesis on his website, around 2000. I met Cremo back around
1997 or 1998 at the INFO Fortfest in Bethesda Maryland (honoring Charles Fort). I had studied Cremo's work
but I later came across some excellent critiques of Cremo's research, for example Bradley T. Lepper, “Hidden
History, Hidden Agenda A Review of The Hidden History of the Human Race,” by Michael A. Cremo and
Richard L. Thompson. Badger, CA: Govardhan Hill Publishing. 1994. Another excellent critique online is from
an anthropologist at the University of Texas Arlington – who blogs as “Cup of Joe.”
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The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
is dense with some 720 scholarly footnotes – so dense that I've foregone an index and
bibliography. The book is too interwoven – like a montage, it needs to be read, ironically, as a
whole in detail, slowly.
The second chapter I present my own “original” music-math research which was vetted by two
math professors – both of whom supported my work with qualifications. One, Professor Luigi
Borzacchini, said my math was good but I had no historical proof for my claims. The other,
Professor Joe Mazur, said my work was very valuable and he encouraged me to submit it to the
most read math journal. After my submission was rejected without comment Professor Mazur
then recommended I try an Indian history of science journal. Haha. Clearly I was pushing the
boundaries of what was acceptable in Western scientific research.
The idea behind this book was first initiated while I was finishing high school. I was taking a
private music training class I had with a former University of Minnesota music professor, Lee
Humphries. Lee, who treated me very kindly, had married my piano performance instructor and
I had been one of her first students. So after about ten years of private classical piano lessons
through McPhail Music School, I had then also begun studying privately with Lee, practicing
music composition, ear training through sight singing and orchestration. In my formative years
I was intensely focused on music although I never had much natural talent (although once, after I
performed Rachmaninoff in church, I was told God had given me talent). Instead I found music
intriguing for philosophical reasons.
In my McPhail piano performance music theory class I was taught the basic concept that if the
octave of C is 1:2, then the music interval C to G is 2:3, called the perfect fifth, and then G to C
is 3:4, the perfect fourth music interval. Then in my private music composition class I was
shown a cool trick demonstrating the natural harmonic overtone series and resonance. Lee
silently pressed down a piano key in the upper register – a higher frequency of several octaves –
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The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
and then Lee struck with force a lower note. The upper note then rang out, magically, on its
own. The trick being the upper note was of a close overtone harmonic – of the perfect fifth
interval, or 2:3, thereby naturally resonating on its own without touch.
Lee explained to me that because the octaves and the fifths do not line up in an even division
there is a remainder called the “Comma of Pythagoras.” So it's the difference between seven
octaves, 128:1, and twelve perfect fifths, 129.75:1. The twelve fifths are divided back into the
octave to make up the 12 note music scale. In other words the ratio of 2:3, the perfect fifth, is
expanded mathematically through multiplication with C (1/1) to G (3/2) to D (9/4) to A (27/8) to
E (81/16) to B to F# to C# to G# to D# to A# (B flat) to F back to C. This mathematical
expansion is then divided back into the octave, so D as 9/4 is in the second octave as an eleventh
interval and is then divided by 2 as D, the major second or 9/8.
But the natural overtone 2:3 does not divide evenly into the octave. The natural ratio of 2:3 as
natural resonance instead makes an infinite spiral – in other words after the 12th fifth the next C
of the octave is a bit higher frequency than just doubling the first C note. Because of this
mathematical problem going against the “natural” ratios in order to play harmonics past one
octave, the music ratios were then averaged out to make up for the unequal difference and this
established the equal-temperament 12 note scale tuning used for classical Western music. It was
here I made a mistake in my music training. Instead of accepting this Western “averaging out” of
the difference between the octaves and perfect fifths, I went back to my original piano
performance training of C to G as 2:3, the perfect fifth and G to C as 3:4, the perfect fourth.
My training was based on actually playing the piano and listening to the sound of those ratios,
the Perfect Fifth and the Perfect Fourth, 2:3 and 3:4, as not lining up. I didn't see this visually
but I heard it and experienced it through years and years of daily classical musical training. The
natural ratios are “out of tune” with the Western tuning. As Norman Cazden states: “The
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The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
Pythagorean doctrine does not apply, therefore, to the art of music; it applies to what happens
before music is sounded....The studies listed are in accord that Pythagorean intonation is
consistently preferred to any other by performers and listeners, specifically for the crucial
divergent value of the major and minor thirds....Pythagorean norms for intonation describe
correctly objective standards for the measurement and psycho-acoustic identification of the terms
of musical relations.”4
Let's review this situation again. In the Pythagorean tuning based on the natural resonance
overtones of 2:3 the diatonic scale or “major” scale is created – again through the mathematical
extension of 2:3. So the singing scale “Doe a Deer” taught in the movie The Sound of Music and
in basic music class is originally from the Pythagorean system based on multiplying by 3/2. The
exact specifics of this Pythagorean process will be the focus of chapter 2 in this book – it's an
issue that addresses the very foundation of mathematics itself. The implications of the ratios
“not lining up” are based on a very deep paradox also the focal point of Nobel Laureate Dennis
Gabor in his critique of Fourier Analysis: “If the term 'frequency' is used in the strict
mathematical sense which applies only to infinite wave-trains, a 'changing frequency' becomes a
contradiction in-terms, as it is a statement involving both time and frequency.”5
But just to give this major diatonic scale example the scale ratios were from five notes built from
multiplying by 3/2 and then one note that is 2/3 (or 4/3x) of the original note of the scale.
Anyone who has taken basic music theory in school will remember that the diatonic major scale
has 2 half-step or semitone notes and 5 whole-step or whole tone notes. So the whole tone is 9/8
from 3/2 x 3/2 equaling 9/4 and then divided by 2 to mathematically put the “generating” fifth
back into the octave. But the whole tone does not equal two semi-tones. So 2/1 x 2/3 = 4/3, the
4 Norman Cazden, “Pythagorean and Aristoxenos Reconciled,” Journal of American Musicology Society (1958).
5 Gabor, D. 1946. “Theory of communication.” Journal of the Institute of Electrical Engineers Part III, 93: 429-
457.
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The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
Perfect Fourth music interval, and 4/3 divided by (9/8 x 9/8) (the difference between the fourth
and the third made from 2 whole tone notes) = 256/243. (256/243) squared (the two semitones)
does not equal 9/8 (the whole tone) and therein lies the problem for creating polyphonic
harmonics using chords, key changes, etc.6
I could hear how the Perfect Fifth and Perfect Fourth caused a tension or an inherent attraction
due to their difference.7 For example the third overtones of the 1-4-5 music intervals are E, B
and A. “The E, B, and A are 'weak' inviting alteration that results in the minor scale on one hand,
and the blues scale on the other.”8 This 1-4-5 chord tension and resolution is most dramatically
displayed in Western music through the African-American blues style, “bending” the equal-
tempered tuning, which also forms the basis for rock music. The first music record I purchased
as a youngster was Sargent Peppers Lonely Hearts Club Band by the Beatles – a record I listened
to over and over and over. Maybe it had too strong of an effect on me. We already had a copy of
Meet the Beatles (1964) which is more traditional blues rock that was revolutionary in its time
6 This paragraph is derived from Reginald Bain, “A Pythagorean tuning of the diatonic scale,” University of South
Carolina School of Music, 2002. Here's how the University of Oregon Essentials of Physics, “Lecture 11,
Musical Temperament and Pitch and Woodwind Instruments,” describes the Pythagorean tuning conflict: “Say
your pianoforte is optimally tuned for C (let's discuss the octave starting at 261.63 Hz for the fundamental C).
Then the perfect fifth, G, should be 1.5 times the frequency of the C, or 392.45 Hz. The major third, E, should be
1.25 times 261.63, or 327.04 Hz. So now lets play in E_flat. In one of the earliest tunings, the Pythagorean
temperament (optimized for the key of C), A_flat would have a frequency of 413.32 Hz and we now consider
this to be our new fundamental. The perfect fifth in this key, E_flat, should have a frequency of 1.5 * 413.32 Hz
= 619.98 Hz, but E_flat optimized for the C tuning has a frequency of 620.21 Hz. In other words, the “perfect”
and physical frequency ratios for tuning in C don't match up with those for the best results playing in the key of
A_flat. It would be as if you would need 12 different pianofortes, each tuned optimally for a different key, so as
to play pieces in different keys (or compositions that include modulations).”
7 Again I'll be getting into the fine details in Chapter 2 – with a very radical analysis of the very foundations of
mathematics itself! Nevertheless this inherent tension and attraction between the Perfect Fourth and Perfect
Fifth is well analyzed in NY Times music critic Edward Rothstein's book Emblems of Mind: The Inner Life of
Music and Mathematics (Avon, 1995).
8 Vada E. Butcher, Howard University Professor of Music reviewing Robert Fink's The Universality of Music
(Greenwich Meridian Co., 1970), Journal of Research in Music Education, Fall 1972.
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The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
for the white music audience.9
I reasoned that this inherent tuning difference heard in the music was the emotional power of the
music and that it is better to follow this original power than to just correct a supposed
mathematical error. In other words Pythagoras was right – not Western music. Already I was
now making changes. I convinced my music performance teacher to allow me to perform a
Beatles song in my “classical” music concert. Another piano student accompanied me but
played her saxophone instead – “A Hard Day's Night” was performed as a duo. My music
teacher had explained to me that the Beatles songs are known for using a classical form of song
writing and she herself was a big fan. Soon after McPhail Music School was expanded to offer
rock music lessons as well – beyond just classical and jazz.
Through my family vacations in the 1980s and through the inner city of Minneapolis I was
exposed to more nonwestern music influences. I had obtained a Mayan clay flute whistle while I
was outside the pyramids of the Yucatan. I had heard and seen the conch shells played in unison
while I was viewing the sunset on the beaches of Hawaii. In Minneapolis I had heard the
African-American street congo drummer play free improv rhyming lyrics, made up on the spot –
lyrics about people in the large audience surrounding him while he played his drums.
In other words I was now questioning my Western classical training. Also my teacher Lee had
recommended to me Leonard B. Meyer's amazing book Emotion and Meaning In Music
(University of Chicago Press, 1956) which states: “Certain musical relationships appear to be
well-nigh universal. In almost all cultures, for example, the octave and the fifth or fourth are
9 While I was younger – before 10 years old – my best friend and his brother had all the Beatles albums and we
played them everyday over and over. Already I was entering into a trance state from music without consciously
realizing it. A popular song at this time was “Do you believe in magic?” by Sean Cassidy – 1978 – I was only
seven years old. I gave the album to my best friend as his birthday gift. Even by that age I secretly already believed
in magic. We played D & D regularly and I even created my own “manuals” to guide the game – and I always was a
monk in D & D.
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The Alchemy of Rainbow Heart Music: How Paranormal Sonofusion Subverts the Matrix Conspiracy by Moose Dung, M.A.
treated as stable, focal tones toward which other terms of the system tend to move.” (p. 63)
So I questioned the need for this “divide and average” Western tuning since I embraced the
natural simple ratios of 2:3, the perfect fifth as C to G and 3:4, the perfect fourth as G to C. Lee
seemed a bit upset that I could not accept this basic tenet of Western music, the equal-tempered
tuning. I didn't want to explain what I was really thinking. Nevertheless I then explored the
avant-garde music interests of Susan and Lee – both of them took me to local concerts of groups
who only received better exposure in Europe instead of their home in the Twin Cities (Zeitgeist
was the main example). Still on a personal level I continued to ponder something. What if,
instead of the averaged out mathematics defining the music, what if, instead, this internal
difference in the harmonics caused the resonance to keep continuing into higher frequencies
without stopping?
What if there was no beginning and no ending to the sound as energy because of this basic
internal difference in how the sound inherently pulled and pushed towards the octave? What if
the sound didn't stay as sound but instead changed into a different type of energy because of this
inherent difference? Of course I kept all these ideas in my head because they flashed through too
fast for me to really be able to acknowledge them. But the seed had been planted and it slowly
grew through years – in fact a couple decades of research. The following week at my piano
performance lesson I stated that I thought the secret harmony of music also created a model for
the harmony of every thing else as well.
My piano teacher Susan was a bit of a romantic – in terms of romantic music – she had given me
a book called Talks with Great Composers, by Arthur Abell, about the mystic inspiration of the
great piano composers. I found out later, while researching this book, that the Talks with Great
Composers book was, in part, fraudulent.10 But it wasn't so easy to dismiss these mystic ideas as
10 “I look at Schauffler skeptically, as do other scholars, but still find in him none of the scent of fraud that, for
9