“…it is said that under the influence of acoustic, electromagnetic, and scalar waves, the genetic code of DNA can be read or rewritten. … About impressionability of DNA from the wave frequency, many experimental research studies have been carried out which have opened a new branch in science, called wave genome. Konstantin Meyl adapted the scalar waves described by Nicola Tesla to biology and proposed the relationship between the scalar waves and DNA. Greg Braddon and colleagues in 3 experiments investigated the impressionability of DNA from human emotions. Rein and Mccraty studied the impact of music on the DNA. Another study was carried out on the effect of sound waves on the synthesis and genes of chrysanthemum. Peter Garjajev and his research group proved that DNA can be reprogrammed by words and using the correct resonant frequencies of DNA. Russian quantum biologist Poponin tried to prove that human DNA has a direct effect on the physical world using some experiments. Also, he found out that our DNA can cause disturbing patterns in the vacuum, thus producing magnetized microscopic wormholes. Nobel Prize-winning scientist Luc Montagnier known for his study on HIV and AIDS, claims to have demonstrated that DNA can be generated by teleportation through quantum imprint and also showed that DNA emits electromagnetic signals that teleport the DNA to other places, such as water molecules.”
A Mathematical Model for Vibration Behavior Analysis of DNA and Using a Resonant Frequency of DNA for Genome Engineering
It was not unusual for the selector to play Latin, Hip Hop, Disco, Rock & Roll, other music, including songs like Madonna’s ‘Like a Virgin’, and ‘Ain’t Nothing Going on but the Rent’ as examples. Of course these constitute hit songs in their particular genres and their popularity catapulted them into the Jamaican dance scene where they are baptized in Dancehall aesthetic and practice (‘dance- halliﬁed’), especially through dance styles such as the ‘bubble’ along with other directions from the selector. These directions continued in the typical Dancehall style until dawn when the event ended.
From: The dance, found in: Making space: Kingston’s Dancehall culture and its philosophy of ‘boundarylessness’.
Author: Sonjah Stanley Niaah. 2004. African Identities.
Image source:PASSA PASSA KINGSTON JAMAICA
Each shaman melody is the tune of the shaman helper-spirit, who has an animal-like form. That is why the onomatopoeic sounds play the important role in the musical composition of shaman rituals – the sounds of voices of a reindeer, a swan, a goose, a loom, a bear, a wolf are available to hear on recordings” .
Onomatopoeia is actually the beginning of music, the first appearance of the musical ability of man. According to ethno-musicologists, in this fashion, the songs of shamans retain memories from the times of the original emergence of music.
An important characteristic of healing shaman music is that the helping spirits of the individual shamans themselves each have their own distinguishing tune, sometimes more than one, and this is the case in distant South America as well as in Eurasia.
Thus it is barely surprising that the power of the individual shamans was measured by the number of songs they knew. In other words, the shaman’s power was in his songs and the power of the instruments was only an additional force.
Found in: On Shamanic Origin of Healing and Music, from SHAMANS AND SYMBOLS
PREHISTORY OF SEMIOTICS IN ROCK ART by Mihály Hoppál.
International Society for Shamanistic Research. Budapest. 2013.
Art source: Shamanic Drumming