The following article deals with the music of the spheres and the physical reality that is created by harmonics.
The cubes represent the consciousness within the box (NdT our reality) and the geometry of creation.
The Da Vinci Code, inspired by many secrets, can now reveal its own harmonic coding, the music of the cubes.
Everything is encoded within the architectural imprint. Everything is contained within the arch.
The answers lie hidden within the Masonic Program, Freemasonry, or Freemasons.
As a new code is deciphered, we find that the chapel, Rosslyn Chapel, houses many secrets. For centuries, both experts and visitors have tried to decipher the codes inscribed in the chapel. While some debate whether they aim to find the treasure, Edinburgh composer Stuart Mitchell believes he has solved part of the puzzle. It considers that within the ornamentation of the carved arches of the ceiling, 213 decorated cubes house a code of medieval music. His father, Thomas Mitchell, spent 20 years of his life trying to decipher it and now Stuart follows in his footsteps and captures them in a new album entitled: The Rosslyn Motet (Chorus from Motete Rosslyn).
It is expected that the music, once executed with medieval instruments in situ, will resonate throughout the length and breadth of the chapel revealing one of the secrets carved in the stone.
The impulse to interpret the musical writing arose when Mitchel's father discovered that the carvings carved on the face of the cubes seem to correspond to a phenomenon known as cystic patterns or Chladni patterns. Chladni patterns are formed by using a sustained note to vibrate a metal sheet covered with the dust produced by the marks. The frequency used dictates the shape of the pattern, for example; The musical note A low do central vibrates at 440 KHz and produces a rhombus-like shape.
Different notes can produce different shapes such as flowers, diamonds or hexagons; forms that are presented together on the cubes of the Rosslyn chapel. Starting from the fact that this goes beyond mere coincidence, you have assigned a note for each cube.
The first to document the phenomenon was Ernst Chladni at the end of the 18th century, although this seems to manifest itself in a 15th-century building. Chladni then asks the question: Was Mr. William Sinclair, the builder of Rosslyn Chapel, ahead of the sciences of his time?
Stuart Mitchell believes that there is a link between the Knights Templar who may have acquired advanced scientific knowledge in the East during the time of the Crusades and their stay in Jerusalem, being able to explain in this way the Encrypted musical notes from Rosslyn Chapel. The Rosslyn symbolism dates back to an era of civilization that is lost to us in the present, symbolism enjoyed by all the sciences that are the roots of all the mechanics of the Universe, Mit says Mitchell. “If this science was used in Rosslyn's carvings, then it would take more than an explanation to know how this information got lost for centuries. The Church had suppressed knowledge as a means to exercise control over the masses. What this indicates is that the ecclesiastical system has denied people a certain type of knowledge since knowledge is consciousness. Those people who had a lot of knowledge, were sent to the stake and burned as witches. ”
The Diabolic Chord, diabolus in musica, is interesting, making its appearance in music. "In the ceiling appears this leap from a larger room, in fact, it opens with an enlarged room, " says Mitchell. “The Catholic Church has banned this interval (seven semitones) of medieval music since it was considered disturbing and therefore diabolical. Perhaps Sinclair was really challenging the authority of the church. Music itself, according to Mitchell, is a mixture between "Celtic melodies and pagan worship crossed with a certain type of Christian cult" but not Catholic. Perhaps this explains why the carvings that represent green men, essentially pagan images, exist throughout the chapel's statistic carvings.
Mitchell does not believe that the notes had been carved there simply to record a piece of music. He expects repeated musical frequencies to resonate inside the building and reveal a medieval secret. Mitchell has no idea what can remain hidden inside the church but believes that Sinclair used this advanced science to ensure that the music remained hidden from the eyes of the curious.
Mixing the “The Voice of Creation” project, Mitchell states that the carvings on the cubes finally speak about sacred geometry. “What it really tells us is that we have forgotten more than we know. Perhaps music is certainly a key to deciphering the past, the physics of the universe and perhaps it can be interpreted strong enough inside the Rosslyn chapel. This will reveal a long secret hidden within Freemasonry. ” Stuart Mitchell Thawing Frozen Music in time!
Translated by: Gloria Helena Restrepo C.
Taken from: http://www.crystalinks.com/music_cubes.html
