Since the distance between the international standard pitch of A-440 and A-432 is less than a third of a semitone (31.7 cents), the difference would have been unnoticeable for most listeners. Moreover, the site suggested ways in which curious listeners could experiment with audio software in order to lower the pitch of their digital music files. Titled “Why You Should Consider Converting Your Music to A-432,” the article included video demonstrations, audio clips, quotes from Nikola Tesla and Albert Einstein, and links to resources from elsewhere on the web, all encouraging readers to reconsider the A-440 standard. For instance, when pop artist Prince hosted a live Q&A on Facebook in 2014 to promote his new album Art Official Age, a fan posted a question for the pop star: “Greetings my dear Brother…Please address the importance of ALL music being tuned to 432 Hz sound frequencies?” Prince (who had ignored other fan queries) responded to this one by posting a link to an article on a website called. Twenty-five years later, in what would seem an unlikely development, the question of an A-432 tuning standard was being hotly debated in certain corners of the internet. Although this particular initiative was ultimately unsuccessful, LaRouche and the Schiller Institute would continue for decades to argue that this subtle change in musical tuning was essential to the preservation of Western art music. At the time, the campaign found supporters among some of the biggest names in opera, such as Placido Domingo, Luciano Pavarotti, Renata Tebaldi, and Birgit Nilsson. Instead of using the international standard pitch of A-440 Hz, LaRouche’s petition argued that Italy should adopt a slightly lower pitch reference, such that the note “A” above middle “C” would instead be tuned to 432 Hz. In 1989, a LaRouche entity called the Schiller Institute petitioned the Italian legislature to abandon the standard pitch used worldwide as a musical tuning reference in broadcasting, musical instrument manufacture, and in educational and arts institutions. Alongside some of these more extreme agendas, LaRouche also maintained a longstanding commitment to a specific matter of musical reform. In his lifetime, LaRouche was known for promoting controversial political and economic causes heavily informed by conspiracy theories. president eight times and later served a prison term for mail fraud and tax evasion. When Lyndon LaRouche died in February 2019 at the age of 96, obituaries remembered him as a far-right political figure who ran for U.S. After exploring the listening practices and media engagement of 432 Hz proponents, the article asks how the rise of 432 Hz music might relate to other recent and emerging forms of music consumption, the affective marketing of sound, and the management of personal sonic space. It draws from research into some of the common historical, scientific, and conspiratorial claims made by 432 Hz advocates, as well as from qualitative data collected from dedicated 432 Hz listeners. This article examines the promise of-and skepticism towards-the concept of “frequency” that is at the center of the 432 Hz phenomenon. This preference is, for many, connected to beliefs that the A-432 Hz tuning reference can be physically, psychologically, and even spiritually beneficial. Alternatively, they prefer (and in some cases promote and advocate for) music that is tuned to a slightly lower, A-432 Hz standard. Rather, they have in common a belief that music tuned to the standard pitch of A-440 Hz is in some sense “out of tune” with nature or humanity. Increasingly connected via social media, listeners in this subculture do not necessarily share the same musical tastes or backgrounds. 432 Hz music is a relatively recent internet-based phenomenon that has attracted listeners and musicians from all parts of the world.
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