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you are here: > Canonum De Lex Ecclesium
> Article 69
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III. Sacred |
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| 2.1 Sacred Form | ||
| Article 69-Sacred Music | ||
| Canon 2404 | ||
| Sacred Music, or “Religious Music” is the composition and recital of certain music using tones or frequencies, scales, instruments, texture, melody, rhythm and arrangements considered sacred by various Religions or Cults. | ||
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| Canon 2405 | ||
| Tone is the base frequencies used in Sacred Music. Until the late 19th Century, almost all indigenous music and a substantial proportion of Western music was historically tuned to the natural water and Earth base frequency 432 Hz and its scalar harmonics. However, the 20th Century has seen an orchestrated and deliberate corruption of base frequency music to the powerful dissonant, discordant frequency of 440 Hz. | ||
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| Canon 2406 | ||
| While most Sacred Music until the 20th Century was designed to uplift and harmonize members of Religions and Cults based on 432 Hz, the conscious and deliberate corruption of base frequency to 440 Hz means almost all music is spiritually divisive, genetically and cellular corrosive and bad for health, no matter what form of music is played. | ||
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| Canon 2407 | ||
| In accordance with these canons, the tuning of instruments to 440 Hz instead of 432 Hz is forbidden, including the playing of music at 440 Hz instead of 432 Hz. Any person, group or entity that promotes 440Hz music against 432 Hz is must be disbanded, removed and cease to exist. | ||
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| Canon 2408 | ||
| A Musical Scale is a sequence of musical tones or frequencies that rise or lower in pitch, often capable of being represented by unique musical notation and produced by different kinds of musical instruments including voice. The difference between musical tones in a scale is usually called a step and the different between one harmonic tone to its higher or lower harmonic is usually called an octave. | ||
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| Canon 2409 | ||
| The use of different Musical Scales by different Religions and Cults is a significant variation over history. The oldest and most significant Religious scales were harmonic minor scales. However under occult Cults, certain notes and scales became restricted and the introduction of pentatonic scales and later diatonic scales. | ||
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| Canon 2410 | ||
| Musical Texture or harmony is the way different tones of a Musical Scale are arranged in melody and harmony. The most common forms of texture are monophonic, polyphonic , homophonic and heterophonic. | ||
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| Canon 2411 | ||
| In Western music influenced by the Roman Cult, homophony is considered the central influence whereby a texture of two or more parts moving together in harmony, the relationship between them creating chords. Homophonic texture is also homorhythmic, using very similar rhythm. In melody dominated homophony, one voice, often the highest, plays a distinct melody and the accompanying voices work together to articulate the underlying harmony. | ||
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| Canon 2412 | ||
| Homophony is distinct from polyphony in which parts move with rhythmic independence and monophony in which all parts move in parallel rhythm and pitch. | ||
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| Canon 2413 | ||
| Heterophony is a texture characterized by the simultaneous variation of a single melodic line. Such texture is still found in indigenous sacred music and Eastern music in which there is only one base melody but realized with multiple voices, each of which usually plays the melody differently either in rhythm or tempo with various embellishments and elaborations. | ||
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