The Hebrew Psychoacoustical Temple Template

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The diagonal of a 2:1 double square is equal to the square root of five. The golden ratio is then derived from these dimensions as Φ = (1+√5) / 2. This means the chamber will resonate harmonically perpendicular to the walls, but not in the corner diagonal directions. This is because the √5 diagonal in the golden ratio acts as a harmonic dampener to the right-angled wave resonance (see Illustration A)

With the right music and room temperature, such a chamber will resonate the brain between 105 - 108Hz – very near the 110Hz frequency required to switch consciousness from left-brain to right-brain. This was proven in a 2008 UCLA study that found 110Hz actually reduces the brain’s language processing and “switches on” areas related to mood, empathy and social behavior. The Princeton Engineering Anomalies Research group had just published a paper in 2006 listing a variety of ancient megalithic chambers that resonated near 110Hz.

As we see in the figure, Solomon’s temple template is used in several different temple designs, including 15th century Rosslyn chapel in Scotland, St. John’s Masonic lodge in South Carolina and the Mormon Nauvoo temple in Nauvoo, Illinois. Within all of these sacred spaces, a “Holy of Holies” altar partitions one-third of the double square length. This creates a 3:2 harmonic proportion known as a perfect fifth that resonates coherently with the rest of the chamber.

In European cathedrals, this template is scaled by multiples of twelve feet, including 48, 72, 144, 216, 432, etc., to retain the psychoacoustical effect related to 110Hz.

In both the Temple of Jerusalem and Rosslyn chapel, a raised “choir” area is built at a golden ratio to the interior length to create an elevated resonance chamber (see Illustration B). Furthermore, in Rosslyn chapel the vertical height of the choir is also a golden ratio to its interior length (as 72 ft / 44.5 ft = 1.618, see Illustration C). This causes music played inside the choir chamber to be captured and reflected above the congregation, creating the auditory illusion of music raining down from heaven.

Given that this same universal psychoacoustical design can be found in 1) ancient Hebrew temples, 2) European cathedrals and chapels, 3) Masonic lodges and 4) Mormon temples, one might ask why this was done. What were these organization’s “worshipful leaders” hoping to accomplish by using Solomon’s temple template?

We can only assume that the primary objective of such psychoacoustical spaces was to use music or chant to induce an altered mental state in the congregation – one more sensitive to mood, empathy, socialization and religious teachings. There is ample evidence the Roman Church experimented with specific reference tunings and temperaments to “fit” the acoustics of such chambers. We can only assume this was done to activate the secret psychoacoustical potential of the architecture.

There is also evidence that the Hebrew temple architecture was used to supercharge the effect of entheogenic communion taken on Yom Kippur by the High Priest inside the Holy of Holies. According to psychoanalyst, psychotherapist and researcher Dan Merkur, a rope or golden chain was tied around the High Priest’s waist as he went behind closed curtains into the highly resonant Holy of Holies. There he took a special communion to induce visions and reveal prophecy. In the event he needed help, he would pull on the gold chain held by the other priests who would then rescue him.

When used in the right combination, Hebrew temple acoustics, entheogenic communion and specially tuned sacred music are a powerful technology capable of altering human consciousness and generating a deep spiritual experience.