Sound Vibration

EDITORS NOTE: This technology can be used to turn the deserts green and feed the peoples of the world.

This article was re-posted from

How do plants respond to music, sound frequencies or harmonic sound waves


One of the first researchers in this field is Dorothy Retallack.
Plants Do Respond to Music
Photo : Sound installation in a vine yard in Switserland, installed in spring 2001. The music was done each morning and evening. It was special music using specific resonance sound sequences to increase certain protein biosynthesis. You can read more about this technique on this site.  It increased the sugar content of the grapes between 5 to 15%Did you know that your plants respond to music the same as human beings do? It has been proven scientifically through many experiments that plants thrive on music, though there are some who do not agree with the theory. Gardeners, however, have no doubt that fading flowers get a new lease of life by music and flowers blossom in their fullest glory listening to music. In 1973, Dorothy Retallack’s book The Sound of Music and Plants based on scientific experiments created ripples.Retallack began her experiment at the Colorado Women’s College in Denver. Using three separate laboratories containing the same species of plants, Retallack began her experiment. Piping in different types of music to each facility, she recorded the daily growth of each plant. The results were quite surprising. The plants in the laboratory where music was played daily for three hours a day grew twice as large and became twice as healthy as those in a music-free environment. On the other extreme, plants in the laboratory where music was played for eight hours a day died within two weeks of the start of the experiment.

Dorothy Retallack tried experimenting with different types of music. She played rock to one group of plants and, soothing music to another. The group that heard rock turned out to be sickly and small whereas the other group grew large and healthy. What’s more surprising is that the group of plants listening to the soothing music grew bending towards the radio just as they bend towards the sunlight.

This experiment encouraged many individuals and organizations to exercise the act of playing music to plants. These connoisseurs of music warn you about the sort of music that you play. The plants will grow better if you play soft soothing music of old era instead of loud rock music of Gen X.

The noisy rock music will only make the plants grow feeble and sick. Preferably, play Mozart, Bach, or Beethoven to make your plant grow better. Another important point that we can pick up from Retallack’s experiments is the duration of music. If you are keen on playing music to your plants, keep the time limit to be about three hours. This will make the plants grow healthy and properly. An overdose of music can seriously destroy the plants.

Although music is not an absolutely proven factor in plant development, several studies, along with Dorothy Retallack’s groundbreaking series of experiments, have aided the musical development theory. If you are interested in exploring this option with your own garden, consult The Sound of Music and Plants or other resources to ensure you expose your plants to the optimal type of music for the appropriate amount of time.

In 1973, a woman named Dorothy Retallack published a small book called “The Sound of Music and Plants”.  Her book detailed experiments that she had been conducting at the Colorado Woman’s College in Denver using the school’s three Biotronic Control Chambers. Mrs. Retallack placed plants in each chamber and speakers through which she played sounds and particular styles of music. She watched the plants and recorded their progress daily. She was astounded at what she discovered.

Her first experiment was to simply play a constant tone. In the first of the three chambers, she played a steady tone continuously for eight hours. In the second, she played the tone for three hours intermittently, and in the third chamber, she played no tone at all. The plants in the first chamber, with the constant tone, died within fourteen days. The plants in the second chamber grew abundantly and were extremely healthy, even more so than the plants in the third chamber. This was a very interesting outcome, very similar to the results that were obtained from experiments performed by the Muzak Corporation in the early 1940s to determine the effect of “background music” on factory workers. When music was played continuously, the workers were more fatigued and less productive, when played for several hours only, several times a day, the workers were more productive, and more alert and attentive than when no music was played.

Dorothy Retallack and Professor Broman working with the plants used in music experiments.

For her next experiment, Mrs. Retallack used two chambers (and fresh plants). She placed radios in each chamber. In one chamber, the radio was tuned to a local rock station, and in the other the radio played a station that featured soothing “middle-of-the-road” music. Only three hours of music was played in each chamber. On the fifth day, she began noticing drastic changes. In the chamber with the soothing music, the plants were growing healthily and their stems were starting to bend towards the radio! In the rock chamber, half the plants had small leaves and had grown gangly, while the others were stunted. After two weeks, the plants in the soothing-music chamber were uniform in size, lush and green, and were leaning between 15 and 20 degrees toward the radio. The plants in the rock chamber had grown extremely tall and were drooping, the blooms had faded and the stems were bending away from the radio. On the sixteenth day, all but a few plants in the rock chamber were in the last stages of dying. In the other chamber, the plants were alive, beautiful, and growing abundantly.

“Chaos, pure chaos”: plants subjected to Led Zeppelin and Jimi Hendrix didn’t survive

Mrs. Retallack’s next experiment was to create a tape of rock music by Jimi Hendrix, Vanilla Fudge, and Led Zeppelin. Again, the plants turned away from the music. Thinking maybe it was the percussion in the rock music that was causing the plants to lean away from the speakers, she performed an experiment playing a song that was performed on steel drums. The plants in this experiment leaned just slightly away from the speaker; however not as extremely as did the plants in the rock chambers. When she performed the experiment again, this time with the same song played by strings, the plants bent towards the speaker.

Next Mrs. Retallack tried another experiment again using the three chambers. In one chamber she played North Indian classical music performed by sitar and tabla, in another she played Bach organ music, and in the third, no music was played. The plants “liked” the North Indian classical music the best. In both the Bach and sitar chambers, the plants leaned toward the speakers, but he plants in the Indian music chamber leaned toward the speakers the most. 

She went on to experiment with other types of music. The plants showed no reaction at all to country and western music, similarly to those in silent chambers. However, the plants “liked” the jazz that she played them. She tried an experiment using rock in one chamber, and “modern” (discordant) classical music of negative composers Arnold Schönberg and Anton Webern in another. The plants in the rock chamber leaned 30 to 70 degrees away from the speakers and the plants in the modern classical chamber leaned 10 to 15 degrees away.

I spoke with Mrs. Retallack about her experiments a few years after her book was published, and at that time I began performing my own experiments with plants using a wood-frame and clear-plastic-covered structure that I had built in my back yard. For one month, I played three-hours-a-day of music from Arnold Schönberg’s negative opera Moses and Aaron, and for another month I played three-hours-a-day of the positive music of Palestrina. The effects were clear. The plants subjected to Schönberg died. The plants that listened to Palestrina flourished.                                                                                                                                                                                                                                                                                                                                                                                              


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EDITORS NOTE: Sound vibration can be used in healing. Why do we not see this used in hospitals for this purpose?

Source of article is found here:


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Advances in Skin & Wound Care:
October 2006 – Volume 19 – Issue 8 – pp 437-446
Features: Original Investigation

Evaluation of Clinical Effectiveness of MIST Ultrasound Therapy for the Healing of Chronic Wounds

Ennis, William J. DO; Valdes, Wesley DO; Gainer, Marianne RN; Meneses, Patricio PhD

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OBJECTIVES: (1) To determine the incidence of wound closure for chronic nonhealing lower extremity wounds of various etiologies using MIST ultrasound therapy, a 510(K)-approved, low-frequency, noncontact ultrasound device indicated for the cleansing and debridement of chronic wounds. (2) To determine the optimum treatment duration for therapy with this low-frequency, noncontact ultrasound device, quantifying end points that correlate with a maximal clinical response and identifying potential synergistic therapies that could be used in conjunction with this therapy. (3) To analyze the impact of low-frequency noncontact ultrasound therapy on the microcirculatory flow patterns within the wound bed.

DESIGN: A noncomparative clinical outcomes trial utilizing low-frequency, noncontact ultrasound.

SETTING: A tertiary-referral hospital-based wound clinic.

PATIENTS: Twenty-three patients from a single tertiary-referral hospital-based wound clinic. Control data were obtained from a previously published, prospectively collected database from the same clinic.

INTERVENTIONS: During an 8-month period, a total of 29 lower extremity wounds in 23 patients who met criteria for inclusion were treated with low-frequency, noncontact ultrasound therapy. Standard of care was provided for 2 weeks for all wounds screened for the study. A failure to achieve an area reduction greater than 15% qualified the patient for enrollment to the trial and the addition of low-frequency, noncontact ultrasound therapy to the current treatment regimen.

MAIN OUTCOME MEASURES: Wound healing, area and volume reduction, and laser Doppler-derived mean voltage (a marker for microcirculatory flow) are the main outcome measures for the study.

RESULTS: Overall, 69% of the wounds in the study were healed using an intent-to-treat model. When low-frequency, noncontact ultrasound was used as a stand-alone device, median time to healing was 7 weeks. Historic controls were healed with a median time to healing of 10 weeks; however, a statistically significant number of these patients required wound-related hospitalization and surgical procedures to achieve closure compared with the wounds in the present study.

CONCLUSIONS: Treatment with low-frequency, noncontact ultrasound achieved healing in chronic wounds when used as a stand-alone device or in combination with moist wound care in 69% of cases. Response to low-frequency, noncontact ultrasound was evident within 4 weeks of therapy. Earlier transition to secondary procedures and decreased utilization of inpatient care might result in more cost-effective wound healing than the current standard of care. A well-designed health economic-based trial is warranted to assess this technology.






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