Detailed accounts written by Spanish chroniclers of the sixteenth century emphasize the importance of music and dance in Inka celebrations and festivals. They describe musical instruments such as flutes and panpipes made of bone, reed, and fired clay, shell trumpets called pututos, ceramic whistles, ocarinas, trumpets, and drums, as well as rattles made with a variety of materials. These objects are sometimes portrayed as delicate instruments played with solemnity and virtuosity, sometimes as instruments generating meaningless sounds during pagan or diabolic rituals. The Inkas and their predecessors used music to communicate with the ancestors, heal the sick, and bury the dead. Music followed them in war and pilgrimages, perhaps providing them with supernatural power.Source
To me, it appears that certain environmental conditions as well as specific notes would affect stone more profoundly, according to their resonant frequencies. Although there is some speculation as to the validity of this claim, I would like to list it as being possible......keeping an open mind:
The second case involved an Austrian named Linauer, who stated that while at a remote monastery in northern Tibet during the 1930s, he had witnessed the demonstration of two curious sound instruments which could induce weightlessness in stone blocks. The first was an extremely large gong, 3.5 metres in diameter, composed of a central circular area of very soft gold, followed by a ring of pure iron, and finally a ring of extremely hard brass. When struck, it produced an extremely low dumph which ceased almost immediately. The second instrument was also composed of three different metals; it had a half-oval shape like a mussel shell, and measured 2 metres long and 1 metre wide, with strings stretched longitudinally over its hollow surface. Linauer was told that it emitted an inaudible resonance wave when the gong was struck. The two devices were used in conjunction with a pair of large screens, positioned so as to form a triangular configuration with them. When the gong was struck with a large club to produce a series of brief, low-frequency sounds, a monk was able to lift a heavy stone block with just one hand. Linauer was informed that this was how their ancestors had built protective walls around Tibet, and that such devices could also disintegrate physical matter.Source
Consider the patterns and design of pyramids and chambers:
Enigmatic finds from ancient megalithic sites, temples and pyramids around the world provide an emphatic answer to the glaring question of how these same megaliths were erected. At each of these monumental sites archaeologists are unable to find any basic stone carving tools, nor any recognizable tools that may have been used in their transportation and building phases. This inconsistency points to one solution only: the giant stones were levitated using advanced acoustic resonance technologies.
Deep heartbeat booming emanating from the Giza pyramids resounded loudly at various bands of resonant focal points throughout the world network, based on the quadratic function [ zn+1 = zn2 ]. The distance from Giza to the Irish sacred sites of Newgrange, Knowth and Dowth is 10.0% of the Earth's mean circumference distance (of 24,892 miles). Stonehenge, England lies at the 9.0% distance from Giza, while the sacred stone temples of Machu Picchu, Peru and subterranean caverns of La Maná, Ecuador sit exactly along the 30.0% distance from Giza. Mexico's Teotihuacan pyramid complex and the Nazca Lines of Peru sit along the 30.9% distance corresponding to Fibonacci #138. These perfect distance relationships reveal a systematic global alignment.
Both the piezoelectric properties and the perfectly formed concavities of the large, ancient stone basins confirm their utility as precision instruments for acoustic levitation, and their cultural context informs us that water was being levitated. This conclusion is also directly supported by the cosmology of the ancient stepped-pyramid-building cultures of the Maya and Aztec, who speak very clearly in the Pyramid of Fire Codex about the separation of terrestrial and celestial waters - referring to the resonant solar infrasound separation of pure protium from the low-resonance isotopes of deuterium and tritium: Chalchiuhtlicue, Goddess of Terrestrial Waters, of that which flows, runs, surges, forward and down... Chalchiuhtlicue fills the gourd of pulque so that man may forget... Tláloc, God of Celestial Water... god of the mist that ascends from the valleys at dawn... Tláloc is the return of vapor that strains to rise, is the return of time that strains to remember.Source
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