Hebraic System of Sound

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The Hebraic System of Sound is the product of The African Hebrew Israelite Kingdom of Jerusalem. The most successful community of diasporic and indigenous African peoples to leave and live outside the confines of the United States and Europe.

Righteousness and Hebrew fundamentalism has been at the root of their social order for the past 40 plus years, and is a prominent factor in their cultural identity. “Music” is a very important aspect of that identity and it is here we will begin to see how The Hebraic System of Sound has contributed to articulating and defining their culture.

After living over a long period of time to a different value and belief system, obviously there would be a change in their creative process. In reference to sound creativity, a new set of principles congruent to and illustrative of their mind set would eventually have to come into being. Thus The Hebraic System of Sound has come, using the written form of the Hebrew language as the vehicle to illustrate sound compositional structures and concepts dedicated to invoking the spirit from which they were derived. The source of their Hebraic thought is the Hebrew canon and it is also the source material found in The Hebraic System of Sound.

The Hebraic System of Sound uses the Hebrew letters to represent tone and since Hebrew letters are also numbers, the numerical values determine the duration that the tones have in the course of a composition or idea.

The Hebrew letters are coordinated to the chromatic scale, the twelve tones inside of the octave. This aspect of organization has been know since 2500BC*. It is the basis in all eastern systems of “theoretical” thought, and it was in northeast Africa that the idea of “music theoretics” finds its origin.

Any word, name, prayer etc. can be presented as a melody, scale, and rhythm.

*Bell tuning in ancient China: a six-tone scale in a 12-tone system based on fifths and thirds