Seed Syllables and Acoustic Linguistics  

by J.J. Hurtak, Ph.D., Ph.D. and Desiree Hurtak, MS. Sc.

The ancient syllable OM has long been used by the indigenous and sacred cultures of the Far East as a sound device to trigger altered and higher states of consciousness. This fundamental seed syllable is elongated over and over again, through minutes and hours of audible or inaudible meditation. Certain temples and sacred architecture also seem to resonate to this and other special vibrations. Even in the ancient Near East, with its identical vowels (i, e, a, o, u) or nearly identical sounds occurring in dialects-for example, an 'a' put in place of 'ê' or 'ô'-there are some interesting sound combinations that correspond to Oriental influences.

The public salutation 'Shalem', the greeting for peace in modern Arabic, and 'Shalom' (in Hebrew) both preserve an ancient musical sound that may originate in Indian-Iranian contact. Both share in the vibration of Om or Aum. A separate derivation of this may have been used to constitute the name for the 'City of Peace' more than three thousand years ago: "Yerushalem" (Jerusalem), with its different spellings of "Yerushalom" and "Ierousalem".

The use of certain linguistic expressions in specific vibratory or acoustical environments such as temples, churches, tombs or hollow megalithic sites can only be underscored as a prerequisite for higher states of consciousness. Beyond the profound interest of finding the chrysanthemum flower and Sanskrit swastika designs in floors and walls in various parts of ancient Jerusalem, we can presume the sacred designs within the structures themselves, such as within the Temple of Solomon (the claimed 40 cubits x 20 cubits [after the removal of the Most Holy section]) shares a similar ratio (of length to width) with the King's Chamber in the Great Pyramid (~10.5 m x 5.25 m).

Artist depiction of the Solomon's Temple (Drawing by Christiaan van Adrichem (1584).)'s_Temple

These proportions, along with the materials used in construction, allow for a superior resonance factor when the right sounds are used. In addition, the vibratory affinities between the use of OM in Sanskrit and AUM (or AM) in Old Hebrew-Semitic language prayers (e.g., for Amen or Aw'maine) overlap in vibrations as major meditative cues used for public gatherings. These sounds are also "seed syllables", that is, foundational parts of sacred expressions found in a large table of linguistic and liturgical exchange. They were incorporated in high levels of priestly intoning in sacred environments from vast areas from Egypt to India, when and where it was desirable for sounds to be enhanced, especially in voicing the names of deities. (See also the entry 'Sumerian-Akkadian' in the Glossary of The Book of Knowledge: The Keys of Enoch®).

Among the most important sacred sounds and syllables anywhere in the Western world is AM or AUM, its usage as a vibration of particular qualities reach back to ancient Egypt. Many of the names of the gods were prefaced by Amon. The Egyptian Book of the Dead, although later placed on the walls of tombs, was originally sung over the deceased for his/her passage into the afterlife.

Throughout Egypt one finds scenes on temples and tombs showing musicians playing in the company of many women, who lived in association with the temples and who had the title 'chantress of Amon'. Although the Egyptians did not write in musical notes as the Greeks did, they certainly chose for sacred use frequencies connected with a special harmonic vibration that operated effectively within the sacred geometries of their temples.

When verbal sound is generated near an architectural structure there is a post-verbal resonance in the structural acoustics. In modern-day buildings it is no longer clear whether or not the architect or structural engineer intended this effect of sound alteration. More unfortunately, in the restoration work performed at the Pacal Tomb in Palenque, for example, the original vibrations have been destroyed by the use of substitute masonry.

Several remarkable examples of architectural acoustic memory and design from ancient times are the focus of much controversy. Did ancient Mayan and Nahuatl civilizations intend to build a temple and courtyard as in Chichen Itza, Yucatan, that mimicked the sound of their sacred bird when a person clapped their hands at the bottom of the temple staircase? The Mayans were definitely an innovative and intelligent people. Their incredible architectural integration only reveals bits and pieces of their conceptual pattern of musical design that preceded the architectural structures themselves. Recently there has been much discussion and field investigation as to whether the Mayans intended their temples and quadrangles to echo and amplify sacred sounds at a great distance. A clapping of the hands at the base of Kukulcan's staircase generates a curious bird-like echo. The tone seems first to ascend and then descend, similar to the cry of the native quetzal bird. According to Mayan researchers, this has to do with the shape of the pyramid's steps, which are taller at the bottom and shorter at the top. Most researchers agree that the site's open setting also allows for long distance transmission of sound.

In the 1970s naturalist and museum archivist George Feirer studied the musical tonality of the 'speaking stones' of Chichen Itza, and discovered the presence of a distinct musical scale at this site that was repeated in the acoustical architecture of surrounding archaeological zones.1

Beyond the West, Eastern mystics understood the relationship of sound (nada) within their temples as well. The Nellaiyappar temple in Tirunelveli, about 150 km south of Madurai, a principal city in ancient times, is a shrine to Shiva, the god associated with change (birth and death), and dates from at least the 7th century A.D.

While columns are quite common as the central pillars of most temples, in Tirunelveli there are ten basic stone pillars within a total of 48 columns, all of which are part of a single piece of rock. Tapping the columns produces the important basic intervals (shrutis) of Indian music. Known as Shruti pillars these columns are said to produce a series of hymns and formulas connected with cosmic sounds of truth. Each pillar has clustered within it numerous smaller pillars for a total of over 160 columns, all of which produce sounds and beats much like a natural stone pipe organ. Many other temples in Southern India also have special musical pillars (e.g, Azhavar Thirunagari, Kalakaadu, Kuttralam, Madurai, Shenbagarama Nallur, Suseendaram, Tenkasi and Thiruvananthapuram).

Sounds generated from some of these musical structures can, in conjunction with beat tones, sound inharmonious as they form discordant intervals among the primary, secondary and tertiary harmonics generated. Yet what prevails is in accord with a singer or cantor's ability to entrain consciousness into an altered and/or higher state by the use of sacred seed syllables and mantric patterns - like Om or Aum, or proper sacred names, e.g. 'Abiha' (my father is Yah), 'Abiyahu' (my father is Yah himself), 'Adaya' (he has clothed himself with Yah), 'Adoniya' (my lord is Yah), 'Adoniyahu' (my lord is Yah himself), etc. In both the Hebrew-Aramaic and Mayan language systems, these same frequencies operate as phonetic-patterns or 'phonograms' when the acoustic resonances are sufficiently built up and maintained by singers.

Sanskrit, itself, is considered by some to be the musical "language of the gods" and part of the cosmic vibration of the universe taking on form.

The oldest surviving manuscript of the text, on palm-leaf, in an early Bhujimol script, Bihar or Nepal, 11th century.

The sages say that when you speak the ancient languages or intone chants, you are making a direct connection to the higher realms. This, of course, is not only to be said of Sanskrit, as there are many other sacred languages that use the same sounds or "seed syllables" that all people from East to West can use to tap into the greater reality of what lies beyond. Indeed, it can be demonstrated that Hinduism and Buddhism rest on the science of mantra 'seed syllable breathing' founded upon the treasury of ancient sutra texts.

Historically, sacred ritual in acoustically sensitive areas was also enhanced by special instruments: sacred flutes, singing bowls, horns and drums. Perhaps the oldest evidence of music can be traced back 7,000 to 9,000 years at Jiahu, China, where several flutes made of bone were discovered, dating back to the Neolithic Age.2

In all, six flutes were found amidst the rubble of perhaps many more. The flutes have from 5 to 8 holes and vary in length. The discovery of complete, playable multi-note flutes provided a unique opportunity to hear and analyze actual musical sounds as they were produced nine millennia ago. The Chinese team who studied the sounds found that they did not conform to the modern standard of A4 = 440 Hz, but had their own unique tuning, where hole 1 = A6, hole 2 = F#6, and hole 5 = 'C6' (C6 + 20 Hz).

In our brief examination of sacred temples throughout the world, we see that sacred vibrations of sound are found in the social architecture of ancient cultures. We discover that the plethora of derived harmonics constitutes the real nature of why sacred priests throughout the ages have used certain holy prayers and expressions to help "tune" our being into a higher consciousness. It does not have to stop with the past; today the same sacred music and vibrations, based on ancient seed syllables, allow us to experience the Divine resonance which has been engineered also into the 'Human' Temple.



1. Feirer, George (2002) Private correspondence and musical recordings of the sacred tones of Chichen Itza (unpublished).
2. Zhang, J., G. Harbottle, et al. (1999) "Oldest playable musical instruments found at Jiahu early neolithic site in China." Nature. 401 (Sept. 23) p. 366.


Dr J. J. Hurtak Ph.D. Ph.D, Biography

Dr J. J. Hurtak, Ph.D. Ph.D, is the Founder and President of The Academy for Future Science. He is a social scientist , scholar futurist and remote sensing specialist. Who has written, translated, and published over fifteen books, including those on the ancient Coptic texts illustrating Jesus's work and especially involving the "Lost Scriptures" being found in the Middle East. Dr. Hurtak is also an anthropologist and archeologist

Dr. Hurtak was the first to predict the pyramidal landforms on Mars and release the actual film documents of the pyramids in the Elysium area of Mars in 1973. He is best known for this book entitled The Book of Knowledge: The Keys of Enoch® where in the early 1970s he published the unusual relationship of the star shafts in the Great Pyramid with the "Belt" of Orion.

With this understanding of the uniqueness of the alignment of the star shafts, Dr. Hurtak was one of the first to study these shafts using sophisticated technology including laser measurements in the Great Pyramid in 1977 and one of the first to do a systematic study of the acoustical-musical properties of the rooms in the Great Pyramid.

He holds six international gold and platinum metal awards for his film and graphics work including, INITIATION (, an interactive CD-Rom using mathematics, actual architecture, and paraphysical symbols to allow the viewer to experience the major structures and rooms of the Egyptian pyramids on the Giza Plateau. His most recent acclaimed film is THE LIGHT BODY which is a futuristic voyage to sacred areas around the world (www.thelightbody.

The Academy for Future Science

The Book of Knowledge:

The Keys of Enoch

Prayer for Middle East Peace

Planetary Change and the Power of Prayer


Desiree Hurtak

The wife of Dr J.J. Hurtak, Desiree Hurtak is an international relations expert and author. Her recent work involves environmental studies and the film documentation of indigenous cultures to preserve their cultural heritage. To this end, she has also studied and written on the philosophies and literature of various ancient cultures including Egypt and Mesoamerica to understand their importance in our evolving society.