Thank you for your post and I appreciate your participation here.
So, I don't want to discourage you from further participation, and I don't want you to take this personally, but that article you have linked is an example of the sort of load of invented nonsense that this website was created to be a conscious and informed alternative too.
Much of Maria Renold's research and conclusions are simply not repeatable with any sort of measured and controlled study.
This statement is an example of the nonsense:
"She reiteratively observed that the intervals and tones become antisocial, and indeed cause people to provoke one another when the concert pitch A=440Hz is used. On the other hand, intervals and tones have a beautiful, pleasant and harmonic effect on the human being when tuned to A=432Hz. ... These findings show that tones of certain frequencies hide characteristic qualities which can have major effects on human beings."
I've spent so much time on this subject that I really have little time or patience to go into it yet again, but the idea that "intervals and tones become antisocial, and indeed cause people to provoke one another" when in 440Hz is beyond laughable it is so absurd and without merit or basis.
I hesitate to say that Renold had an agenda (though I suspect she did), or made up her "evidence", or was clueless, or extremely biased in her methods, etc.... I really don't know anything about how she conducted her research or her personal intent, but plenty of other people's research, including my own - as well as any clear seeing unbiased observation of nature, refutes her statements.
Quite simply, we do NOT live in a "cycles per second" world and as such there are no numbers associated with any pitch in the reality of sound. Yes, there are numbers in terms of harmonic relationships, but that is not pitch dependent. There is no frequency of any given tone, where that exact same tone is magical at 432 and damaging at 440. Where does the transistion occur - at 433, 434, 435, 436, 437, 438 or 439? Is it a gradual transition or a specific one? I've never seen one single 432 proponent ever address this (except sort of in the Steiner quote below where he seems to think 432 somehow stands midway between evil forces). If it is specific then maybe it happens at 436.731Hz, because we must also remember that in reality there is not any cycles per second whole number stepping - and again, in reality there are not any numbers associated with vibrations in the actuality of their existence.
Someone did a research project not that long ago (and I wish I still had the link to it) in which people were presented with the same piece of music tuned in 440 and 432; also paired in 448 and 440; also paired in 432 and 424. In all cases, all respondents prefered the lower pitch. Side by side, perceiving the music in relative relation, everyone found the lower pitch to be prefered. It had nothing to do with 432 or 440.
Why was this?
Just a personal theory:
Humans in Europe spent most of the 18th and 19th centuries more or less raising the pitch standard because it made instruments and orchestras sound better and brighter and louder. Yes, this "better" is subjective, however there was enough agreement among musicians for it to be a collective trend. The resistance came from vocalists. In the 18th and 19th centuries there was quite a lot less machinery, crowded highways, noisy subways, gas powered lawn mowers, TV's blaring, muzak being piped in nearly all public locations etc - in fact most of these disturbances were non-existent. Therefore the increased stimulus of higher pitched brighter instrumentation received significant appeal - and was not something everyone was subjected to for their entire waking lives.
Now, with the noise and stress of latter 20th century/21st century, including all of those previously mentioned intrusions and so much more, the relative perception of sound with a little less tension, a little less brightness, i.e. a little more relaxed, has a tendency among some people to feel more desireable.
Btw, Maria Renold did not invent Twelve 5ths tuning. I don't recall what, if anything, is different about her version of it than what Pythagoras was working with. Does anyone know?
Also. Renold was a Steiner follower. Rudolph Steiner had some great ideas but also some ridiculous ones.
This from an essay on someone's website:
"The Maria Renold system of twelve true fifths allows for a maximum amount of natural intervals which creates a higher sonerous oscillation field of resonance. This tuning naturally balances out the luciferic rise in brightness in the upper register between 440hz and 449Hz of music and the decending lower realms of arhimanic selfish tones below 427Hz, leaving 432Hz as the great balancing christ force in the consciousness of humanity according to Rudolph Steiner."
Ah yes.... that luciferic rise in brightness, and those arhimanic (ahrimanic) selfish tones! So any tones below 427Hz ally with the forces of anger, greed, darkness and evil??? "432Hz as the great balancing christ force in the consciousness of humanity"?? (Remember, Mozart's tuning fork measures at 421.6Hz... and we all know what a force of anger, greed darkness and evil he was..... )
Deva, again, know that none of this is aimed at you personally.