How artists explored 40Hz through sound, structure and perception

The 40Hz project approaches composition as a research practice. Instead of applying a predefined musical model, the project brings together artists, producers and neuroscientists to explore how a specific frequency, 40Hz, can be embedded into musical structures while maintaining artistic integrity and scientific consistency.

Across the residency programme, composers developed long-form works, typically lasting around thirty minutes. This duration supported prolonged exposure to the frequency and allowed both deep listening states and meaningful EEG observation. Each work functioned as a controlled yet expressive environment in which sound could be shaped, tested and refined over time.

At the core of the protocol lies the use of pure 40Hz sinusoidal waves, introduced through different compositional strategies. Some artists worked with continuous drones, allowing the frequency to remain stable and perceptually present, while others introduced pulsed or amplitude-modulated signals, exploring isochronic structures and rhythmic entrainment. These approaches were tested both in isolation and embedded within dense sound textures.

Projects developed during the residencies explored a wide spectrum of techniques. Machine Machines, working alongside producers mamakass, focused on electronic synthesis, spectral layering and controlled harmonic tension, investigating how dissonance and consonance affect perceptual engagement when combined with a stable 40Hz component. Their work emphasized the role of micro-variation in amplitude and timbre rather than volume.

Pareal, supported by producer Brail, explored extended electronic textures and slow temporal evolutions, testing how gradual exposure and subtle dynamic shifts influence attention and emotional response. Their compositions balanced minimal structures with complex internal movement, allowing the frequency to operate both as a physical stimulus and as a musical presence.

Key Clef, in collaboration with Taketo Gohara, worked extensively on harmonic frameworks, integrating piano and synthesized elements. This approach examined how tonal references and familiar musical gestures interact with the introduction of a precise frequency, maintaining accessibility while preserving experimental rigor.

IDRA, guided by producer Poche Cltv, explored hybrid forms combining electronic sound design, rhythm and voice. Both sampled and live vocal elements were introduced to test how the human voice interacts with low-frequency stimulation, especially in relation to emotional resonance and narrative perception.

Les Biologistes Marins, working with BAAB, developed compositions rooted in texture and resonance. Their research incorporated acoustic instruments, sustained tones and spatialized sound, emphasizing the relationship between vibration, space and bodily perception. In some cases, water-based sound generation captured through hydrophones introduced organic rhythmic structures and fluid temporal patterns.

Novecento, in collaboration with Marco Giudici, explored the relationship between compositional form and perceptual continuity. Their work tested how the placement of the 40Hz signal within different sections of a piece alters the listener’s experience, particularly when combined with acoustic instruments such as piano, cello and brass.

Across all projects, artists experimented with exposure duration, amplitude control, spectral density and instrumental diversity. Percussive elements ranged from traditional drum patterns to electronically generated rhythms, while harmonic material incorporated instruments such as cello, trumpet, didgeridoo and Tibetan singing bowls. These choices allowed the team to observe how different sound sources mediate the perception of the frequency.

Rather than converging on a single aesthetic outcome, the compositional protocol emerged as a set of shared principles. These principles document how 40Hz can be introduced into music without reducing composition to a functional exercise. The protocol remains open, adaptable and transferable, offering artists a practical framework for integrating specific frequencies into their work while remaining compatible with scientific research methodologies.

Through this collective process, the 40Hz project positions composition as a bridge between artistic exploration and neuroscientific inquiry, grounded in practice, collaboration and critical listening.