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The progression and frequency changes cannot be accurately described with just how many hertz.

If one must measure it in hertz.

Take one second as a time node, before this second, the frequency is 255Hz, and after this second, the frequency is 257Hz.

The change is to infinitely divide one second into infinitely many moments. In these infinitely many moments, the frequency has infinitely changed, progressing infinitely many times in infinitely small units beyond the decimal point.

From the point-to-point perspective, it is simply from 255Hz to 257Hz, but if one wants to explore its details, it is impossible to measure.

In this simple piece of music, there are too many infinites.

The headphones that Harrison Clark wore could not accurately express such a huge amount of information; it was a simplified interpretation after simplifying the same infinite number of times. But fortunately, as a human being, Harrison Clark had infinite imagination, and he was a musician too, so even if he couldn’t hear the massive information in his ears, he could imagine and supplement it in his mind.

Moreover, the timbre was also something Harrison Clark had never encountered before.

It seemed to be a sound from nature, but there was no reference to be found, as if all the sounds were condensed and merged together.

If Harrison Clark were asked to play it now, he would not be able to do so, and he would not even be able to write the score.

Harrison Clark’s real gain was that he had captured the origin of this lengthy piece of music.

The inner rhythm changes did indeed stem from all the pieces of music in “Sounds of Earth.”

It was not a simple linear stacking, but instead, each moment contained all the characteristics of each of the 27 classical music pieces.

Its rhythm covered the cultural thinking of Earthlings, and its sound quality also covered the rhythm of Earth’s nature. Combined together, it formed this piece of music that could be called absolute control, resonating with the brain that dominated human thinking in an extremely hidden manner.

Yes, this song captured the controlling part of all classical songs.

Music has dual aspects, one of which can be called “control.”

The so-called definition of control is to use music from the outside to manipulate a person’s emotions and even thoughts.

For example, when a person who was originally sad hears a cheerful piece of music, they will unconsciously grin slightly.

When a person who was originally laughing suddenly hears a sad piece of music that touched their heart, their eyes will still moisten slightly.

This is the “control” aspect of music.

Controlling a person through music is not a strange story.

As early as the early 21st century modern psychology research, there was a clear conclusion that it was not impossible to use music for psychological suggestion and control of people’s actions.

Take, for example, the war-crazed man responsible for the Second World War, who used classical music to an extreme level.

While wielding his butcher’s knife, he also promoted classical music among his people, using music to cover up his atrocities, making people forget his cruelty and only remember his ambition for revival.

American writer Tess Grison’s mystery novel “Burning Melody” tells such a story.

After the protagonist’s daughter listens to a violin concerto from a hundred years ago, she repeatedly does things that hurt her mother.

Although the story was fabricated, the psychological research was grounded in reason.

This “Song of the Wilderness” given to mankind by the invaders is precisely the ultimate embodiment of the control aspect of all classical music in “Sounds of Earth.”

Having found the origin, Harrison Clark could now start thinking about countermeasures.

Just then, he suddenly shuddered and looked straight ahead.

It was still void.

He intuitively felt that some kind of change was happening.

Harrison Clark’s Azure Star suddenly transformed into a sniper mode, and he fired a neutron bullet.

The bullet disintegrated into fundamental particles at a distance of less than one meter from him.

It looked exactly the same as before to the naked eye, but in his deepest perception, this half a meter distance seemed infinitely far away.

In Harrison Clark’s helmet, the particle dispersion fog simulated and calculated by the spaceship was displayed, and the fog was rapidly receding in front of his eyes at an incredible speed.

Perhaps in an instant, it had traveled a light-year, only leaving a long trail of energy radiation in the void of cosmic space.

Harrison Clark’s ears echoed with the shout of Martha Owen, who was still on the spaceship.

“The Invader Barrier is quickly retreating. No, our space is being stretched!”

Harrison Clark didn’t understand what Martha Owen was talking about.

Wasn’t he still fine?

How could the void of cosmic space be stretched?

“No, the space of the Solar System is being restored to its original state. For the past 500 years, our entire Solar System has been continuously compressed by the Invader Barrier!”

“What?”

Three minutes later.

Harrison Clark saw the bright light near Earth in the distance.

The million-strong fleet was instantly reduced to ashes.

Harrison Clark checked the time on his helmet.

October 27, 3020 AD, 9:49 AM.

He realized the problem.

At this time, the distance between him and Earth should be close to two light-years.

The exact time of the explosion should have been 9:48 AM.

Then he should be able to see the explosion’s light two years later.

But he only took a minute to see it.

Either the speed of light had been accelerated, instantly crossing the two-light-year distance.

Or the space being stretched shortened the time it took for the light to reach his eyes..