Interesting topic. Infrasound is generally considered to be frequencies below 20hz. 20hz was established as the lower threshold of human hearing for, more than anything, practical reasons since this threshold not only varies substantially from individual to individual, but unlike our upper frequency threshold it drops in sensitivity very gradually. Not only are some individuals capable of hearing below 20hz, but most of us do, in fact, sense or feel frequencies well below 20hz. These low frequencies modulate with frequencies which are mathematically related and much higher in pitch. Music is a harmonic soup of fundamental frequencies and harmonics (overtones and undertones) and accuracy in one frequency range affects our perception of other frequency ranges and is one of the reasons that the low frequency performance of speakers is so crucial and affects the midrange where most music occurs.
Re A=440 tuning: once again, the adoption of this standard was mostly for practical reasons. Orchestras would tune to a higher and higher pitch as a means of producing a more brilliant sound to the dismay of singers whose vocal chords would suffer strain from the ever higher tuning. While I would not dispute the idea that a certain pitch to naturally occurring mathematical phenomena might produce a potentially more "harmonious" sound, I think that practically it is much to do about nothing since it is typical for orchestras to take the A (440hz) from the oboe and then within minutes from the start of the piece have the overall pitch be hz above that. This is a result of (in the case of the winds) of the inescapable tendency of the instrument to produce a higher pitch as the instrument warms up, and the natural human tendency for a player to want to hear himself within a large ensemble and a more brilliant sound accomplishes this.
Re A=440 tuning: once again, the adoption of this standard was mostly for practical reasons. Orchestras would tune to a higher and higher pitch as a means of producing a more brilliant sound to the dismay of singers whose vocal chords would suffer strain from the ever higher tuning. While I would not dispute the idea that a certain pitch to naturally occurring mathematical phenomena might produce a potentially more "harmonious" sound, I think that practically it is much to do about nothing since it is typical for orchestras to take the A (440hz) from the oboe and then within minutes from the start of the piece have the overall pitch be hz above that. This is a result of (in the case of the winds) of the inescapable tendency of the instrument to produce a higher pitch as the instrument warms up, and the natural human tendency for a player to want to hear himself within a large ensemble and a more brilliant sound accomplishes this.