Remember those song birds we used to hear in the fields? The sounds of animals in nature singing a symphony of soft and subtle sounds as all things flow together to create a living and vibrant concerto? Science is now showing that these sounds actually do influence the growth of plants. Researchers have demonstrated that plants respond to sounds in pro-found ways which not only influence their overall health but also increase the speed of growth and the size of the plant. Many people remember hearing in the late 1960's and 1970's about the idea that plants respond to music. There were lots of projects in high schools and colleges which successfully tested the effects of sound on plant growth. It was determined through repetitive testing that plants did respond to music and sound. The first book which brought this idea to most of us was: The Secret Life of Plants, by Peter Tompkins and Christopher Bird (Harper & Row 1973). In this best selling book a number of astounding revelations about plant growth were revealed. The idea that plants were influenced by sound in both positive and negative ways was demonstrated by several world class scientists at that time. When we think of plants being affected by sunlight we are really looking at the effect of a portion of the electromagnetic spectrum on plants ­ that portion which includes visible light. It should not surprise us that sound also impacts plant growth because it is, in essence, an extension to other parts of the electromagnetic spectrum. The science was first disclosed in an article by Andy Coghlan which appeared in New Scientist (May 28, 1994, p.10). The article confirmed old ideas by placing them in a scientific context. It tells an excellent story about the impact of sound on plant growth, bringing to light what was before considered esoteric or mysterious science. After reading this short article and those which follow in this issue of the Flashpoints a good deal more will be thought of "singing gardeners" and "plant communicators." Many people remember reading accounts of plant growth being stimulated by sound waves. At that time, "talking" to plants and playing plants different types of music was used to influence growth. A number of people were using these techniques without being able to completely explain the phenomena. This article is part of that story ­ a story which could have a profound impact on the way we grow and produce our food. Eccentrics who sing to their plants? People playing melodies to organic matter with the expectation that it will help stimulate growth? These ideas were the thoughts of some "non-scientists" until French physicist and musician, Joel Sternheimer, discovered the mechanism for how plants respond to the stimulation of sound waves. Sternheimer composes musical note sequences which help plants grow and has applied for an international patent1 covering the concept. The sound sequences are not random but are carefully constructed melodies. Each note is chosen to correspond to an amino acid in a protein with the full tune corresponding to the entire protein. What this means is that the sounds sequenced in just the right order results in a tune which is unique and harmonizes with the internal structure of a specific plant type. Each plant type has a different sequence of notes to stimulate its growth. According to New Scientist, "Sternheimer claims that when plants "hear" the appropriate tune, they produce more of that protein. He also writes tunes that inhibit the synthesis of proteins." In other words, desirable plants could be stimulated to grow while undesirable plants (weeds for instance) could be inhibited. This is done with electromagnetic energy, in this case sound waves, pulsed to the right set of frequencies thus effecting the plant at an energetic and submolecular level. Sternheimer translates into audible vibrations of music the quantum vibrations that occur at the molecular level as a protein is being assembled from its constituent amino acids. By using simple physics he is able to compose music which achieves this correlation. Sternheimer indicated to New Scientist that each musical note which he composes for the plant is a multiple of original frequencies that occur when amino acids join the protein chain. He says that playing the right notes stimulates the plant and increases growth. This idea is particularly interesting because it may lead to the eventual obsolescence of fertilizers used to stimulate plant growth. This new method would be cheap and relatively easily provided throughout the world, thereby avoiding many of the problems associated with the extraction, shipping, environmental and economic costs of chemical fertilizers. Playing the right tune stimulates the formation of a plant's protein. "The length of a note corresponds to the real time it takes for each amino acid to come after the next," according to Sternheimer, who studied quantum physics and mathematics at Princeton University in New Jersey. In experiments by Sternheimer, he claims that tomatoes exposed to his melodies grew two-and-a-half times as large as those which were untreated. Some of the treated plants were sweeter in addition to being significantly larger. The musical sequences stimulated three tomato growth promoters, cytochrome C, and thaumatin (a flavoring compound). According to Sternheimer in the New Scientist, "Six molecules were being played to the tomatoes for a total of three minutes a day." Sternheimer also claims to have stopped the mosaic virus by playing note sequences that inhibited enzymes required by the virus. This virus would have harmed the tomato plants. The note sequences used by the inventor are very short and need only be played one time. For example, the sequence for for cytochrome C lasts just 29 seconds. According to Sternheimer, "on average, you get four amino acids played per second" in this series. The inventor also issued a warning for those repeating his experiments. He warns to be careful with the sound sequences because they can affect people. "Don't ask a musician to play them," he says. Sternheimer indicated that one of his musicians had difficulty breathing after playing the tune for cytochrome C. Plant stimulation by sound may have profound implications. The idea that a cheap source of "electromagnetic fertilizer" has been developed should be exciting for many third world countries. At a time when human progress can be made through simple solutions in agriculture, resources are being wasted in the extraction of mineral and oil compounds for fertilizers. If this method of fertilization were followed the human intellect would prove superior to physical capital in terms of distribution and production of this new technology. The idea that sound can have a healing effect on humans is being explored by a number of independent scientists around the world. The know-ledge of the "sound effect on proteins" offers insights to health practitioners of the benefits to humans. In addition to the favorable economic factors, the increased vitality of the plant substances can positively impact the health of all humans that consume them. The patent includes melodies for cytochrome oxidase and cytochrome C which are two proteins involved in respiration. It also includes sound sequences for troponin C which regulates calcium uptake in muscles. Further, a tune was developed for inhibiting chalcone synthase which is an enzyme involved in making plant pigments. 0001] This application is a continuation-in-part of U.S. patent application, Ser. No. 08/347,353 filed Dec. 1, 1994. BACKGROUND OF THE INVENTION [0002] The present invention is directed to a method of regulating protein biosynthesis. More particularly, the invention is directed to a method for epigenetic regulation of in situ protein biosynthesis and its use in agronomy and health. [0003] Demonstration of the musical properties of elementary particles suggests an important role for the scale at which the phenomena happen. (J. Sternheimer, C. R. Acad. Sc. Paris 297, 829, 1983). For example, it is known that the physical existence of quantum waves associated to particles propagate themselves not only in space-time, but also in that scale dimension, thus linking together successive levels of the organization of matter. (J. Sternheimer, Colloque International "Louis de Broglie, Physician et Penseur", Ancienne Ecole Polytechnique, Paris, Nov. 5-6, 1987). These waves allow an action of one scale onto the other, between phenomena that are similar enough to constitute, in a mathematically well-defined sense, harmonics of a common fundamental tone. (See J. Sternheimer, Ondes d'e'chelle [scaling waves], I. Partie Physique; II. Partie Biologique. Filed at Academie des Sciences (Paris) 1992 under seal no. 17064). [0004] The theoretical reasons for the existence of scaling waves makes them appear as a universal phenomenon whose function is at first to ensure coherence between the different scales of a quantum system, and that especially takes shape and can be described in the process of protein biosynthesis. The peptidic chain elongation effectively results from the sequential addition of amino acids that have been brought onto the ribosome by specific transfer RNAs (tRNAs). When an amino acid, initially in a free state, comes to affix itself to its tRNA, it is stabilized with respect to thermal agitation --while keeping a relative autonomy because it is linked to the tRNA by only one degree of freedom--for its de Broglie wavelength to reach the order of magnitude of its size. This stabilization gives the amino acid wave properties. [0005] Interference between the scaling wave associated to the amino acid and those similarly produced by the other amino acids, results in a synchronization, after a very short period of time (which can be evaluated to be about 10.sup.-12.5 second), of the proper frequencies associated with these amino acids according to one and same musical scale, which more precisely depends upon the transfer RNA population. However, to within the approximation of the chromatic tempered scale, this scale appears universal due to the very peculiar distribution of amino acid masses which is already very close to it. [0006] The scaling wave phenomenon appears in a more explicit way when the amino acid carried by its tRNA fixes itself onto the ribosome. It is at this moment that the stabilization with respect to thermal agitation becomes such that the wavelength of the amino acid outgrows its size by a full order of magnitude. The scaling wave which then emits interferes, at the scale of the protein in formation, with similar waves previously emitted by the other amino acids. This interference draws constraints of a musical type for the temporal succession of the proper frequencies associated to these waves, so that the scaling waves continue their itinerary and insure coherence and communication between different levels of the organism. For example, the succession of these waves minimizes the dissonance (harmonic distance) and the frequency gaps (represented by melodic distance) between successive amino acids. Additional properties imply the existence of periods of minimization of harmonic distances showing punctuations in the temporal succession of frequencies which other levels will complete with correlations all the more rich and marked that they themselves are more numerous to influence the protein synthesis. The result is the prediction that proteins possess, in the very succession of the proper quantum frequencies associated to the sequence of their amino acids, musical properties all the more clear and elaborate that their biosynthesis is more sensitive to epigenetic factors in general. Conversely, it must be possible to act epigenetically, in a specific way for each protein onto that biosynthesis. [0007] The observation of protein sequences confirms that all proteins possess musical properties in the sequence of their amino acids and these properties are all the more developed that those proteins are, in a general way, more epigenetically sensitive. (Data from M. O. Dayhoff, Atlas of protein sequence and structure, volume 5 and supplements, N.B.R.F. (Washington) 1972-78). In addition, the acoustic transposition of the series of proper frequencies corresponding to the production of scaling waves in phase with the elongation of a given protein,.shows a stimulating action onto the biosynthesis of this protein in vivo, and in a correlative way it has an inhibiting action for scaling waves in phase opposition. [0008] In the case of animals having a nervous system the sound wave is transformed into electromagnetic impulses of the same shape and frequency right from the starting point of the auditory nerve. These impulses, by virtue of the scale invariance of scaling wave equations applied to the photon (which generalize Maxwell's equations), have a direct action, by scale resonance, on their quantum transpositions. Because the squared quantum amplitudes are proportional to the number of proteins that are simultaneously synthesized, the resonance phenomenon results, in the case of scaling waves in phase, in an increase of the rate of synthesis, as well as a regulation of its rhythm, and in the case of scaling waves in phase opposition, in a reduction of this rate. (cf. P. Buser and M. Imbert, Audition, Hermann diteur, Paris, 1987). Among plants, the sensitivity to sounds is visible through interferometry and the scaling waves behave theoretically in a similar way. [0009] The solution to the scaling wave equation, which effectively shows the existence of scaling waves having a range close to Avogadro number, anticipates similar properties for the scaling waves drawn from the spatial distribution of amino acids (whose de Broglie wavelength is then comparable to their size) inside the protein after it has been synthesized. The solution then provides a range approximating the square root of that number. The observation of their tertiary structures confirms the existence of harmonies within vibratory frequencies of amino acids spatially nearby inside proteins (and especially at their surface, as can be expected from their wavelength). An appreciable stabilization of the effects obtained with the use of the musical transpositions is then observed using colored transpositions of these spatially distributed frequencies. [0010] The present invention is drawn from these observations. SUMMARY OF THE INVENTION [0011] The method of the invention comprises determining the musical notes associated with an amino acid sequence, the musical periods of the sequence, the lengths of the notes, and the tone quality of the notes through the retroaction of the amino acids and using that information to regulate the biosynthesis of the protein. [0012] Stated in another way, the amino acids which build a protein emit a signal of quantum nature at a certain frequency. Following the properties of this signal the frequency is transposed into a musical note in such way that playing back the melody of a protein will stimulate or inhibit its synthesis. This discovery has numerous applications since deduction of the amino acid sequence of a protein provides a sequence of notes composing the melody which will act on its synthesis inside an organism. Thus, by diffusing to a plant the music of a protein which plays an important role in flowering, more flowers are produced. [0013] Stated more scientifically, the method of this invention uses the regulating action on the biosynthesis of proteins by scale resonance of transpositions into sound of temporal sequences of quantum vibrations associated with their elongation. This action may be an increase of the rate of synthesis or a reduction of this rate, depending upon whether the modulation of the vibration frequencies used is in phase with, or in phase opposition to the elongation. This is true for the quantum vibrations as well as for their transposition into sound. The result is further stabilized by the actions, again through scale resonance, of colored light transpositions of grouped quantum vibrations arising from the spatial conformation of proteins issued from this elongation. [0014] This method applies in a specific way to every protein of known structure. Its use is all the more appropriate when the synthesis of this protein is even more dependent upon epigenetic factors, that is to say external to the DNA of the system to which it belongs, and especially in the present case, upon acoustic and electromagnetic factors. In addition, the method uses the determination of metabolic agonisms and antagonisms of these proteins due to scale resonance phenomena naturally associated with their biosynthesis. The characterization of these proteins in their associated metabolic subsets is another feature of the present invention. [0015] The identification of proteins designed to be regulated as part of a given application includes other criteria a correspondence between acoustic and electromagnetic phenomena or which effects can be observed on living beings and the transposed proteic sequences. BRIEF DESCRIPTION OF THE INVENTION [0016] Certain features and advantages will be evidence from the drawings when considered in conjunction with the accompanying drawing in which: 0021] The present invention will now be described more fully hereinafter with reference to the accompanying drawings, in which preferred embodiments of the invention are shown. This invention may, however, be embodied in many different forms and should not be construed as limited to the embodiments set forth herein; rather, these embodiments are provided so that this disclosure will be thorough and complete, and will convey the scope of the invention to those skilled in the art. [0022] There is provided a method of regulating protein synthesis in situ, using a musical sequence corresponding to the amino acid sequence of a protein through the decoding and transposition into sound of a temporal series of quantum vibrations associated with the elongation of the amino acid chain of the protein. The method of regulating protein synthesis in situ requires at least the following steps: the sequence of musical notes is determined; the period appearing in the molecule is determined; the period is rectified, if necessary; the rhythmic style is checked through the distribution of the bases of DNA; and the tone quality is determined. [0023] Determining The Sequence Of Musical Notes. The sequent of music notes associated with the amino acid chain of a protein is determined by associating a musical note with each amino acid. More specifically, within the approximation of the tempered scale a universal code for the stimulation of protein synthesis is obtained. That code is: [0024] Gly=low A; Ala=C; Ser=E; Pro Val, Thr, Cys=F; Leu, Ile, Asn, Asp=G; Gln, Lys, Glu, Met=A; His=B flat; Phe, as well as SeC=B; Arg, Tyr=sharp C; Trp=sharp D [0025] which are deduced from the notes of the code by taking the notes of the chromatic tempered scale which are symmetrical to those of said keynotes with respect to central G. [0026] There is another code for inhibition, which is deduced from the preceding code by symmetrization of the logarithms of the frequencies around their central value: [0027] Trp=C; Arg, Tyr=D; Phe, SeC=E flat; His=E; Gln Lys, Glu Met=F; Leu, Ile, Asn, Asp=G; Pro, Val, Thr, Cys=A; Ser=B flat; Ala=sharp D; Gly=sharp F [0028] that are deduced from the notes of the code by taking the notes of the chromatic tempered scale which are symmetrical to those of said keynotes with respect to central G. [0029] The application of the universal code results in scaling waves respectively in phase with and in phase opposition to those taking place during the synthesis process. The term "universal code" means that this code is identical for all proteins to within the approximation of the tempered scale; the low A, for a central frequency located 76 octaves below the centre of gravity of the initial frequencies of leucine, isoleucine, and asparagine, is at 220 Hz. The expression of harmonic distance given above extends the definition suggested by Y. Hellegouarch in C. R. Math. Rep. Acad. Sci. Canada, Volume 4, Page 227, 1982. The exact values of the frequencies depend on the proportions of the groups of the above-mentioned amino acids among the transfer RNA population surrounding the protein biosynthesis. [0030] Determination of Frequency. The next step is to derive the frequency of each of the notes. The following code is derived in the following manner, which also optionally enables to give a more precise frequency value to each note. The frequency of the musical notes is calculated from the frequencies of amino acids in their free state (proportional to their masses) by minimizing the global harmonic distance .SIGMA.ij P.sub.i P.sub.j logsup (pi, qj) calculated for all possible pairs of notes, (pi/qj) being the harmonic intervals globally the closest to the corresponding proper frequency ratios. Their respective proportions P.sub.i, P.sub.j in the environing population of transfer RNAs are taken into account. While respecting the condition .delta.f