Acousticians drool all over themselves with subjects like this - something not supported anywhere in the entire history of pitch. History shows a constant climbing of pitch - much of it based on the development of wind instruments. Trumpets, flutes, oboes and the like have been recalculated with every increase in standard tuning pitch. They simply do not work at 432.
In the past, there was a convention of high and low pitch - about one full tone apart. In the baroque era this was called Chorton and Kammerton. We have “fixed pitch” instruments clustered around A=466 and others around A=420. We had an old classical Vienna pitch of A=465. Modern orchestras tune to A=441-A=444. At no time in recorded history did anything cluster around 432 - not in serious or in folkmusic. At least, we have no instruments or mathematicians that documented such things.
There is an interesting project by cornetto player Bruce Dickey. He has made a connection of early baroque music to the teachings of Kepler. http://www.brucedickey.com/natures-secret-whispering
The 432 link just proves that if you have a theory, that justification can be fabricated for it. I wish that at least there had been some project worth listening to attached to the hypothesis.
Whenever I feel blue, I start breathing again.