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《精彩一刻》抱紧我的小球球

百度 铿锵话语,谆谆之言,彰显大国领袖的高瞻远瞩,照见共产党人的赤忱初心。

If mod-ern paint com-pa-nies’ pre-ten-tious-ly-named col-or palettes gall you to the point of an exclu-sive-ly black-and-white exis-tence, the Har-vard Art Muse-ums’ Forbes pig-ment col-lec-tion will prove a wel-come balm.

The hand and type-writ-ten labels iden-ti-fy-ing the collection’s 2500+ pig-ments boast none of the flashy “cre-ativ-i-ty” that J. Crew employs to ped-dle its cash-mere Boyfriend Cardi-gans.
Pigment Collection

Images by Har-vard News

The benign, and whol-ly unex-cit-ing-sound-ing “emer-ald green” is —unsurprisingly—the exact shade legions of Oz fans have come to expect. The thrills here are chem-i-cal, not con-ferred. A mix of crys-talline pow-der cop-per ace-toarsen-ite, this emerald’s fumes sick-ened pen-ni-less artists as adroit-ly as they repelled insects.

Look how nice-ly it goes with Van Gogh’s rud-dy hair…

Van Gogh Harvard

“Mum-my” is per-haps the clos-est the Forbes col-lec-tion comes to 21st- cen-tu-ry pig-ment nam-ing. As Harvard’s Direc-tor of the Straus Cen-ter for Con-ser-va-tion and Tech-ni-cal Stud-ies, Narayan Khan-dekar, notes in the video above, its mush-room shade is no great shakes. The source—the resin used to seal mum-mies’ bandages—is what dis-tin-guish-es it.

Index_mummy_02

The collection’s crown jew-el is a rich ball of mustard?y Indi-an Yel-low. This pig-ment comes not from maize, nor earth, but from the dehy-drat-ed urine of a cow sub-sist-ing exclu-sive-ly on man-go leaves. I’m drawn to it like a moth to the liv-ing room walls. I’m sure Ben-jamin Moore had his rea-sons for dub-bing its urine-free fac-sim-i-le “Sun-ny Days.”

pigment_vault India Yellow

The images above, save the Van Gogh paint-ing, comes cour-tesy of by Har-vard News. The video above was cre-at-ed by Great Big Sto-ry.

Relat-ed Con-tent:

How Ink is Made: A Volup-tuous Process Revealed in a Mouth-Water-ing Video

The Art of Col-lo-type: See a Near Extinct Print-ing Tech-nique, as Lov-ing-ly Prac-ticed by a Japan-ese Mas-ter Crafts-man

Watch the First 10 Sea-sons of Bob Ross’ The Joy of Paint-ing Free Online

Ayun Hal-l-i-day is an author, illus-tra-tor, and Chief Pri-ma-tol-o-gist of the East Vil-lage Inky zine. Fol-low her @AyunHalliday

Watch Animated Introductions to 35 Philosophers by The School of Life: From Plato to Kant and Foucault

Phi-los-o-phy as an aca-d-e-m-ic sub-ject is reg-u-lar-ly maligned in pop-u-lar dis-course. Phi-los-o-phy majors get told that their stud-ies are use-less. Phi-los-o-phy pro-fes-sors find their bud-gets cut, their cours-es scru-ti-nized, and their char-ac-ter gross-ly impeached in pro-pa-gan-dis-tic reli-gious fea-ture films. It’s enough to make one despair over the turgid air of anti-intel-lec-tu-al-ism that sti-fles con-ver-sa-tion.

But before we start pin-ing for bygone gold-en ages of rig-or-ous crit-i-cal thought, let us remem-ber that philoso-phers have been a thorn in the side of the pow-er-ful since the incep-tion of West-ern phi-los-o-phy. After all, Socrates, the ancient Greek whose name we asso-ciate with philosophy’s most basic max-ims and meth-ods, was sup-pos-ed-ly put to death for the crime of which today’s pro-fes-so-rate so often stand accused: cor-rupt-ing the youth.

We most-ly know of Socrates’ life and death through the writ-ten dia-logues of his star pupil, Pla-to, whom Alain de Bot-ton calls in the first video above, “the world’s first true, and per-haps great-est, philoso-pher.” De Bot-ton quick-ly explains in his ani-mat-ed School of Life intro-duc-tion that the core of Plato’s phi-los-o-phy con-sti-tutes a “spe-cial kind of ther-a-py” geared toward Eudai-mo-nia, or human ful-fill-ment and well-being. From Pla-to, De Bot-ton’s series of quick takes on famous philoso-phers con-tin-ues, mov-ing through the Enlight-en-ment and the 19th and 20th cen-turies.

Key to Plato’s thought is the crit-i-cal exam-i-na-tion of Doxa, or the con-ven-tion-al val-ues and “pop-u-lar opin-ions” that reveal them-selves as “rid-dled with errors, prej-u-dice, and super-sti-tion.” Plato’s most famous illus-tra-tion of the pro-found state of igno-rance in which most of us live goes by the name “The Alle-go-ry of the Cave,” and receives a retelling with com-men-tary by De Bot-ton just above. The para-ble doesn’t only illus-trate the util-i-ty of phi-los-o-phy, as De Bot-ton says; it also serves as a vivid intro-duc-tion to Plato’s the-o-ry of the Forms—an ide-al realm of which our phe-nom-e-nal real-i-ty is only a debased copy.

The dual-ism between the real and the ide-al long gov-erned philo-soph-i-cal thought, though many com-pet-ing schools like the Sto-ics expressed a healthy degree of skep-ti-cism. But we might say that it wasn’t until Immanuel Kant, whom you can learn about above, that Pla-to real-ly met his match. Along with his famous eth-i-cal dic-tum of the “cat-e-gor-i-cal imper-a-tive,” Kant also posit-ed two dis-tinct realms—the noume-nal and the phe-nom-e-nal. And yet, unlike Pla-to, Kant did not believe we can make any asser-tions about the prop-er-ties or exis-tence of the ide-al. What-ev-er lies out-side the cave, we can-not access it through our faulty sens-es.

These cen-tral ques-tions about the nature of knowl-edge and mind not only make phi-los-o-phy an imma-nent-ly fas-ci-nat-ing discipline—they also make it an increas-ing-ly nec-es-sary endeav-or, as we move fur-ther into the realm of con-struct-ing arti-fi-cial minds. Soft-ware engi-neers and video game devel-op-ers are tasked with philo-soph-i-cal prob-lems relat-ed to con-scious-ness, iden-ti-ty, and the pos-si-bil-i-ty of eth-i-cal free choice. And at the cut-ting edge of cog-ni-tive sci-ence—where evo-lu-tion-ary biol-o-gy and quan-tum mechan-ics rub elbows—we may find that Pla-to and Kant both intu-it-ed some of the most basic prob-lems of con-scious-ness: what we take for real-i-ty may be noth-ing of the kind, and we may have no way of gen-uine-ly know-ing what the world is like out-side our sens-es.

As 17th cen-tu-ry French philoso-pher and math-e-mati-cian Rene Descartes feared, but found impos-si-ble to believe, our per-cep-tion of the world may in fact be a decep-tive, if use-ful, illu-sion. Learn more about Descartes above, and see De Botton’s full School of Life phi-los-o-phy series at the top of the post. Or watch the series on Youtube.

There are 35 videos in total, which let you become acquaint-ed with, and per-haps cor-rupt-ed by, a range of thinkers who ques-tion ortho-doxy and com-mon sense, includ-ing Aris-to-tle, Epi-cu-rus, Georg Wil-helm Friedrich Hegel, Friedrich Niet-zsche, Michel Fou-cault, Arthur Schopen-hauer, Albert Camus, Soren Kierkegaard, Jean-Paul Sartre, and Baruch Spin-oza. Watch all of the videos in the playlist right below.

Relat-ed Con-tent:

Free Online Phi-los-o-phy Cours-es (140+ Free Cours-es)

6 Polit-i-cal The-o-rists Intro-duced in Ani-mat-ed “School of Life” Videos: Marx, Smith, Rawls & More

An Ani-mat-ed Intro-duc-tion to Goethe, Germany’s “Renais-sance Man”

Alain de Bot-ton Shows How Art Can Answer Life’s Big Ques-tions in Art as Ther-a-py

Josh Jones is a writer and musi-cian based in Durham, NC. Fol-low him at @jdmagness

How Steely Dan Wrote “Deacon Blues,” the Song Audiophiles Use to Test High-End Stereos

Every Steely Dan fan remem-bers the first time they lis-tened to their music — not just heard it, but lis-tened to it, active-ly tak-ing notice of Wal-ter Beck-er and Don-ald Fagen’s com-plex-ly anachro-nis-tic lyrics (long scru-ti-nized by the band’s exegetes), jazz-and-rock-span-ning com-po-si-tion-al tech-nique, ultra-dis-cern-ing selec-tion of ses-sion musi-cians, and immac-u-late stu-dio craft which, by the stan-dards of the 1970s, raised pop-u-lar music’s bar through the ceil-ing.

Often, that first real lis-ten-ing ses-sion hap-pens in the neigh-bor-hood of a high-end stereo deal-er. For me, the album was Two Against Nature, their turn-of-the-21st cen-tu-ry come-back, but for many more, the album was Aja, which came out in 1977 and soon claimed the sta-tus of Steely Dan’s mas-ter-piece. At the end of side one comes “Dea-con Blues,” one of their best-loved songs as well as a pro-duc-tion that puts audio-phile lis-ten-ing equip-ment to the test. You can see a break-down of what went into it in Nerd-writer’s new video “How Steely Dan Com-pos-es a Song” above.

“There’s a rea-son why audio-philes use Steely Dan records to test the sound qual-i-ty of new speak-ers,” says host Evan Puschak. “The band is among the most son-i-cal-ly sophis-ti-cat-ed pop acts of the 20th and 21st cen-turies,” in both the tech-ni-cal and artis-tic sens-es. He goes on to iden-ti-fy some of the sig-na-ture ele-ments in the mix, includ-ing some-thing called the “mu major cord”; the record-ing meth-ods that allow “every instru-ment its own life” (espe-cial-ly those played by mas-ters like gui-tarist Lar-ry Carl-ton and drum-mer Bernard Pur-die); the strik-ing effect of “mid-dle reg-is-ter horns slid-ing against each oth-er”; and even sax-o-phone soloist Pete Christlieb, whom Beck-er and Fagen dis-cov-ered by chance on a Tonight Show broad-cast.

Puschak does-n’t ignore the lyrics, with-out a thor-ough analy-sis of which no dis-cus-sion of Steely Dan’s work would be com-plete. He men-tions the band’s typ-i-cal-ly wry, sar-don-ic tone, their detached per-spec-tive and notes of uncer-tain-ty, but in the case of this par-tic-u-lar song, it all comes with a “hid-den earnest-ness” that makes it one of the most poignant in their entire cat-a-log. “ ‘Dea-con Blues’ is about as close to auto-bi-og-ra-phy as our tunes get,” admits Fagen in the tele-vi-sion doc-u-men-tary clip just above, which puts him and Beck-er back into the stu-dio to look back at the song track by iso-lat-ed track.

“We’re both kids who grew up in the sub-urbs. We both felt fair-ly alien-at-ed. Like a lot of kids in the fifties, we were look-ing for some kind of alter-na-tive cul-ture — some kind of escape, real-ly — from where we found our-selves.” Beck-er describes the song’s epony-mous pro-tag-o-nist, who dreams of learn-ing to “work the sax-o-phone” in order to play just how he feels, “drink Scotch whiskey all night long, and die behind the wheel,” as not a musi-cian but some-one who “just sort of imag-ines that would be one of the myth-ic forms of loser-dom to which he might aspire. Who’s to say that he’s not right?”

You can learn even more about the mak-ing (and the mag-ic) of “Dea-con Blues” in Marc Myers’ inter-view with Beck-er and Fagen in the Wall Street Jour-nal last year. “It’s the only time I remem-ber mix-ing a record all day and, when the mix was done, feel-ing like I want-ed to hear it over and over again,” says Beck-er. “It was the com-pre-hen-sive sound of the thing.” Fagen acknowl-edges “one thing we did right” in the mak-ing of the song: “We nev-er tried to accom-mo-date the mass mar-ket. We worked for our-selves and still do.”

Relat-ed Con-tent:

Pro-duc-er Tony Vis-con-ti Breaks Down the Mak-ing of David Bowie’s Clas-sic “Heroes,” Track by Track

The Dis-tor-tion of Sound: A Short Film on How We’ve Cre-at-ed “a McDonald’s Gen-er-a-tion of Music Con-sumers”

Neil Young on the Trav-es-ty of MP3s

Based in Seoul, Col-in Mar-shall writes and broad-casts on cities, lan-guage, and style. He’s at work on a book about Los Ange-les, A Los Ange-les Primer, the video series The City in Cin-e-ma, the crowd-fund-ed jour-nal-ism project Where Is the City of the Future?, and the Los Ange-les Review of Books’ Korea Blog. Fol-low him on Twit-ter at @colinmarshall or on Face-book.

Peter Frampton Plays a Tiny Desk Concert for NPR, Featuring Acoustic Versions of His Classic Songs

Hav-ing recent-ly released a new album fea-tur-ing acoustic ver-sions of his big hits, Peter Framp-ton is now back on tour, play-ing in some small-er venues across the U.S. But no venue–not the Gillioz The-atre in Spring-field, Mis-souri, nor the Tobin Cen-ter for Per-form-ing Arts in San Anto-nio, Texas–is quite as small as the one we’re fea-tur-ing today. Above, watch Framp-ton per-form at the desk of NPR’s All Songs Con-sid-ered. The per-for-mance is part of NPR’s Tiny Desk series, and the setlist includes acoustic ver-sions of “Baby, I Love Your Way,” “Lines On My Face,” and “All I Want To Be (Is By Your Side).” Oth-er recent Tiny Desk per-for-mances include Gra-ham Nash, Wilco, Natal-ie Mer-chant, and Ben Folds. Enjoy.

If you would like to sign up for Open Culture’s free email newslet-ter, please find it here. It’s a great way to see our new posts, all bun-dled in one email, each day.

If you would like to sup-port the mis-sion of Open Cul-ture, con-sid-er mak-ing a dona-tion to our site. It’s hard to rely 100% on ads, and your con-tri-bu-tions will help us con-tin-ue pro-vid-ing the best free cul-tur-al and edu-ca-tion-al mate-ri-als to learn-ers every-where. You can con-tribute through Pay-Pal, Patre-on, and Ven-mo (@openculture). Thanks!

Young Patti Smith Rails Against the Censorship of Her Music: An Animated, NSFW Interview from 1976

The lat-est install-ment from Blank on Blank’s series of ani-mat-ed videos drops us inside the bohemi-an Por-to-bel-lo Hotel in Lon-don. It’s May, 1976, and we hear a young Pat-ti Smith rail-ing against the cen-sor-ship of her music, using some colorful–that is to say, NSFW–words. She talks Rim-baud. The poet-ry and com-bat of rock. The dreams and hal-lu-ci-na-tions that feed her music. The stuff that would even-tu-al-ly earn her the cred to be called The God-moth-er of Punk.

The audio is part of a longer, two-hour inter-view with Mick Gold, which is avail-able through Ama-zon and iTunes. Enjoy.

If you would like to sign up for Open Culture’s free email newslet-ter, please find it here. It’s a great way to see our new posts, all bun-dled in one email, each day.

If you would like to sup-port the mis-sion of Open Cul-ture, con-sid-er mak-ing a dona-tion to our site. It’s hard to rely 100% on ads, and your con-tri-bu-tions will help us con-tin-ue pro-vid-ing the best free cul-tur-al and edu-ca-tion-al mate-ri-als to learn-ers every-where. You can con-tribute through Pay-Pal, Patre-on, and Ven-mo (@openculture). Thanks!

Relat-ed Con-tent:

Pat-ti Smith’s List of Favorite Books: From Rim-baud to Susan Son-tag

Pat-ti Smith’s Cov-er of Nirvana’s “Smells Like Teen Spir-it” Strips the Song Down to its Heart

Watch Pat-ti Smith Read from Vir-ginia Woolf, and Hear the Only Sur-viv-ing Record-ing of Woolf’s Voice

Pat-ti Smith Reads Her Final Words to Robert Map-plethor-pe

The “Brain Dictionary”: Beautiful 3D Map Shows How Different Brain Areas Respond to Hearing Different Words

We’ve all had those moments of strug-gle to come up with le mot juste, in our native lan-guage or a for-eign one. But when we look for a par-tic-u-lar word, where exact-ly do we go to find it? Neu-ro-sci-en-tists at Berke-ley have made a fas-ci-nat-ing start on answer-ing that ques-tion by going in the oth-er direc-tion, map-ping out which parts of the brain respond to the sound of cer-tain words, using func-tion-al mag-net-ic res-o-nance imag-ing (fMRI) to watch the action on the cere-bral cor-tices of peo-ple lis-ten-ing to The Moth Radio Hour — a pop-u-lar sto-ry-telling pod-cast you your-self may have spent some time with, albeit under some-what dif-fer-ent cir-cum-stances.

“No sin-gle brain region holds one word or con-cept,” writes The Guardian’s Ian Sam-ple on the “brain dic-tio-nary” thus devel-oped by researcher Jack Gal-lant and his team. “A sin-gle brain spot is asso-ci-at-ed with a num-ber of relat-ed words. And each sin-gle word lights up many dif-fer-ent brain spots. Togeth-er they make up net-works that rep-re-sent the mean-ings of each word we use: life and love; death and tax-es; clouds, Flori-da and bra. All light up their own net-works.”

Sam-ple quotes Alexan-der Huth, the first author on the study: “It is pos-si-ble that this approach could be used to decode infor-ma-tion about what words a per-son is hear-ing, read-ing, or pos-si-bly even think-ing.” You can learn more about this promis-ing research in the short video from Nature above, which shows how the team mapped out how, dur-ing those Moth lis-ten-ing ses-sions, “dif-fer-ent bits of the brain respond-ed to dif-fer-ent kinds of words”: some regions lit up in response to those hav-ing to do with num-bers, for instance, oth-ers in response to “social words,” and oth-ers in response to those indi-cat-ing place.

You can also browse this brain dic-tio-nary your-self in 3D on the Gal-lant Lab’s web site, which lets you click on any part of the cor-tex and see a clus-ter of the words which gen-er-at-ed the most activ-i-ty there. The oth-er neu-ro-sci-en-tists quot-ed in the Guardian piece acknowl-edge both the thrilling (if slight-ly scary, in terms of thought-read-ing pos-si-bil-i-ties in the maybe-not-that-far-flung future) impli-ca-tions of the work as well as the huge amount of unknowns that remain. The response of the pod-cast-ing com-mu-ni-ty has so far gone unrecord-ed, but sure-ly they’d like to see the research extend-ed in the direc-tion of oth-er lin-guis-ti-cal-ly inten-sive shows — Marc Maron’s WTF, per-haps.

via The Guardian

Relat-ed Con-tent:

Free Online Psy-chol-o-gy & Neu-ro-science Cours-es

Becom-ing Bilin-gual Can Give Your Brain a Boost: What Recent Research Has to Say

Steven Pinker Explains the Neu-ro-science of Swear-ing (NSFW)

This Is Your Brain on Jane Austen: The Neu-ro-science of Read-ing Great Lit-er-a-ture

Music in the Brain: Sci-en-tists Final-ly Reveal the Parts of Our Brain That Are Ded-i-cat-ed to Music

Based in Seoul, Col-in Mar-shall writes and broad-casts on cities, lan-guage, and style. He’s at work on a book about Los Ange-les, A Los Ange-les Primer, the video series The City in Cin-e-ma, the crowd-fund-ed jour-nal-ism project Where Is the City of the Future?, and the Los Ange-les Review of Books’ Korea Blog. Fol-low him on Twit-ter at @colinmarshall or on Face-book.

Watch a Shot-by-Shot Remake of Kubrick’s The Shining, a 48-Minute Music Video Accompanying the New Album by Aesop Rock

In this increas-ing-ly atom-ized world of music, how does one get a new record release noticed above the hum of the inter-net? If you’re Bey-on-cé, you just drop the whole thing unan-nounced and watch the media play catch up. If you’re not Bey-on-cé you might con-sid-er rap-per Aesop Rock’s tac-tic.

This week, the word-smithi-est of hip hop artists and ani-ma-tor Rob Shaw released a shot-by-shot remake of Stan-ley Kubrick’s The Shin-ing, cre-at-ed with minia-tures and made with what looks like spare change as a bud-get. All of which plays as back-ground video to a full stream of The Impos-si-ble Kid, Aesop Rock’s sev-enth album and his first in four years.

Rob Shaw cre-at-ed the hip-ster rats skits for Port-landia as well as videos for They Might Be Giants and pre-vi-ous Aesop Rock tracks, but this Shin-ing remake is some-thing else. First you notice the glee-ful cheap-ness of the pro-duc-tion, but then as Aesop Rock’s rap lyrics flow over the visu-als, mem-o-ry starts to fill in the gaps of the images. Shaw’s hand-i-work is lit-er-al-ly in the video: we can see his hand in the bath-tub scene, or his body’s shad-ow as he moves the wood-en Jack Tor-rance down the Overlook’s halls. And the tiny cam-era repli-cates the film’s Steadicam shots well, cre-at-ing a work that is like a delir-i-um of the actu-al movie.

Now, does this have any-thing to do with The Impos-si-ble Kid, real-ly? Well, the rap-per did go to live in a Port-land barn after divorce and the death of a friend, and instead of writ-ing “All Work and No Play…” over and over wrote this album, and nobody got hurt. Either way, by the time you’ve fin-ished watch-ing you’ll have heard the album, and that’s just one way to play the new music game.

via Noisey

Relat-ed Con-tent:

Down-load & Play The Shin-ing Board Game

Stan-ley Kubrick’s Anno-tat-ed Copy of Stephen King’s The Shin-ing

Stan-ley Kubrick’s The Shin-ing Reimag-ined as Wes Ander-son and David Lynch Movies

Ted Mills is a free-lance writer on the arts who cur-rent-ly hosts the artist inter-view-based FunkZone Pod-cast. You can also fol-low him on Twit-ter at @tedmills, read his oth-er arts writ-ing at tedmills.com and/or watch his films here.

What Makes the Stradivarius Special? It Was Designed to Sound Like a Female Soprano Voice, With Notes Sounding Like Vowels, Says Researcher

What makes vio-lins made by the Stradi-vari and Guarneri fam-i-lies as valu-able to musi-cians as they are to col-lec-tors? And how do we mea-sure the opti-mal sound qual-i-ty of a vio-lin? One answer comes from vio-lin mak-er Anton Krutz, who spec-u-lates that these high-ly-prized clas-si-cal instru-ments sing so sweet-ly because they are “made with pro-por-tions and spi-rals based on Gold-en Ratio geom-e-try.”

Per-haps. But Joseph Nagy-vary, a pro-fes-sor emer-i-tus in bio-chem-istry at Texas A&M Uni-ver-si-ty, dis-cov-ered anoth-er, less lofty rea-son for the dis-tinc-tive sound of these cov-et-ed instru-ments. As Texas A&M Today reports, dur-ing his 25 years of research on Stradi-var-ius and Guarneri vio-lins, Nagy-vary found that the two mak-ers “soaked their instru-ments in chem-i-cals such as borax and brine to pro-tect them from a worm infes-ta-tion that was sweep-ing through Italy in the 1700s. By pure acci-dent the chem-i-cals used to pro-tect the wood had the unin-tend-ed result of pro-duc-ing the unique sounds that have been almost impos-si-ble to dupli-cate in the past 400 years.”

Though vio-lins have always been made to imi-tate the human voice, the unique-ness of the Stradi-vari and Guarneri vio-lins, Nagy-vary set out to prove, results in espe-cial-ly human-like tones. In a recent 2013 study pub-lished in the stringed instru-ment sci-ence peri-od-i-cal Savart Jour-nal, Nagy-vary pre-sent-ed research show-ing, writes Live Sci-ence, that these prized Ital-ian instru-ments “pro-duced sev-er-al vow-el sounds, includ-ing the Ital-ian ‘i’ and ‘e’ sounds and sev-er-al vow-el sounds from French and Eng-lish.” Whether by chem-i-cal acci-dent or grand geo-met-ric design, “the great vio-lin mas-ters were mak-ing vio-lins with more human-like voic-es than any oth-ers of the time.”

Seek-ing, as Nagy-vary says in the short video above, to “define what was the stan-dard of excel-lence for the vio-lin sound,” he decid-ed to mea-sure the Stradi-vari and Guarneri-made instru-ments against the orig-i-nal mod-el for their tim-bre: the female sopra-no voice. To com-pare the two, he had Itzhak Perl-man record a scale on a 1743 Guarneri vio-lin, then asked Met-ro-pol-i-tan Opera sopra-no Emi-ly Pul-ley to record her voice while she sang var-i-ous vow-el sounds. Nagy-vary ana-lyzed the har-mon-ic con-tent of both record-ings with a com-put-er pro-gram and mapped the results against each oth-er.

His project, writes Texas A&M Today, effec-tive-ly “proved that the sounds of Pulley’s voice and the violin’s could be locat-ed on the same map… and their respec-tive graph-ic images can be direct-ly com-pared.” The Guarneri vio-lin does indeed exact-ly mim-ic the tones of the singing human voice, repli-cat-ing vow-el sounds from Old Ital-ian and oth-er Euro-pean lan-guages.

Nagy-vary thinks his find-ings “could change how vio-lins may be valued”—for their sound rather than for the label inside the instru-ment. A vio-lin mak-er him-self, the for-mer bio-chem-istry pro-fes-sor also sug-gests a more prac-ti-cal appli-ca-tion for his research find-ings: they might teach vio-lin mak-ers how to improve the qual-i-ty of their instru-ments. Nagyvary’s sci-en-tif-ic approach may offer luthiers the exact chem-i-cal com-po-si-tion and the mea-sur-able tonal qual-i-ties of the Stradi-var-ius, enabling them to final-ly dupli-cate these beloved Renais-sance instru-ments.

Relat-ed Con-tent:

Why Vio-lins Have F?Holes: The Sci-ence & His-to-ry of a Remark-able Renais-sance Design

Musi-cian Plays the Last Stradi-var-ius Gui-tar in the World, the “Sabionari” Made in 1679

The Art and Sci-ence of Vio-lin Mak-ing

Josh Jones is a writer and musi-cian based in Durham, NC. Fol-low him at @jdmagness

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