Acoustic evolution of old Italian violins from Amati to Stradivari

A Nanofocused Light on Stradivari Violins: Infrared s-SNOM Reveals New Clues Behind Craftsmanship Mastery

It is well-known that all the phases of the manufacturing influence the extraordinary aesthetic and acoustic features of Stradivari's instruments. However, these masterpieces still keep some of their secrets hidden by the lack of documentary evidence. In particular, there is not a general consensus on the use of a protein-based ground coating directly spread on the wood surface by the Cremonese Master. The present work demonstrates that infrared scattering-type scanning near-fields optical microscopy (s-SNOM) may provide unprecedented information on very complex cross-sectioned microsamples collected from two of Stradivari's violins, nanoresolved chemical sensitivity being the turning point for detecting minute traces of a specific compound, namely proteins, hidden by the matrix when macro or micro sampling approaches are exploited. This nanoresolved chemical-sensitive technique contributed new and robust evidence to the long-debated question about the use of proteinaceous materials by Stradivari.

A listening experiment comparing the timbre of two Stradivari with other violins

The violins of Stradivari are recognized worldwide as an excellence in craftsmanship, a model for instrument makers, and an unachievable desire for collectors and players. However, despite the myth surrounding these instruments, blindfolded players tendentially prefer to play modern violins. Here, we present a double blind listening experiment aimed at analyzing and comparatively rating the sound timbre of violins. The mythic instruments were listened to among other well regarded and not so well regarded violins. 70 listeners (violin makers of the Cremona area) rated the timbre difference between the simple musical scales played on a test and a reference violin, and the results showed that their preference converged on one particular Stradivari. The acoustical measurements revealed some similarities between the subjective ratings and the physical characteristics of the violins. It is speculated that the myth of Stradivari could have been boosted, among other factors, by the specimens of tonal superior quality, which biased favourably the judgment on his instruments and spread on all of the maker's production. These results contribute to the understanding of the timbre of violins and suggest the characteristics that are in a relationship with the pleasantness of the timbre.

Even violins can cry: specifically vocal emotional behaviours also drive the perception of emotions in non-vocal music

A wealth of theoretical and empirical arguments have suggested that music triggers emotional responses by resembling the inflections of expressive vocalizations, but have done so using low-level acoustic parameters (pitch, loudness, speed) that, in fact, may not be processed by the listener in reference to human voice. Here, we take the opportunity of the recent availability of computational models that allow the simulation of three specifically vocal emotional behaviours: smiling, vocal tremor and vocal roughness. When applied to musical material, we find that these three acoustic manipulations trigger emotional perceptions that are remarkably similar to those observed on speech and scream sounds, and identical across musician and non-musician listeners. Strikingly, this not only applied to singing voice with and without musical background, but also to purely instrumental material.

This article is part of the theme issue ‘Voice modulation: from origin and mechanism to social impact (Part I)’.

X-ray Imaging and Computed Tomography for the Identification of Geometry and Construction Elements in the Structure of Old Violins

Numerous studies on heritage violins have shown that there are a number of factors that contribute to the acoustic quality of old violins. Among them are the geometric shape of the violin, the thickness of the tiles, the arching of the tiles, the dimensions and position of the bass bar, the size and position of the acoustic holes. Thus, the paper aims to compare the structural and constructive elements of old violins made in various famous violin workshops (Stainer, Klotz, Leeb, Babos Bela), using nondestructive and noncontact techniques based on image analysis. The violins that were studied date from 1716 to 1920, being in good condition, most of them being used by artists from the Brașov Philharmonic of Romania. In the first stage of the study, the violins were optically analyzed and scanned to identify the structure of the resonant wood, using the WinDENDRO Density 2007 program. X-ray imaging and computed tomography (CT) were also used. Combining the types of analyses, capitalizing on the expertise of violin producers and the knowledge of researchers in the field, valuable data on the geometric and constructive characteristics of old violins were extracted.

Ecological and psychological factors in the cultural evolution of music

The two target articles agree that processes of cultural evolution generate richness and diversity in music, but neither address this question in a focused way. We sketch one way to proceed - and hence suggest how the target articles differ not only in empirical claims, but also in their tacit, prior assumptions about the relationship between cognition and culture.

Tree-ring dating of musical instruments

[Figure: see text].

Materials Engineering of Violin Soundboards by Stradivari and Guarneri

We investigated the material properties of Cremonese soundboards using a wide range of spectroscopic, microscopic, and chemical techniques. We found similar types of spruce in Cremonese soundboards as in modern instruments, but Cremonese spruces exhibit unnatural elemental compositions and oxidation patterns that suggest artificial manipulation. Combining analytical data and historical information, we may deduce the minerals being added and their potential functions—borax and metal sulfates for fungal suppression, table salt for moisture control, alum for molecular crosslinking, and potash or quicklime for alkaline treatment. The overall purpose may have been wood preservation or acoustic tuning. Hemicellulose fragmentation and altered cellulose nanostructures are observed in heavily treated Stradivari specimens, which show diminished second‐harmonic generation signals. Guarneri's practice of crosslinking wood fibers via aluminum coordination may also affect mechanical and acoustic properties. Our data suggest that old masters undertook materials engineering experiments to produce soundboards with unique properties.

A data-driven approach to violin making

Of all the characteristics of a violin, those that concern its shape are probably the most important ones, as the violin maker has complete control over them. Contemporary violin making, however, is still based more on tradition than understanding, and a definitive scientific study of the specific relations that exist between shape and vibrational properties is yet to come and sorely missed. In this article, using standard statistical learning tools, we show that the modal frequencies of violin tops can, in fact, be predicted from geometric parameters, and that artificial intelligence can be successfully applied to traditional violin making. We also study how modal frequencies vary with the thicknesses of the plate (a process often referred to as plate tuning) and discuss the complexity of this dependency. Finally, we propose a predictive tool for plate tuning, which takes into account material and geometric parameters.

Eigenfrequency optimisation of free violin plates

We discuss how the modal response of violin plates changes as their shape varies. Starting with an accurate 3D scan of the top plate of a historic violin, we develop a parametric model that controls a smooth shaping of the interior of the plate, while guaranteeing that the boundary is the same as the original violin. This allows us to generate a family of violin tops whose shape can be smoothly controlled through various parameters that are meaningful to a violin maker: from the thickness in different areas of the top to the location, angle, and dimensions of the bass bar. We show that the interplay between the different parameters affects the eigenmodes of the plate frequencies in a nonlinear fashion. We also show that, depending on the parameters, the ratio between the fifth and the second eigenfrequencies can be set to match that used by celebrated violin makers of the Cremonese school. As the parameterisation that we define can be readily understood by violin makers, we believe that our findings can have a relevant impact on the violin making community, as they show how to steer geometric modifications of the violin to balance the eigenfrequencies of the free plates.

Motor constraints influence cultural evolution of rhythm

While widely acknowledged in the cultural evolution literature, ecological factors-aspects of the physical environment that affect the way in which cultural productions evolve-have not been investigated experimentally. Here, we present an experimental investigation of this type of factor by using a transmission chain (iterated learning) experiment. We predicted that differences in the distance between identical tools (drums) and in the order in which they are to be used would cause the evolution of different rhythms. The evidence confirms our predictions and thus provides a proof of concept that ecological factors-here a motor constraint-can influence cultural productions and that their effects can be experimentally isolated and measured. One noteworthy finding is that ecological factors can on their own lead to more complex rhythms.

Improving the High-Frequency Response of PEI-Based Earphone with Sodium Copper Chlorophyllin

The polyetherimide diaphragm, sodium copper chlorophyllin (SCC), and copper ion coating composite used on earphones were observed to improve the high-frequency (10k–14k Hz) performance. This reinforcement phenomenon was expected to make the sound experience brighter and more diverse. By SEM observation, the mixed coating of SCC/Cu²⁺ on the polyethylenimine (PEI) diaphragm exhibited a planar blocky structure and was tightly bonded to the surface of the PEI polymer without the aid of colloids. The endothermic process of SCC and metal ion complexation was analyzed by isothermal titration calorimetry. The association ratios of SCC/Cu²⁺ and SCC/Ni²⁺ were 4/1 and 6/1, respectively, and the SCC/Cu²⁺ association yielded a stronger binding constant and more free energy. It was expected that the SCC/Cu²⁺(4/1) mixed liquid would be immobilized on the PEI polymer by multivalent interaction, including hydrogen-bonding networks between carboxyl groups of SCC and amine groups of PEI, and cross-linking of bridging copper ions. We used dimethylethylenediamine (DME) monomer instead of PEI polymer to analyze this multivalent interaction and observed a two-stage exothermic association of SCC/Cu²⁺(4/1) and DME with a total Gibbs free energy of 15.15 kcal/mol. We observed that the binding energy could be used to explain that the SCC/Cu²⁺ mixed formulation could be fixed on the surface of the PEI polymer and could enhance the strength of the PEI film. Compared with graphene films, which can continuously improve the performance of high and ultrasonic frequencies, this study was devoted to and was initiated for the purpose of applying porphyrin compounds to improve music performance.