Some curious results from someone who has been studying old violions for many years...
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“I expected to find more Italian vowels, what experts call the ‘Old Italian’ sound actually has the mark of foreign languages,” Nagyvary confirms.
Nagyvary has held for decades that the great Italian violin makers, Stradivari and Guarneri del Gesù, produced instruments with a more human-like tonal quality than any others made at the time. To prove his theory, he persuaded the famed violinist Itzhak Perlman to record a scale on his violin, a 1743-dated Guarneri, during a 1987 concert appearance in San Antonio.
For the required comparison, Nagyvary asked Metropolitan Opera soprano Emily Pulley, a former College Station resident, to record her voice singing vowels in an operatic style.
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His paper is here (not firewalled). I suspect it will spark some interest, but not settle very much. The old instruments often sound wonderful in the right hands and have proven to be incredible investments.
A Comparative Study of Power Spectra and Vowels in Guarneri Violins and Operatic Singing
JOSEPH NAGYVARY
Abstract—This paper is the first of a planned series aiming to characterize what could be viewed as standards of excellence in the tone quality of violins played note for note by a world-class player. Here we begin with the most outstanding item in our data bank, the analysis of the Guarneri del Gesù “ex-Sauret”, played by its owner Itzhak Perlman in a 2-octave chromatic scale. The second violin analyzed was the del Gesù “ex-Ole Bull”. The tone quality of these violins is discussed in terms of their power spectra and similarities with those of the female singing voice. We have used a method of speech analysis, LPC with Praat, to determine the formants of vowels sung by a Metropolitan Opera soprano and those of the two violins. All the low notes of the voice and violins were then placed in a form of the IPA vowel diagram designed by Pfitzinger, whereby the vowels could be identified. Each violin has a characteristic distribution of vowels in the Pfitzinger plot, which can serve as identification and provide a basis for quality assessment. Some of the vowels are stable, others have a diphthong character. It appears that famous Cremonese instruments produce notes that gravitate toward certain type of vowels, implying that old masters could have used vowel identification as a means of quality assurance. We suggest that the user-friendly methods described here would be a useful supplement for makers and players in evaluating the quality of their own violins.
arlington
(note - Andy is a hobbyist musician and the environmental writer)
12:17 in General Commentary, history, Music | Permalink | Comments (0) | TrackBack (0)