Posts Tagged ‘music’
“I don’t consider it my violin. Rather, I’m its violinist. I am passing through its life.”*…

Jennifer Sandlin is (perfectly understandably) blown away by cellist-turned-photographer Charles Brooks’ images of the interiors of rare musical instruments…
… Each instrument appears as if it’s straight out of a dream — some look like futuristic structures, some like fantasy castles, and others like secret lairs of fantastical creatures. It’s hard to believe they’re real, and I’m just in awe of Brooks’ photography talent.
The photographs are part of Brooks’ “Architecture in Music” series, where, he explains, he “explore[s] the hidden spaces inside fine instruments” which have included a Steinway Grand Piano, the St. Mark’s Pipe Organ, and the Lockey Hill Cello (c. 1780, England), among many others…

Read on for more of the story: “Photographer captures the stunning interiors of rare musical instruments,” from @boingboing.net. See more of Brooks’ remarkable photos on his site. And hear him tell his story here:
* Ivry Gitlis (speaking of his 1713 Stradivarius violin)
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As we cherish craftsmanship, those among us with a preference for reeds might note that today is Saxophone Day– a commemoration of the birth (on this date in 1814) of Adolphe Sax, a musician and inventor who created several new musical instruments (e.g., a redesigned bass clarinet still in use today), most notably the one that bears his name– the saxophone…
… while the brassier might celebrate the birthday (in 1854) of John Philip Sousa. A composer and conductor known primarily for American military marches (e.g., “The Stars and Stripes Forever,” National March of the United States of America. and “Semper Fidelis,” official march of the United States Marine Corps) he is widely acknowledged in the U.S. as “The March King.”
The press of unusually-intensive meetings is going to prevent posting tomorrow, so (R)D will be away for a day, returning on Saturday…
“The sound must seem an echo to the sense”*…

Of all the senses cultivated throughout the 19th century, it was the sense of hearing that experienced the most dramatic transformation, as the science of sound underwent rapid advancement. Lucas Thompson delves into a particular genre of popular acoustics primers aimed at children and amateurs alike, which reveal the pedagogical, ludic, and transcendental strivings of Victorian society…
In 1777, the German physicist Ernst Chladni, who would later be crowned the Father of Acoustics, designed an experiment that revolutionized our understanding of sound. After placing grains of sand on a thin metal plate and drawing a violin bow along one edge, Chladni watched in wonder as the sand danced and jiggled into surprising shapes — all perfectly even and symmetrical, but changing their formations depending on how the bow was used. In their beauty and complexity, these shapes (which the physicist himself cannily called “Chladni figures”) seemed to be arranged by invisible hands. In one simple and elegant experiment, sound had become visible.
Here at last was clear proof that sound was not produced by generating tiny particles of matter within air, as the dominant theorists of the seventeenth and eighteenth centuries had insisted, but was instead the result of vibrations from waves. While earlier claims about the wave-like properties of sound (which in fact date back to Aristotle’s Physics) had fallen mostly on deaf ears, Chladni’s experiment provided undeniable evidence that sound was caused by waves that could move through both air and matter.
Chladni’s ingenious demonstration also showed that sound could be observed in a variety of new ways, and would no longer be consigned to the invisible aether. Moreover, it was an easy experiment to replicate for anyone who could get their hands on a copper plate, a violin bow, and some sand. In fact, it was so widely reproduced that, in 1901, Annie Besant and Charles Leadbetter, in their wonderful (and completely bizarre) theosophical study Thought-Forms, could write that Chladni figures were “already familiar to every student of acoustics”, being “continually reproduced in every physical laboratory”…
[Thompson recounts a number of the more fascinating examples of the “citizen science” that Chladni inspired, with excerpts– and lovely illustrations– from some of the books that resulted…]
… Nowadays, the term “pop-science” is often used disapprovingly, as though something important is always lost when genuine scientific research is translated into less nuanced terms that the public can comprehend. But the hard distinction between professional and amateur science in our own era — between expertise and general interest — was not yet fully present in the nineteenth century.
To read these surprising, delightful, and often beautiful popular science books is to be made aware of the enormous gulf that has opened up between professional scientists and the public. As science became increasingly specialized in the twentieth century, the public were no longer able to follow along with new findings, let alone have any hope of reproducing important experiments. It is difficult to imagine an amateur enthusiast recreating the latest research, regarding the quantum phenomena of sound, for example, or the way that spiders “listen” to their surroundings via vibrations in their webs, at home. Of course, contemporary publishers still put out science primers, textbooks, and explainers, but something vital has vanished. The frontier of scientific discovery has receded from view, moving far beyond what non-specialists can comprehend. These nineteenth-century popularizing books arose during a brief period in which even children could somewhat keep pace with scientific advancement. They offer a crucial window into what has been lost, and reveal how new understandings of sound filtered through Victorian culture and beyond…
Experimenting with sound in 19th-century popular science: “Hooked on Sonics,” from @publicdomainrev.bsky.social.
Keep an ear out for a chance to experience the remarkable 32 Sounds (exhibition schedule here).
* Alexander Pope
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As we listen, we might send sonorous birthday greetings to Mahalia Jackson; she was born on this date in 1911. A gospel singer and civil rights activist, she is considered one of the most influential vocalists of the 20th century. Through a career spanning 40 years, Jackson was integral to the development and spread of gospel blues in black churches throughout the U.S. During a time when racial segregation was pervasive in American society, she had considerable (albeit unexpected) success in her recording career, selling an estimated 22 million records and performing in front of integrated and secular audiences in concert halls around the world, making her one of the best-selling gospel music artists.
“We are the first generation to feel the effect of climate change and the last generation who can do something about it”*…
One of the issues that vexes coordinated response is a paradox that lies at the heart of the phenomenon: Earth’s climate is chaotic and volatile. Climate change is simple and predictable. How can both be true? Joseph Howlett explains…
The Earth’s atmosphere is nothing but freely roaming molecules. Left alone, they would drift and collide, and eventually even out into a mixture that’s dynamic, yet stable and broadly unchanging.
The sun’s rays complicate things. Energy enters the Earth system in daily cycles, the bulk of it going to whichever half of the planet is tilted toward the sun (and experiencing summer). The molecules in that half acquire more energy than others, which sets the global atmosphere steadily swirling. Depending on the season and location, molecules in our atmosphere might traverse warm land, then cold seas. They might encounter a mountain range that forces them to high altitudes, where the air pressure is low and water condenses. Then they might become part of large-scale phenomena, such as currents, atmospheric rivers, turbulent jet streams and continental fronts.
These phenomena are erratic. They interact at every scale and manifest as weather, from clear sunny days to blustery blizzards and the anomalous events — from hurricanes and polar vortices to hailstorms and tornadoes — that are happening with increasing intensity. Any thought of stability is illusory; no patch of molecules dances in isolation.
The result, from seemingly simple inputs of molecules and energy, is emergent, incalculable chaos. Some individual molecule in the room you are sitting in is careening about blindly and colliding with its immediate neighbors. Zoom out — block to city, field to landscape, region to continent — and patterns appear and intermix. Complexity abounds and compounds. Nothing in the atmosphere is untethered from the rest of the global picture.
We live with this unpredictable mess of an atmosphere every day. We tote around unopened umbrellas, or refresh weather apps and watch our weekend plans dissolve. Anticipating conditions any further out than a week or two is a fool’s errand. The Earth is a complex dynamical system — an interwoven mass of moving parts, each of which requires a different branch of science to understand. Even with advanced knowledge, sophisticated algorithms and modern instruments, it defies and eludes us.
Yet this engine of chaos is now under our influence. It is incontrovertible fact that we are changing the Earth’s temperature by adding more carbon dioxide to the atmosphere. We know exactly how we are changing it — that when we double the proportion of carbon dioxide in the thin layer that rests over the surface of the Earth, the planet will become 2 to 4 degrees Celsius warmer, overall, than it is today. This conclusion has remained essentially unchanged since 1896, when the Swedish scientist Svante Arrhenius arrived at an estimate of 2 to 5 degrees. (Using an extraordinarily simplified picture of Earth, he made a number of mistakes that, in the end, balanced out.) Some details may remain uncertain, some chaos untamable, but the basic conclusion is a matter of unwavering scientific agreement — 97% is a rare degree of consensus on almost any subject. We are nearly as sure of this as we are of the causes of infectious disease, or how stars form, or the fact that life evolves through natural selection.
oth things are true: The climate system is vastly complex, and we’re certain about what we are doing to it. How can we be so confident in a hundred-year projection when we can’t predict the weather with any reliability more than a week out?
“How can it be that both are true?” said Nadir Jeevanjee, an atmospheric physicist at NOAA’s Geophysical Fluid Dynamics Laboratory, a leading institution for cutting-edge simulations of the atmosphere. “It’s a huge tension that’s lurking behind the whole conversation.”
It turns out that complexity can be a veil concealing more basic truths. An enormously complicated system can yield simple answers. You just have to ask a simple enough question…
Read on for Howlett’s fascinating– and important– explanation: “The Climate Change Paradox,” from @quantamagazine.bsky.social.
And for a reminder that this matters (as though we need one…): “Human-Caused Warming Tripled the Death Toll of European Heat Waves This Summer, New Report Shows,” from @insideclimatenews.org.
* Barack Obama
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As face reality, we might recall that on this date in 1988, the #1 song in the U.S. was Bobby McFerrin‘s “Don’t Worry, Be Happy,” the first a cappella song to reach the top of the Billboard Hot 100 chart, a position it held for two weeks.
(Produced by Colossal Pictures, Directed by Drew Takahashi)
“The best way out is always through”*…
Adam Mastroianni (and here) with a diagnosis of the malaise (“Borg vibes,” as he calls them) that so many of us feel– and a remedy (or, at least, a constructive response)…
Everyone I know has given up. That’s how it feels, at least. There’s a creeping sense that the jig is up, the fix is in, and the party’s over. The Earth is burning, democracies are backsliding, AI is advancing, cities are crumbling—somehow everything sucks and it’s more expensive than it was last year. It’s the worst kind of armageddon, the kind that doesn’t even lower the rent.
We had the chance to prevent or solve these problems, the thinking goes, but we missed it. Now we’re past the point of no return. The world’s gonna end in fascists and ashes, and the only people still smiling are the ones trying to sell you something. It feels like we’re living through the Book of Revelation, but instead of the Seven Seals and the apocalyptic trumpeters, we have New York Times push notifications.
On the one hand, it’s totally understandable that these crises would make us want to curl up and die. If the world was withering for lack of hot takes, I’d assemble a daredevil crew and we’d be there in an instant. But if history is heading more in the warlords ‘n’ water wars direction, I’m out.
On other hand, this reaction is totally bonkers. If our backs are against the wall, shouldn’t we put up our dukes? For people supposedly facing the breakdown of our society, our response is less fight-or-flight and more freeze-and-unease, frown-and-lie-down, and despair-and-stay-there.
Maybe humanity has finally met its match, but even though people talk like that’s the case, the way they act is weirdly…normal. Every conversation has a dead-man-walking flavor to it, and yet the dead men keep on walking. “Yeah, so everything’s doomed and we’re all gonna die. Anyway, talk to ya later, I gotta put the lasagna in the oven.” If things are just about to go kaput, why is everyone still working 60 hours a week?
Something strange is going on here, and I’d like to offer an explanation in two parts: a wide circle, and a bullet with a foot in it…
Eminently worth the read: “Use this magic bullet to shoot yourself in the foot,” from @mastroianni.bsky.social.
Pair with: “Apocalypse 24/7” (an excerpt from Roy Scranton‘s Impasse: Climate Change and the Limits of Progress)… a deeper, darker– but sadly, all-too-credible– dive into the context that Mastrioanni sketches… while (as your correspondent reads it, anyway) it doesn’t contradict Mastroianni’s prescription (“pick up a sponge and start washing”), it reminds us just how much grime there is to get through… all the more reason to get started…
* Robert Frost
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As we grapple, we might recall that it was on this date in 1965 that Bob Dylan’s “Positively 4th Street” was released. Dropping between Highway 61 Revisited and Blonde on Blonde, as the follow-up to Dylan’s hit single “Like a Rolling Stone“, it was not included on either album. But it reached No. 1 on Canada’s RPM chart, No. 7 on the U.S. Billboard Hot 100, and No. 8 on the UK Singles Chart, and has been ranked by Rolling Stone No. 203 in their 500 Greatest Songs of All Time list.







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