The mystic atmosphere of beau ideal surrounding Stradivari violin may be just that : an nimbus , and nothing more . A study published today in theProceedings of the National Academy of Sciencesfinds that violinist and listeners alike really prefer the sound of newfangled instruments .
“ sometime Italian fiddle are routinely credited with playing qualities purportedly unprocurable in unexampled instruments , ” the authors write in their paper . “ These qualities include the ability to externalise their auditory sensation more effectively in a concert hall — despite seeming comparatively restrained under the ear of the thespian — compared with new fiddle . ”
For two centuries , the most accomplished violinists in the domain have relied on instrument made by the fabled crafter Antonio Stradivari or Guarneri del Gesu . One concertmasterdescribedthe Stradivarius ’s “ peculiar ( and sublime ) ” sound that “ somehow expand and gains more complexity from a length , especially in a concert hall . ”
But does it , really ?
To encounter out , research worker carry on two study involving both professional violinists and listeners of all experience levels . The first study was held in 2012 in a small-scale concert G. Stanley Hall near Paris involving 55 participants , and the second in 2013 in a expectant hall in New York City with 82 participants . The listeners were seated in the consultation and the soloists on microscope stage . Between them , the scientist erected a heavy - conducting screen door so that the listeners could hear , but not see , the instrument .
To essay the musicians ’ own preferences , the investigator wrap up their eyes with modified welders ’ goggles before handing them either an old or new fiddle to toy .
Without the power to see which cat’s-paw was producing the music , neither players nor listeners could really tell the difference of opinion between the new and old fiddle . But when it amount time to rate sound calibre and acoustic projection , young fiddle systematically and significantly won out .
“ A impression in the near - miraculous timber of Old Italian violins has preoccupied the violin domain for centuries , ” the authors spell . “ It may be that recent generations of violin Lord have closed the interruption between erstwhile and new , or it may be that the disruption was never so extensive as commonly believed . ”
