Comment Re:Just one's mouth can make some powerful music (Score 3, Informative) 51
the Kyrgyz have cultivated the jew's harp, or kobuz. This instrument has only one vibrating element, and though it can produce only a single tone, the performer can create a variety of sounds through changing the contours of his mouth and lips. It's a humble instrument but so endless.
These instruments and overtone singing take advantage of something most people know nothing about - how our perception of sound works. When you hear, say, a violin, you aren't hearing a "violin sound". You're hearing a combination of sinusoidal waves - a fundamental combined with multiple overtones. Those of you well-versed in math may recognize this as a Fourier series. Our ears are designed to perform a Fourier transform on incoming sounds, and separate out the individual frequencies. Individually these sinusoids are no different from the sinusoids generated by any other instrument (or any sound source for that matter). The stimulation a violin gives your ear at 440 Hz is exactly the same as what a horn gives, a voice gives, or even a jet engine gives at that one frequency - a sinusoid.
It's the ratio of the magnitudes of different frequencies (fundamental + overtones) which make a violin sound like a violin. A horn has a different ratio of magnitudes at the different overtones. Same with a voice (each individual voice - that's how you recognize someone's voice). Same with a jet engine. The raw data our brain gets from the ear is just a bunch of separate frequencies and and their magnitudes. It then compares the ratios of potential fundamentals + overtones and says, "oh, that's a violin". It always amazed me that you listen to an orchestra and pick out the individual instruments - all their frequencies and magnitudes are overlapping into a mishmash of sound. When I later learned about spread spectrum multiplexing, that's when I understood your brain is doing the equivalent of orthgonal frequency division multiplexing (which is the technology used for LTE). Even though the frequencies generated by the instruments in an orchestra overlap into a mishmash of sound, the ratios of their overtones are orthogonal enough that if you listen carefully you can pick out the individual instruments. Exactly how your cell phone picks up the signal intended for it from the mishmash of signals the tower puts out for all phones.
In many ways, a Jew's harp and overtone singing are akin to analog sound synthesis. If you thought the high pitch she was singing sounded vaguely flute- or recorder-like, it's because those instruments have very close to a pure sinusoidal waveform (fundamental, very little overtones). The individual overtone she is amplifying is sinusoidal in waveform, so your brain interprets it as flute- or recorder-like. It's very similar to how the early synthesizers worked (before computer memory became cheap enough to sample everything). The name comes from frequency modulation synthesis - you modulate the magnitudes of the different frequencies (overtones) to alter what instrument the sound sounds like. Match the pattern of violin overtones and it sounds like a violin. Match the pattern of horn overtones and it sounds like a horn. The overtone singer has only mastered modulating the fundamental and one overtone, which limits her synthesis capabilities. But if she's capable of modulating a second or third overtone, she could start making her voice sound like different instruments. Just like an old analog FM synthesizer.