[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:07.25,0:00:09.07,Default,,0000,0000,0000,,Gripped with vengeful passion,
Dialogue: 0,0:00:09.07,0:00:11.86,Default,,0000,0000,0000,,The Queen of the Night \Ntears across the stage.
Dialogue: 0,0:00:11.86,0:00:14.25,Default,,0000,0000,0000,,She begins to sing her titular aria,
Dialogue: 0,0:00:14.25,0:00:17.73,Default,,0000,0000,0000,,one of the most famous sections \Nfrom Mozart’s beloved opera,
Dialogue: 0,0:00:17.73,0:00:19.35,Default,,0000,0000,0000,,"The Magic Flute."
Dialogue: 0,0:00:19.35,0:00:21.89,Default,,0000,0000,0000,,The orchestra fills the hall with music,
Dialogue: 0,0:00:21.89,0:00:25.46,Default,,0000,0000,0000,,but the queen’s voice soars above \Nthe instruments.
Dialogue: 0,0:00:25.46,0:00:28.70,Default,,0000,0000,0000,,Its melody rings out \Nacross thousands of patrons,
Dialogue: 0,0:00:28.70,0:00:31.08,Default,,0000,0000,0000,,reaching seats 40 meters away—
Dialogue: 0,0:00:31.08,0:00:34.19,Default,,0000,0000,0000,,all without any assistance \Nfrom a microphone.
Dialogue: 0,0:00:34.19,0:00:38.12,Default,,0000,0000,0000,,How is it possible that this single voice\Ncan be heard so clearly,
Dialogue: 0,0:00:38.12,0:00:40.98,Default,,0000,0000,0000,,above the strains \Nof dozens of instruments?
Dialogue: 0,0:00:40.98,0:00:44.18,Default,,0000,0000,0000,,The answer lies in the physics \Nof the human voice,
Dialogue: 0,0:00:44.18,0:00:48.56,Default,,0000,0000,0000,,and the carefully honed technique \Nof an expert opera singer.
Dialogue: 0,0:00:48.56,0:00:51.90,Default,,0000,0000,0000,,All the music in this opera house \Noriginates from the vibrations
Dialogue: 0,0:00:51.90,0:00:53.46,Default,,0000,0000,0000,,created by instruments—
Dialogue: 0,0:00:53.46,0:00:57.62,Default,,0000,0000,0000,,whether it’s the strings of a violin \Nor the vocal folds of a performer.
Dialogue: 0,0:00:57.62,0:01:02.75,Default,,0000,0000,0000,,These vibrations send waves into the air, \Nwhich our brains interpret as sound.
Dialogue: 0,0:01:02.75,0:01:04.71,Default,,0000,0000,0000,,The frequency of these vibrations––
Dialogue: 0,0:01:04.71,0:01:07.89,Default,,0000,0000,0000,,specifically, the number \Nof waves per second––
Dialogue: 0,0:01:07.89,0:01:11.39,Default,,0000,0000,0000,,is how our brains determine \Nthe pitch of a single note.
Dialogue: 0,0:01:11.39,0:01:13.69,Default,,0000,0000,0000,,But in fact, every note we hear
Dialogue: 0,0:01:13.69,0:01:17.34,Default,,0000,0000,0000,,is actually a combination \Nof multiple vibrations.
Dialogue: 0,0:01:17.34,0:01:21.34,Default,,0000,0000,0000,,Imagine a guitar string vibrating \Nat its lowest frequency.
Dialogue: 0,0:01:21.34,0:01:22.95,Default,,0000,0000,0000,,This is called the fundamental,
Dialogue: 0,0:01:22.95,0:01:27.47,Default,,0000,0000,0000,,and this low pitch is what our ears \Nmostly use to identify a note.
Dialogue: 0,0:01:27.47,0:01:32.43,Default,,0000,0000,0000,,But this lowest vibration triggers \Nadditional frequencies called overtones,
Dialogue: 0,0:01:32.43,0:01:35.57,Default,,0000,0000,0000,,which layer on top of the fundamental.
Dialogue: 0,0:01:35.57,0:01:38.80,Default,,0000,0000,0000,,These overtones break down \Ninto specific frequencies
Dialogue: 0,0:01:38.80,0:01:41.07,Default,,0000,0000,0000,,called harmonics, or partials—
Dialogue: 0,0:01:41.07,0:01:45.100,Default,,0000,0000,0000,,and manipulating them \Nis how opera singers work their magic.
Dialogue: 0,0:01:45.100,0:01:50.32,Default,,0000,0000,0000,,Every note has a set of frequencies \Nthat comprise its harmonic series.
Dialogue: 0,0:01:50.32,0:01:55.08,Default,,0000,0000,0000,,The first partial vibrates \Nat twice the frequency of the fundamental.
Dialogue: 0,0:01:55.08,0:01:59.73,Default,,0000,0000,0000,,The next partial is three times \Nthe fundamental’s frequency, and so on.
Dialogue: 0,0:01:59.73,0:02:03.61,Default,,0000,0000,0000,,Virtually all acoustic instruments \Nproduce harmonic series,
Dialogue: 0,0:02:03.61,0:02:08.48,Default,,0000,0000,0000,,but each instrument’s shape and material\Nchanges the balance of its harmonics.
Dialogue: 0,0:02:08.48,0:02:15.48,Default,,0000,0000,0000,,For example, a flute emphasizes \Nthe first few partials,
Dialogue: 0,0:02:15.48,0:02:17.61,Default,,0000,0000,0000,,but in a clarinet’s lowest register,
Dialogue: 0,0:02:17.61,0:02:21.34,Default,,0000,0000,0000,,the odd-numbered partials \Nresonate most strongly.
Dialogue: 0,0:02:21.34,0:02:23.06,Default,,0000,0000,0000,,The strength of various partials
Dialogue: 0,0:02:23.06,0:02:27.06,Default,,0000,0000,0000,,is part of what gives each instrument\Nits unique sonic signature.
Dialogue: 0,0:02:27.06,0:02:31.22,Default,,0000,0000,0000,,It also affects an instrument’s ability \Nto stand out in a crowd,
Dialogue: 0,0:02:31.22,0:02:36.65,Default,,0000,0000,0000,,because our ears are more strongly \Nattuned to some frequencies than others.
Dialogue: 0,0:02:36.65,0:02:40.95,Default,,0000,0000,0000,,This is the key to an opera singer’s \Npower of projection.
Dialogue: 0,0:02:40.95,0:02:42.44,Default,,0000,0000,0000,,An operatic soprano—
Dialogue: 0,0:02:42.44,0:02:44.80,Default,,0000,0000,0000,,the highest of the four standard \Nvoice parts—
Dialogue: 0,0:02:44.80,0:02:47.63,Default,,0000,0000,0000,,can produce notes \Nwith fundamental frequencies
Dialogue: 0,0:02:47.63,0:02:53.05,Default,,0000,0000,0000,,ranging from 250 to 1,500 vibrations \Nper second.
Dialogue: 0,0:02:53.05,0:02:55.74,Default,,0000,0000,0000,,Human ears are most sensitive \Nto frequencies
Dialogue: 0,0:02:55.74,0:02:59.74,Default,,0000,0000,0000,,between 2,000 and 5,000 \Nvibrations per second.
Dialogue: 0,0:02:59.74,0:03:03.66,Default,,0000,0000,0000,,So if the singer can bring out \Nthe partials in this range,
Dialogue: 0,0:03:03.66,0:03:08.50,Default,,0000,0000,0000,,she can target a sensory sweet spot \Nwhere she’s most likely to be heard.
Dialogue: 0,0:03:08.50,0:03:10.82,Default,,0000,0000,0000,,Higher partials are also advantageous
Dialogue: 0,0:03:10.82,0:03:13.54,Default,,0000,0000,0000,,because there’s less competition \Nfrom the orchestra,
Dialogue: 0,0:03:13.54,0:03:16.82,Default,,0000,0000,0000,,whose overtones are weaker \Nat those frequencies.
Dialogue: 0,0:03:16.82,0:03:19.50,Default,,0000,0000,0000,,The result of emphasizing \Nthese partials
Dialogue: 0,0:03:19.50,0:03:24.89,Default,,0000,0000,0000,,is a distinctive ringing timbre \Ncalled a singer’s squillo.
Dialogue: 0,0:03:24.89,0:03:28.47,Default,,0000,0000,0000,,Opera singers work for decades \Nto create their squillo.
Dialogue: 0,0:03:28.47,0:03:30.33,Default,,0000,0000,0000,,They can produce higher frequencies
Dialogue: 0,0:03:30.33,0:03:35.28,Default,,0000,0000,0000,,by modifying the shape and tension \Nin their vocal folds and vocal tract.
Dialogue: 0,0:03:35.28,0:03:38.54,Default,,0000,0000,0000,,And by shifting the position \Nof their tongues and lips,
Dialogue: 0,0:03:38.54,0:03:42.54,Default,,0000,0000,0000,,they accentuate some overtones \Nwhile dampening others.
Dialogue: 0,0:03:42.54,0:03:46.56,Default,,0000,0000,0000,,Singers also increase their range \Nof partials with vibrato—
Dialogue: 0,0:03:46.56,0:03:50.84,Default,,0000,0000,0000,,a musical effect in which a note \Nslightly oscillates in pitch.
Dialogue: 0,0:03:50.84,0:03:53.42,Default,,0000,0000,0000,,This creates a fuller sound \Nthat rings out
Dialogue: 0,0:03:53.42,0:03:56.68,Default,,0000,0000,0000,,over the instruments’ \Ncomparatively narrow vibratos.
Dialogue: 0,0:03:56.68,0:03:58.36,Default,,0000,0000,0000,,Once they have the right partials,
Dialogue: 0,0:03:58.36,0:04:01.80,Default,,0000,0000,0000,,they employ other techniques \Nto boost their volume.
Dialogue: 0,0:04:01.80,0:04:05.80,Default,,0000,0000,0000,,Singers expand their lung capacity \Nand perfect their posture
Dialogue: 0,0:04:05.80,0:04:08.43,Default,,0000,0000,0000,,for consistent, controlled airflow.
Dialogue: 0,0:04:08.43,0:04:10.22,Default,,0000,0000,0000,,The concert hall helps as well,
Dialogue: 0,0:04:10.22,0:04:14.46,Default,,0000,0000,0000,,with rigid surfaces that reflect \Nsound waves towards the audience.
Dialogue: 0,0:04:14.46,0:04:17.08,Default,,0000,0000,0000,,All singers take advantage \Nof these techniques,
Dialogue: 0,0:04:17.08,0:04:21.34,Default,,0000,0000,0000,,but different vocal signatures \Ndemand different physical preparation.
Dialogue: 0,0:04:21.34,0:04:24.15,Default,,0000,0000,0000,,A Wagnerian singer needs \Nto build up stamina
Dialogue: 0,0:04:24.15,0:04:28.01,Default,,0000,0000,0000,,to power through the composer’s \Nfour-hour epics.
Dialogue: 0,0:04:28.01,0:04:31.61,Default,,0000,0000,0000,,While bel canto singers require \Nversatile vocal folds
Dialogue: 0,0:04:31.61,0:04:34.41,Default,,0000,0000,0000,,to vault through acrobatic arias.
Dialogue: 0,0:04:34.41,0:04:36.81,Default,,0000,0000,0000,,Biology also sets some limits—
Dialogue: 0,0:04:36.81,0:04:39.87,Default,,0000,0000,0000,,not every technique is feasible \Nfor every set of muscles,
Dialogue: 0,0:04:39.87,0:04:42.83,Default,,0000,0000,0000,,and voices change as singers age.
Dialogue: 0,0:04:42.83,0:04:46.02,Default,,0000,0000,0000,,But whether in an opera hall \Nor a shower stall,
Dialogue: 0,0:04:46.02,0:04:49.17,Default,,0000,0000,0000,,these techniques can turn \Nun-amplified voices
Dialogue: 0,0:04:49.17,0:04:51.34,Default,,0000,0000,0000,,into thundering musical masterpieces.