The Future of Music | Sarah Dunne | TEDxBelvedere College Youth
Sarah Jan presented on 3D printed instruments, arguing that while technological replication is tempting, creating instruments that integrate seamlessly into professional orchestral settings requires careful consideration of acoustic viability, user perception, and the existing cultural value attached to traditionally made items. She supported this by comparing the historical conservation efforts (like the Pritzker Museum's emulation) with her own testing, which showed a 3D printed violin had a wider sound spectrum than traditional versions but still required substantial refinement to be practically valuable and desirable to professional musicians. The strongest evidence is the comparison between a traditionally made violin (A) and a 3D printed one (B) showing differing waveforms, alongside consulting with instrument makers and educators on its potential use. ## Speakers & Context - Sarah Jan: Presenting on 3D printed instruments; PhD in Fine Art. - Context: Comparison of modern fabrication techniques (3D printing) against historical, handcrafted traditions in the world of musical instrument making. - Personal Connection: Inspired by a book titled *Rebuilt: How Computer Made Be More Human* after visiting her grandmother who had hip replacement surgery in 2011. ## Theses & Positions - Copying and replacing existing objects (e.g., hearing through cochlear implants, or instruments) can lead to questioning the original's value, likened to the Ship of Theseus paradox. - The core artistic/technical challenge is how to create 3D printed instruments that are aesthetically and acoustically invisible within a professional orchestra. - Technological innovation must be paired with cultural acceptance, as musicians' perceptions and established educational values resist radical changes. - 3D printing offers a potential solution to the gap in the research surrounding instrument maintenance and accessibility, allowing for customized, affordable alternatives. ## Concepts & Definitions - **Rebuilt:** Title of a book discussed by Jan, concerning how technology can make something more human. - **Post-digital Technologies:** Technologies that are absorbed and become normalized within everyday life, as discussed by Casone. - **Ship of Theseus:** Philosophical concept used to question whether an object remains the same if all its parts are replaced. - **3D Printing:** Fabrication method used in the presentation to create replicas and functional instruments. - **Invisibility (of the instrument):** The goal to make the 3D printed instrument integrate seamlessly with the existing orchestra, feeling like a natural extension. ## Mechanisms & Processes - **Casting/Mold Making:** Initial interest in Jan's art practice, focusing on repetition and repeated use of materials. - **Acoustic Testing:** Methodology involved comparing the sound waveforms of traditionally made instruments against 3D printed versions (A vs. B). - **Modeling:** Process of taking 3D scans of existing, valuable instruments (e.g., the VOR request violin) to create digital models. - **Iterative Improvement:** The process required consulting instrument makers, orchestral professionals, teachers, and students to refine the design, moving from initial "fantastic" prototypes to functional, viable models. ## Timeline & Sequence - **2011:** Jan visited her grandmother after hip replacement surgery, reading *Rebuilt*. - **Pre-2012:** Developing interest in casting, mold making, and repetition. - **2012:** Observation of the "gap in the research" concerning instrument maintenance. - **2012 (Academic):** Claudia Fritz created a double-blind test showing that test-takers preferred new 3D-test instruments over historical ones, causing outrage in the music world. - **2017:** Jan formalized her credentials by obtaining a Doctorate in Education (music education) and a Trinity qualification. ## Named Entities - **Nias Nicholas Negron:** Person whose cochlear implant recovery was mentioned. - **Casone:** Theorist who discusses post-digital technologies. - **Pritzker Museum:** Institution mentioned as looking at conservation through 3D printing. - **Christian Evans:** Individual who played the instrument during the Pritzker Museum example. - **VOA request:** A request given to the Royal Academy regarding an instrument. - **Royal Academy:** Institution that held the VOR request instrument before it was sold. ## Numbers & Data - Date of grandmother's visit: **2011**. - Historical instruments conserved: Jan noted that over a thousand were made, but only about **500** remain today. - Cost of the final 3D printed violin: Approximately **$50** using a carbon fiber 3D printer. - Parts in a violin: Up to **90** parts, if every component is counted. ## Examples & Cases - **Grandmother's Hospital Stay:** Initial inspiration; evoked by the concept of technological enhancement. - **Cochlear Implant:** Example of technology allowing sensory function to be regained (hearing) despite physical damage. - **The Ship of Theseus:** Philosophical example used to question identity preservation through replacement. - **The VOR Request:** An instrument whose history and ownership were mapped using 3D scanning to bring its digital essence back to Ireland. - **Comparison Test (A vs. B):** Direct acoustic comparison showing the traditionally made instrument (A) versus the 3D printed one (B), with B having a wider sound spectrum. ## Tools, Tech & Products - **3D Printed Instruments:** The core product; exemplified by the violin comparison (A vs. B). - **3D Scanner:** Used to scan the VOR request violin to gather dimensional data. - **Carbon Fiber 3D Printer:** Specific technology used to print the final, viable model of the violin. - **Cochlear Implant:** Medical device used in the context of sensory restoration. - **MIDI files:** Sampled digital audio used in the context of making 3D printed instruments based on sound. ## References Cited - *Rebuilt: How Computer Made Be More Human*: Book inspiring Jan's early interest. - **Jacques-Yves Cousteau (Implied):** Mentioned in relation to underwater/environmental themes associated with advanced technology. ## Trade-offs & Alternatives - **Traditional Craftsmanship vs. 3D Printing:** Trade-off between the complex, time-consuming, and often failing maintenance of antique, highly crafted items, versus the cheap, repeatable, and adaptable nature of 3D printing. - **Acoustic Fidelity vs. Replication:** The struggle to replicate the *sound* (tonality) of the original instrument accurately when the physical structure is fundamentally different. - **Innovation vs. Tradition:** The tension between the progress seen in technology (new possibility) and the strong, established cultural valuation of the past. ## Counterarguments & Caveats - Initial print of the violin was "fantastic" until played, proving that aesthetic success does not equate to functional value. - Early 3D prints showed limitations in achieving the necessary complexity and physical stability for actual musical performance. - Teacher perceptions maintained existing value structures, making the "breaking the cycle" difficult. ## Methodology - **Art Practice Focus:** Beginning with mold making, casting, and material repetition. - **Comparative Sound Study:** Using sound as a metric to evaluate instruments, noting the difference in waveform between materials. - **Research Gap Identification:** Determining the specific area where maintenance and affordable alternatives were lacking. - **Data Collection:** Combining 3D scanning, acoustic testing, and consultations with experts (makers, teachers, students). ## Conclusions & Recommendations - The goal is to achieve an "invisible instrument" that can be customized while integrating with the established orchestral sound. - The final product must prove its value by being usable in the market, thus addressing the *access and affordability Gap* in music education. - Fostering collaborative learning and entrepreneurial models around instrument production is key. ## Implications & Consequences - **Cultural Shift:** The failure of the initial print highlighted that mere technical possibility is insufficient; usability and perceived value within a community dictate adoption. - **Accessibility:** 3D printing has the potential to make high-quality instruments more accessible globally, counteracting material degradation and cost barriers. ## Verbatim Moments - *"Air and drinking water being digital would be noticed not only by its absence not by its presence."* - *"I wouldn't be borrowing that book."* (Granny's reaction) - *"The chip of Theseus where it moves questions app pointed which an original becomes a replica."* - *"H space is created for sound."* - *"The moment that changed his life."* (Used generically for the realization of value) - *"The majority actually said these new instruments were sounded better..."* - *"The idea of customizing the instrument so for me I was trying to make it an invisible instrument."* - *"It's it's just... so it fits."* - *"This could be the same as in not having things that are too different."* - *"Woohoo"*