Another finding suggests that Geminiani was onto something. All of the violins included in the study displayed some sonic overlap with the sung vowels. But in the 1570 Amati and the 1560 da Salo, “every violin note appears to carry some degree of human vowel character,” Tai et. al. write in the paper. “This may have been one of the … goals implemented by Amati” when he was inventing and perfecting his design: to make the violin literally sing.
I don’t know why this struck me as amazing. I mean, sure, violins sound amazing, and playing them is subtly difficult. But the idea that someone sat down — in the 1500 — and said, “How do I make an instrument that sounds like a human voice singing.” Mind blown.