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SPEAKER_01: Hello, from Wonder Media Network, I'm Jenny Kaplan, and this is Womanica.This month, we're talking about women of sound.These women dominated the airwaves, innovating, documenting, and creating the audio landscape we live in today.Today's Womanican knew a thing or two about high-fidelity sound.In fact, she put her own voice to paper through her invention of the eidophone.Her new instrument straddled the line between art and science, sound and picture. Let's talk about Margaret Watts Hughes.Margaret was born in Dowless, Wales in the 1840s.At a young age, she discovered her gift for singing.Her voice was so promising that local foundations pooled money for her to get professional training.
When she was around 17 years old, she enrolled at the Royal Academy of Music in London. Margaret grew up as a young woman of Welsh society.She continued singing, got married, and founded a boys' home.Margaret was also deeply religious and showed that devotion in her music.She wrote Welsh church hymns and always opted for a religious gathering over performing in a concert.In the 1880s, Margaret found a new medium for her singing, visual art. Margaret heard about physicist and musician Ernst Chladni and his work making Chladni figures, patterns formed by resonance.By running a bow along a metal plate, he could create intricate geometric patterns.Margaret realized she could make her own patterns by visualizing the intensity and variety of her own voice.Margaret put together a prototype to experiment.
She stretched a rubber membrane over a large receiving chamber. and then ran a tube into it.On top of the rubber, she laid sand or some other type of powder.Then she sang into the other end of the tube.It looked kind of like an oddly proportioned pipe.At first, the contraption was just a way to see her voice, to watch the grains scatter on a sour note and see how far she could get the particles to go. But one day, in May of 1885, she noticed something new.She scattered the powder atop the rubber, and instead of belting, sang a mellow tune.As she held a note, she watched the powder bounce, bounce, bounce into a formation, as if the grains were drawn to those spots on the membrane.It looked like a flower.
Marker resolved to find more forms. Depending on how loud her voice was, what pitch she sang, and how she sang it, Margaret could get the sand to form various complex shapes in response to her song.Realistic pansies and ferns, psychedelic landscapes, undulating serpents, trees with delicate branching whispers.Margaret also added liquid to the rubber membrane, which made the effects even greater. A loud note sent the liquid up in a spray, like a fountain.A gentle hum sparked tiny ripples across the pool.Margaret had invented the idaphone.That was what she called the contraption.She called the geometric figures the idaphone made voice figures.They were imprints of her voice.
Once she'd gotten a sense of what voice figures she could make, Margaret continued experimenting. She placed a dollop of pigment on the center of the rubber.Then she used her voice to move the pigment as she had the sand and the powder, ushering the color into circles and patterns.Her voice was like a paintbrush, soft notes to spread the color, a crescendo to intensify the pigment's path.And if something didn't look quite right, a small diminuendo would return the paint back to its original spot. In 1891, Margaret published her first findings of voice figures in The Century, an illustrated magazine.She accompanied her explanation of the eidophone with schematics and pictures of the resulting voice figures.By pressing glass over the eidophone, Margaret captured what she called impression figures, essentially taking a snapshot of a song.They look almost like modern 3D computer-generated images. Margaret created a handheld version of the Idaphone and conducted demonstrations in London.
She even became the first woman to present a scientific invention in front of the prestigious Royal Society.Margaret had brought her voice into the material realm.She decorated the walls of the boys' home with the glass plates, impressing passersby with these unique, yet organic, prints.Margaret experimented with her Idaphone for years, Her work visualizing sound garnered the attention of scientists and artists alike.But for Margaret, there was something more in her voice figures.Ever devout, as she sang and brought these pieces of sound into the world, she asked if God had done the same thing in creating our world out of the void. She said she hoped that her voice figures would provide, quote, yet another link in the great chain of the organized universe that took its shape in the voice of God.In simpler terms, she asked, was Earth not a voice figure itself?Margaret died in 1907.
In her lifetime, she redefined the way we look at sound.Her work left behind an incredibly high-fidelity form of her recorded voice.The only catch?We don't actually know what it sounded like. All month, we're talking about women of sound.For more information, find us on Facebook and Instagram at Womanica Podcast.Special thanks to Liz Kaplan, my favorite sister and co-creator.As always, we'll be taking a break for the weekend.Tune in on Monday for a brand new theme.
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SPEAKER_00: What's up, y'all?Janice Torres here.
SPEAKER_03: And I'm Austin Hankowitz.
SPEAKER_00: We're the hosts of Mind the Business, Small Business Success Stories, a podcast presented by iHeartRadio's Ruby Studios and Intuit QuickBooks.Join us as we speak with small business owners about the tools they use to turn their ideas into success.
SPEAKER_04: From finding that initial spark of entrepreneurship to organizing payments and invoices, we've got you covered.So follow and listen to Mind the Business, Small Business Success Stories on the iHeartRadio app or wherever you get your podcasts.
