I have been completely sucked into the series currently running on Slate investigating the carvings inside Rosslyn Chapel in Scotland, and today’s installment asks a musical question: “Are the chapel’s mysterious stone symbols a musical score?”
I’ve always associated the whole “amazing things in sand and sonic frequency” bit with the work of Alvin Lucier (and coincidentally, I just got a press release for a performance of his Queen of the South yesterday), but if you scroll through to the end of the Slate post, there’s a diagram laying out how the ornately carved ceiling of the chapel may actually read out as Chladni patterns, and therefore as a piece of music. I expect Dan Brown has already started writing his next installment. Meanwhile, check it out!
And here’s a neat demo of the phenomenon, if you’re unfamiliar: