WEBVTT - From the Vault: The Whistling, Part 1

0:00:06.320 --> 0:00:08.560
<v Speaker 1>Hey, you welcome to Stuff to Blow Your Mind. My

0:00:08.640 --> 0:00:09.920
<v Speaker 1>name is Robert Lamb.

0:00:09.960 --> 0:00:13.119
<v Speaker 2>And I'm Joe McCormick, and it is Saturday. That means

0:00:13.160 --> 0:00:14.800
<v Speaker 2>it is time to go into the vault for an

0:00:14.840 --> 0:00:18.759
<v Speaker 2>older episode of the show. This one originally published August second,

0:00:18.920 --> 0:00:21.680
<v Speaker 2>twenty twenty two, and it is part one of our

0:00:21.760 --> 0:00:25.680
<v Speaker 2>series on whistling, a surprisingly interesting subject.

0:00:26.239 --> 0:00:27.400
<v Speaker 1>All right, let's dive right in.

0:00:30.760 --> 0:00:34.519
<v Speaker 3>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

0:00:40.600 --> 0:00:42.440
<v Speaker 1>Hey you welcome to Stuff to Blow Your Mind. My

0:00:42.520 --> 0:00:43.320
<v Speaker 1>name is Robert.

0:00:43.159 --> 0:00:45.960
<v Speaker 2>Lamb and I'm Joe McCormick, and today we're going to

0:00:46.000 --> 0:00:50.800
<v Speaker 2>be kicking off a multi part series about whistling. This

0:00:50.920 --> 0:00:54.320
<v Speaker 2>is one of those topics I hope in classic Stuff

0:00:54.320 --> 0:00:56.680
<v Speaker 2>to Blow Your Mind fashion, we will be able to

0:00:56.760 --> 0:01:00.080
<v Speaker 2>really surprise you how much weird and interesting stuff there

0:01:00.160 --> 0:01:02.440
<v Speaker 2>is to learn about whistling around the world.

0:01:02.840 --> 0:01:05.520
<v Speaker 1>That's right, I mean, we will make it weird. We

0:01:05.520 --> 0:01:09.200
<v Speaker 1>will know ard in episode one, so strap in.

0:01:09.400 --> 0:01:12.199
<v Speaker 2>Yeah. So, one of the first things that I wanted

0:01:12.240 --> 0:01:14.119
<v Speaker 2>to talk about, and I think this is something we'll

0:01:14.160 --> 0:01:17.080
<v Speaker 2>have to revisit in multiple parts of the series, is

0:01:17.160 --> 0:01:22.000
<v Speaker 2>the idea of whistled languages much to my surprise after

0:01:22.120 --> 0:01:25.679
<v Speaker 2>reading about the subject, there are multiple examples from around

0:01:25.720 --> 0:01:30.240
<v Speaker 2>the globe of whistled languages, or at least whistled alternate

0:01:30.440 --> 0:01:34.600
<v Speaker 2>versions of an existing spoken language. And so to kick

0:01:34.680 --> 0:01:38.080
<v Speaker 2>us off, I wanted to talk about one particular example

0:01:38.240 --> 0:01:41.080
<v Speaker 2>of a whistled language. I was reading about this in

0:01:41.120 --> 0:01:45.760
<v Speaker 2>a classic linguistics paper from nineteen forty eight by George M.

0:01:45.959 --> 0:01:50.520
<v Speaker 2>Cowen called Masteco Whistle Speech. This was published in the

0:01:50.600 --> 0:01:54.680
<v Speaker 2>journal Language in nineteen forty eight. It's by this scholar

0:01:54.720 --> 0:01:58.360
<v Speaker 2>named George M. Cowen who lived nineteen sixteen through twenty seventeen.

0:01:58.920 --> 0:02:02.000
<v Speaker 2>He was an expert linguistics. He was associated with the

0:02:02.080 --> 0:02:06.200
<v Speaker 2>Summer Institute of Linguistics, and apparently this paper is one

0:02:06.240 --> 0:02:09.440
<v Speaker 2>of his most important contributions to the field. So it's

0:02:09.480 --> 0:02:15.840
<v Speaker 2>an article documenting this fascinating type of communication practiced by

0:02:15.960 --> 0:02:20.760
<v Speaker 2>the Mazatec people living in Wahaca, Mexico. So what we're

0:02:20.760 --> 0:02:24.519
<v Speaker 2>talking about here is an alternate form of the Mazteko

0:02:24.720 --> 0:02:29.680
<v Speaker 2>language that is based entirely on whistles. Cowen writes that

0:02:29.840 --> 0:02:33.960
<v Speaker 2>as of the nineteen forty Mexican census, there were approximately

0:02:34.000 --> 0:02:38.640
<v Speaker 2>sixty thousand people in the Mazatec tribe, and almost fifty

0:02:38.680 --> 0:02:43.000
<v Speaker 2>six thousand of them were monolingual speakers of the Mezateecan languages.

0:02:43.520 --> 0:02:47.000
<v Speaker 2>The Maztecan languages are part of what Kawen here calls

0:02:47.040 --> 0:02:50.240
<v Speaker 2>the Popo Loca Mezteko language family, so part of a

0:02:50.320 --> 0:02:55.160
<v Speaker 2>broader association of languages found in this area. So Cowen

0:02:55.240 --> 0:02:58.799
<v Speaker 2>spent several winters in the nineteen forties living among speakers

0:02:58.840 --> 0:03:03.680
<v Speaker 2>of the Meztecan languge, which is to document these languages

0:03:03.720 --> 0:03:06.760
<v Speaker 2>and eventually the whistle speech. And I want to begin

0:03:06.760 --> 0:03:10.120
<v Speaker 2>by reading an anecdote that he just observed during his

0:03:10.200 --> 0:03:15.160
<v Speaker 2>time there. Quote Usabio Martinez was observed one day standing

0:03:15.200 --> 0:03:17.640
<v Speaker 2>in front of his hut whistling to a man a

0:03:17.720 --> 0:03:21.840
<v Speaker 2>considerable distance away. The man was passing on the trail below,

0:03:22.040 --> 0:03:24.480
<v Speaker 2>going to market to sell a load of corn leaves,

0:03:24.520 --> 0:03:28.160
<v Speaker 2>which he was carrying. The man answered Ucabio's whistle with

0:03:28.240 --> 0:03:32.400
<v Speaker 2>a whistle. The interchange was repeated several times with different whistles.

0:03:32.639 --> 0:03:36.240
<v Speaker 2>Finally the man turned around, retraced his steps a short way,

0:03:36.520 --> 0:03:40.240
<v Speaker 2>and came up the footpath to Ucbo's hut. Without saying

0:03:40.240 --> 0:03:43.200
<v Speaker 2>a word. He dumped his load on the ground. Usebio

0:03:43.320 --> 0:03:46.080
<v Speaker 2>looked the load over, went into his hut, returned with

0:03:46.160 --> 0:03:49.119
<v Speaker 2>some money, and paid the man his price. The man

0:03:49.200 --> 0:03:52.720
<v Speaker 2>turned and left. Not a word had been spoken. They

0:03:52.720 --> 0:03:55.440
<v Speaker 2>had talked, bargained over the price, and come to an

0:03:55.440 --> 0:03:59.640
<v Speaker 2>agreement satisfactory to both parties, using only whistles as a

0:03:59.680 --> 0:04:03.960
<v Speaker 2>medium of communication, and this is not an isolated incident.

0:04:04.960 --> 0:04:08.600
<v Speaker 2>The author here writes that the Mazateec people frequently hold

0:04:08.840 --> 0:04:12.600
<v Speaker 2>entire conversations and express an extremely broad and versatile set

0:04:12.640 --> 0:04:16.840
<v Speaker 2>of ideas, all using whistles. As he puts it, quote,

0:04:16.880 --> 0:04:20.000
<v Speaker 2>the Masteco is frequently converse by whistling to one another.

0:04:20.240 --> 0:04:24.359
<v Speaker 2>The whistles are not merely signals with limited semantic value,

0:04:24.520 --> 0:04:28.039
<v Speaker 2>arrived at by common agreement, but are parallel to spoken

0:04:28.120 --> 0:04:33.000
<v Speaker 2>conversations as a means of communication. And so to try

0:04:33.000 --> 0:04:37.120
<v Speaker 2>to elucidate that a little bit, what this means is

0:04:37.160 --> 0:04:40.599
<v Speaker 2>that the whistle speech is not a code like you

0:04:40.680 --> 0:04:42.920
<v Speaker 2>may have heard, you may have seen in movies, I

0:04:42.920 --> 0:04:45.919
<v Speaker 2>don't know, like soldiers crawling around and they sort of

0:04:45.960 --> 0:04:48.120
<v Speaker 2>like whistle codes at each other, and you get the

0:04:48.160 --> 0:04:52.080
<v Speaker 2>idea that maybe they've agreed on a handful of whistled

0:04:52.120 --> 0:04:55.480
<v Speaker 2>signals in advance, like you know that one whistle means

0:04:55.560 --> 0:04:59.000
<v Speaker 2>a stop, another one means go forward. But there's probably

0:04:59.040 --> 0:05:02.280
<v Speaker 2>a very limited array of those whistles, and you had

0:05:02.320 --> 0:05:05.120
<v Speaker 2>to work on agreeing to them beforehand.

0:05:04.560 --> 0:05:07.960
<v Speaker 1>Right, right. Also in contrast to how the sort of

0:05:08.040 --> 0:05:10.880
<v Speaker 1>every day in our world you will encounter, you know,

0:05:10.920 --> 0:05:13.400
<v Speaker 1>a handful of uses of whistles that have sort of

0:05:13.760 --> 0:05:16.480
<v Speaker 1>agreed upon meaning sort of a whistle that is an

0:05:16.480 --> 0:05:20.479
<v Speaker 1>attention graber, a whistle that might be a little more scandalous,

0:05:20.480 --> 0:05:23.400
<v Speaker 1>and then a whistle that is it seems to say

0:05:23.839 --> 0:05:29.200
<v Speaker 1>say whoa, like that's a big truck something of that nature.

0:05:29.240 --> 0:05:31.640
<v Speaker 1>But it's not really, it's nothing at all like a

0:05:31.760 --> 0:05:35.120
<v Speaker 1>robust language of whistles. It's just a few basic whistle

0:05:35.200 --> 0:05:37.559
<v Speaker 1>signals that seem to be commonly used.

0:05:37.800 --> 0:05:40.000
<v Speaker 2>Yeah, that's right, I would say, Like in the standard

0:05:40.279 --> 0:05:43.440
<v Speaker 2>American English speaking context, there are a few sort of

0:05:44.160 --> 0:05:47.479
<v Speaker 2>significant whistles. You basically know what they mean when you

0:05:47.520 --> 0:05:49.159
<v Speaker 2>hear them, but there's only a handful of them, and

0:05:49.200 --> 0:05:52.599
<v Speaker 2>you certainly can't make sentences out of them, right. Exactly

0:05:52.640 --> 0:05:56.760
<v Speaker 2>the opposite is true of the mesatago whistle speech. This

0:05:57.000 --> 0:06:02.320
<v Speaker 2>is a full equivalent to the stand and spoken Mesteko language.

0:06:02.640 --> 0:06:06.960
<v Speaker 2>The whistles can be recorded and translated by anybody familiar

0:06:07.000 --> 0:06:11.279
<v Speaker 2>with the whistle speech, producing the same specific translations with

0:06:11.400 --> 0:06:14.880
<v Speaker 2>a couple of certain kinds of ambiguities. I'll get into

0:06:14.920 --> 0:06:18.680
<v Speaker 2>that later. So it's not a kind of loose suggestive code.

0:06:18.720 --> 0:06:20.799
<v Speaker 2>It's not something that has to be agreed on ahead

0:06:20.839 --> 0:06:24.480
<v Speaker 2>of time. It's just an equivalent of a spoken language

0:06:24.800 --> 0:06:28.240
<v Speaker 2>with all the freedom of degrees of expression and lexical

0:06:28.320 --> 0:06:31.120
<v Speaker 2>richness found in the spoken language. And I thought this

0:06:31.279 --> 0:06:33.880
<v Speaker 2>was just amazing, So I guess I want to explore

0:06:33.920 --> 0:06:37.040
<v Speaker 2>a few more things. The Cowan documents that he observed

0:06:37.120 --> 0:06:41.200
<v Speaker 2>about the whistle speech during his time in Wahaka in

0:06:41.240 --> 0:06:45.200
<v Speaker 2>the nineteen forties. So he says also that the Mezteko

0:06:45.279 --> 0:06:49.599
<v Speaker 2>people use the whistle signals when communicating with animals. For example,

0:06:49.640 --> 0:06:53.360
<v Speaker 2>there's a sort of slow upgliding whistle to keep burrows

0:06:53.400 --> 0:06:56.240
<v Speaker 2>moving when on the trail, or whistles to call out

0:06:56.240 --> 0:07:01.040
<v Speaker 2>to dogs. But these whistles don't have a translatable language equivalent.

0:07:01.160 --> 0:07:04.719
<v Speaker 2>So there is whistling that is language. But then there's

0:07:04.760 --> 0:07:08.640
<v Speaker 2>also a whole set of like whistle sounds that are

0:07:08.880 --> 0:07:11.360
<v Speaker 2>useful day to day, but are not words.

0:07:11.840 --> 0:07:14.120
<v Speaker 1>Yeah. They just if they were to be translated, they'd

0:07:14.120 --> 0:07:14.440
<v Speaker 1>be like.

0:07:14.440 --> 0:07:19.880
<v Speaker 2>Hey, yeah, or keep walking, keep going another thing. Not

0:07:20.120 --> 0:07:24.960
<v Speaker 2>everybody whistles, and not everybody who whistles whistles the same amount.

0:07:25.640 --> 0:07:30.560
<v Speaker 2>Cowan writes that while everyone seems to have listening fluency

0:07:31.040 --> 0:07:35.600
<v Speaker 2>with the whistled speech, generally only men whistle, and especially

0:07:35.680 --> 0:07:39.440
<v Speaker 2>men between the ages of boyhood and middle age. So

0:07:39.480 --> 0:07:43.280
<v Speaker 2>he says old men rarely whistle conversationally. It seems to

0:07:43.360 --> 0:07:48.720
<v Speaker 2>fade out over the lifespan, and women and girls understand

0:07:48.800 --> 0:07:51.360
<v Speaker 2>what is whistled by the men and boys, but usually

0:07:51.440 --> 0:07:55.000
<v Speaker 2>do not whistle themselves. So he talks about observing a

0:07:55.000 --> 0:07:59.040
<v Speaker 2>bunch of interactions where like a boy would whistle something

0:07:59.200 --> 0:08:01.800
<v Speaker 2>to a girl his age, and the girl would reply

0:08:01.960 --> 0:08:05.240
<v Speaker 2>with spoken language, so she understands the whistles, but she

0:08:05.320 --> 0:08:09.040
<v Speaker 2>doesn't use them herself. He even talks about one specific

0:08:09.080 --> 0:08:12.000
<v Speaker 2>example of like a boy teasing a girl and he

0:08:12.000 --> 0:08:15.600
<v Speaker 2>didn't realize what was happening because he just observed the

0:08:15.640 --> 0:08:18.480
<v Speaker 2>boy whistling. He didn't realize it was speech, and suddenly

0:08:18.520 --> 0:08:20.640
<v Speaker 2>the girl lashed out and hit the boy with the

0:08:20.680 --> 0:08:23.720
<v Speaker 2>broom Because of what he'd been saying to her, except

0:08:23.720 --> 0:08:26.000
<v Speaker 2>he hadn't been using the spoken language.

0:08:26.440 --> 0:08:29.760
<v Speaker 1>Interesting, Okay, so with the former we have perhaps a

0:08:29.800 --> 0:08:34.120
<v Speaker 1>physical reason for the limit, but possibly cultural, and then

0:08:34.160 --> 0:08:36.080
<v Speaker 1>the second one seems to be definitely cultural.

0:08:36.360 --> 0:08:39.680
<v Speaker 2>Yeah, I don't know if there's like a biological limitation

0:08:39.760 --> 0:08:42.400
<v Speaker 2>on older men whistling either. I mean, it seems like

0:08:42.720 --> 0:08:44.760
<v Speaker 2>this is probably all cultural convention.

0:08:45.200 --> 0:08:47.040
<v Speaker 1>Yeah. I think with older men, based on what I've

0:08:47.040 --> 0:08:48.760
<v Speaker 1>been reading, it would be it would be kind of

0:08:48.760 --> 0:08:51.280
<v Speaker 1>a case to case situation. You certainly have older gentlemen

0:08:51.320 --> 0:08:55.800
<v Speaker 1>who are profound whistlers, but there are there are certainly

0:08:55.800 --> 0:08:58.560
<v Speaker 1>cases even in younger people where if there changes to

0:08:59.200 --> 0:09:03.680
<v Speaker 1>one's mouth due to injury, due to just changes in

0:09:03.760 --> 0:09:07.000
<v Speaker 1>dental health, then that could impact one's ability to whistle.

0:09:07.240 --> 0:09:09.520
<v Speaker 2>Well, So a big question here would be why. I mean,

0:09:09.559 --> 0:09:13.400
<v Speaker 2>this is an interesting and beautiful thing about this language

0:09:13.440 --> 0:09:15.920
<v Speaker 2>that it has the you know, the spoken language and

0:09:15.960 --> 0:09:20.080
<v Speaker 2>then it's whistled twin, But like, what would cause a

0:09:20.240 --> 0:09:23.920
<v Speaker 2>whistled version of a language to develop like this? And

0:09:23.960 --> 0:09:26.240
<v Speaker 2>I think one good way to get some insight into

0:09:26.240 --> 0:09:28.880
<v Speaker 2>that is to look at what are the common occasions

0:09:29.280 --> 0:09:32.400
<v Speaker 2>for people to use the whistled version of their language

0:09:32.440 --> 0:09:34.959
<v Speaker 2>instead of the spoken version, and one of the big

0:09:35.000 --> 0:09:37.280
<v Speaker 2>answers here is pretty clear. The author here says that

0:09:37.320 --> 0:09:40.720
<v Speaker 2>the most frequent use of the whistle speech was observed

0:09:40.720 --> 0:09:43.720
<v Speaker 2>when the speakers were at a distance from each other.

0:09:44.440 --> 0:09:48.680
<v Speaker 2>He writes quote, Men scattered widely over a mountainside, each

0:09:48.760 --> 0:09:51.439
<v Speaker 2>working in his own plot of ground, will often talk

0:09:51.480 --> 0:09:55.199
<v Speaker 2>to one another with whistles. Travelers on the trails will

0:09:55.280 --> 0:09:58.280
<v Speaker 2>keep in touch with one another by whistling, though separated

0:09:58.320 --> 0:10:01.760
<v Speaker 2>by considerable distance. When wishing to call or get the

0:10:01.760 --> 0:10:05.880
<v Speaker 2>attention of someone, even though he be within easy speaking distance,

0:10:06.160 --> 0:10:10.119
<v Speaker 2>the mastacos will often whistle his name. The village shoemaker

0:10:10.160 --> 0:10:12.880
<v Speaker 2>often calls passers by into his shop with a whistle

0:10:12.920 --> 0:10:15.439
<v Speaker 2>to chat with him while he works. A man may

0:10:15.440 --> 0:10:18.360
<v Speaker 2>come to a friend's hut on a visit. While approaching,

0:10:18.480 --> 0:10:20.440
<v Speaker 2>or when he has actually arrived at the door of

0:10:20.480 --> 0:10:23.480
<v Speaker 2>the hut, he will frequently whistle rather than call his

0:10:23.520 --> 0:10:26.640
<v Speaker 2>friend's name. If the friend is home, he may respond

0:10:26.679 --> 0:10:29.240
<v Speaker 2>from within with a whistle, then come out to greet

0:10:29.360 --> 0:10:32.520
<v Speaker 2>his visitor, or he may remain inside and whistle to

0:10:32.559 --> 0:10:36.760
<v Speaker 2>his visitor to come in. Fascinating Okay, so communicating at

0:10:36.800 --> 0:10:39.120
<v Speaker 2>a distance seems to be a big one, or also

0:10:39.360 --> 0:10:43.760
<v Speaker 2>initiating communication at the start of an encounter, which I

0:10:43.760 --> 0:10:46.880
<v Speaker 2>think is interesting that even when we're not at a distance,

0:10:46.960 --> 0:10:50.520
<v Speaker 2>we often use language that we employ at a distance,

0:10:50.600 --> 0:10:53.079
<v Speaker 2>like to get some in a spoken language, to get

0:10:53.080 --> 0:10:55.200
<v Speaker 2>somebody's attention from far away, what do you do? You

0:10:55.280 --> 0:10:57.720
<v Speaker 2>yell hey at them? But also what do you do

0:10:57.800 --> 0:11:00.439
<v Speaker 2>when you walk up and see somebody you know, you're

0:11:00.440 --> 0:11:02.040
<v Speaker 2>two feet away from them? You say, oh hey?

0:11:02.400 --> 0:11:03.880
<v Speaker 1>And there might be some sort of a wave or

0:11:03.880 --> 0:11:06.360
<v Speaker 1>something in there as well, And I could I can imagine,

0:11:06.840 --> 0:11:08.800
<v Speaker 1>I don't know if this is sure, I can imagine

0:11:08.800 --> 0:11:11.200
<v Speaker 1>where if whistling could maybe take the place of some

0:11:11.240 --> 0:11:16.360
<v Speaker 1>of the otherwise necessary waving or gesticulating that would be

0:11:16.440 --> 0:11:19.040
<v Speaker 1>required to sort of get somebody's attention and say, hey, here,

0:11:19.080 --> 0:11:21.479
<v Speaker 1>I am, there you are, let's.

0:11:21.240 --> 0:11:24.720
<v Speaker 2>Converse, right. So okay, So you got communicating at a distance,

0:11:24.800 --> 0:11:28.360
<v Speaker 2>You've got initiating communication at the start of a meeting.

0:11:28.679 --> 0:11:31.440
<v Speaker 2>And then along the same lines, he writes here that

0:11:31.440 --> 0:11:33.880
<v Speaker 2>the whistle is sometimes used as a warning, such as

0:11:33.920 --> 0:11:37.440
<v Speaker 2>when someone unknown is seen approaching on the trail, you

0:11:37.520 --> 0:11:40.040
<v Speaker 2>kind of whistle to let all of your friends nearby

0:11:40.160 --> 0:11:42.440
<v Speaker 2>know that something's up, you know, to get their attention.

0:11:43.200 --> 0:11:45.679
<v Speaker 2>Though again he says the most common occation is talking

0:11:45.720 --> 0:11:48.319
<v Speaker 2>at a distance, and he writes that in these cases,

0:11:48.720 --> 0:11:50.600
<v Speaker 2>men working in the field seem to be able to

0:11:50.600 --> 0:11:54.520
<v Speaker 2>communicate easily with people a full quarter of a mile away,

0:11:54.559 --> 0:11:57.360
<v Speaker 2>like on the opposite mountain side, using the whistle speech.

0:11:57.840 --> 0:12:01.120
<v Speaker 2>But also, and I found this next part really interesting.

0:12:01.800 --> 0:12:06.880
<v Speaker 2>Count says that sometimes, especially boys will hold a whistle

0:12:06.960 --> 0:12:11.640
<v Speaker 2>conversation if they're trying to talk while older people are

0:12:11.760 --> 0:12:16.000
<v Speaker 2>also nearby carrying on a spoken conversation or even singing together.

0:12:16.559 --> 0:12:20.959
<v Speaker 2>And he calls these sort of simultaneous whistled conversations subdued

0:12:21.040 --> 0:12:25.400
<v Speaker 2>whistles and says that they're quite audible, and yet they

0:12:25.400 --> 0:12:30.360
<v Speaker 2>are able to happen simultaneously without seeming to much interfere

0:12:30.400 --> 0:12:34.000
<v Speaker 2>with the spoken conversation of the adults. And I don't

0:12:34.040 --> 0:12:36.120
<v Speaker 2>know that one seems really interesting to me. I mean,

0:12:36.160 --> 0:12:40.080
<v Speaker 2>it reminds me of of being a kid and wanting

0:12:40.120 --> 0:12:42.200
<v Speaker 2>to talk to other kids while I don't know, while

0:12:42.240 --> 0:12:44.120
<v Speaker 2>you're in class or something, when you're not supposed to

0:12:44.160 --> 0:12:48.400
<v Speaker 2>be doing that, and there's just an obvious sort of

0:12:48.480 --> 0:12:51.760
<v Speaker 2>clash between two sets of spoken words going on at

0:12:51.760 --> 0:12:54.720
<v Speaker 2>the same time, and this gets the ire of the adults,

0:12:54.800 --> 0:12:56.839
<v Speaker 2>not only because you're not paying attention, but because you're

0:12:56.880 --> 0:13:02.280
<v Speaker 2>distracting others. Yet somehow I could imagine that, Yeah, maybe

0:13:02.320 --> 0:13:05.800
<v Speaker 2>having like a different form of the language. If you're

0:13:05.840 --> 0:13:08.760
<v Speaker 2>speaking your language based on whistles instead of the normal

0:13:08.880 --> 0:13:13.360
<v Speaker 2>of phonetic syllables, that could allow a kind of simultaneity

0:13:13.640 --> 0:13:15.240
<v Speaker 2>without so much conflict.

0:13:15.640 --> 0:13:18.400
<v Speaker 1>Yeah, a way to speak while the adults are speaking,

0:13:18.480 --> 0:13:21.520
<v Speaker 1>without interfering with what they're doing. Now, the example of

0:13:22.360 --> 0:13:24.840
<v Speaker 1>using the whistles to communicate, say, in the case of

0:13:24.880 --> 0:13:29.400
<v Speaker 1>a path, you're in the woods, someone's coming. That reminds

0:13:29.440 --> 0:13:33.360
<v Speaker 1>me that And I'm making an assumption here, but if

0:13:33.400 --> 0:13:36.960
<v Speaker 1>one were to say, Hey, Carl, there's somebody coming and

0:13:37.000 --> 0:13:40.000
<v Speaker 1>call out, well, not only are you communicating to Carl,

0:13:40.040 --> 0:13:44.760
<v Speaker 1>but you're communicating something about yourself. I wonder if whistling

0:13:44.880 --> 0:13:49.480
<v Speaker 1>language in specific scenarios like this allow you to communicate

0:13:49.559 --> 0:13:53.440
<v Speaker 1>without tipping your hand at all, regarding like who you are,

0:13:53.760 --> 0:13:56.480
<v Speaker 1>like what your age is, what your gender is, etc.

0:13:57.120 --> 0:14:00.720
<v Speaker 2>Oh huh, I didn't think about that. That's interesting. Well,

0:14:00.760 --> 0:14:04.160
<v Speaker 2>another thing I would say along those same lines. Is again,

0:14:04.600 --> 0:14:06.880
<v Speaker 2>I haven't done experiments to confirm this, but I would

0:14:06.920 --> 0:14:10.280
<v Speaker 2>just say as a baseline, I might assume that whistling

0:14:10.440 --> 0:14:15.160
<v Speaker 2>can more easily blend in with nature than spoken language. That,

0:14:15.280 --> 0:14:17.800
<v Speaker 2>like you hear spoken language, you instantly know a person

0:14:17.880 --> 0:14:20.440
<v Speaker 2>is nearby, you hear a little whistle. I don't know

0:14:20.480 --> 0:14:22.840
<v Speaker 2>that could be a bird or something like that if

0:14:22.840 --> 0:14:25.760
<v Speaker 2>you're not tuned into it as a linguistic signal.

0:14:26.120 --> 0:14:28.120
<v Speaker 1>And I think that's where that's certainly where my assumption

0:14:28.760 --> 0:14:32.440
<v Speaker 1>comes into play, is that I'm not sure what it

0:14:32.480 --> 0:14:35.680
<v Speaker 1>would be like for someone who has lived in the

0:14:35.720 --> 0:14:38.360
<v Speaker 1>world of this kind of whistling. If you're used to it,

0:14:38.480 --> 0:14:41.760
<v Speaker 1>then maybe you just you've a heightened susceptibility to recognizing

0:14:41.800 --> 0:14:44.800
<v Speaker 1>it and telling the difference between it and the natural world.

0:14:45.040 --> 0:14:48.000
<v Speaker 1>And likewise, perhaps if you're used to it, you can

0:14:48.040 --> 0:14:51.120
<v Speaker 1>definitely tell the difference between a man's whistle and a

0:14:51.160 --> 0:14:51.920
<v Speaker 1>boy's whistle.

0:14:58.280 --> 0:15:00.880
<v Speaker 2>Well, So, to round out the things that the Cowan

0:15:00.920 --> 0:15:04.280
<v Speaker 2>talks about in this article, he says that there are

0:15:04.320 --> 0:15:07.600
<v Speaker 2>no lexical limitations on the whistle. Speech sort of already

0:15:07.840 --> 0:15:10.400
<v Speaker 2>got to this, but basically, anything you can express in

0:15:10.480 --> 0:15:14.560
<v Speaker 2>spoken language, you can express in the whistles. However, there

0:15:14.600 --> 0:15:18.640
<v Speaker 2>are some ambiguities caused by the whistle speech, and this

0:15:18.760 --> 0:15:23.400
<v Speaker 2>is because of the basic phonetic features of it. So

0:15:23.800 --> 0:15:28.240
<v Speaker 2>the Mestaken languages are tonal languages, and this would mean

0:15:28.240 --> 0:15:32.120
<v Speaker 2>they're similar to like Mandarin, where you can have a

0:15:32.240 --> 0:15:35.720
<v Speaker 2>syllable and you can have maybe four different versions of

0:15:35.760 --> 0:15:38.680
<v Speaker 2>that syllable, and in English they would all be the

0:15:38.720 --> 0:15:41.800
<v Speaker 2>same syllable to us, like maybe the classic example in

0:15:41.880 --> 0:15:46.160
<v Speaker 2>Mandarin is four different ways of saying ma, but pronounced

0:15:46.320 --> 0:15:49.480
<v Speaker 2>in each case with a different tone. So you would,

0:15:49.880 --> 0:15:51.960
<v Speaker 2>you know, if you're trying to write them out phonetically

0:15:52.040 --> 0:15:55.160
<v Speaker 2>in English, they would all be maa, but one might

0:15:55.200 --> 0:15:57.640
<v Speaker 2>be a kind of gliding up tone and one is

0:15:57.680 --> 0:16:01.760
<v Speaker 2>a falling tone and so forth. Well, the Mestaken languages

0:16:01.800 --> 0:16:04.640
<v Speaker 2>are like this too. They have tones in the speech,

0:16:05.160 --> 0:16:09.560
<v Speaker 2>and the tones are what eventually becomes the whistle speech.

0:16:09.600 --> 0:16:12.880
<v Speaker 2>The whistle speech is based on the tonal features of

0:16:12.920 --> 0:16:16.920
<v Speaker 2>the spoken language. But if you have, say two different

0:16:16.960 --> 0:16:20.440
<v Speaker 2>phrases that in the spoken language have the exact same

0:16:20.520 --> 0:16:24.440
<v Speaker 2>sequences of tones, these can of course cause ambiguity in

0:16:24.480 --> 0:16:26.680
<v Speaker 2>the whistle speech, and that has to be resolved, you

0:16:26.760 --> 0:16:29.800
<v Speaker 2>might have to say, wait, what do you mean. Cowan

0:16:29.840 --> 0:16:32.479
<v Speaker 2>writes that one of the most common sources of ambiguity

0:16:32.480 --> 0:16:34.880
<v Speaker 2>in whistled speech is just proper names, because there are

0:16:34.920 --> 0:16:36.880
<v Speaker 2>a lot of proper names that have the same sequence

0:16:36.880 --> 0:16:40.640
<v Speaker 2>of tones. But despite this limitation that you know, you

0:16:40.680 --> 0:16:44.080
<v Speaker 2>don't have spoken syllables, you're just turning the language entirely

0:16:44.120 --> 0:16:48.000
<v Speaker 2>into sequences of tones. You can communicate a lot, and

0:16:48.040 --> 0:16:50.440
<v Speaker 2>most of the time people understand each other just fine.

0:16:50.880 --> 0:16:53.120
<v Speaker 2>Another thing I thought was interesting is that he says

0:16:53.400 --> 0:16:57.000
<v Speaker 2>there don't appear to be any limitations on whistled speech

0:16:57.200 --> 0:17:00.200
<v Speaker 2>mingling with spoken language. Like it's not like you go

0:17:00.280 --> 0:17:02.560
<v Speaker 2>into one mode and then you're supposed to stay there

0:17:02.680 --> 0:17:04.760
<v Speaker 2>and back and forth, and like he says that a

0:17:04.800 --> 0:17:08.639
<v Speaker 2>conversation might start at a distance as as whistles, and

0:17:08.680 --> 0:17:11.199
<v Speaker 2>then switch to normal speech when the parties get closer

0:17:11.240 --> 0:17:13.680
<v Speaker 2>to each other, or you might just go back and forth.

0:17:13.720 --> 0:17:16.280
<v Speaker 2>You might be speaking and then suddenly whistling, and then

0:17:16.640 --> 0:17:17.320
<v Speaker 2>and so forth.

0:17:17.680 --> 0:17:22.959
<v Speaker 1>Interesting this this is not a perfect comparison, but I

0:17:23.000 --> 0:17:25.760
<v Speaker 1>am I can't help but think of the astro mach

0:17:25.840 --> 0:17:29.439
<v Speaker 1>droids and star wars. You know how they speak with

0:17:29.800 --> 0:17:35.200
<v Speaker 1>the kind of whistling language, and and generally when they're

0:17:35.240 --> 0:17:39.520
<v Speaker 1>talking to somebody like Luke Skywalker or whoever, Luke understands

0:17:39.560 --> 0:17:43.200
<v Speaker 1>the astro Mach language and then speaks back in English

0:17:43.600 --> 0:17:47.840
<v Speaker 1>and or whatever we're calling English in the Star Wars universe.

0:17:48.160 --> 0:17:51.520
<v Speaker 1>And at times when I'm watching this, I'm always I'll

0:17:51.520 --> 0:17:53.480
<v Speaker 1>stop and I'll think, and I'll of course i'm you know,

0:17:53.560 --> 0:17:55.280
<v Speaker 1>caught up in the flow of it, so it ultimately

0:17:55.280 --> 0:17:58.480
<v Speaker 1>doesn't matter. But if I'm over analyzing it, I'm thinking

0:17:58.480 --> 0:18:00.720
<v Speaker 1>about the fact that they're they're speaking in two different

0:18:00.800 --> 0:18:03.840
<v Speaker 1>languages to each other, and there doesn't seem to be

0:18:03.920 --> 0:18:06.600
<v Speaker 1>any problem. But an example like this from the real

0:18:06.640 --> 0:18:09.840
<v Speaker 1>world makes me think, well, no, this is entirely believable.

0:18:10.000 --> 0:18:13.160
<v Speaker 1>You have both parties know the language, but the Astromac

0:18:13.200 --> 0:18:15.520
<v Speaker 1>of course can only speak one of those languages, and

0:18:15.840 --> 0:18:18.720
<v Speaker 1>Luke Skywalker can also only speak one of those languages,

0:18:18.880 --> 0:18:20.000
<v Speaker 1>but both can understand.

0:18:20.359 --> 0:18:22.880
<v Speaker 2>Yeah, that's interesting. I have often thought about that too,

0:18:22.920 --> 0:18:26.040
<v Speaker 2>about the how exactly the R two D two communication

0:18:26.200 --> 0:18:29.480
<v Speaker 2>goes on a bolt. But I just wanted to say

0:18:29.480 --> 0:18:32.240
<v Speaker 2>also that, like this isn't something of the past that

0:18:32.280 --> 0:18:35.480
<v Speaker 2>the mesateko whistle speech is still in use today, certainly

0:18:35.480 --> 0:18:38.679
<v Speaker 2>by people in Wahaka and maybe elsewhere as well. If

0:18:38.720 --> 0:18:40.240
<v Speaker 2>you want to hear what it sounds like, I would

0:18:40.280 --> 0:18:43.720
<v Speaker 2>highly recommend looking up videos. There are videos you can

0:18:43.720 --> 0:18:47.760
<v Speaker 2>find online of native speakers demonstrating the Mesateko whistle speech,

0:18:48.240 --> 0:18:50.320
<v Speaker 2>and it's totally worth looking up.

0:18:50.600 --> 0:18:53.040
<v Speaker 1>Absolutely, yeah, it's quite beautiful.

0:18:53.240 --> 0:18:56.320
<v Speaker 2>But as I alluded to earlier, this is not the

0:18:56.359 --> 0:18:58.400
<v Speaker 2>only case in the world. This is just one example

0:18:58.440 --> 0:19:00.640
<v Speaker 2>I picked. There are other examples and I might get

0:19:00.680 --> 0:19:04.280
<v Speaker 2>into them in part two of this series of whistled

0:19:04.400 --> 0:19:09.560
<v Speaker 2>languages popping up, especially it seems in mountainous and forested

0:19:09.640 --> 0:19:12.320
<v Speaker 2>regions around the world, And there is a paper I

0:19:12.359 --> 0:19:13.960
<v Speaker 2>want to talk about in the next part of the

0:19:14.040 --> 0:19:16.879
<v Speaker 2>series about what are some of the common features that

0:19:16.960 --> 0:19:21.239
<v Speaker 2>may cause whistled versions of languages to arise. It's very

0:19:21.280 --> 0:19:25.440
<v Speaker 2>interesting to think about what are the pressures and environmental

0:19:25.560 --> 0:19:31.440
<v Speaker 2>characteristics that tend to give rise to certain characteristics of language.

0:19:31.640 --> 0:19:37.520
<v Speaker 1>Absolutely now in discussing whistling here. When we first started

0:19:37.520 --> 0:19:42.119
<v Speaker 1>looking into this topic, I was thinking, well, what is whistling?

0:19:42.520 --> 0:19:45.280
<v Speaker 1>And at first I was thinking, well, this has to

0:19:45.320 --> 0:19:47.840
<v Speaker 1>be one of those questions that shouldn't be too complicated, right,

0:19:48.480 --> 0:19:50.840
<v Speaker 1>in part because for many of us, a whistle is

0:19:50.880 --> 0:19:53.240
<v Speaker 1>literally as close as our own breath. We can produce

0:19:53.280 --> 0:19:56.399
<v Speaker 1>a whistle without giving it too much thought, and we

0:19:56.480 --> 0:19:59.920
<v Speaker 1>can generally pick out the sound of whistling rather eas

0:20:00.280 --> 0:20:03.960
<v Speaker 1>maybe not as quickly as we were discussing in our

0:20:03.960 --> 0:20:06.480
<v Speaker 1>previous example compared to other things. But hear it for

0:20:06.520 --> 0:20:09.000
<v Speaker 1>a second and you'll say, yeah, yeah, somebody's whistling, and

0:20:09.000 --> 0:20:11.800
<v Speaker 1>then maybe you can pick out the tune. But yeah,

0:20:11.880 --> 0:20:13.840
<v Speaker 1>we know it when we hear it, and we know

0:20:13.880 --> 0:20:17.159
<v Speaker 1>it when we produce it. So I honestly expected to

0:20:17.240 --> 0:20:19.879
<v Speaker 1>kind of springboard pass the basic what is a whistle

0:20:19.960 --> 0:20:22.159
<v Speaker 1>question here, and so can get more into some of

0:20:22.200 --> 0:20:26.480
<v Speaker 1>the media stuff. But then I read this definition of

0:20:26.480 --> 0:20:30.080
<v Speaker 1>whistling from the paper the Physiology of Oral Whistling by A.

0:20:30.200 --> 0:20:33.360
<v Speaker 1>Zola at All, published in the Journal of Applied Physiology

0:20:33.600 --> 0:20:38.800
<v Speaker 1>in twenty eighteen. Quote. Experimental models support the hypothesis that

0:20:38.840 --> 0:20:43.359
<v Speaker 1>the sound in human whistling is generated by a Helmholtz resonator,

0:20:43.680 --> 0:20:47.440
<v Speaker 1>suggesting that the oral cavity acts as a resonant chamber

0:20:47.760 --> 0:20:51.840
<v Speaker 1>bounded by two orifices, posteriorly by raising the tongue to

0:20:51.880 --> 0:20:55.879
<v Speaker 1>the hard palate and anteriorly by pursed lips. So I

0:20:55.880 --> 0:20:58.959
<v Speaker 1>don't know about you, but when I heard that that

0:20:59.040 --> 0:21:02.400
<v Speaker 1>instantly it made me realize, Okay, it's a little more

0:21:02.400 --> 0:21:07.440
<v Speaker 1>complicated than I had perhaps realized at first. And I

0:21:07.520 --> 0:21:10.640
<v Speaker 1>don't think I had actually heard of a Helmholtz resonator before,

0:21:10.920 --> 0:21:12.840
<v Speaker 1>and when I heard that, I instantly thought of like

0:21:12.880 --> 0:21:15.600
<v Speaker 1>the Holtzman effect in Dune. But this has nothing to

0:21:15.600 --> 0:21:17.440
<v Speaker 1>do with personal shields and suspensers.

0:21:17.800 --> 0:21:20.439
<v Speaker 2>Well, yeah, I think that's interesting too, that it's like

0:21:20.640 --> 0:21:25.560
<v Speaker 2>not a fully settled question how exactly the physics of

0:21:25.600 --> 0:21:27.560
<v Speaker 2>whistling work. But I do think it's clear and you

0:21:27.560 --> 0:21:31.080
<v Speaker 2>can sort of test this in your own body. That

0:21:31.480 --> 0:21:35.240
<v Speaker 2>part of what's happening with whistling is you are relocating

0:21:35.320 --> 0:21:40.439
<v Speaker 2>the primary resonating chamber that's producing the vibrations the sound

0:21:41.200 --> 0:21:44.080
<v Speaker 2>when you whistle, as opposed to when you produce regular speech.

0:21:44.160 --> 0:21:47.160
<v Speaker 2>Because if you just feel it in your body while

0:21:47.160 --> 0:21:50.000
<v Speaker 2>you're talking, you can kind of feel least I can

0:21:50.440 --> 0:21:53.240
<v Speaker 2>that the vibrations sort of seem to be coming from

0:21:53.359 --> 0:21:55.679
<v Speaker 2>the throat. It's also sort of happening in the mouth

0:21:55.720 --> 0:21:59.320
<v Speaker 2>a little bit. But then when you whistle. At least,

0:21:59.400 --> 0:22:02.360
<v Speaker 2>what I feel is I feel the vibration beginning in

0:22:02.400 --> 0:22:03.080
<v Speaker 2>my mouth.

0:22:03.640 --> 0:22:07.480
<v Speaker 1>Yeah, I would certainly advise everyone as you're whistling, you

0:22:07.520 --> 0:22:09.800
<v Speaker 1>may be whistling right now, to sort of test this out, like,

0:22:09.960 --> 0:22:13.440
<v Speaker 1>really focus in on how it feels, Focus on how

0:22:13.520 --> 0:22:18.240
<v Speaker 1>you feel the air flowing through your mouth. You'll find

0:22:18.440 --> 0:22:22.919
<v Speaker 1>these lateral air passages between cheek and molars, and it's

0:22:22.960 --> 0:22:25.359
<v Speaker 1>really quite quite fascinating, because again, it's easy to just

0:22:25.400 --> 0:22:28.480
<v Speaker 1>take this for granted, it's not something for most of us.

0:22:28.560 --> 0:22:30.560
<v Speaker 1>Is certainly after a point, you don't really have to

0:22:30.560 --> 0:22:32.560
<v Speaker 1>think about it. You don't have to have to look

0:22:32.640 --> 0:22:35.000
<v Speaker 1>up and read instructions for how to do it. You

0:22:35.119 --> 0:22:38.600
<v Speaker 1>just your mouth assumes the form necessary to create the whistle,

0:22:38.920 --> 0:22:40.280
<v Speaker 1>and you whistle.

0:22:40.200 --> 0:22:43.200
<v Speaker 2>As a total sidetrack. I'm sorry, but I found the

0:22:43.240 --> 0:22:46.840
<v Speaker 2>title of that paper, The Physiology of Oral Whistling, very

0:22:46.840 --> 0:22:49.280
<v Speaker 2>funny because it immediately made me think, are there other

0:22:49.359 --> 0:22:51.720
<v Speaker 2>types of whistle? Is there ocular whistling?

0:22:52.640 --> 0:22:55.200
<v Speaker 1>Well, I mean, I guess there may be some sort

0:22:55.200 --> 0:22:58.000
<v Speaker 1>of nasal variety. I mean, I'm instantly reminded of the

0:22:58.080 --> 0:23:02.560
<v Speaker 1>various nasal flutes that exist in different cultures. So the

0:23:02.600 --> 0:23:04.879
<v Speaker 1>airflow from the mouth is not the only way that

0:23:04.920 --> 0:23:09.399
<v Speaker 1>we have to produce sound. But yeah, when you say whistling,

0:23:09.440 --> 0:23:12.720
<v Speaker 1>you tend to think oral whistling. Now, I want to

0:23:12.720 --> 0:23:17.280
<v Speaker 1>come back to the Helmholtz resonator here. So this is

0:23:17.359 --> 0:23:21.560
<v Speaker 1>named for important German physicist and physician Hermann von Helmholtz,

0:23:21.600 --> 0:23:25.080
<v Speaker 1>who lived eighteen twenty one through eighteen ninety four. If

0:23:25.119 --> 0:23:29.400
<v Speaker 1>you're studying anything about sound and sound generation, you'll generally

0:23:29.440 --> 0:23:33.600
<v Speaker 1>find out find something about von Helmholtz. For instance, after

0:23:33.760 --> 0:23:38.360
<v Speaker 1>we had started this particular topic, I was in Asheville,

0:23:38.560 --> 0:23:41.280
<v Speaker 1>North Carolina, and I went to the Moge Museum there,

0:23:41.320 --> 0:23:44.720
<v Speaker 1>the synthesizer Museum, and Helmholtz's name comes up in some

0:23:44.760 --> 0:23:46.919
<v Speaker 1>of the materials there because it's just it's hard to

0:23:46.960 --> 0:23:49.240
<v Speaker 1>avoid him when you get into the science of sound.

0:23:49.720 --> 0:23:53.200
<v Speaker 1>So the Helmholtz resonator is a kind of spherical chamber

0:23:53.720 --> 0:23:56.520
<v Speaker 1>with an aperture at the top or at one end

0:23:57.160 --> 0:24:00.880
<v Speaker 1>called the nipple and tapering there for insertion into the ear,

0:24:01.240 --> 0:24:04.320
<v Speaker 1>and then has another larger aperture on the other end

0:24:04.760 --> 0:24:09.359
<v Speaker 1>of this sphere. So each Helmholtz resonator has a known

0:24:09.560 --> 0:24:13.000
<v Speaker 1>fixed volume size and therefore is made to pick up

0:24:13.000 --> 0:24:16.800
<v Speaker 1>on a particular tone. There's no mechanical parts in this.

0:24:16.880 --> 0:24:20.919
<v Speaker 1>It's essentially it's kind of like a very finely engineered

0:24:20.960 --> 0:24:24.280
<v Speaker 1>seashell pick one up. You place the nipple in your ear,

0:24:24.560 --> 0:24:27.200
<v Speaker 1>and you can pick out a particular frequency, and you

0:24:27.240 --> 0:24:31.680
<v Speaker 1>generally will have a selection of these to analyze complex sounds. Joe,

0:24:31.720 --> 0:24:35.440
<v Speaker 1>for your benefit, I included a photo here of various

0:24:35.560 --> 0:24:38.520
<v Speaker 1>Helmholtz resonators, and if you do a Google search out

0:24:38.520 --> 0:24:42.320
<v Speaker 1>there of Helmholtz resonators, you'll see selections like this. They're

0:24:42.320 --> 0:24:44.840
<v Speaker 1>often made out of some sort of a metal. You know.

0:24:44.920 --> 0:24:49.160
<v Speaker 2>I think of myself as an adventurous seeker of experiences.

0:24:49.200 --> 0:24:51.600
<v Speaker 2>But somehow I don't want to put the big ones

0:24:51.600 --> 0:24:55.879
<v Speaker 2>of these in my ear. That's just I would fear

0:24:56.040 --> 0:24:56.760
<v Speaker 2>oral injury.

0:24:57.359 --> 0:24:59.840
<v Speaker 1>Well, the nipple is the same size on all of them,

0:25:00.560 --> 0:25:02.240
<v Speaker 1>nipple that is inserted into your ear.

0:25:03.200 --> 0:25:05.280
<v Speaker 2>I guess I'm just I guess what I mean is

0:25:05.280 --> 0:25:08.199
<v Speaker 2>I'm afraid it looks like it would suddenly produce an

0:25:08.200 --> 0:25:10.560
<v Speaker 2>incredibly loud sound. But I guess the size of the

0:25:10.600 --> 0:25:13.480
<v Speaker 2>resonator cavity is not actually about the volume, but about

0:25:13.520 --> 0:25:14.159
<v Speaker 2>the pitch.

0:25:14.400 --> 0:25:18.520
<v Speaker 1>So these resonators they have various applications in engineering, architecture,

0:25:18.520 --> 0:25:21.040
<v Speaker 1>and music. But when it comes to studying and describing

0:25:21.119 --> 0:25:24.760
<v Speaker 1>the mechanisms of human whistling, something that the aforementioned authors

0:25:24.800 --> 0:25:28.680
<v Speaker 1>say isn't done enough and again is not maybe fully understood.

0:25:28.920 --> 0:25:31.639
<v Speaker 1>The Helmholtz resonator is apparently a good model of what

0:25:31.840 --> 0:25:34.920
<v Speaker 1>seems to be going on inside of our head, inside

0:25:34.960 --> 0:25:38.280
<v Speaker 1>of our you know, our head and face when we whistle.

0:25:38.800 --> 0:25:42.159
<v Speaker 1>And Joe I included an illustration from that paper that

0:25:42.240 --> 0:25:47.000
<v Speaker 1>I thought was very useful. This kind of takes the airflow,

0:25:47.080 --> 0:25:51.000
<v Speaker 1>those lateral air passages who are describing, as well as

0:25:51.000 --> 0:25:54.480
<v Speaker 1>the central resonance chamber, and illustrates those inside of this

0:25:54.880 --> 0:25:59.760
<v Speaker 1>drawling of a human female who is supposedly whistling, and

0:26:00.160 --> 0:26:03.439
<v Speaker 1>it makes whistling look like some sort of strange organ

0:26:03.800 --> 0:26:04.720
<v Speaker 1>inside the mouth.

0:26:05.200 --> 0:26:07.600
<v Speaker 2>Uh yeah, it looks like, well, you got your regular

0:26:07.680 --> 0:26:10.000
<v Speaker 2>liver down below, and then you've got your whistling liver,

0:26:10.119 --> 0:26:11.960
<v Speaker 2>and that's up somewhere underneath the nose.

0:26:12.720 --> 0:26:16.920
<v Speaker 1>Right now, going back to that paper by Azola at all,

0:26:16.960 --> 0:26:19.000
<v Speaker 1>I want to read this quick quote that sums a

0:26:19.040 --> 0:26:21.800
<v Speaker 1>lot of this up quote. The results of this study

0:26:21.840 --> 0:26:25.600
<v Speaker 1>indicate that the acoustic mechanism in human person lip whistling

0:26:25.720 --> 0:26:29.680
<v Speaker 1>follows a Helmholtz resonator model. The oral cavity acts as

0:26:29.720 --> 0:26:33.840
<v Speaker 1>the resonant chamber and the anterior posterior movements of the

0:26:33.880 --> 0:26:36.679
<v Speaker 1>tongue play a major role in changing the volume and

0:26:36.720 --> 0:26:40.439
<v Speaker 1>thus the whistle frequency produced For their studies, performed with

0:26:40.520 --> 0:26:45.560
<v Speaker 1>high resolution measurements may help elucidate the contribution of changes

0:26:45.840 --> 0:26:48.320
<v Speaker 1>to other parameters of the Helmholtz equation.

0:26:48.760 --> 0:26:51.920
<v Speaker 2>Okay, so this is sort of in line with what

0:26:52.040 --> 0:26:55.479
<v Speaker 2>I was at least guessing based on the feelings inside

0:26:55.520 --> 0:26:58.840
<v Speaker 2>my head. When I whistle, it feels like the vibrations

0:26:58.840 --> 0:27:01.240
<v Speaker 2>are coming from the mouth when I whistle, and hear

0:27:01.320 --> 0:27:04.760
<v Speaker 2>they're saying that, yes, when you whistle, the oral cavity

0:27:04.880 --> 0:27:07.520
<v Speaker 2>is what's acting as the resonant chamber. It's sort of

0:27:07.560 --> 0:27:09.879
<v Speaker 2>acting as a Helmholtz resonator.

0:27:09.800 --> 0:27:12.520
<v Speaker 1>Right, And it is stressing though that, Yeah, there's a

0:27:12.520 --> 0:27:14.880
<v Speaker 1>lot going on here and even though it may feel

0:27:14.920 --> 0:27:17.040
<v Speaker 1>pretty natural for most of us to whistle, we don't

0:27:17.080 --> 0:27:18.680
<v Speaker 1>have to again put a lot of thought into it,

0:27:19.520 --> 0:27:22.120
<v Speaker 1>though if you may be overthinking it now and find

0:27:22.240 --> 0:27:26.159
<v Speaker 1>yourself having to think more about doing it, but you

0:27:26.200 --> 0:27:29.800
<v Speaker 1>still have to have the proper prerequisites in place. Some

0:27:29.840 --> 0:27:32.640
<v Speaker 1>people lack the ability to whistle for a few different reasons.

0:27:32.680 --> 0:27:35.800
<v Speaker 1>It's also something that does have to be initially learned

0:27:36.240 --> 0:27:40.399
<v Speaker 1>and can get really good with practice. So it's like

0:27:40.480 --> 0:27:42.240
<v Speaker 1>it's one of those scenarios like when you hear somebody

0:27:42.240 --> 0:27:46.680
<v Speaker 1>do it really well, it has an almost otherworldly beauty

0:27:46.720 --> 0:27:50.480
<v Speaker 1>to it. Some of those examples earlier in the whistling

0:27:50.520 --> 0:27:52.879
<v Speaker 1>speech definitely have this quality to them. But also I

0:27:52.920 --> 0:27:56.520
<v Speaker 1>think of whistling used in music sometimes I think of

0:27:56.600 --> 0:28:00.680
<v Speaker 1>the whistling of say, Leon Redbone whistle during some of performance.

0:28:00.720 --> 0:28:03.879
<v Speaker 1>So an amazing whistler. My whistle is nothing like that,

0:28:04.800 --> 0:28:07.400
<v Speaker 1>and a large part of that just may simply be practiced.

0:28:07.680 --> 0:28:10.840
<v Speaker 1>I have not applied the hours of whistling that Leon

0:28:10.880 --> 0:28:15.040
<v Speaker 1>Redbone applied during his lifetime to achieve that level of art.

0:28:21.800 --> 0:28:25.360
<v Speaker 2>So off, Mike, we were talking about our favorite examples

0:28:25.440 --> 0:28:30.680
<v Speaker 2>of music that features whistling. One example that immediately comes

0:28:30.680 --> 0:28:34.560
<v Speaker 2>to my mind is there's a great Bolivian folk song

0:28:34.640 --> 0:28:39.560
<v Speaker 2>called Jorando se Foe and the band, the experimental rock

0:28:39.600 --> 0:28:43.040
<v Speaker 2>band Sun City Girls do a cover of that song.

0:28:43.120 --> 0:28:45.400
<v Speaker 2>I think their cover is called the Shining Path and

0:28:45.440 --> 0:28:48.080
<v Speaker 2>there's a part usually before the lyrics come in that

0:28:48.400 --> 0:28:50.800
<v Speaker 2>I think on earlier recordings of this song is done

0:28:50.840 --> 0:28:53.840
<v Speaker 2>on a flute, but they whistle this part, and the

0:28:53.880 --> 0:28:58.520
<v Speaker 2>whistling is just intense. It sounds very much the comparison

0:28:58.560 --> 0:28:59.920
<v Speaker 2>a lot of people seem to make. I think Seth

0:29:00.040 --> 0:29:02.000
<v Speaker 2>said the same thing when we played it for him earlier,

0:29:02.360 --> 0:29:05.280
<v Speaker 2>is that it feels like Anyomricone. It feels like kind

0:29:05.280 --> 0:29:08.320
<v Speaker 2>of a very dramatic, dangerous Western scene.

0:29:09.000 --> 0:29:14.200
<v Speaker 1>Yeah. Yeah, yeah, there's something about the West cinematically that

0:29:14.920 --> 0:29:16.520
<v Speaker 1>makes me think of whistling, And a big part of

0:29:16.560 --> 0:29:20.880
<v Speaker 1>it is, you know, probably Morricone's scores, but also the

0:29:20.920 --> 0:29:25.680
<v Speaker 1>score by Carter Burwell for a Raising Arizona, the Coen

0:29:25.760 --> 0:29:30.080
<v Speaker 1>Brothers film, So good, fabulous score that includes a lot

0:29:30.120 --> 0:29:34.480
<v Speaker 1>of like yodeling and banjo, but also whistling, really powerful,

0:29:34.560 --> 0:29:37.760
<v Speaker 1>like pure whistling that sounds like it's from just straight

0:29:37.760 --> 0:29:38.240
<v Speaker 1>from heaven.

0:29:38.560 --> 0:29:41.520
<v Speaker 2>But the other one Seth reminded reminded me of was

0:29:41.560 --> 0:29:44.520
<v Speaker 2>the Peter Bjorn and John song that was popular. I

0:29:44.600 --> 0:29:48.040
<v Speaker 2>think that was like really big my last year in college.

0:29:48.040 --> 0:29:49.360
<v Speaker 2>It was like two thousand and eight or so.

0:29:49.760 --> 0:29:52.240
<v Speaker 1>Yeah, Yeah, that's a great example Another one that I

0:29:52.240 --> 0:29:54.600
<v Speaker 1>think Seth and I both thought of at the same

0:29:54.680 --> 0:29:57.560
<v Speaker 1>time was Otis Redding sitting on the dock of the bay.

0:29:57.600 --> 0:29:59.600
<v Speaker 1>That is a wonderful whistling part in it.

0:30:00.000 --> 0:30:02.080
<v Speaker 2>I was trying to think, based on all these examples

0:30:02.120 --> 0:30:04.920
<v Speaker 2>we just brought up, whether there are sort of common

0:30:04.960 --> 0:30:09.120
<v Speaker 2>connotations to whistling and music. But I guess not really,

0:30:09.200 --> 0:30:11.840
<v Speaker 2>because in some of these examples we've talked about, the

0:30:11.880 --> 0:30:16.440
<v Speaker 2>whistling feels very, very happy and languid. It's a relaxed

0:30:16.520 --> 0:30:18.120
<v Speaker 2>kind of sound. I think of sitting on the dock

0:30:18.160 --> 0:30:21.800
<v Speaker 2>of the bay, whereas in the first example I mentioned,

0:30:21.800 --> 0:30:26.400
<v Speaker 2>it's it's a fiery, intense, you know, a danger rising

0:30:26.560 --> 0:30:28.480
<v Speaker 2>from from the canyon kind of sound.

0:30:29.040 --> 0:30:32.400
<v Speaker 1>Yeah. Yeah, I'm glancing at a list right now, and oh,

0:30:32.400 --> 0:30:37.320
<v Speaker 1>this is a big one. Winds of Change by the Scorpions.

0:30:37.120 --> 0:30:40.360
<v Speaker 1>That's some powerful whistling in there. Feel it, Feel it

0:30:40.360 --> 0:30:43.720
<v Speaker 1>in your bones. Golden Years by David Bowie. That's another

0:30:43.760 --> 0:30:46.960
<v Speaker 1>good one. MM Games Without Frontiers by Peter Gabriel.

0:30:47.200 --> 0:30:48.160
<v Speaker 2>Oh I know that one.

0:30:48.320 --> 0:30:49.560
<v Speaker 1>Yep, yep, that's a great one.

0:30:50.000 --> 0:30:51.040
<v Speaker 2>War Without Tears.

0:30:51.480 --> 0:30:54.400
<v Speaker 1>Yeah, yeah, they are a bunch of them, and I'm

0:30:54.400 --> 0:30:56.080
<v Speaker 1>not going to go through this whole list, but I'd

0:30:56.080 --> 0:30:57.600
<v Speaker 1>love to hear from folks out there if you have

0:30:57.680 --> 0:31:03.960
<v Speaker 1>particularly favored examples of songs with whistling in them, or

0:31:04.400 --> 0:31:07.560
<v Speaker 1>favorite whistling performers. Oh here's another great one. I Always

0:31:07.600 --> 0:31:10.400
<v Speaker 1>look on the bright Side of Life from Monty Python's

0:31:10.400 --> 0:31:13.720
<v Speaker 1>The Life of Brian m hm. Great stuff. There's walk

0:31:13.840 --> 0:31:15.800
<v Speaker 1>like in Egyptian by the Bengals.

0:31:15.880 --> 0:31:17.760
<v Speaker 2>I did not remember the whistling in that.

0:31:17.920 --> 0:31:20.960
<v Speaker 1>Yeah, don't worry, be happy. Bobby McFerrin, there you go.

0:31:21.200 --> 0:31:21.360
<v Speaker 2>Ooh.

0:31:21.440 --> 0:31:23.400
<v Speaker 1>I don't know if I remember the I remember this song,

0:31:23.440 --> 0:31:25.280
<v Speaker 1>but I don't remember the whistling. Me and Julio down

0:31:25.320 --> 0:31:26.000
<v Speaker 1>by the schoolyard.

0:31:26.040 --> 0:31:32.080
<v Speaker 2>Paul Simon, Oh yeah, yeah, okay, I shouldn't do that

0:31:32.120 --> 0:31:32.520
<v Speaker 2>too much.

0:31:34.120 --> 0:31:36.640
<v Speaker 1>Love is a battlefield, Pat Benattar.

0:31:36.440 --> 0:31:40.560
<v Speaker 2>Great song. I don't remember the whistling, you know. Coming

0:31:40.560 --> 0:31:43.880
<v Speaker 2>back to the idea of whistled languages, part of me thinks, oh, man,

0:31:43.960 --> 0:31:46.640
<v Speaker 2>I it would be difficult for me living in a

0:31:46.680 --> 0:31:48.640
<v Speaker 2>culture like that, because I feel like I don't whistle

0:31:48.800 --> 0:31:50.840
<v Speaker 2>very well. But then again, I guess it's a it's

0:31:50.840 --> 0:31:54.000
<v Speaker 2>a skill that you develop with practice, like other language skills,

0:31:54.040 --> 0:31:58.000
<v Speaker 2>and that unless you have some kind of like anatomical

0:31:58.600 --> 0:32:01.200
<v Speaker 2>reason that's interfering with your ability to whistle it. Imagine

0:32:01.240 --> 0:32:03.600
<v Speaker 2>it's largely a function of how much you do it,

0:32:03.680 --> 0:32:06.600
<v Speaker 2>how much you practice it, and how much you learn

0:32:06.640 --> 0:32:09.160
<v Speaker 2>it at an early age. But yes, I am one

0:32:09.160 --> 0:32:10.760
<v Speaker 2>of those who I don't whistle great.

0:32:11.360 --> 0:32:14.320
<v Speaker 1>Yeah, my whistling is It's okay for my own purposes,

0:32:14.880 --> 0:32:18.360
<v Speaker 1>but it is not a performance level whistle. So I

0:32:18.360 --> 0:32:22.560
<v Speaker 1>will catch myself occasionally whistling a particular tune. But I'm

0:32:22.560 --> 0:32:26.960
<v Speaker 1>also just as just as inclined to maybe sing a

0:32:26.960 --> 0:32:29.400
<v Speaker 1>little bit from a particular song, or to hum a

0:32:29.440 --> 0:32:33.560
<v Speaker 1>little bit, did to use those more or less in tandem.

0:32:34.360 --> 0:32:39.320
<v Speaker 1>But pure whistling. Yeah, I've never really applied myself to

0:32:39.400 --> 0:32:42.400
<v Speaker 1>it because I felt like my whistling, yeah, it's good

0:32:42.480 --> 0:32:45.080
<v Speaker 1>enough for me, not so much for anybody else I'm around.

0:32:45.320 --> 0:32:47.480
<v Speaker 2>I did get into a habit a while back of

0:32:48.120 --> 0:32:50.000
<v Speaker 2>when I would be singing a song and I would

0:32:50.000 --> 0:32:52.520
<v Speaker 2>start getting up to the high notes that I couldn't sing,

0:32:52.560 --> 0:32:54.440
<v Speaker 2>I would just switch to whistling them.

0:32:55.280 --> 0:32:58.120
<v Speaker 1>Yeah. As we were researching this, I was, of course,

0:32:58.240 --> 0:33:00.000
<v Speaker 1>like a lot of you out there listening to the episode,

0:33:00.040 --> 0:33:03.160
<v Speaker 1>So I was a little. I was hyper conscious of

0:33:03.160 --> 0:33:05.360
<v Speaker 1>my own whistling, so I was trying it out, and

0:33:05.760 --> 0:33:08.200
<v Speaker 1>I decided, well, what if I tried to whistle better?

0:33:08.480 --> 0:33:12.360
<v Speaker 1>You know what if I sort of really concentrate on

0:33:12.440 --> 0:33:15.560
<v Speaker 1>it and try and see what happens when I change

0:33:15.680 --> 0:33:17.959
<v Speaker 1>the shape of my mouth a little bit and I

0:33:18.000 --> 0:33:20.280
<v Speaker 1>was feeling I found that I was able to make

0:33:20.320 --> 0:33:25.600
<v Speaker 1>a stronger whistle, but it was also I felt it straining,

0:33:26.520 --> 0:33:29.320
<v Speaker 1>like muscles in my face and in my head, that

0:33:29.400 --> 0:33:32.160
<v Speaker 1>I maybe don't strain that much when I do my

0:33:32.200 --> 0:33:33.880
<v Speaker 1>default whistle. And then I was able to go back

0:33:33.880 --> 0:33:37.320
<v Speaker 1>to my default whistle and it felt more natural. So

0:33:37.600 --> 0:33:39.480
<v Speaker 1>I kind of took that as an indicators like, Okay,

0:33:39.720 --> 0:33:42.880
<v Speaker 1>this is kind of the gateway to better whistling if

0:33:42.880 --> 0:33:47.200
<v Speaker 1>I wanted to actually pursue this, probably, but I'm not

0:33:47.280 --> 0:33:47.800
<v Speaker 1>going to do that.

0:33:48.160 --> 0:33:51.840
<v Speaker 2>Oh well, this makes me think of how actually, to

0:33:51.920 --> 0:33:54.400
<v Speaker 2>some degree, the same thing is true about spoken language,

0:33:54.440 --> 0:33:57.440
<v Speaker 2>Like I find at least if I think too hard

0:33:57.520 --> 0:34:01.280
<v Speaker 2>about what my body is doing while I'm reducing words

0:34:01.320 --> 0:34:04.200
<v Speaker 2>with my mouth, suddenly they become a lot harder to produce,

0:34:04.320 --> 0:34:07.240
<v Speaker 2>Like if I'm thinking about my lungs and my larynx

0:34:07.280 --> 0:34:10.880
<v Speaker 2>and my mouth, the syllables become kind of strange. You

0:34:10.920 --> 0:34:13.680
<v Speaker 2>get that. Actually, I would say it's a feeling kind

0:34:13.680 --> 0:34:17.480
<v Speaker 2>of similar to semantic satiation, where when you say a

0:34:17.520 --> 0:34:20.239
<v Speaker 2>word too many times in a row, you start like

0:34:20.320 --> 0:34:22.960
<v Speaker 2>the words starts to feel strange and it loses its

0:34:23.000 --> 0:34:27.000
<v Speaker 2>association with the with the meaning that it signifies.

0:34:27.480 --> 0:34:30.239
<v Speaker 1>Yeah. In a way, it's kind of like if you're

0:34:30.320 --> 0:34:34.080
<v Speaker 1>riding a bicycle and you suddenly start thinking really hard

0:34:34.080 --> 0:34:36.640
<v Speaker 1>about how you were riding the bicycle, how this is

0:34:36.680 --> 0:34:39.480
<v Speaker 1>being in pained, and maybe don't do that. Maybe just

0:34:39.480 --> 0:34:42.200
<v Speaker 1>just just ride the bicycle, think about something else, because

0:34:42.239 --> 0:34:46.360
<v Speaker 1>everything's in motion, it's working. Just don't second guess it.

0:34:46.680 --> 0:34:50.280
<v Speaker 1>But as we were saying, though, it's by second guessing

0:34:50.280 --> 0:34:53.320
<v Speaker 1>it that we are able to potentially improve it as well.

0:34:54.640 --> 0:34:56.400
<v Speaker 1>We can certainly fall into a habit of whistling a

0:34:56.480 --> 0:35:00.319
<v Speaker 1>certain way, and there are conceivably ways to improve upon

0:35:00.320 --> 0:35:03.000
<v Speaker 1>that whistle. But you've got to want to do that

0:35:03.120 --> 0:35:06.440
<v Speaker 1>or have some reason to do that, And certainly communication

0:35:06.480 --> 0:35:08.719
<v Speaker 1>would be a big one. If you're engaging in some

0:35:08.760 --> 0:35:11.120
<v Speaker 1>sort of whistling communication with people, then there's going to

0:35:11.160 --> 0:35:14.840
<v Speaker 1>be sort of a whistling standard. I imagine you're going

0:35:14.920 --> 0:35:16.520
<v Speaker 1>to hear other people use it, and there is going

0:35:16.560 --> 0:35:21.320
<v Speaker 1>to be a positive social pressure to improving your whistle

0:35:21.520 --> 0:35:23.480
<v Speaker 1>to match the whistles of those around you.

0:35:23.880 --> 0:35:27.279
<v Speaker 2>Right right, Well, maybe we need to call part one

0:35:27.480 --> 0:35:30.480
<v Speaker 2>of our Whistling series here, but we've got so much

0:35:30.520 --> 0:35:33.160
<v Speaker 2>more interesting stuff to talk about in subsequent parts. We're

0:35:33.160 --> 0:35:36.560
<v Speaker 2>going to talk about religious uses of whistling. We're going

0:35:36.560 --> 0:35:41.759
<v Speaker 2>to talk about whistling superstition, whistling psychology, whistling technology. That

0:35:41.920 --> 0:35:43.560
<v Speaker 2>there are a lot of monsters in this closet.

0:35:43.880 --> 0:35:46.160
<v Speaker 1>All right, well, join us for that when we come back,

0:35:46.200 --> 0:35:49.440
<v Speaker 1>and certainly go ahead and send in your messages regarding

0:35:49.480 --> 0:35:52.160
<v Speaker 1>your own experience with whistling. We would love to hear

0:35:52.239 --> 0:35:55.640
<v Speaker 1>from you. As a reminder. Stuff to Blow your minds

0:35:55.840 --> 0:35:58.400
<v Speaker 1>Core episodes published Tuesdays and Thursdays, and the Stuff to

0:35:58.400 --> 0:36:01.000
<v Speaker 1>Blow Your Mind podcast feed. On Wednesdays we do a

0:36:01.040 --> 0:36:04.040
<v Speaker 1>short form artifact or monster fact. On Monday it's a

0:36:04.040 --> 0:36:06.120
<v Speaker 1>listener mail, and on Fridays we do Weird House Cinema.

0:36:06.160 --> 0:36:08.640
<v Speaker 1>That's our time to set aside most serious concerns and

0:36:08.760 --> 0:36:11.160
<v Speaker 1>just talk about a weird film. If you want to

0:36:11.160 --> 0:36:15.200
<v Speaker 1>converse with other Stuff to Blow your Mind listeners, Well,

0:36:15.239 --> 0:36:17.320
<v Speaker 1>there are a couple of places you can go on Facebook.

0:36:17.360 --> 0:36:21.239
<v Speaker 1>You can go to the discussion module and you can

0:36:21.280 --> 0:36:23.479
<v Speaker 1>also go to the Discord. If you're a Discord user,

0:36:23.840 --> 0:36:26.359
<v Speaker 1>go to the discord email us and we'll send you

0:36:26.520 --> 0:36:28.440
<v Speaker 1>the link you need to join that. But there are

0:36:28.480 --> 0:36:30.239
<v Speaker 1>a lot of cool discussions going on there, and they're

0:36:30.239 --> 0:36:32.600
<v Speaker 1>doing a book club there. I need to mention that again,

0:36:33.080 --> 0:36:36.720
<v Speaker 1>some of the listeners have decided to read Umberto Echoes

0:36:36.760 --> 0:36:39.080
<v Speaker 1>the name of the Rose, So if you're interested in that,

0:36:39.440 --> 0:36:41.200
<v Speaker 1>email us, get the link. We'll send you to the

0:36:41.280 --> 0:36:43.399
<v Speaker 1>right place and you can join up with them.

0:36:43.760 --> 0:36:47.040
<v Speaker 2>Huge thanks as always to our excellent audio producer Seth

0:36:47.120 --> 0:36:49.399
<v Speaker 2>Nicholas Johnson. If you would like to get in touch

0:36:49.400 --> 0:36:51.719
<v Speaker 2>with us with feedback on this episode or any other,

0:36:51.840 --> 0:36:54.080
<v Speaker 2>to suggest a topic for the future, or just to

0:36:54.080 --> 0:36:57.320
<v Speaker 2>say hello, you can email us at contact at stuff

0:36:57.320 --> 0:37:00.400
<v Speaker 2>to Blow your Mind dot com MHM.

0:37:06.440 --> 0:37:09.400
<v Speaker 3>Stuff to Blow Your Mind is production of iHeartRadio. For

0:37:09.480 --> 0:37:12.279
<v Speaker 3>more podcasts from My Heart Radio, visit the iHeartRadio app,

0:37:12.440 --> 0:37:27.880
<v Speaker 3>Apple Podcasts, or wherever you're listening to your favorite shows.