An exhibition at the Metropolitan Museum of Art is examining the relationship between music, the human body and cultural identity, arguing that the earliest and most universal musical instrument is the human body itself.

The exhibition, titled “Musical Bodies,” brings together artworks, historical objects and cultural artifacts to explore how people have used their voices, movements and physical presence to create music across centuries and civilizations.

According to exhibition curator Strauchen-Scherer, the project seeks to place music at the center of human experience rather than treating it as a background feature of everyday life.

One section of the exhibition focuses on whistling, a form of vocal expression that predates many modern musical practices and served practical purposes long before it became associated with entertainment or artistic performance.

Strauchen-Scherer said whistling initially emerged as a means of communication, particularly among people separated by significant distances. The distinctive sound carries effectively across landscapes, allowing individuals to communicate when ordinary speech would be difficult to hear.

The exhibition argues that such forms of vocal expression demonstrate how humans have long used their bodies as instruments capable of producing complex and meaningful sounds. Long before the development of specialized musical devices, people relied on their voices, breathing and physical movements to create rhythm and melody.

The role of the human voice as a musical instrument is also highlighted through contemporary examples. Among them is the work of vocalist Lewis, whose contributions to the film Barbie are featured as an example of how vocal performance can create emotional depth without relying on conventional lyrics.

According to the exhibition, Lewis’s vocalizations provided an atmospheric backdrop to a scene involving Ruth Handler, portrayed in the film by Rhea Perlman. The flowing and expressive quality of the vocals is presented as a contrast to beatboxing, which relies on sharper and more percussive sounds.

Curators argue that the comparison illustrates the remarkable range of sounds that can be produced by the human voice alone. From melodic vocalizations to rhythmic effects, the voice remains one of the most versatile musical tools available.Another major theme explored by “Musical Bodies” concerns the historical role of musical instruments in courtship, romance and social symbolism.

Throughout history, instruments have often carried meanings that extend beyond their practical use in performance.According to the exhibition, certain instruments have frequently been associated with attraction, desire and social status.

In some cultures, playing a particular instrument could convey messages about identity, gender or personal relationships.One example highlighted in the exhibition is a woodblock print by the nineteenth-century Japanese artist Utagawa Kunisada.

The work depicts a woman holding a shakuhachi, a traditional Japanese bamboo flute, in a manner that contemporary audiences of the period may have interpreted as provocative.

Strauchen-Scherer explained that women playing flutes and similar wind instruments was often considered socially controversial in both Japanese and Western societies during earlier historical periods. Because such instruments are played with the mouth, they frequently became associated with sexual symbolism and social taboos.

The exhibition uses the artwork to illustrate how musical practices have often reflected broader attitudes toward gender roles and acceptable public behavior. Instruments were not always viewed simply as tools for artistic expression; they could also function as markers of social expectations and cultural boundaries.

Another featured work is “The Musician” by seventeenth-century Dutch painter Bartholomeus van der Helst. The painting portrays a woman tuning a lute before performance.According to Strauchen-Scherer, the image contains symbolic meanings that would likely have been understood by audiences of the period.

The act of tuning an instrument has historically appeared in European art as an allegory connected to romance and intimacy.The curator noted that visual artists frequently employed musical imagery to communicate themes that could not always be expressed directly.

Instruments, performances and musical preparation often served as symbolic references to relationships, desire and social interaction.By bringing together examples from different historical periods and cultural traditions, the exhibition seeks to demonstrate how music has been deeply intertwined with human life beyond formal performance settings.

Musical expression has functioned as communication, ritual, entertainment, social commentary and personal identity.The exhibition also challenges the assumption that music primarily exists through instruments such as pianos, violins or guitars. Instead, it presents the body itself as the foundation from which all musical activity emerges.

According to the curatorial perspective, every form of music ultimately depends upon physical actions, whether through singing, breathing, movement or interaction with an instrument. The exhibition suggests that understanding this connection can offer a broader appreciation of music’s role in human history.

Strauchen-Scherer said she hopes visitors leave with a renewed awareness of music’s significance in everyday life. In an era when recorded music is widely available through streaming platforms and commonly heard in public spaces such as shops and cafes, she believes its importance can sometimes be overlooked.

Rather than viewing music as a passive background element, the exhibition encourages audiences to recognize it as a fundamental component of human culture and experience. Through artworks, historical artifacts and contemporary examples, “Musical Bodies” presents music not as a specialized activity practiced by a few, but as a universal human capacity rooted in the body itself.

The exhibition’s central argument is that music remains inseparable from human identity, reflecting the ways people communicate, express emotions and connect with one another across cultures and generations.

The agreement reflects the Kingdom’s long-term vision to strengthen cultural industries and provide world-class opportunities for emerging musicians.

Signed in Riyadh by Paul Pacifico, CEO of the Saudi Music Commission, and Guido Zimmermann, president of Steinway & Sons EMEA, the partnership marks a milestone in the development of Saudi Arabia’s music sector.

It underscores the nation’s commitment to building an ecosystem that nurtures artistic skill, cultivates creativity and attracts global industry leaders.

The collaboration aims to empower local talent through advanced musical training, professional development and increased access to premium musical instruments.

By bringing international expertise together with local ambition, the initiative strengthens the Kingdom’s plan to build a dynamic and sustainable music market.

The agreement will also support artistic education programs and contribute to long-term commercial and cultural investment.

These efforts align with the broader cultural transformation underway in Saudi Arabia, which emphasizes growth, innovation and global engagement.

A key element of the partnership includes exploring apprenticeship programs for piano technicians, offering specialized training in an area essential for performance and instrument care.

Such programs will open doors for new career paths and raise technical standards within the Kingdom’s growing music industry.

The partners will also work together on Music Commission events and initiatives, encouraging high-quality participation while linking musicians to cultural, educational and retail partners across Saudi Arabia.

This network-driven approach is designed to expand professional opportunities and enhance the presence of music in community and national life.

Paul Pacifico highlighted the power of the partnership, noting that the combination of global experience and local creativity will create a strong foundation for education and performance.

He emphasized that developing talent is central to shaping a thriving music economy capable of attracting investment and supporting long-term cultural progress.

Pacifico also stressed that the Commission’s mission is broader than talent development alone, as it seeks to build a music market that encourages business growth, supports practitioners and inspires audiences nationwide.

The agreement with Steinway & Sons reflects this vision by connecting international craftsmanship with Saudi innovation.

Guido Zimmermann praised the Kingdom’s cultural evolution and expressed enthusiasm about contributing to its musical journey.

He described the partnership as a meaningful commitment to education, artistic excellence and the advancement of music-making in Saudi Arabia.

Zimmermann emphasized that Saudi Arabia is entering a remarkable phase of cultural development, with music emerging as a vital part of the nation’s creative identity.

The collaboration aims to strengthen that identity further by supporting young musicians and enhancing access to global standards of training and performance.

As Saudi Arabia continues to invest in creative industries, partnerships like this reinforce its position as a cultural hub within the region.

Music plays a growing role in community life, education and the national vision for artistic expression.

The agreement demonstrates how international cooperation can accelerate cultural transformation while honoring local traditions and aspirations.

By investing in both talent and craftsmanship, the initiative lays a foundation for a vibrant and self-sustaining music sector.

With strategic collaborations, new training pathways and access to premium musical instruments, Saudi Arabia’s music ecosystem is poised for rapid growth.

The partnership with Steinway & Sons represents a strong step toward a future where creativity thrives and musicians flourish across the Kingdom.