#Heaven is Coming. 🎵One method. Many bodies.
Ana does not have nine careers. She has one method with many outputs: she takes invisible physical phenomena — principally gravitational-wave data from the LIGO–Virgo–KAGRA observatories — and gives them a form a human body can receive. Through the ear, the eye, the hand, the mouth, the skin.
Every one of the nine disciplines is a consequence of that sentence, not an item beside it. One signal, many bodies — the same line, never broken:
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Ana Schurmann is a classical composer, singer-songwriter, multi-instrumentalist, researcher, philosopher, innovative designer, model, humanitarian, and artist in her twenties.
In 2025, she pioneered a new intersection between astrophysics and musical composition by becoming the first composer to scientifically translate gravitational-wave signals from the LIGO–Virgo–KAGRA observatories into a “Scientific Universe Symphony,” utilizing a harmonic and chronological order method of signal extraction. A polyglot fluent in nine languages, she holds certifications from ITA and INAF, and she presented both her method and the symphony live at the IXI EFITA. Her multilingual and multi-genre contributions to music earned her a Forbes 30 Under 30 list in 2023.
As a member of the Recording Academy, Ana has written more than 500 songs, with BBC Radio UK featuring works such as “Tell Me,” “Ferdoff LXXIII,” “Flume XI,” and “Horus Audenis.” Alongside her musical achievements, her highly successful modeling career spans more than 157 publications and includes collaborations with renowned brands like Vogue, Harper’s Bazaar, Dior, Calvin Klein, Tommy Hilfiger, and Max Mara.
Seamlessly merging science, philosophy, fashion, sustainability, and performance art, Ana has developed a sustainable luxury design method centered on multifunctional couture garments. This includes inventing the world’s first “umbrella dress” method and creating a transformative couture concept capable of becoming 23 iconic fashion pieces within a single design. Furthermore, she is the creator of the Neck Lyre — the world’s first haute-jewelry scientific multi-instrument — which is designed to be played in upcoming live presentations that integrate music, science, and wearable art.
Her boundless creativity extends into highly unique interdisciplinary projects, from conducting experiments on sonified sourdough using gravitational wave detections to designing and partnering on an edible chess game, sandboards, and various other products featuring her art.
Rounding out her expansive portfolio, Ana is the author of two philosophical books, the creator of 87 acrylic artworks and 13 music videos, and the developer of 182 products dedicated to promoting social and animal awareness through art.
Music
Music Videos
On Us - Ana Schurmann, Camerata Florianópolis
Heaven - Ana Schurmann (Part II) 
Ana Schurmann - Your Voice (Live at Isaac Theatre Royal)
Tempus Loss - Ana Schurmann, Luiz Zago
The World Of Blues - Ana Schurmann #Heaven is Coming. 🎵
Ana Schurmann "Wonder" (Live Performance) | LONDON LIVE SESSIONS
Curi V by Ana Schurmann (Wearing Ana Schurmann Couture)
Ana Schurmann x Ely Yabu - Tell Me Remix (Official Video)
My Dear, Word - Ana Schurmann, Ensemble Reunis (Live Performance in Cagliari)
ROOM (Hear Me Now) - Ana Schurmann, Official Music video
Verdi XLIII (Wearing Ana Schurmann Couture)
WHITKEYS - Ana Schurmann (Genre 6)
Max Mara | Spring Summer 2022 | Full Show
SACRÁRIO - Ana Schurmann , Daniel Galvão
CATWALK (Ethical Terms) - Ana Schurmann (Official Video)
TRUTHALIDADE - Ana Schurmann
Ana Schurmann - Libertà
Poésie du Dimanche - Remix (Lyric Video)Live Performances
Ana Schurmann "Wonder" (Live Performance) | LONDON LIVE SESSIONS
On Us Live From Florianópolis - 100 Years of Hercílio Luz Bridge
Ana Schurmann "Rapanui" (Live Performance) | LONDON LIVE SESSIONSMy Dear, Word - Ana Schurmann, Ensemble Reunis (Live Performance in Cagliari)Curi V by Ana Schurmann (Wearing Ana Schurmann Couture)
Avium II (Live) - Ana Schurmann
Music Sheets
My life as an Artist. (And how I became one)Model
Models.comEditorial
Shot by Rafael Pavarotti
Shot by Henrique Gendre
Shot by Mehmet Erzincan
Shot by Jamie Nelson
Shot by Lucia Giacani
Shot by Mateusz Stefanowski
Shot by Zee Nunes
Shot by Daniel JacksonPress
Design
One Dress, Twenty-Three Pieces — Metamorphosis Viewer
Drag to morph
Inside Ana Schurmann Couture Atelier - Creating the Umbrella Multifunction Dress ©️
Ana Schurmann Haute Couture Live At Teatro Doglio
Literature
Science
Every detection is a movement
The Harmonic Universe treats the LIGO–Virgo–KAGRA catalogue as one continuous composition in chronological order. Below is every confident detection of the first three observing runs — 90 events, from GW150914 on 14 September 2015 to March 2020 — placed by date and total mass, from the Gravitational Wave Open Science Center. Touch a detection to hear its chirp, synthesised from the chirp mass in the catalogue; play the whole catalogue to hear the universe in the order the symphony does.
Can you hear the difference?
Two sequences of tones. Both built from a list of numbers by exactly the same rule — each number becomes a pitch, nothing tuned by hand. One list is random. In the other, the numbers push each other apart. Nobody told you which is which.
Listen to both, then say which one sounded more evenly spread.
Headphones help. About four seconds each.
Look at the two pictures above. Each vertical line is one number in the list.
Random and independent. Lines fall where they like, so they clump — some crowd together, some leave gaps. That clumping is what you hear as unevenness.
The numbers repel each other. Two never sit close, so the sequence comes out spread and regular. This is the fingerprint of a whole class of physical systems.
If you couldn’t tell, that’s a real answer and worth reporting. Whether untrained listeners can separate these by ear is an open question — the study runs it as a formal test.
What this is
A spectrum is just an ordered list of numbers — the energy levels of an atomic nucleus, the eigenvalues of a symmetry group, the heights of the zeros of the Riemann zeta function. Written down, they are a column of digits. Turned into pitch, they become something an ear can judge in seconds.
The research applies one identical pipeline to systems from physics, number theory and geometry: extract the spectrum, measure the spacings, sonify. Because nothing is adjusted between systems, what stays the same and what changes both carry information.
What is claimed
- Level repulsion is genuinely shared between random matrices and the Riemann zeros — reproduced here from first principles, without fitting.
- The pipeline is validated on systems whose answers are already known before any new claim is made.
- Every number carries an uncertainty , and comparisons are calibrated against synthetic spectra of the same size.
What is not claimed
- No hidden physical unity. These systems are not secretly the same thing. The unification is one of method and listening.
- Prime gaps are not GUE. They are approximately Poisson — a correction to the project’s own earlier draft.
- The nuclear spectrum is undecided. Thirty-five spacings are too few to identify a class, and no conclusion is drawn from it.
The aim is not novel physics but a rigorous and audible cartography of spectral structure.Spectral Statistics as a Shared Language · revised June 2026
Audio is synthesised live in your browser from the paper’s mapping: each level becomes a tone at f = 220 · 8^t Hz, notes 120 ms apart, additive synthesis. Nothing is pre-recorded and nothing is tuned by ear.
Audible Cartography
One analytical pipeline, applied identically to an atomic nucleus, a symmetry group, and the zeros of the Riemann zeta function. Each spectrum becomes a sound. Choose a system and listen — then hear the same spectrum through an ear that is not yours.
The bench
Every system below is reduced to an ordered set of eigenvalues, then mapped to pitch by the same logarithmic rule — f = f_min (f_max / f_min)^t, 220 Hz to 1760 Hz, three octaves centred on A. Nothing is tuned by hand. What you hear is the spacing.
Two honest caveats, because they are the point. These demonstration spectra hold a few dozen levels, not the thousands the paper uses — so the interval is wide, and pressing New draw will move the estimate around by more than the gap between GOE and GUE. That is not a flaw in the demo; it is what small samples do, and it is why the paper’s nuclear result at n = 35 is reported as undecidable.
σ here is deliberately unreliable, and labelled as such: it is computed after dividing by the global mean spacing, which is not unfolding. Its value drifts away from the theoretical figure — sometimes above, sometimes below — depending on where the sample sits in the spectrum. Press New draw and watch it wander while ⟨r̃⟩ stays put. That contrast is the whole argument for leading with the ratio statistic.
Where it lands
The same measurement placed on one axis. Rigid spectra sit left, uncorrelated ones right. The point moves as you change system.
Whose ears?
A spectrum has no sound of its own. It becomes audible only inside a hearing range — and hearing ranges are themselves an evolutionary record, reconstructed from the length and shape of the cochlear duct. Pick an ear. The spectrum does not change; the listener does.
Read this before quoting any of these numbers. The four living animals have behavioural or physiological audiograms, cited on each card. The two extinct ones marked * do not, and the difference is not a technicality.
The Tyrannosaurus figures come from a single cochlear duct measurement pushed through a regression calibrated on living birds — and Sakagami & Kawabe state in the paper that the value lies outside the range of that calibrating data, so it had to be extrapolated. No lower frequency limit for T. rex has ever been published; any figure you see quoted for one is invented. The Parasaurolophus band is worse: the numbers in circulation trace back to a conference abstract and to secondary sources, and they disagree by more than an order of magnitude. It is shown here as a span of disagreement, not a result.
Manley & Köppl (2025, Biology Letters 21:20240680) — Manley being a co-author of the original method — warn that inferences from cochlear length alone are “stretched beyond what can reasonably be gleaned from fossil data.” That warning applies to this page too, and is the reason these two cards are marked and dimmed rather than presented as equals.
One consequence worth hearing: select the bat and press play. Its range begins above almost all of this music. A big brown bat could stand in the room and hear essentially none of it — which is the point of the section.
What is and isn’t claimed
The systems on this bench are not physically related, and this work does not claim they are. What is shared is a method: one pipeline, one mapping, applied identically, so that similarities and differences both mean something.
| System | n | ⟨r̃⟩ (paper) | Reading |
|---|---|---|---|
| Riemann ζ zeros | 999 | 0.617 | GUE-class repulsion, with finite-height rigidity |
| GUE ensemble | 5199 | 0.600 | Calibration reference |
| GOE ensemble | 5199 | 0.526 | Calibration reference |
| Nuclear shell model | 35 | 0.513 | Too few spacings to classify — reported as such |
| SU(3) Casimir | 211 | 0.466 | Intermediate, semi-Poisson-like |
| Prime gaps / ln p | 78 497 | 0.464 | Approaching Poisson — not GUE |
| SO(3) Casimir l(l+1) | 399 | 0.987 | Rigid picket fence |
Verify it yourself
Nothing on this page is pre-computed or pre-recorded. Everything is generated in your browser when you load it, which means you can check it.
Reproducing a figure
The random systems are driven by a seeded generator (mulberry32), and the seed is shown beside the controls. Set the same seed and you get the identical spectrum, the identical ⟨r̃⟩, and the identical bootstrap interval. Show the numbers prints the eigenvalues to nine decimal places so they can be pasted into your own analysis.
What each generator does
| System | Construction | Reference |
|---|---|---|
| GOE | Real symmetric matrix, off-diagonal N(0,1), diagonal N(0,2); cyclic Jacobi diagonalisation; outer 8 eigenvalues trimmed to stay in the semicircle bulk | Mehta, Random Matrices, 3rd ed. |
| GUE | Hermitian H = A + iB diagonalised through its 2n × 2n real symmetric representation [[A, −B], [B, A]]; eigenvalues appear doubled, so alternate ones are taken; edges trimmed | Mehta; Mezzadri 2007, Notices AMS 54:592 |
| Poisson | Cumulative sum of Exp(1) spacings | Berry & Tabor 1977, Proc. R. Soc. A 356:375 |
| Riemann ζ zeros | First 200 imaginary parts, computed with mpmath.zetazero(n) at 20 digits. Displayed and sonified after Riemann–von Mangoldt unfolding; ⟨r̃⟩ computed on the raw spacings, since it needs no unfolding | Odlyzko 1987, Math. Comp. 48:273 |
| Nuclear shell | Nilsson modified oscillator, eq. (8) of the paper, κ = 0.05, μ = 0.35. A spectrum generator, not a nuclear structure calculation | Nilsson 1955, Mat. Fys. Medd. 29:16 |
| SO(3) / SU(3) | l(l+1); and (λ² + μ² + λμ)/3 + (λ + μ) | Elliott 1958, Proc. R. Soc. A 245:128 |
| GW chirp | Leading-order quadrupole sweep, eq. (9). Continuous — no quantised levels, so it is excluded from every spacing comparison | Maggiore, Gravitational Waves Vol. 1 |
The statistics
r_i = s_{i+1} / s_i, r̃_i = min(r_i, 1/r_i), and ⟨r̃⟩ is their mean — computed on raw spacings, which is legitimate precisely because the ratio is invariant under any smooth monotone transformation of the spectrum. Reference values: Poisson 2 ln 2 − 1 ≈ 0.386, GOE ≈ 0.536, GUE ≈ 0.603 (Atas, Bogomolny, Giraud & Roux 2013, Phys. Rev. Lett. 110:084101; Oganesyan & Huse 2007, Phys. Rev. B 75:155111).
The interval is a percentile bootstrap over 2000 resamples of the ratio sequence. The paper uses bias-corrected accelerated (BCa) intervals with 10 000 resamples; this page uses the simpler percentile method for speed, and says so rather than implying otherwise.
Spectral Statistics as a Shared Language — a sonification study across physics, number theory, and geometry. Ana Schurmann, revised June 2026. Code, spectra, figures and audio are released as a versioned reproducibility package.
Audio is synthesised live in your browser using the paper’s mapping table: log pitch, amplitude by degeneracy, 120 ms note onsets, 5/30/0.7/60 ms envelope.
Ana is the first artist in history to create a scientific method to translate gravitational-wave chirps data into a scientific piano Universe symphony, entitled The Harmonic Universe, Chirp Symphony (2025). Her interdisciplinary research established pioneering methodology for the artistic sonification of transient gravitational-wave signals generated by the LIGO–Virgo–KAGRA observatory network, developed through formal scientific collaboration with the Aeronautics Institute of Technology (ITA), receiving a certificate for her achievement and support from International LVK Collaboration and Instituto Nazionale di Astrofisica (INAF). Her wider oeuvre, including works such as Philosophari in Numeris consistently merges abstract mathematical structures and empirical scientific datasets as foundational compositional elements.
Songs “Tell Me,”, ”Ferdoff LXXIII”, ”Flume XI” featured on BBC Radio, and “Whitkeys,” a long-running No.1 on Deezer Italy, earned her a place on Forbes Brazil’s 30 Under 30 list.
Decoding First 30-Second Spike Spectrogram Shell Fragment Matching 19th-Century Music
Live from EFITA at the Institute of Technology and Aeronautics (ITA)
Bird Polyphony — Is there more to Music than human hearing has taught us to recognize? 
Symphony of the Universe: How We Translate Gravitational Waves into Music
Architecture
The Neck Lyre Haute Jewelry Multi Instrument Research
Plastic Arts
Food
Edible Chess Game x Piemontese
First Gravitational Wave Sourdough x Pbread Bakery
Sourdough Microbiota Exposed to Gravitational Wave Detections
Sonified Sourdough Using Gravitational Wave Detections (The Harmonic Universe, Chirp Symphony)Art
Ana Schurmann Art painting At Teatro Doglio in Cagliari, Sardegna.
Ana Schurmann Art x Mads Exhibition
New music 🎵 and Art products! www.anasnchurmannart.com
Skills
Music
How #fashion changed to #music that changed to #art and to #couture and to…
Stepping away from my own music to honor some of the greatest In full www.anaschurmannart.com
Playing my song…
Making new music.. fazendo música nova… #flute #flutemusic
When David Bowie’s drummer and writer of “let’s dance” teaches a first-timer the #drums …
Wrote this last week. Hope the world listens.
Languages
The Origins of Music (9 Language Video)
Ana Schurmann shares her interview in 9 languages
Ana Schurmann Interview in 10 languagesKung Fu
Kung Fu practise Vs Mugendo 🥋
Forth Kung Fu training..
First Kung Fu training..Dance
And the song is?
Catwalk coreooo
@khyrese_official 0°C today in London training choreo with the best movement director!! #dancelife
Did you say #holidays ?
SkyDive for the First time…
I made a #hautecouture dress… #fashion
Chef Ana
Some #delicious and honest #pie
Making a #delicious dessert that I invented- #strawberry mountain with #creamy twists
Making some #delicious Cheesecake ! NYC Style
Making some #delicious and #sweetrecipe of a #pudim made of #coconut
Making some #delicious #chocolatecake 🍰 #cake
Did you know? #MusicHistory
Stream my song
Ana Schurmann Couture - Shot by Steven Sebring in NYC.
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