carnassial teeth, and their roundness could be due to natural damage after the bone was abandoned. The presence of marrow suggests that no one had bothered to hollow out the bone as if to create an end-blown flute. Says Nowell, '[Turk's] willing to give it the benefit of the doubt, whereas we're not.' " Diatonic scale Bob Fink claimed in his essay in 1997, that the bone's holes were "consistent with four notes of the diatonic scale" (do, re, mi, fa) based on the spacing of those four holes. The spacing of the holes on a modern diatonic (minor scale) flute are unique, and not evenly spaced. In essence, Fink said, they are like a simple fingerprint. The Divje Babe bone's holes matched those spacings very closely to a series of note-holes in a minor scale. Nowell and Chase wrote in Studies In Music Archaeology III that the juvenile bear bone was too short to play those four holes in tune to any diatonic series of tones and half-tones. (Fink had suggested there may have originally been a mouthpiece extension added to the bone before it was broken.) In a 2011 article, Matija Turk published the results of a collaboration with Ljuben Dimkaroski, an academic musician who had made replicas of the artifact. The authors argue that the instrument encompassed a range of two and a half octaves, which can be extended to three octaves by overblowing. Dimkaroski created over 100 wooden and bone replicas of the flute and experimented with them. The replicas were made from femurs of juvenile brown bears provided by the Hunters Association of Slovenia, but also calf, goat, pig, roe and red deer bones. In the end, he concentrated on playing a replica made on a femur of a juvenile cave bear from Divje Babe I Cave, to come as close as possible to the dimensions of the original. Musical verification An additional argument for the thesis that the pierced femur from Divje babe I is an intentionally made musical instrument comes from experimental musical research on a reconstructed instrument. In its preserved state, the find is not suitable for playing music as are none of the other discovered Upper Palaeolithic wind instruments, traditionally called flutes or pipes. The Neanderthal flute has been studied by several musical researchers. In 2014, professional musician Ljuben Dimkaroski studied the flute experimentally, independently of previous research. Dimkaroski, who played