Online exhibition

CoQuS and Neues Atelier initiated a call for short compositions inspired by images from the laboratories of quantum scientists at the University of Vienna and the Vienna University of Technology. A selection of the numerous submissions to the contest are available on our website, together with the images they were designed to accompany, comments by the composers and links to the quantum research groups. 

The pairs formed by images & music pieces fall into the following two categories:

⊞  Related to the Physics & Music exhibition I
⊞  Related to the Physics & Music exhibition II

⧉  Selection of science-related pieces

The online competition closed on Friday, October 18th, 2013. We thank the composers for putting time and art into creating the interesting ‘Sounds’ and the scientists for providing the beautiful pictures. Here are the winners:


  Jose A. San Miguel: 

⊞ 1st Prize winner

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Marta Lozano: 
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  ⧉ Science-related       

Online exhibition

CoQuS and Neues Atelier initiated a call for short compositions inspired by images from the laboratories of quantum scientists at the University of Vienna and the Vienna University of Technology. A pre-selection of the numerous submissions to the contest are now available on our website, together with the images they were designed to accompany, comments by the composers and links to the quantum research groups.

You are now invited to vote for the best pair of "Physics & Music" in the following two categories:

⊞  Related to the Physics & Music exhibition I
⊞  Related to the Physics & Music exhibition II

⧉  Selection of science-related pieces

The online competition will be open until Friday, October 18, 2013. We thank the composers for putting time and art into creating the interesting ‘Sounds’ and the scientists for providing the beautiful pictures.


   Vote for the best piece in the 
⊞ exhibition-related category

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.
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  Vote for the best piece in the 
  ⧉ Science-related category    

Physics & Music Installation

How to access the sound installation:


In order to be able to hear the sounds geolocated near the displayed images in the Physics & Music exhibition, you need to follow these steps:

1. Download & Install the SonicMaps Player App App (for Android or iOS) in your mobile device, which needs to have GPS.

2. Start the App.

3. Load project from the following address (just copy & paste in the Project field):

http://sonicmaps.org/u/80/projects/austellung(working).txt

(alternatively, you can select Browse and find the project Traunkirchen listed in the projects page and Get link from there. You still have to paste the displayed link in the Load field in the App). 



IMPORTANT: It is strongly advisable that you tick ☒Wi-Fi Preload when loading the project. That way you will be able to download all sounds in advance, regardless the availability of mobile internet connection in the exhibition area. The project will be available for download on Sunday, the 8th of September with the name Austellung(working).


This Installation will be available until the 11th of September in the Internationale Akademie Traunkirchen, consisting of several 'Sounds' submitted by numerous composers from over 15 countries (See Call4Sounds* for more details). Attendees will vote the first prize, and the results will be made public at the end of the exhibition, on the 16th of September.


*The Call4Sounds is now officially closed. Thank you for the submissions!

Vote

CoQuS and Neues Atelier initiated a call for short compositions inspired by images from the laboratories of quantum scientists at the University of Vienna and the Vienna University of Technology. A pre-selection of the numerous submissions to the contest are now available on our website, together with the images they were designed to accompany, comments by the composers and links to the quantum research groups.

You are now invited to vote for the best pair of "Physics & Music" in the following two categories:

⊞  Related to the Physics & Music exhibition I
⊞  Related to the Physics & Music exhibition II

⧉  Selection of science-related pieces

The online competition will be open until Friday, October 18, 2013. We thank the composers for putting time and art into creating the interesting ‘Sounds’ and the scientists for providing the beautiful pictures.


   Vote for the best piece in the 
⊞ exhibition-related category

.
.
.
  Vote for the best piece in the 
  ⧉ Science-related category    

Philipp Haslinger's Talk (Backup)


If you want to learn more of what an interferometer is and can be used for, don't hesitate to watch this video by Michele Sclafani.

Dr. Philipp Haslinger

What does an interferometer do?


(Quantum coherent propagation of complex molecules through the frustule of the alga Amphipleura pellucida.)


Michele Sclafani, Thomas Juffmann, Christian Knobloch and Markus Arndt

SoundChart nr. 2: Optimal Harmonic Fidelity Control (Snow)





Abot the piece: 
The electro-acoustic composition Optimal Harmonic Fidelity was generated using additive synthesis software designed by the composer. The 5-minute work consists of a single fundamental tone of 27.5 Hz with a complex and dynamic spectral envelope of non-integer
overtones superimposed upon it.

Abot the composer: 
David Jason Snow is an American composer. Snow studied composition with Samuel Adler, Warren Benson, and Joseph Schwantner at the Eastman School of Music, Jacob Druckman at the Yale School of Music, and Arthur Berger and Martin Boykan at Brandeis University. At the Eastman School, Snow was awarded the Sernoffsky, McCurdy, and Howard Hanson prizes in composition; Yale awarded him a Bradley-Keeler Memorial Scholarship and the Frances E. Osborne-Kellogg Prize in composition. Snow has been the recipient of awards, fellowships, residencies and commissions from BMI, the National Association of Composers/USA, the National Federation of Music Clubs, the Annapolis Fine Arts Foundation, the ASCAP Foundation, the College Band Directors Association, the National Endowment for the Arts, Res Musica Baltimore, the Maryland State Arts Council, the Renée B. Fisher Foundation, Trio Indiana, SoundMoves, Pastiche, the Arts Council of Montgomery County (Maryland), Yaddo, and the Millay Colony for the Arts.

Josephson Projection (Vincze)

Josephson projection
Gruppe Jörg Schmiedmayer (ATI, TU Wien)



Abot the piece (Point Reflection): 
Das Stück "Point Reflection" ist neulich entstanden als eine verselbständigte Bearbeitung des elektonischen Teils einer meiner vorherigen Komposition namens "Inflection Point".Es spricht von mathematischen Begriffen der Symetrie, Spiegelung, Refraktion und Interferenz. Die Techniken die ich genutzt habe um diesen Klang zu erzeugen, basieren auf Umformung einer FFT-Analyse des instrumentalen Teiles aus "Inflection Point". Diese Analyse habe ich dann mit einfachen Algorithmen fraktalisiert, gespiegelt, usw. Da unser Ohr durch solche Verwandlungen nicht mehr den Grundton erkennen kann, entsteht ein Klanggebilde welches nur durch seine Gestik an das analysierte Original erinnert. Durch das Fehlen der physikalischen Proportionverhäntnisse eines natürlichen Klanges, verliert man den Zusammenhang, der für die Erkennung jeder natürlichen Klangfarbe notwendig ist. So nimmt unser Ohr jede dieser Frequenzen als selbstständig war, als ob die Frequenzen im Wasser schweben würden.


Abot the composer (Davor Branimir Vincze): 
Mein Studium umfasste Studien an den Musikhochschulen inGrazundStuttgartsowie auch ein Praktikum am Ircam(Institut für Forschung der elektronischer Musik). Hierbei hatte ich die Gelegenheit, mich als Komponist bei Professoren wie G. Kühr, C. Gadenstätter, K. Lang, G.F. Haas, M. Stroppa, J.C. Walter und M. Lanza auszubilden. Außerdem nahm ich an bekannten Festivals und Residenzprogrammen für Komponisten (u.a. Royaumont und Steirischer Herbst) teil, wo ich meine Ideen mit Leuten wie P. Ablinger, B. Ferneyhough, M. Andre, H. Parra und anderen diskutieren konnte. Meine Stücke wurden von renommierten Neue Musik Ensembles gespielt (Ensemble Recherche, Klangforum Wien, Ensemble Modern) und meine Arbeit fand auch durch mehrere Stipendien (u. a. Boulanger, Frankopan und Erasmus) Anerkennung.Als Künstler bin ich sehr von zeitgenössischen Medien beeinflusst. Der Überfluss an Informationen, wie er etwa vom Internet angeboten wird, ist in meiner Musik gut hörbar (schon allein durch die Quantität der Noten oder eine Geschwindigkeit, die im Grunde aber nirgendwo hin führt). Semantisch interessieren mich immer wieder Themen, die mit gehemmten Gefühlen und Sehnen in Verbindung stehen –Dinge, die man gerne machen, sagen, tun würde, aber nicht umzusetzen wagt. Rein technisch finde ich –, dies auch aufgrund meines früheren Medizinstudiums –oftmals in biologischen Abläufen Inspiration und Lösungen zur Klanggestaltung, weswegen diverse Algorithmen und Elektronik eine großer Rolle in meiner Arbeit ausmachen.

Evagelia Siarvali (several images)









About the piece: 
I have used audio Coolers, and I have written my own music to the following  organs, bells, Vibraphone, synthesizer, soundtrack and squarewave from music programe Finale.

A universal matter-wave interferometer with optical gratings in the time domain

 
If you want to learn more of what an interferometer is and can be used for, don't hesitate to watch this video by Michele Sclafani.

Dr. Philipp Haslinger

An Introduction to the Harmonies of Alpine Folklore Music

Woran erkennen wir, ob etwas harmonisch klingt? Wenn wir beispielsweise eine Liedbegleitung auf der Gitarre hören, stellen wir schnell fest, ob die Akkorde „richtig“ sind oder nicht. Diese Fähigkeit zur intuitiven Klangwahrnehmung ist unabhängig davon, aus welchem Kulturkreis der Zuhörer stammt oder welche musikalische Ausbildung er besitzt. Augenscheinlich basiert das Auffinden eines richtigen Akkordes ähnlich wie die Lösung eines mathematischen Problems auf objektiven Kriterien – kein Wunder also, dass sich die Physik mit dem Thema der musikalischen Harmonien beschäftigt.

Schon Pythagoras schrieb über Harmonielehre und der deutsche Physiker Hermann von Helmholtz lieferte um 1850 die auch heute noch plausibelsten Erklärungen. Alle Theorien gehen davon aus, dass die erzeugten Klänge nicht nur aus einem einzigen Ton mit einer gewissen Frequenz bestehen, sondern dass immer mehrere Frequenzen überlagert sind. Diese Frequenzen werden in einen Grundton und zugehörige sogenannte „Höhere Harmonische“ eingeteilt. Wenn zwei verschiedene Grundtöne erklingen (also ein Intervall) und dabei möglichst viele der Höheren Harmonischen übereinstimmen, ergibt sich ein Wohlklang – im anderen Fall eine Dissonanz. Wohlklang darf man aber nicht mit „Schönheit“ gleichsetzen für Qualität und Charakter eines Musikstückes spielen auch Dissonanzen eine wichtige Rolle- gestalterisch sind sie sogar unverzichtbar.

Ferner kommen gerne bestimmte Spieltechniken zur Anwendung, um einen eigenen Charakter des gespielten Stückes zu erzielen.  Bei der Gitarrenmusik ist das beispielsweise der sogenannte gestoppte Anschlag, der in der alpinen Volksmusik sehr beliebt ist aber auch in der amerikanischen „country music“ zum Eimsatz kommt. Etwas genauer betrachten wollen wir auch das Spiel in Flageolette-Tönen, die durch die Oberschwingungen einer Seite entstehen sowie das „vibrato“ auf der Geige und seinen Unterschied zu einer „Schwebung“.

Wie die Physik an das Thema der musikalischen Harmonie herangeht und auf welcher theoretischen Basis unsere Wahrnehmung von Konsonanz und Dissonanz beruht, erfahren wir im Vortrag des Physikers und Nobelpreisträgers Peter Grünberg – Die Theorie wird bereichert und ergänzt durch Musikstücke aus der alpinen Folklore gespielt von Inge Reischl und Wolfgang Schafferer.


Prof. Peter Grünberg, 
Kernforschungszentrum Jülich, 
Nobelpreis für Physik 2007

Töne, Klänge und musikalische Harmonie

Die meisten Töne in der abendländischen Musik haben ein periodisches Zeitverhalten. Das Ohr vermittelt dem Gehirn sowohl den zeitlichen Verlauf des Schalldrucks als auch eine Zerlegung in eine harmonische Reihe von Teiltönen. Dennoch ist der Gesamteindruck ganzheitlich, charakterisiert durch Tonhöhe, Klangfarbe und - im Zusammenklang mehrerer Töne - das Empfinden für Konsonanz und Harmonie. Allerdings gibt es große individuelle Unterschiede im Hören, die vermutlich durch verschiedene Gewichtung der durch das Ohr vermittelten komplementären Information zustande kommt. Die musikalischen Konsequenzen der Sonderrolle periodischer Töne und ihrer Zerlegung in harmonische Reihen reichen von den musiktheoretischen Grundlagen der Harmonie (Rameau 1722) bis zu Einflüssen auf die Instrumentenwahl von Berufsmusikern, abhängig vom Hörertyp. 

Die Vortragenden erklären die Grundtatsachen zusammen mit einigen verblüffenden psychoakustischen Experimenten und musikalischen Beispielen. Dabei wird gleichzeitig mit den Tönen ihr Zeit- und ihr Frequenzverhalten visuell vorgeführt. Angesprochen werden auch zugehörige neurologische Befunde der Heidelberger Arbeitsgruppe, abgeschlossen wird der Vortrag mit einem Test zum Hörtypus, mit dem jeder selbst seine bevorzugte Wahrnehmung herausfinden kann.

Prof. Hans Günter Dosch, Universität Heidelberg
Prof. Hans J. Specht, CERN und Universität Heidelberg

Visualizing the motion of musical instruments

What do physics and music have in common? Both have much to do with motion: Physics could be defined as the study of motion (in a broad sense of the word). The beautiful sounds from which music is built up, on the other hand, result from the subtle motion of musical instruments. We can bring physics and music together by visualizing this very special kind of motion.

We start with the motion of strings which are the central ingredient of many musical instruments. The low E guitar string, for example, vibrates mostly at around 80Hz. Since humans can distinguish only up to around 12 distinct pictures per second, the vibration of the low E guitar string will appear blurred and stationary--a kind of average picture of the string's position in time. To get a clear picture of the motion, we turn off the lights and illuminate the string with a stroboscope tuned close to the frequency of the string. The eye (or a camera with low frame rate) will then see a drastically slowed down vibrating string, moving at the difference frequency of stroboscope and string:




(note: the moving dark and bright vertical stripes are an artefact of the camera and depend on the relation between camera frame rate and stroboscope frequency).

The low E guitar string vibrates most strongly at around 80Hz in the so-called fundamental mode. But we know that the specific guitar sound depends essentially on more complex motion of the string which occurs at so-called higher harmonic modes  of the fundamental mode. To make these higher modes visible we can tune a function generator with a loud speaker connected to it to twice (or threee times etc) the frequency of the fundamental mode (a skilled guitar player will actually be able to selectively excite higher modes directly). Again we use a stroboscope to slow down the apparent motion. It is quite hard to excite the higher modes directly so the resulting video shows an almost imperceptibly subtle motion:

We can use a freely available algorithm to exaggerate the subtle second harmonic motion of the string: 



In the amplified version of the video one can see clearly that the second harmonic has a node exactly on top of fret number twelve; not surprisingly that's the fret you press to get the octave ie double the frequency. The algorithm and more details on how to use it are available at http://people.csail.mit.edu/mrub/vidmag/

Of course, many instruments don't involve strings. The sound of timpani, for example, results from the movement of a large circular sheet stretched over a large copper bowl. Instead of the one-dimensional string we are now looking at the movement of a two-dimensional surface.  And as usual, things get more interesting with increasing dimensionality.

Since we did not have timpani at our disposal we used a broad thin rubber sheet stretched across an empty (and cleaned) tomato can. We again excite different modes of motion using a function generator and a loud speaker. We get a first idea of the possible motions by scattering some sand or salt on the rubber sheet. When we hit one of the resonance frequencies of the rubber sheet the salt will gather in the anti-nodes (where the sheet does not move):



Then we can use stroboscope and camera as before to record a video of the corresponding mode of motion: 




As before we can amplify the motion to make it clearer:


You see that visualizing the motion of musical instruments is not too hard. No doubt even more interesting videos can be recorded with some patience and creativity.




Jason Hölscher-Obermaier und Jonas Schmöle
(Gruppe Markus Aspelmeyer, Universität Wien)

Laser Harp

In the course of the preparation weeks before the Physics & Music workshop, students from the technical university started to build a so called laser harp - an instrument where 13 lasers beams form 13 light-strings. When you put your hand inside a laser beam, the connection to a sensor is interrupted which gives an MIDI command you can process further with different software programs. As the 13 input channels are programmable freely, the laser harp gives a full playground for everybodys creativity.






















The LaserHarp Project is an ongoing endevour that is meant to continue its development on the months ahead. Stay tuned!

Quantum Entanglement Tango

How big the overlap between physics and music can actually be one could experience live on Sunday 8th of September at Traunkirchen: We performed one piece from Vannessa LeBourdais’ musical called Quantum Physics: the musical.

Quantum Entanglement Tango is a funny piece about the behavior of two photons, which are entangled together. It was arranged by Adrián Artacho for the Neues Atelier Ensemble and performed by Alessandro Malizia (violin), Miquel Angel Parera (cello), Jesús Paniagua (contrabass) and Kathrin Buczak (piano), starring two young reasearchers from the Physics department of the University of Vienna: Karoline Siquans and Jason Hoelscher-Obermaier .

Here is an excerpt of the text, reproduced with the permission of Vanessa LeBourdois:

Karoline:

     
  When you fire two photons 
  from a boson emitter...

Jason:

  (that's a very fancy name for a flashlight)

Karoline:



  ...they're one entangled pair
  The photons will not care
  when split off to the left and right.

Jason:


  When one photon dances
  then the other must follow,

(Both:)




  They are lock in sync together, forever,
  Although light-years apart
  Between them beats one heart,
  Like an instant messenger

Refrain:
(together)




  Faster than light
  the information flows
  how can this be?
  Nobody seems to know,
  that is just how it goes,
  Quantum entanglement Tango.


Karoline Siquans and Jason Hoelscher-Obermaier
(Gruppe Markus Aspelmeyer, Universität Wien)

Concert: Neues Atelier Ensemble

The workshop was highligted with the performance of the Neues Atelier Ensemble, performing pieces from Saint-Säns, Zimmer and Williams. This Ensemble specializes in in contemporary music, putting the stress on performative aspects, merging the visual and the acoustic as a key part of a concert experience. In their own words:


«It was a very interesting experience to take part as a violinist in Physics & Music Workshop in Traunkirchen. The whole team of musicians and of the students, the Idea of combining an original instrument like the Laser-Harp together with traditional ones and alternating musical moments with talks was smooth and got a notable success among the listeners.»
Alessandro Malizia

Alessandro Malizia (violin) holds both Masters degrees in violin (Rome) and composition (Vienna) with the highest marks. As a violinist he got first and second prices in ten International competitions and as a composer was two times finalist in the Ö1 Talentebörse Wettbewerb. He performed as a violinist in a number of Ensembles and orchestras and remarkable concert halls like: Wiener Konzerthaus, Wiener  Musikverein, Theater Akzent (Wien), Grosser Saal Mozarteum (Salzburg) among others.

Jesús Paniagua Barroso (contrabass) is an active musician who has performed with orchestras like Andalucía Jugendorchester, Wiener Jeunesse Orchester, India Symphony Orchestra, Philarmonie der Nationen, Grazer Philarmonische Orchester, Sinfonietta
Baden among many others. He holds a degrees from the Sevilla Conservatory as well as the Konservatorium Wien. 

Kathrin Buczak (piano) holds a degree in Piano by the Vienna Konservatorium. She is founder and pianist of the BlueSound Quintet and loves to take active part in interdisciplinary projects. Aside her musical career, she is also a PhD student at the Vienna University of Technology, who works in the Group of Joerg Schmiedmayer (Atomic Physics and Quantum Optics) and invesitgates the excitation and charge state dynamics of diamond color centers. 


«Ich habe mich besonders auf dieser Projekt gefreut weil ich selbst viel Wiessenschaft in der Kunst des Spielens sehe. Interdiziplinäres Arbeit ist den Weg, neue Ideen zu entwickeln.»
Miquel Àngel Parera Salvà 

Miquel Àngel Parera (cello) has also taken part in this Neues Atelier project. He is an outstanding ensemble musician, as well as artistic advisor of the Lux Festspiele (Festival in Germany). He divides his time between performing chamber music, managing Festivals and different initiatives promoting classical music among diverse audiences. Next chance to see him will be in the Novomatic Forum in Vienna, accompanied by the pianist Robert Werner.

Adrián Artacho (laser harp) is a composer and multimedia artist residing in Vienna. He holds a MA in composition and Masters Degree in Translation and Interpretation. Since 2009 he is founder and artistic director of Neues Atelier - arts collective, and composer in residence at the Noise Ensemble. He has also worked for the Vienna Philharmonic Orchestra in the field of music mediation.






Sagnac interferometer

The presented Sagnac interferometer is used to make the Sagnac effect (named after Georges Sagnac) audible. To understand the Sagnac effect consider a circular interferometer with two counter-propagating laser beams (one clockwise the other one counter-clockwise) of the same frequency which will interfere at the detector. The amplitude of the resulting signal (the voltage of a photodiode) depends on the phase relation between the two laser beams. 

When the interferometer starts to rotate e.g. clockwise the clockwise propagating laser beam has to cover more distance because the detector is moving away. The counter-clockwise propagating beam has to cover less distance as the detector is moving towards it. Now the two laser beams have a different phase at the point where they interfere resulting in a different amplitude of the signal at the detector. 

 Sagnac Interferometer 



In this interferometer the laser beams are propagating through a silica fiber (the same that are used for telecommunication purposes) and the detector signal is used to adjust the frequency of an audio signal which is transmitted to the speakers.

Berhard Albrecht  
 (Gruppe Arno Rauschenbeutel, ATI, TU Wien)

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