Symphony of Science: An Expression of the Miracle of Molecular Interactions

My project is an interdisciplinary endeavor in chemistry and music. With a several movement, 4-8 instrument chamber orchestra piece, I will attempt to capture the beauty and miracle of molecular interactions in song. Science can so often be stark and boring, complicated multi-step experiments reduced down to charts, dry procedural descriptions, and graphs in formal lab reports. In these reports, we often lose sight of the “big picture” of science, its beauty and miracle lost in the details and jargon. My project’s ultimate goal will be to express this miracle, using different combinations of instruments and musical styles to symbolize various chemical reactions.

Chemistry and music seem an unlikely pair, but, in my opinion, complement and enhance one another beautifully. In chemistry, molecules react with each other in various conditions, breaking and forming bonds to create different molecules than existed before. The placement of different atoms in molecules give each type a distinct personality and tendency to react in certain ways. Similarly, different instruments have distinct timbres and colors and and play unique roles in an orchestra. Different combinations of instruments interact in different ways much like molecules in chemical reactions. Trumpets and other brass act as strong bases, powerfully shocking the molecules to behave in a certain way, and oboes and other reeds as strong acids, clear and deliberate in bringing about change. Steady rhythms and simple major chords can indicate stable, unreactive molecules, but the addition of non-chord tones and syncopated rhythms can upset the system enough to facilitate changes. And when you heat up certain molecules, they react in a different way than they would in cooler conditions, much like playing a piece of music at a faster tempo can give it a newfound energy and drive. The analogies are truly limitless, and I hope to explore the many parallels between science and music with the completion of this project.

Abstract: Musical Architecture in the Savoy Operas: Seeking the Serious in the Comedic

In this project, I will be examining Sir Arthur Seymour Sullivan’s compositional technique and design in the operettas he wrote with Sir W.S. Gilbert, looking both at his technical predilections and at musico-dramatic unity within the works, with particular emphasis on the question of key color.  Sullivan’s contemporaries chided his popular works, seeing it as beneath him to compose such simple, pedestrian music, especially in lieu of their self-proclaimed English Musical Renaissance.  To this day, although posterity has largely made forgotten fools of his critics and their Victorian pedantry, there remains a common perception amongst musicians and laymen alike that “it’s only Gilbert & Sullivan,” and thus not worthy of serious consideration, that Sullivan is merely “the idle singer of an empty evening,” as critic Ernest Walker put it in his History of Music in England (1907).  It is my aim to get at the nuts and bolts of the Savoy Operas to show that more serious thought went into them than Sullivan’s contemporaries, later critics, and by extension we ourselves, give him credit for.  Of main interest is the oft-mentioned but scarcely-defined claim that Sullivan made use of key color in his works, an association of key with either a literal chromatic color (a la Scriabin and Rimsky-Korsakov) or more typically a particular mood or emotion.  By comparing similar dramatic instances in the operettas, I hope to find evidence to support or refute that claim.

Composition for Romania

Of all the countries I visited, Romania is geographically and culturally the farthest from the U.S.  Much of the country lives in poverty and has little communication with our world.  The distance means that their music is not at all what we’re used to, involving meters and scales that sound exotic, and sometimes “off”, to our ears.  In my aural research, I found that Romanian music reminded me at times of German music, Klezmer, and music of the Middle East.  It makes sense, if you think of the countries location and what other countries it has had a lot of contact with.

These qualities are carried over to Romania’s rather small choral tradition.  Here’s an example of several different styles that are typical of Romania http://www.youtube.com/watch?v=gqDFnVyV41M

This music has been providing a formidable challenge as I’ve had trouble reconciling some of the foreign elements of Romanian music with my composition style which is completely based on our western choral tradition, specifically modern choral music.  As of now, I haven’t come up with anything that I feel satisfactorily fits into my style as well as represents the Romanian tradition but I am continuing to learn and experiment and I’m getting closer.