Seminário Extra: The Matter-Wave Duality in Music

Sobre este evento

Understanding waves can be a difficult task when it is linked to matter and its properties. Scientific students have to deal with atomistic, particle-wave duality in quantum mechanics, being concepts difficult to assimilate and to captivate the attention of young mathematicians, physicists and chemists. Understanding waves is at the opposite very attractive when it is linked to music and amazing examples can be illustrated though the scientifico-musical history. For instance, from ancient history, renowned mathematicians such as Pythagoras did relate a musical scale to frequency ratios. Today, with the increase of computer science, artificial intelligence, the music is analyzed and composed mathematically. Another example is Ernst Chladni, a physicist of the mid modern period, who did nicely correlate a frequency to wave patterns through the plate experiment, the patterns corresponding to the 2D standing waves. Nowadays, such experiment is possible in 3D, using a water droplet in levitation by sound waves. Similarly, wave patterns in 3D can be observed by holographic interferometry in a string instrument receiving sound radiations.
In this presentation, some transdisciplinary concepts will be introduced in Mathematics, Chemistry, Physics and Music history. Indeed, chemical and physical properties are related to energy changes and wave propagations. If pure energy is considered, it can be converted into a wave in which the energy is the Planck constant h the frequency . Audible frequencies are transformed into a pleasant and powerful means to explain some properties of particles, of elements and of the matter in general.
Our chosen properties (e.g. ionization potential, electron affinity, Nuclear Magnetic Resonance, x-ray photoelectron spectroscopy) will be performed using electronic softwares (Audacity, MuseScore, GuitarPro) and a keyboard (Yamaha PSR 250). While unfitted resulting musics are amodal and atonal, the challenge is to transform them into esthetical afro-latin popular musics.
Acknowledgement: Corinne Arrouvel acknowledges CENAPAD for computational resources and Jean Cardoso (projeto IC UFSCar 2016-2017). She thanks warmly Marcos Farina and Geraldo Martins for helping with the musical aspect of the project.