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AV ZN The quantum secret of atonal music - The Times Hub

The quantum secret of atonal music

The quantum secret of atonal music

The composer Antón García Abril, at the headquarters of the General Society of Authors and Editors (SGAE) .

A few days ago Antón García Abril , Spanish composer and musician, member of the Generation of 51, a generation of musicians whose main mission – According to Tomás Marco- it was to reconquer lost time.

In a very few years they assimilated a whole series of musical tendencies that had their origin in Stravinsky, a musician from which they were incorporating new categories, the most significant being that of free atonalism. Schönberg . With these things, the members of the Generation of 51 resurrected contemporary music in a country buried under the rubble of the postwar period.

Because during the postwar period, both García Abril, Tomás Marco and Luis de Pablo collected everything that had been produced in the musical field since the Civil War started. They did so without excluding pictorial languages, as well as scientific experiments and findings in the field of physics, especially in that of quantum mechanics, whose property called quantum entanglement will be the scientific reflection of atonal music. Let's explain it in a simple way.

The term quantum entanglement was coined in 1935 by Erwin Schrödinger to describe the behavior of subatomic particles related to each other, giving the same distance between them.

The term quantum entanglement was coined in 1935 by Erwin Schrödinger to describe the behavior of subatomic particles related to each other, giving the same distance between them. In this way, whatever happens to one of the particles also happens to the other with which it is related, even though it is in a different place.

All this may sound like phantasmagoria, in fact that was how Einstein himself called it : “Phantasmagoric action at a distance”. All things considered, it is amazing that two particles separated in the distance perceive the same thing, that is, if one of the particles undergoes a change in spin (the direction of rotation), the effect is "perceived" immediately by the other particle. which, in turn, changes the direction of rotation despite the distance.

The only thing we know from recent experiments is that a current particle is still entangled with another that existed.

But the most amazing thing is that this not only occurs spatially, but also occurs temporally, since it is not necessary for both particles to come together at the same time. Its mechanism is unknown, just as the mechanism of entangled particles in space is unknown. The only thing we know from recent experiments is that a current particle is still entangled with another that existed

Now, if we take the concept of quantum entanglement into sound space, we find a chaos of random notes which is what we hear when we attend to an atonal music audition, better known as contemporary music, where the hierarchical tradition of basic scale sounds in the do-re-mi-fa-sol-la-si-do tonal system is broken . It is curious to see that where the composition was developed around a central or tonic note, now it develops in a casual way, considering one note as equally important as another, without distinguishing any note as dominant, and it happens that a note has its effect on another note that, in turn, it is intertwined through the distance between bars.

This atonal music, originating in the early twentieth century, came to provide the soundtrack to the birth of the last of the great branches of physics. Quantum mechanics as a reflection of the invisible composition of nature has its sound expression in the atonal music of Arnold S chönberg, whose compositional language, we have already said, was a significant influence on musicians of the Generation of 51 such as Cristóbal Halffter, Luis de Pablo or García Abril, musicians whose mission was to bring to the atonal context the subatomic particles that underlay the real world of the postwar period.

The stone ax is a section where Montero Glez , with the will of prose, exercises his particular siege to the scientific reality to show that science and art are complementary forms of knowledge.

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