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and welcome to the space telescope

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public lecture series

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tonight we have a very special event for

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you

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finding music of the spheres hearing

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stars

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by the consonants collective and the

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bergamot quartet

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of the peabody institute of the johns

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i'm your host dr frank summers of the

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space telescope science institute

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and i have to thank my amazing tech team

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who not only

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records this webcast but gets it out to

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you live on youtube

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thomas marufu and grant justice

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a reminder that space telescope public

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lectures will continue to be online only

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until further notice

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our upcoming talks next month

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june 1st how to hunt for distant

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worlds by emily rickman of the european

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space agency

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space telescope science institute in

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july quinn hart will be back with

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another installment

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of her armchair astrophysics if you

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remember she gave us a wonderful talk

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last summer

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and she has decided that she has so much

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to say she'll send you some more

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on august 3rd we have a fantastic

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speaker that i have not yet found

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uh i will fill that up in the next

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month and if you want to find out who

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that next speaker is

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well then you can go to our website if

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you just type in hubble public lectures

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you'll find

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www.stsci.edu

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public hyphen lectures this tells you

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all about

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our lectures it gives you on the left

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you can see the link to

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our webcast both on youtube and on the

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sdsci webcasting

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site and on the right we have a place

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where you can subscribe to our lecture

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announcements

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when we reveal who that amazing august

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speaker will be

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also on the website are the links for

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each individual lecture

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and if you click on the read more link

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you get

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the uh the the abstract of the talk

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as well as links to the stsci webcast up

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top

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and the youtube webcast down bottom

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for email as i said the announcements

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it's easiest just to sign up at the

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website

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but you can also subscribe to our

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youtube channel

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um and get notifications from our

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youtube channel of new videos

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as well as reminders of these live

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events

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if you have comments or questions you

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can send them to public lecture

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stsci.edu

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finally if you want to follow us on

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social media

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hubble space telescope the james webb

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space telescope

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institute we're on

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facebook twitter youtube and

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instagram i myself do a tiny

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tiny little bit of social media if you

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would like to hear what i have to say

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you can follow me on facebook or twitter

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our news from the universe is not

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appearing this month

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uh it will return in june why

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well because we have a large number of

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speakers tonight and i want to give

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all the time to them we have five

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count em five composers from the

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consonants collective

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and we have the four folks the the

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artists in the bergamot quartet and they

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will be speaking to you tonight

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i also want to let you know that the

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videos the full

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complete compositions and the videos

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that go with them

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are available on youtube in the hearing

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stars playlist

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there are five videos and the entire

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playlist lasts over 65 minutes

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however i want to point out that if

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you're watching this on youtube you're

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watching it on the hubble space

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telescope youtube channel

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these videos were not posted on the

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hubble space telescope youtube channel

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instead as you can see in the lower left

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they were posted on the space

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telescope science institute youtube

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channel

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so you come to the hubble space

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telescope

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youtube channel for the lecture and you

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go to the space telescope

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youtube channel for the videos

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alright so it is my wonderful pleasure

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to

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introduce just one of the uh

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speakers tonight bobby gee was

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raised in shanghai but he came to the us

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and did a double major in physics and

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music at uc

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berkeley then he did a masters in

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composing

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at the peabody conservatory he is

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currently working on new pieces for the

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albany symphony

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uh music and a working with a new music

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group

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called mind on fire he will introduce

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uh actually he will start off the

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introductions of all the members of this

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amazing

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uh performing folks here tonight so

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ladies and gentlemen

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all right thank you so much frank for

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that uh very generous introduction um

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yeah we're all super super glad to be

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here and we're all really excited just

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to

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a spot in their public lecture series

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it's not super common having musicians

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come on here so we're really really glad

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that we got to be here

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um yeah so just to begin by introducing

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everybody else

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um so i will start out by introducing

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constance and who we are

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um so constance is a collective of

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composers

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we all met as graduate students in

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composition at the peabody conservatory

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and our whole thing is wanting to bring

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contemporary classical music to

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audiences

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through multimedia collaborations like

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this

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and themed concerts unconventional

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concert venues that kind of thing

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so just to introduce everybody obviously

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there's myself um there's zach gulabov

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davis

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there is dan despins there's gouay and

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there is sayuna kim

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yeah if you want to find out more about

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us you can check out our website which

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is up here www.cnsnc.org

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you can also follow us on facebook and

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instagram um next i will i will leave it

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to the bergamot quartets to introduce

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their members i'll pass it off to

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cellist irene hahn let me go ahead and

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hi um i'm irene i am the cellist in

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bergamot quartet um

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sorry um and i think

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everyone would like to introduce

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themselves individually first before i

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um talk a little bit more about who we

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are

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so yeah hi i'm amy 10 and i play the

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viola in the bergamot quartet

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hello everyone i'm sarah thomas and i'm

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one of the violinists in the bergamot

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hi i'm lita think and i'm also a

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violinist

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so we are a string quartet based in new

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york city we

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are the graduate quartet at the manu

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school of music right now

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we met at peabody in

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2016 and we've been performing together

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ever since we um specialize in

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performing music by living composers

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um and that's how through peabody

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that's how we got to get to know the

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composers of this album um

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and we're really excited to do that um

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i'm going to hand it over to bobby to

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continue our presentation for this

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great thanks a bunch irene and uh thanks

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to the content for being here

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um yeah so just to explain a little bit

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more about hearing stars and how this

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whole project came together

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um so this was last year this was in the

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before times before

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covet and everything um so the members

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of consonants and bergamot were getting

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together and just sort of talking

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because we knew that we wanted to try

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and do some kind of a project or some

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kind of a concert together

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our original idea was that we were

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thinking about working with something in

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the visual medium

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so you know film scores that kind of

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thing and the more we talked the more

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the project ended up shifting until we

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until we came out we decided to uh focus

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on

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is public domain because

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for at least available for fair use

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because yay hubble space telescope yeah

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science

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um and from there as we begin to explore

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more we learned that the space telescope

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science institute or sdsci

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folks who manage all those photos and

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everything are actually based in our

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backyard here in baltimore

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and so from there we ended up chatting

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more and eventually the entire

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project has sort of evolved into this

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hour-long

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visual album depicting the life stages

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of stars

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so that's what we're going to end up

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talking about today every single

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composer composed a different piece or

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based on a different

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stellar life stage so we'll start out

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with the birth of stars we'll go on to

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star systems we'll go on to

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supernovae and like the death of stars

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and then black holes and finally

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dark matter just to close us out and

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then after we're done with each

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after each composer is done presenting

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their piece we'll turn it over back to

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the quartet for them

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just to explain a little bit more about

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what it was like to put together our

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pieces because all the pieces have

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a variety of techniques that exist

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outside sort of standard classical

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you know procedure and style and part of

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the great fun with working with them was

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watching them sort of

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wrestle through our notation and our new

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ideas and you know try and bring them to

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life as effectively as possible

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yeah so if you like the videos or you

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like what you see here once again check

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out the full playlist on youtube

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um and if you like the music a whole lot

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this whole album is available

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just you know anywhere you listen to

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music spotify youtube apple music if

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anyone uses that um yeah cool so with

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that i'm gonna go ahead and jump right

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in by explaining

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uh my particular topic so

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here we go so my piece is called celeste

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forma and is based on

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um protostars this idea of forming star

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formation and how they go

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from you know being goblets of dust and

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gas and eventually becoming the raging

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you know thermonuclear explosions and

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all that that that light up our night

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sky

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so the overall structure of this piece

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um

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is in broadly speaking is in three

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chapters

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00:10:41,030 --> 00:10:40,000
so i'll go and i'll talk more about each

287
00:10:41,430 --> 00:10:41,040
one i'm just going to go ahead and do a

288
00:10:43,110 --> 00:10:41,440
quick

289
00:10:44,870 --> 00:10:43,120
overview here so the first one we start

290
00:10:46,710 --> 00:10:44,880
out with nebulae

291
00:10:48,069 --> 00:10:46,720
and then it goes on to the rapid

292
00:10:50,310 --> 00:10:48,079
expansion of

293
00:10:52,230 --> 00:10:50,320
protostars basically once protostars and

294
00:10:53,350 --> 00:10:52,240
these dense cores actually form how they

295
00:10:55,829 --> 00:10:53,360
begin to grow

296
00:10:57,590 --> 00:10:55,839
and they uh yeah very rapidly um and

297
00:10:58,310 --> 00:10:57,600
then finally the last chapter of the

298
00:11:01,269 --> 00:10:58,320
piece

299
00:11:03,829 --> 00:11:01,279
is sort of based around um main sequence

300
00:11:04,949 --> 00:11:03,839
stars so once protostars have stabilized

301
00:11:07,430 --> 00:11:04,959
and they're no longer

302
00:11:08,790 --> 00:11:07,440
you know um proto so to speak they're no

303
00:11:10,230 --> 00:11:08,800
longer exploding all over the place and

304
00:11:10,870 --> 00:11:10,240
trying to figure themselves out so to

305
00:11:13,590 --> 00:11:10,880
speak

306
00:11:15,110 --> 00:11:13,600
which is like a person in the 20s um the

307
00:11:16,870 --> 00:11:15,120
week when it goes on did they go on to

308
00:11:17,269 --> 00:11:16,880
become main sequence stars which is what

309
00:11:28,550 --> 00:11:17,279
the

310
00:11:31,670 --> 00:11:28,560
thought of nebulae

311
00:11:33,829 --> 00:11:31,680
um was that um

312
00:11:36,230 --> 00:11:33,839
there's sort of these big chaotic swirls

313
00:11:38,790 --> 00:11:36,240
of dust and gas right like

314
00:11:40,470 --> 00:11:38,800
um they have it's kind of impossible to

315
00:11:41,110 --> 00:11:40,480
predict with the exact you know pinpoint

316
00:11:43,430 --> 00:11:41,120
precision

317
00:11:45,190 --> 00:11:43,440
or this exact part of the nebula the

318
00:11:46,470 --> 00:11:45,200
nebula is going to like become

319
00:11:48,069 --> 00:11:46,480
is going to have is it going to grow

320
00:11:49,509 --> 00:11:48,079
proto stars first and then this exact

321
00:11:51,190 --> 00:11:49,519
and then this exact bit's going to go

322
00:11:52,389 --> 00:11:51,200
for it's going to happen first and this

323
00:11:53,750 --> 00:11:52,399
person will happen here first and that

324
00:11:55,509 --> 00:11:53,760
person will happen there next

325
00:11:56,949 --> 00:11:55,519
um that kind of pinpoint precision is

326
00:11:59,430 --> 00:11:56,959
not really possible for these kinds of

327
00:12:01,750 --> 00:11:59,440
massive super chaotic systems right

328
00:12:03,910 --> 00:12:01,760
um and so instead what we do know though

329
00:12:05,829 --> 00:12:03,920
is the overall behavior of these kinds

330
00:12:08,629 --> 00:12:05,839
of big chaotic systems

331
00:12:10,629 --> 00:12:08,639
um so basically so we know the rules

332
00:12:11,509 --> 00:12:10,639
that govern these nebulae but we don't

333
00:12:12,710 --> 00:12:11,519
actually know

334
00:12:14,710 --> 00:12:12,720
we can't necessarily this is not

335
00:12:16,310 --> 00:12:14,720
actually even useful to explain with

336
00:12:18,470 --> 00:12:16,320
exact pinpoint precision

337
00:12:20,069 --> 00:12:18,480
you know which bit how exactly the

338
00:12:21,590 --> 00:12:20,079
system is going to evolve

339
00:12:23,750 --> 00:12:21,600
um and so the way that i wanted to

340
00:12:25,430 --> 00:12:23,760
translate that was with this is

341
00:12:28,150 --> 00:12:25,440
this little musical thing called box

342
00:12:30,870 --> 00:12:28,160
notation and so what box notation

343
00:12:32,790 --> 00:12:30,880
is is where the musician basically i

344
00:12:34,150 --> 00:12:32,800
write these little boxes of music so

345
00:12:35,110 --> 00:12:34,160
there's a couple of notes inside and

346
00:12:36,949 --> 00:12:35,120
some techniques

347
00:12:38,790 --> 00:12:36,959
for the musicians and they are not

348
00:12:39,590 --> 00:12:38,800
trying to coordinate with each other

349
00:12:42,310 --> 00:12:39,600
with exact

350
00:12:42,870 --> 00:12:42,320
precision right basically they're all

351
00:12:44,470 --> 00:12:42,880
playing

352
00:12:46,629 --> 00:12:44,480
these little they're repeating these the

353
00:12:48,310 --> 00:12:46,639
notes in these boxes in their own times

354
00:12:50,629 --> 00:12:48,320
within their own rhythm

355
00:12:51,990 --> 00:12:50,639
and so basically what you get is you get

356
00:12:54,230 --> 00:12:52,000
this kind of unpredictable

357
00:12:55,590 --> 00:12:54,240
texture where you broadly speaking you

358
00:12:56,150 --> 00:12:55,600
know what it's going to sound like

359
00:12:57,750 --> 00:12:56,160
because

360
00:12:59,990 --> 00:12:57,760
the to the nodes the techniques are all

361
00:13:02,230 --> 00:13:00,000
written in the boxes but you don't know

362
00:13:03,509 --> 00:13:02,240
what the piece is going to sound

363
00:13:04,230 --> 00:13:03,519
different every time they play it right

364
00:13:05,509 --> 00:13:04,240
because

365
00:13:07,670 --> 00:13:05,519
they're not trying to coordinate with

366
00:13:09,910 --> 00:13:07,680
each other with pinpoint precision

367
00:13:11,670 --> 00:13:09,920
um so that was sort of my way of trying

368
00:13:14,710 --> 00:13:11,680
to you know

369
00:13:15,269 --> 00:13:14,720
imitate or simulate this notion of chaos

370
00:13:17,670 --> 00:13:15,279
and

371
00:13:18,629 --> 00:13:17,680
um chaotic systems as a whole so i'm

372
00:13:20,150 --> 00:13:18,639
going to go ahead and play a quick

373
00:13:21,590 --> 00:13:20,160
excerpt of my piece

374
00:13:23,590 --> 00:13:21,600
um so what you're going to hear is the

375
00:13:24,389 --> 00:13:23,600
two violins are playing these kind of

376
00:13:26,550 --> 00:13:24,399
boxes

377
00:13:28,389 --> 00:13:26,560
and the viola is going to play this like

378
00:13:30,310 --> 00:13:28,399
beautiful melody that sort of

379
00:13:34,430 --> 00:13:30,320
main theme of this piece over it so

380
00:14:14,829 --> 00:13:34,440
let's take a listen

381
00:14:32,550 --> 00:14:15,970
my

382
00:14:35,750 --> 00:14:32,560
[Music]

383
00:14:37,829 --> 00:14:35,760
all right um yeah and then the second

384
00:14:38,389 --> 00:14:37,839
part of the piece is rapid expansion so

385
00:14:40,870 --> 00:14:38,399
basically

386
00:14:42,310 --> 00:14:40,880
once some of the goblets of you know

387
00:14:43,590 --> 00:14:42,320
dust and all that begin to

388
00:14:45,430 --> 00:14:43,600
begin to pull towards one another

389
00:14:47,189 --> 00:14:45,440
because of gravity some of them

390
00:14:49,350 --> 00:14:47,199
come together faster than others and

391
00:14:50,230 --> 00:14:49,360
they um this sort of a snowball effect

392
00:14:51,829 --> 00:14:50,240
right where

393
00:14:53,590 --> 00:14:51,839
um the ones that come together first

394
00:14:54,710 --> 00:14:53,600
tend to come together faster and faster

395
00:14:56,470 --> 00:14:54,720
because they attain

396
00:14:58,150 --> 00:14:56,480
the greater and greater mass and pull in

397
00:14:59,910 --> 00:14:58,160
more material and all that

398
00:15:01,750 --> 00:14:59,920
and so you get these like really rapidly

399
00:15:03,269 --> 00:15:01,760
spinning cores that get hotter and

400
00:15:03,829 --> 00:15:03,279
hotter and pull in more and more matter

401
00:15:05,430 --> 00:15:03,839
and

402
00:15:06,790 --> 00:15:05,440
um you know sort of off to the races at

403
00:15:07,829 --> 00:15:06,800
that point they just kind of explode

404
00:15:09,350 --> 00:15:07,839
into uh

405
00:15:11,350 --> 00:15:09,360
to end with lots of energy and lots of

406
00:15:12,230 --> 00:15:11,360
life um and so the way that i want to

407
00:15:14,949 --> 00:15:12,240
try and imitate

408
00:15:16,389 --> 00:15:14,959
this particular idea of you know

409
00:15:18,470 --> 00:15:16,399
protostars that kind of

410
00:15:20,470 --> 00:15:18,480
slowly accumulate matter and grow and

411
00:15:23,430 --> 00:15:20,480
grow but are also very violent

412
00:15:26,150 --> 00:15:23,440
um and you know explosive and all that

413
00:15:28,629 --> 00:15:26,160
was to have this sort of pulsing driving

414
00:15:30,310 --> 00:15:28,639
cyclical kind of rhythm um you'll hear

415
00:15:32,150 --> 00:15:30,320
this repeating three note pattern

416
00:15:33,590 --> 00:15:32,160
um that sort of oscillates that sort of

417
00:15:35,189 --> 00:15:33,600
goes through the piece that gives it a

418
00:15:36,870 --> 00:15:35,199
kind of pulse of rhythm

419
00:15:38,550 --> 00:15:36,880
um and the whole time it's sort of

420
00:15:40,949 --> 00:15:38,560
gathering energy

421
00:15:41,670 --> 00:15:40,959
it's also like slowly going upwards and

422
00:15:43,509 --> 00:15:41,680
key

423
00:15:45,030 --> 00:15:43,519
so you know you'll start out on a

424
00:15:46,629 --> 00:15:45,040
certain key and then as it goes it just

425
00:15:48,230 --> 00:15:46,639
keeps modulating or it keeps changing

426
00:15:48,629 --> 00:15:48,240
keys higher and higher and higher sort

427
00:15:50,150 --> 00:15:48,639
of

428
00:15:51,670 --> 00:15:50,160
you know ratcheting up the tension and

429
00:15:53,430 --> 00:15:51,680
everything and then while all that's

430
00:15:55,590 --> 00:15:53,440
going on you also have the

431
00:15:57,590 --> 00:15:55,600
other strings sort of giving these

432
00:15:58,389 --> 00:15:57,600
really intense crescendos and that kind

433
00:15:59,749 --> 00:15:58,399
of thing

434
00:16:03,420 --> 00:15:59,759
um i'll just go ahead and play that

435
00:16:06,829 --> 00:16:03,430
because your description only does so

436
00:16:06,839 --> 00:16:33,190
much

437
00:17:09,590 --> 00:17:07,270
[Music]

438
00:17:11,270 --> 00:17:09,600
great and then the final chapter of the

439
00:17:13,590 --> 00:17:11,280
piece is once these you know

440
00:17:15,029 --> 00:17:13,600
raging balls of fire the protostars

441
00:17:16,470 --> 00:17:15,039
eventually stabilize

442
00:17:18,870 --> 00:17:16,480
um they become these things called main

443
00:17:21,029 --> 00:17:18,880
sequence stars which is when they reach

444
00:17:23,110 --> 00:17:21,039
equilibrium between their own gravity

445
00:17:23,829 --> 00:17:23,120
and sort of the outward thermal pressure

446
00:17:24,710 --> 00:17:23,839
of

447
00:17:26,949 --> 00:17:24,720
you know because they're essentially

448
00:17:27,590 --> 00:17:26,959
just like raging balls like hydro

449
00:17:29,270 --> 00:17:27,600
nuclear

450
00:17:30,630 --> 00:17:29,280
explosions and fusion and all that stuff

451
00:17:33,270 --> 00:17:30,640
right so um

452
00:17:34,630 --> 00:17:33,280
that that out that pressure uh obviously

453
00:17:35,990 --> 00:17:34,640
pushes outwards and gravity pulls

454
00:17:36,950 --> 00:17:36,000
inwards and so at some point they

455
00:17:38,710 --> 00:17:36,960
stabilize and reach

456
00:17:40,310 --> 00:17:38,720
equilibrium and that's uh that's what

457
00:17:41,510 --> 00:17:40,320
main sequence stars are

458
00:17:44,070 --> 00:17:41,520
so the way that i wanted to represent

459
00:17:44,789 --> 00:17:44,080
this musically was to sort of stabilize

460
00:17:46,230 --> 00:17:44,799
into a

461
00:17:48,070 --> 00:17:46,240
key that i thought was just you know

462
00:17:49,909 --> 00:17:48,080
it's sort of the purest amount of people

463
00:17:51,110 --> 00:17:49,919
called like the most primal key of c

464
00:17:53,270 --> 00:17:51,120
major which is

465
00:17:55,029 --> 00:17:53,280
um you know just like all the white

466
00:17:57,510 --> 00:17:55,039
notes on a piano right and so it's

467
00:17:58,390 --> 00:17:57,520
very simple very transparent kind of

468
00:18:00,150 --> 00:17:58,400
sound

469
00:18:02,070 --> 00:18:00,160
um that i wanted to sort of you know

470
00:18:02,710 --> 00:18:02,080
arrive at after all the violence and all

471
00:18:06,230 --> 00:18:02,720
that of the

472
00:18:06,789 --> 00:18:06,240
of the peace beforehand so um yeah just

473
00:18:17,530 --> 00:18:06,799
to

474
00:18:17,540 --> 00:18:54,830
[Music]

475
00:18:54,840 --> 00:19:15,190
bye

476
00:19:18,390 --> 00:19:17,029
yeah so that is an overview of my piece

477
00:19:21,590 --> 00:19:18,400
uh before i hand it off

478
00:19:25,110 --> 00:19:21,600
um i wanted to briefly just to thank um

479
00:19:26,870 --> 00:19:25,120
dr massimo roberto of the st of sdsci

480
00:19:28,470 --> 00:19:26,880
astronomer who i got to meet with over

481
00:19:29,590 --> 00:19:28,480
the course of writing this piece

482
00:19:31,110 --> 00:19:29,600
and who was really helpful in just

483
00:19:33,029 --> 00:19:31,120
shaping the direction and everything of

484
00:19:35,909 --> 00:19:33,039
how i thought about stars and

485
00:19:37,350 --> 00:19:35,919
how i thought about the music yeah so up

486
00:19:39,430 --> 00:19:37,360
next i want to hand it off to my

487
00:19:41,830 --> 00:19:39,440
esteemed colleague and fellow composers

488
00:20:02,789 --> 00:19:41,840
that gulab davis will be talking

489
00:20:02,799 --> 00:20:10,310
zach can you unmute

490
00:20:14,149 --> 00:20:13,029
there we go sorry about that should be

491
00:20:15,909 --> 00:20:14,159
working now

492
00:20:17,909 --> 00:20:15,919
all right yeah i'm zach cooliboff davis

493
00:20:18,950 --> 00:20:17,919
one of the five composers of the

494
00:20:22,230 --> 00:20:18,960
consonants collective

495
00:20:24,070 --> 00:20:22,240
real happy to be here i'll be speaking

496
00:20:28,310 --> 00:20:24,080
briefly about my string quartet

497
00:20:32,470 --> 00:20:30,230
so just to begin a little bit about the

498
00:20:35,590 --> 00:20:32,480
overall inspiration and whatnot

499
00:20:36,149 --> 00:20:35,600
in contrast to um some of my colleagues

500
00:20:39,270 --> 00:20:36,159
works

501
00:20:42,070 --> 00:20:39,280
my quartet um takes a somewhat more

502
00:20:42,549 --> 00:20:42,080
abstract um look at the cosmos a bit of

503
00:21:12,870 --> 00:20:42,559
a

504
00:21:14,710 --> 00:21:12,880
my work

505
00:21:15,990 --> 00:21:14,720
because i often play with uh the

506
00:21:19,909 --> 00:21:16,000
transparency of

507
00:21:23,430 --> 00:21:19,919
my selected media media so for example

508
00:21:26,789 --> 00:21:23,440
i'll overlay like videos of the quartet

509
00:21:29,190 --> 00:21:26,799
in tandem with imagery

510
00:21:30,149 --> 00:21:29,200
and simulate visualizations and stuff

511
00:21:32,870 --> 00:21:30,159
like that

512
00:21:35,590 --> 00:21:32,880
so kind of creating this ever-evolving

513
00:21:38,070 --> 00:21:35,600
array of color

514
00:21:39,750 --> 00:21:38,080
uh the work was composed pretty much in

515
00:21:40,789 --> 00:21:39,760
tandem with my search for visual

516
00:21:43,909 --> 00:21:40,799
materials

517
00:21:44,789 --> 00:21:43,919
so my connection between the music and

518
00:21:46,630 --> 00:21:44,799
media

519
00:21:48,549 --> 00:21:46,640
was more or less direct and

520
00:21:49,430 --> 00:21:48,559
instantaneous during the compositional

521
00:21:52,230 --> 00:21:49,440
process

522
00:21:53,430 --> 00:21:52,240
as a composer that's super super fun

523
00:21:55,830 --> 00:21:53,440
because

524
00:21:58,549 --> 00:21:55,840
oftentimes it doesn't quite unfold so

525
00:22:01,350 --> 00:21:58,559
organically and being able to have

526
00:22:02,310 --> 00:22:01,360
these absolutely amazing videos and

527
00:22:05,590 --> 00:22:02,320
images

528
00:22:07,590 --> 00:22:05,600
to you know serve as a sort of kernel of

529
00:22:08,630 --> 00:22:07,600
inspiration i was i was as i was working

530
00:22:11,750 --> 00:22:08,640
on this piece

531
00:22:14,789 --> 00:22:11,760
was just absolutely out of this world i

532
00:22:15,750 --> 00:22:14,799
enjoyed it immensely uh iridescence my

533
00:22:19,029 --> 00:22:15,760
quartet

534
00:22:20,710 --> 00:22:19,039
is somewhat cyclical in nature um having

535
00:22:21,909 --> 00:22:20,720
a lot of sort of connected material

536
00:22:23,990 --> 00:22:21,919
overall

537
00:22:26,710 --> 00:22:24,000
starting in one place venturing off to

538
00:22:29,029 --> 00:22:26,720
sort of turbulent

539
00:22:30,390 --> 00:22:29,039
middle section and then returning to

540
00:22:33,029 --> 00:22:30,400
materials that are

541
00:22:34,549 --> 00:22:33,039
somewhat reminiscent of the opening kind

542
00:22:37,750 --> 00:22:34,559
of charting this path

543
00:22:38,950 --> 00:22:37,760
from dark to light in the upper

544
00:22:42,149 --> 00:22:38,960
registers

545
00:22:45,430 --> 00:22:42,159
of the instruments i strove to

546
00:22:45,990 --> 00:22:45,440
capture the mystery and maybe austere

547
00:22:48,630 --> 00:22:46,000
beauty

548
00:22:50,710 --> 00:22:48,640
of star systems through sound and

549
00:22:52,310 --> 00:22:50,720
resulting video

550
00:22:53,590 --> 00:22:52,320
so i'm just going to briefly guide you

551
00:22:54,789 --> 00:22:53,600
through the work and sort of my

552
00:22:56,870 --> 00:22:54,799
compositional process

553
00:22:58,070 --> 00:22:56,880
how the piece unfolded again in tandem

554
00:23:01,510 --> 00:22:58,080
with

555
00:23:04,390 --> 00:23:01,520
uh these amazing media elements

556
00:23:05,990 --> 00:23:04,400
so here we go a little bit about the

557
00:23:07,990 --> 00:23:06,000
opening here

558
00:23:09,350 --> 00:23:08,000
um listen for subtle harmonies subtle

559
00:23:10,710 --> 00:23:09,360
gestures between

560
00:23:12,549 --> 00:23:10,720
the four instruments just sort of

561
00:23:15,029 --> 00:23:12,559
passing around um

562
00:23:17,909 --> 00:23:15,039
very sort of muted in nature this form

563
00:23:23,100 --> 00:23:17,919
is actually the basis of the entire work

564
00:24:06,789 --> 00:23:23,110
here we go

565
00:24:10,789 --> 00:24:09,190
so as i mentioned um this work is sort

566
00:24:12,630 --> 00:24:10,799
of constructed in three distinct

567
00:24:14,390 --> 00:24:12,640
sections so at some point

568
00:24:15,909 --> 00:24:14,400
i had to try to get to the next section

569
00:24:17,750 --> 00:24:15,919
get to this more

570
00:24:19,830 --> 00:24:17,760
turbulent and energetic section and in

571
00:24:21,830 --> 00:24:19,840
order to do that um

572
00:24:23,510 --> 00:24:21,840
the work sort of wanders and begins to

573
00:24:26,870 --> 00:24:23,520
um build towards

574
00:24:29,269 --> 00:24:26,880
um a climactic point so here listen as

575
00:24:30,789 --> 00:24:29,279
the music just sort of drifts and

576
00:24:33,029 --> 00:24:30,799
eventually um

577
00:24:34,630 --> 00:24:33,039
ends up in this fairly exciting

578
00:24:36,390 --> 00:24:34,640
cacophony of sound which we'll hear in

579
00:24:38,870 --> 00:24:36,400
the subsequent video

580
00:24:49,970 --> 00:24:38,880
but this is um sort of working towards

581
00:25:30,230 --> 00:25:28,549
[Music]

582
00:25:31,909 --> 00:25:30,240
so yeah so these serene harmonies

583
00:25:33,190 --> 00:25:31,919
gradually build up and build up and as

584
00:25:37,190 --> 00:25:33,200
you can see i had so much

585
00:25:38,710 --> 00:25:37,200
fun mixing um the transparency with the

586
00:25:41,590 --> 00:25:38,720
video of the quartet

587
00:25:43,510 --> 00:25:41,600
versus these absolutely amazing videos

588
00:25:45,110 --> 00:25:43,520
and images and yes so this moves along

589
00:25:47,190 --> 00:25:45,120
and eventually we reach

590
00:25:49,269 --> 00:25:47,200
our first sort of true point of climax

591
00:25:51,669 --> 00:25:49,279
the um

592
00:25:53,269 --> 00:25:51,679
beginning of the middle section here we

593
00:25:55,830 --> 00:25:53,279
go let me play a bit of this

594
00:25:56,310 --> 00:25:55,840
over here everything is faster paced so

595
00:25:58,230 --> 00:25:56,320
um

596
00:26:00,070 --> 00:25:58,240
it's extremely turbulent honestly

597
00:26:02,070 --> 00:26:00,080
there's fiendishly difficult writing for

598
00:26:03,029 --> 00:26:02,080
all four members of the bergamot quartet

599
00:26:05,669 --> 00:26:03,039
so they were taxed

600
00:26:07,350 --> 00:26:05,679
to their extreme to play this and i also

601
00:26:10,149 --> 00:26:07,360
worked on

602
00:26:11,990 --> 00:26:10,159
interspersing much faster paced media

603
00:26:12,710 --> 00:26:12,000
here so lots of rapid changes between

604
00:26:14,950 --> 00:26:12,720
clips

605
00:26:29,250 --> 00:26:14,960
just faster moving stuff in general i

606
00:27:37,350 --> 00:27:35,350
[Music]

607
00:27:39,110 --> 00:27:37,360
so the intensity here never really dies

608
00:27:40,950 --> 00:27:39,120
off it just keeps building and building

609
00:27:43,269 --> 00:27:40,960
for a while until we finally reach

610
00:27:44,870 --> 00:27:43,279
the sort of ultimate climax of the piece

611
00:27:47,269 --> 00:27:44,880
located

612
00:27:48,389 --> 00:27:47,279
more or less in the last third of the

613
00:27:51,830 --> 00:27:48,399
work

614
00:27:52,789 --> 00:27:51,840
this ensuing wall of sound continues for

615
00:27:55,590 --> 00:27:52,799
a while and then

616
00:27:57,269 --> 00:27:55,600
gradually begins to dissipate as we

617
00:27:59,750 --> 00:27:57,279
transition into the final section

618
00:28:04,050 --> 00:27:59,760
but here's just a bit of this um

619
00:28:04,060 --> 00:28:14,830
[Music]

620
00:28:19,700 --> 00:28:16,890
climax

621
00:28:22,730 --> 00:28:19,710
[Music]

622
00:29:00,870 --> 00:28:22,740
[Applause]

623
00:29:02,870 --> 00:29:00,880
[Music]

624
00:29:05,750 --> 00:29:02,880
and last but not least as this section

625
00:29:07,430 --> 00:29:05,760
dies away we finally return to the third

626
00:29:07,750 --> 00:29:07,440
section when we get to the third section

627
00:29:15,190 --> 00:29:07,760
a

628
00:29:17,350 --> 00:29:15,200
time

629
00:29:18,310 --> 00:29:17,360
in the absolute upper extremities of the

630
00:29:19,830 --> 00:29:18,320
instruments

631
00:29:22,070 --> 00:29:19,840
we still see these little gestures

632
00:29:23,750 --> 00:29:22,080
passing around between the instruments

633
00:29:25,750 --> 00:29:23,760
this was probably my favorite part

634
00:29:28,630 --> 00:29:25,760
because i used some

635
00:29:30,070 --> 00:29:28,640
absolutely brilliantly colored images

636
00:29:41,200 --> 00:29:30,080
and videos here

637
00:29:52,330 --> 00:29:41,210
just a tiny little tidbit of this

638
00:29:52,340 --> 00:30:03,430
[Music]

639
00:30:06,470 --> 00:30:05,269
and as you might guess from this excerpt

640
00:30:10,230 --> 00:30:06,480
the work kind of

641
00:30:12,870 --> 00:30:10,240
dies away in almost absolute silence

642
00:30:14,149 --> 00:30:12,880
not long after this if you'd like to

643
00:30:15,909 --> 00:30:14,159
check out the full thing again you can

644
00:30:19,029 --> 00:30:15,919
find it on the stsci

645
00:30:20,830 --> 00:30:19,039
youtube channel a huge thank you to

646
00:30:23,269 --> 00:30:20,840
everyone involved with this especially

647
00:30:25,269 --> 00:30:23,279
stsci for all their support

648
00:30:27,110 --> 00:30:25,279
and i'd now like to hand off the

649
00:30:29,510 --> 00:30:27,120
presentation to my esteemed colleague

650
00:30:30,549 --> 00:30:29,520
suyna kim who will be talking about sn

651
00:30:37,350 --> 00:30:30,559
1054

652
00:30:54,470 --> 00:30:37,360
supernova thanks again

653
00:31:03,110 --> 00:30:57,669
hello my name is tayun sayuna kim and i

654
00:31:06,470 --> 00:31:05,029
when we started our project hearing

655
00:31:09,269 --> 00:31:06,480
stars i

656
00:31:10,950 --> 00:31:09,279
chose this topic that's of a star just

657
00:31:13,190 --> 00:31:10,960
because it sounded romantic

658
00:31:15,269 --> 00:31:13,200
and i didn't have a concrete idea what

659
00:31:18,070 --> 00:31:15,279
to write about

660
00:31:20,950 --> 00:31:18,080
and so i started my pre-compositional

661
00:31:24,470 --> 00:31:23,669
was under the guidance of doctor current

662
00:31:27,509 --> 00:31:24,480
pub

663
00:31:30,149 --> 00:31:27,519
piranpakti i learned there are two types

664
00:31:33,269 --> 00:31:30,159
of death of stars

665
00:31:38,070 --> 00:31:33,279
i learned how some stars die quietly

666
00:31:40,710 --> 00:31:38,080
as white dwarfs and how some stars

667
00:31:41,509 --> 00:31:40,720
explode with all their power for the

668
00:31:46,789 --> 00:31:41,519
last time

669
00:31:48,789 --> 00:31:46,799
and leave this beautiful remnants

670
00:31:50,870 --> 00:31:48,799
after i gained some knowledge i was

671
00:31:53,509 --> 00:31:50,880
surfing the internet and suddenly saw

672
00:31:56,549 --> 00:31:53,519
this science article

673
00:31:58,070 --> 00:31:56,559
it was supernova remnant from 6 000

674
00:32:00,789 --> 00:31:58,080
light years away

675
00:32:03,190 --> 00:32:00,799
our charming crab nebula this was an

676
00:32:05,029 --> 00:32:03,200
article about the club netherlands

677
00:32:07,590 --> 00:32:05,039
and then it said the crab nebula was

678
00:32:12,830 --> 00:32:07,600
discovered in 1731

679
00:32:17,590 --> 00:32:16,470
bevis and then this article was writing

680
00:32:20,549 --> 00:32:17,600
on something about

681
00:32:22,389 --> 00:32:20,559
that i didn't know before it said

682
00:32:24,630 --> 00:32:22,399
astronomers

683
00:32:25,430 --> 00:32:24,640
found out when the crab nebula was

684
00:32:28,470 --> 00:32:25,440
formed

685
00:32:32,070 --> 00:32:28,480
with the help of ancient records

686
00:32:34,389 --> 00:32:32,080
in 1928 hubble announced that they found

687
00:32:38,149 --> 00:32:34,399
out the record of a supernova

688
00:32:40,830 --> 00:32:38,159
1054 in ancient chinese documents

689
00:32:42,710 --> 00:32:40,840
and the crab nebula is a remnant of the

690
00:32:46,549 --> 00:32:42,720
supernova

691
00:32:50,950 --> 00:32:46,559
the ancient chinese documents say tj era

692
00:32:54,070 --> 00:32:50,960
first year seventh lunar month 22nd day

693
00:32:57,110 --> 00:32:54,080
summer in southeast sky

694
00:33:00,149 --> 00:32:57,120
a strange star has appeared

695
00:33:01,909 --> 00:33:00,159
its color was reddish white it was

696
00:33:04,389 --> 00:33:01,919
bright as a venus

697
00:33:05,590 --> 00:33:04,399
that could be seen in daylight for 23

698
00:33:08,310 --> 00:33:05,600
days

699
00:33:09,190 --> 00:33:08,320
the star was visible at night for two

700
00:33:13,110 --> 00:33:09,200
years

701
00:33:15,830 --> 00:33:13,120
and then gradually disappeared in spring

702
00:33:17,269 --> 00:33:15,840
the records of supernova 1054 can be

703
00:33:20,950 --> 00:33:17,279
found not only in

704
00:33:23,350 --> 00:33:20,960
china but also in korea japan turkey

705
00:33:26,070 --> 00:33:23,360
and in the mural by native americans in

706
00:33:28,630 --> 00:33:26,080
arizona region

707
00:33:29,269 --> 00:33:28,640
as journalists confirmed the exact date

708
00:33:33,430 --> 00:33:29,279
of

709
00:33:37,269 --> 00:33:33,440
the crescent moon and the mural

710
00:33:41,669 --> 00:33:37,279
the supernova exploded on july 5th

711
00:33:45,269 --> 00:33:41,679
54 and this last paragraph just

712
00:33:46,789 --> 00:33:45,279
intrigued me i began to imagine people

713
00:33:50,389 --> 00:33:46,799
in one summer day in 10

714
00:33:52,870 --> 00:33:50,399
54 suddenly people see a new strange

715
00:33:56,310 --> 00:33:52,880
star that is so bright that can be seen

716
00:33:56,950 --> 00:33:56,320
even in daytime people get so curious

717
00:33:59,029 --> 00:33:56,960
about it

718
00:34:00,070 --> 00:33:59,039
some of them worry some of them are

719
00:34:03,110 --> 00:34:00,080
fascinated

720
00:34:05,110 --> 00:34:03,120
ask each other what it is and then even

721
00:34:07,830 --> 00:34:05,120
though they don't have an answer

722
00:34:09,349 --> 00:34:07,840
they just write it down withdraw with

723
00:34:12,950 --> 00:34:09,359
them

724
00:34:16,149 --> 00:34:12,960
record it they observe and record

725
00:34:18,710 --> 00:34:16,159
because they want to know what it is

726
00:34:24,069 --> 00:34:18,720
people pass down their curiosities and

727
00:34:31,190 --> 00:34:28,230
and then almost a thousand years after

728
00:34:33,190 --> 00:34:31,200
descendants study it and with knowledge

729
00:34:34,550 --> 00:34:33,200
that has accumulated through numerous

730
00:34:37,829 --> 00:34:34,560
generations

731
00:34:39,510 --> 00:34:37,839
finally answered the question they tell

732
00:34:42,790 --> 00:34:39,520
their ancestors

733
00:34:44,550 --> 00:34:42,800
it wasn't a new star it was the death of

734
00:34:49,669 --> 00:34:44,560
a star

735
00:34:51,909 --> 00:34:49,679
people communicate beyond time

736
00:34:53,510 --> 00:34:51,919
here's my musical reenactment of people

737
00:34:55,030 --> 00:34:53,520
who witnessed the explosion of the

738
00:34:58,230 --> 00:34:55,040
supernova

739
00:34:59,510 --> 00:34:58,240
in my imaginations they are filled with

740
00:35:04,530 --> 00:34:59,520
curiosities

741
00:36:21,829 --> 00:35:42,829
[Music]

742
00:36:28,390 --> 00:36:25,270
people have studied the supernova 1054

743
00:36:30,710 --> 00:36:28,400
for a thousand years

744
00:36:31,510 --> 00:36:30,720
while people were doing this it's

745
00:36:34,790 --> 00:36:31,520
remnant

746
00:36:38,630 --> 00:36:34,800
the crab nebula very slowly expanded for

747
00:36:43,510 --> 00:36:40,550
another article that inspired me in

748
00:36:46,870 --> 00:36:43,520
writing this piece was this

749
00:36:52,230 --> 00:36:46,880
the last breath of a dying star

750
00:36:56,710 --> 00:36:54,950
the articles said it takes a few

751
00:37:00,150 --> 00:36:56,720
thousand years for a star

752
00:37:00,790 --> 00:37:00,160
to breathe for the last time it feels

753
00:37:03,829 --> 00:37:00,800
like an

754
00:37:04,870 --> 00:37:03,839
eternity for our students but it is just

755
00:37:08,310 --> 00:37:04,880
a split second

756
00:37:13,270 --> 00:37:08,320
for a star whose entire life is several

757
00:37:16,470 --> 00:37:15,829
the crab nebula is the star's last

758
00:37:19,670 --> 00:37:16,480
breath

759
00:37:23,190 --> 00:37:19,680
that lasts for a few thousand years

760
00:37:25,109 --> 00:37:23,200
also remember the crab nebula is 6000

761
00:37:27,190 --> 00:37:25,119
light years away from us

762
00:37:28,550 --> 00:37:27,200
so maybe all of this events we are

763
00:37:30,710 --> 00:37:28,560
seeing now

764
00:37:35,030 --> 00:37:30,720
already has ended in the universe a few

765
00:37:42,370 --> 00:37:37,349
let me play you my imagination of a

766
00:38:30,220 --> 00:37:48,829
[Music]

767
00:38:56,380 --> 00:38:30,230
[Applause]

768
00:39:27,349 --> 00:39:08,420
[Music]

769
00:39:33,670 --> 00:39:30,790
the supernova 1054 and the crab nebula

770
00:39:36,470 --> 00:39:33,680
tell us how we study explore and

771
00:39:38,950 --> 00:39:36,480
accumulate knowledge through generations

772
00:39:39,750 --> 00:39:38,960
it is the story of people who diligently

773
00:39:42,150 --> 00:39:39,760
observe

774
00:39:43,510 --> 00:39:42,160
and record unknown phenomena when there

775
00:39:45,430 --> 00:39:43,520
is no guarantee

776
00:39:47,750 --> 00:39:45,440
they'll have an explanation in their

777
00:39:49,910 --> 00:39:47,760
lives

778
00:39:51,589 --> 00:39:49,920
it is the story of people who step onto

779
00:39:54,870 --> 00:39:51,599
the stepping stones

780
00:39:57,910 --> 00:39:54,880
laid by their ancestors and finally

781
00:40:02,550 --> 00:39:57,920
find the answer to the long awaited

782
00:40:04,790 --> 00:40:02,560
question even at this very moment

783
00:40:06,309 --> 00:40:04,800
i imagine people are communicating with

784
00:40:09,990 --> 00:40:06,319
it with the fast

785
00:40:13,910 --> 00:40:10,000
and future laying out or stepping

786
00:40:17,510 --> 00:40:13,920
on the stone a desire for knowledge

787
00:40:20,950 --> 00:40:17,520
is the driving force of human history

788
00:40:27,030 --> 00:40:20,960
my music is a contribute is tribute

789
00:40:32,950 --> 00:40:30,390
our next speaker is kuwait

790
00:40:34,150 --> 00:40:32,960
kuwait is going to talk about his piece

791
00:40:49,109 --> 00:40:34,160
beyond the horizon

792
00:40:55,670 --> 00:40:52,790
thank you so you know

793
00:40:57,270 --> 00:40:55,680
okay my name is gooey and i'm so happy

794
00:41:00,870 --> 00:40:57,280
to be here

795
00:41:03,910 --> 00:41:00,880
um and thank you to

796
00:41:06,790 --> 00:41:03,920
um sdsci for having us and

797
00:41:09,430 --> 00:41:06,800
um i'm so happy to be here to present my

798
00:41:12,630 --> 00:41:09,440
music together with my friends from

799
00:41:17,510 --> 00:41:12,640
consonants and bergamot content so

800
00:41:21,750 --> 00:41:17,520
um my piece is called beyond the horizon

801
00:41:25,270 --> 00:41:21,760
and um when

802
00:41:27,829 --> 00:41:25,280
when the project first started um

803
00:41:28,710 --> 00:41:27,839
i wanted to do something that's really

804
00:41:31,829 --> 00:41:28,720
mysterious

805
00:41:34,950 --> 00:41:31,839
about the universe and since

806
00:41:38,870 --> 00:41:34,960
i've always been fascinated by

807
00:41:42,150 --> 00:41:38,880
the idea of like space travel

808
00:41:45,750 --> 00:41:42,160
and like going to different dimensions

809
00:41:47,510 --> 00:41:45,760
in space i wanted to do something about

810
00:41:49,030 --> 00:41:47,520
black holes because black holes is

811
00:41:51,750 --> 00:41:49,040
something that's really

812
00:41:54,630 --> 00:41:51,760
mysterious to us we don't know a whole

813
00:41:57,750 --> 00:41:54,640
lot a whole lot about it

814
00:42:00,790 --> 00:41:57,760
so i want to explore into the idea of

815
00:42:02,710 --> 00:42:00,800
traveling into a black hole and

816
00:42:05,109 --> 00:42:02,720
not only know not knowing what's going

817
00:42:08,550 --> 00:42:05,119
to happen when we go in

818
00:42:11,430 --> 00:42:08,560
and yeah the idea of mystery

819
00:42:12,470 --> 00:42:11,440
um but that's about my piece and my

820
00:42:15,349 --> 00:42:12,480
piece

821
00:42:16,069 --> 00:42:15,359
the overall structure is divided into

822
00:42:18,630 --> 00:42:16,079
three main

823
00:42:20,150 --> 00:42:18,640
sections so there's a brief introduction

824
00:42:23,030 --> 00:42:20,160
which sets a scene

825
00:42:24,069 --> 00:42:23,040
in a vast universe and the second

826
00:42:26,550 --> 00:42:24,079
section

827
00:42:29,430 --> 00:42:26,560
uh is it's about a journey of the

828
00:42:33,829 --> 00:42:29,440
protagonist into the black hole

829
00:42:37,270 --> 00:42:33,839
and the third is my imagination of

830
00:42:42,309 --> 00:42:37,280
the emergence of the protagonist

831
00:42:48,150 --> 00:42:45,990
the black hole is not like it's not

832
00:42:49,349 --> 00:42:48,160
where there is certain depth but there

833
00:42:51,990 --> 00:42:49,359
uh there is a hope

834
00:42:52,790 --> 00:42:52,000
right there there's a hole that will go

835
00:42:55,030 --> 00:42:52,800
somewhere

836
00:42:56,470 --> 00:42:55,040
um when we enter the black hole so in

837
00:42:59,510 --> 00:42:56,480
this case it's actually

838
00:43:02,550 --> 00:42:59,520
a wormhole and as i wrote

839
00:43:04,630 --> 00:43:02,560
in the program notes of my piece this

840
00:43:08,230 --> 00:43:04,640
piece is a musical interpretation of

841
00:43:09,510 --> 00:43:08,240
my imagination of the unknown beyond the

842
00:43:11,829 --> 00:43:09,520
event horizon

843
00:43:13,109 --> 00:43:11,839
that's the title beyond the horizon

844
00:43:14,790 --> 00:43:13,119
which could lead to a point of

845
00:43:18,069 --> 00:43:14,800
singularity where everything

846
00:43:20,710 --> 00:43:18,079
is ceases to exist or to another

847
00:43:23,349 --> 00:43:20,720
universe in which case the black hole is

848
00:43:26,390 --> 00:43:23,359
in fact a wormhole

849
00:43:29,430 --> 00:43:26,400
so i'm going to play you two excerpts

850
00:43:32,790 --> 00:43:29,440
from my piece and the first excerpt

851
00:43:37,990 --> 00:43:32,800
is taken from the journey

852
00:43:42,390 --> 00:43:38,000
into the black hole and in this excerpt

853
00:43:45,430 --> 00:43:42,400
i explored two kind of physical effects

854
00:43:46,710 --> 00:43:45,440
and i tried to um portray these two kind

855
00:43:48,950 --> 00:43:46,720
of effects

856
00:43:49,910 --> 00:43:48,960
musically so the first one is time

857
00:43:52,470 --> 00:43:49,920
dilation

858
00:43:53,349 --> 00:43:52,480
the idea of time gradually slowing down

859
00:43:57,510 --> 00:43:53,359
for

860
00:44:01,109 --> 00:43:57,520
into the black hole

861
00:44:01,990 --> 00:44:01,119
um to reflect that kind of time slowing

862
00:44:06,230 --> 00:44:02,000
down

863
00:44:10,390 --> 00:44:06,240
over the course of a few minutes

864
00:44:11,829 --> 00:44:10,400
um it's like i think over three minutes

865
00:44:13,750 --> 00:44:11,839
so so over the course of three minutes

866
00:44:15,670 --> 00:44:13,760
it just quit it just gradually slows

867
00:44:18,870 --> 00:44:15,680
down bit by bit

868
00:44:21,109 --> 00:44:18,880
and i also use some extended techniques

869
00:44:22,150 --> 00:44:21,119
so they're like techniques that you

870
00:44:25,589 --> 00:44:22,160
wouldn't normally

871
00:44:29,109 --> 00:44:25,599
hear um in extremes

872
00:44:31,910 --> 00:44:29,119
uh such as stretch tones which are um

873
00:44:32,630 --> 00:44:31,920
which is kind of when you apply a lot of

874
00:44:34,870 --> 00:44:32,640
pressure

875
00:44:36,630 --> 00:44:34,880
onto the stream so you create a very

876
00:44:40,150 --> 00:44:36,640
scratchy and

877
00:44:44,069 --> 00:44:40,160
noisy tone and glissandi which is like

878
00:44:47,750 --> 00:44:44,079
pitch vents so these kind of

879
00:44:52,550 --> 00:44:47,760
effects depict the

880
00:44:54,870 --> 00:44:52,560
idea of distortion as created by the

881
00:44:56,710 --> 00:44:54,880
the immense gravitational forces of a

882
00:45:00,470 --> 00:44:56,720
black hole

883
00:45:04,550 --> 00:45:00,480
and then secondly is

884
00:45:07,670 --> 00:45:04,560
the doppler effect so um

885
00:45:09,030 --> 00:45:07,680
the visual um the visual version of the

886
00:45:12,309 --> 00:45:09,040
buffer effect

887
00:45:15,829 --> 00:45:12,319
as we enter black hole is

888
00:45:17,109 --> 00:45:15,839
that light from outside the black hole

889
00:45:20,630 --> 00:45:17,119
will become

890
00:45:24,710 --> 00:45:20,640
blue shifted because of the of immense

891
00:45:27,910 --> 00:45:24,720
gravitational force from the black hole

892
00:45:30,390 --> 00:45:27,920
so in order to

893
00:45:32,390 --> 00:45:30,400
reflect that kind of doppler effect i

894
00:45:33,190 --> 00:45:32,400
use the audio version of the buffer

895
00:45:36,390 --> 00:45:33,200
effect

896
00:45:39,030 --> 00:45:36,400
so i guess one of the most famous um um

897
00:45:39,430 --> 00:45:39,040
examples of the buffer effect in daily

898
00:45:41,990 --> 00:45:39,440
life

899
00:45:43,109 --> 00:45:42,000
is like when when you're walking on the

900
00:45:48,740 --> 00:45:43,119
streets and

901
00:45:52,950 --> 00:45:50,550
[Music]

902
00:45:54,309 --> 00:45:52,960
so kind of like the pitch gradually

903
00:45:57,829 --> 00:45:54,319
descends right

904
00:45:59,589 --> 00:45:57,839
as it passes by you so um

905
00:46:02,550 --> 00:45:59,599
there is a little bit of that in the

906
00:46:05,430 --> 00:46:02,560
piece as i

907
00:46:06,390 --> 00:46:05,440
give the strings the violins in

908
00:46:09,349 --> 00:46:06,400
particular

909
00:46:10,790 --> 00:46:09,359
some fragments where the pitch gradually

910
00:46:15,910 --> 00:46:10,800
descends

911
00:46:35,100 --> 00:46:15,920
so that's a doppler effect and

912
00:46:35,110 --> 00:46:40,829
[Music]

913
00:46:40,839 --> 00:46:55,610
uh

914
00:46:55,620 --> 00:48:16,150
[Music]

915
00:48:21,109 --> 00:48:19,190
all right so and then now

916
00:48:23,270 --> 00:48:21,119
um i'm going to tell you guys the second

917
00:48:25,510 --> 00:48:23,280
excerpt and in this excerpt is from the

918
00:48:29,589 --> 00:48:25,520
final section of the piece

919
00:48:32,549 --> 00:48:29,599
where the traveler emerges

920
00:48:33,190 --> 00:48:32,559
from the white hole so again this is

921
00:48:39,670 --> 00:48:33,200
totally

922
00:48:41,510 --> 00:48:39,680
but um i like to bring some kind of

923
00:48:44,950 --> 00:48:41,520
artistic liberty into

924
00:48:47,030 --> 00:48:44,960
the other piece um so this is based on

925
00:48:48,390 --> 00:48:47,040
yeah the hypothetical white hole and

926
00:48:51,109 --> 00:48:48,400
wormhole

927
00:48:51,589 --> 00:48:51,119
and from which the protagonist emerges

928
00:48:54,069 --> 00:48:51,599
into

929
00:48:56,670 --> 00:48:54,079
another part of space-time so again the

930
00:49:00,470 --> 00:48:59,270
inter-dimensional travel to another part

931
00:49:02,230 --> 00:49:00,480
of space-time

932
00:49:03,589 --> 00:49:02,240
that really intrigued me as i was

933
00:49:06,230 --> 00:49:03,599
writing this piece

934
00:49:08,309 --> 00:49:06,240
and the tone in this piece shifts to

935
00:49:10,950 --> 00:49:08,319
something that's more hopeful

936
00:49:11,510 --> 00:49:10,960
and more uplifting and to reflect that

937
00:49:14,150 --> 00:49:11,520
there is

938
00:49:16,390 --> 00:49:14,160
a technique which i use is and that's

939
00:49:19,910 --> 00:49:16,400
called like um like a

940
00:49:23,510 --> 00:49:19,920
micro total modulation so the

941
00:49:24,309 --> 00:49:23,520
pitch of this melody which repeats over

942
00:49:27,990 --> 00:49:24,319
and over again

943
00:49:32,390 --> 00:49:31,109
a bit by bit and as you can hear in the

944
00:49:35,030 --> 00:49:32,400
following excerpt

945
00:49:35,750 --> 00:49:35,040
there's um the same melody it gradually

946
00:49:38,790 --> 00:49:35,760
gets higher

947
00:49:43,430 --> 00:49:38,800
and higher and higher and

948
00:49:45,430 --> 00:49:43,440
um the gradual rise is very subtle

949
00:49:47,910 --> 00:49:45,440
and that kind of leads to the final

950
00:49:51,270 --> 00:49:47,920
climax of the piece

951
00:49:54,950 --> 00:49:51,280
which ends up the piece in a like a

952
00:50:01,830 --> 00:49:54,960
huge um a huge climax okay so i'm gonna

953
00:50:01,840 --> 00:50:38,829
[Music]

954
00:50:38,839 --> 00:50:42,940
foreign

955
00:51:34,829 --> 00:51:06,829
[Music]

956
00:51:34,839 --> 00:51:41,490
me

957
00:51:41,500 --> 00:51:57,750
[Music]

958
00:52:03,670 --> 00:52:00,870
all right that concludes my presentation

959
00:52:04,150 --> 00:52:03,680
and last one and last but not least we

960
00:52:08,150 --> 00:52:04,160
have

961
00:52:09,670 --> 00:52:08,160
um my esteemed colleague daniel daskins

962
00:52:12,470 --> 00:52:09,680
who will be presenting

963
00:52:16,829 --> 00:52:12,480
on his piece called dark mysteries about

964
00:52:16,839 --> 00:52:22,710
matter

965
00:52:27,030 --> 00:52:24,390
thanks so much for that introduction

966
00:52:30,309 --> 00:52:27,040
giveaway and uh

967
00:52:33,430 --> 00:52:30,319
thank you to sdsci for having us here

968
00:52:35,670 --> 00:52:33,440
it is uh it's a really great honor and

969
00:52:37,829 --> 00:52:35,680
uh wonderful opportunity to be able to

970
00:52:41,030 --> 00:52:37,839
share our music with all of you

971
00:52:43,270 --> 00:52:41,040
um as do i said my

972
00:52:44,790 --> 00:52:43,280
piece is called dark mysteries and it's

973
00:52:48,470 --> 00:52:44,800
about the concept of

974
00:52:50,390 --> 00:52:48,480
dark matter so uh

975
00:52:51,670 --> 00:52:50,400
my original inspiration for this piece

976
00:52:55,190 --> 00:52:51,680
came from

977
00:52:58,470 --> 00:52:55,200
this picture which uh nasa

978
00:53:03,670 --> 00:52:58,480
uh created in collaboration with

979
00:53:09,109 --> 00:53:07,430
the doughty cluster able2744 and uh

980
00:53:11,109 --> 00:53:09,119
the these beautiful colors that you see

981
00:53:13,109 --> 00:53:11,119
in the picture um

982
00:53:14,150 --> 00:53:13,119
are a result of several images that were

983
00:53:17,190 --> 00:53:14,160
put together

984
00:53:19,910 --> 00:53:17,200
and one of them is the

985
00:53:22,069 --> 00:53:19,920
mass distribution of the dark matter in

986
00:53:22,870 --> 00:53:22,079
the galaxy cluster which you can see in

987
00:53:33,190 --> 00:53:22,880
the

988
00:53:36,150 --> 00:53:33,200
explore dark matter

989
00:53:36,950 --> 00:53:36,160
in music is uh is actually because it's

990
00:53:39,589 --> 00:53:36,960
such a

991
00:53:40,549 --> 00:53:39,599
big mystery to us still um hence the

992
00:53:45,270 --> 00:53:40,559
title of my piece

993
00:53:50,309 --> 00:53:48,309
so when in the in the 90s uh my

994
00:53:52,630 --> 00:53:50,319
understanding is that

995
00:53:54,870 --> 00:53:52,640
what astronomers thought of originally

996
00:53:57,829 --> 00:53:54,880
was that the

997
00:53:58,630 --> 00:53:57,839
expansion of the universe was slowing

998
00:54:00,950 --> 00:53:58,640
down

999
00:54:01,750 --> 00:54:00,960
uh over time but the hubble space

1000
00:54:04,230 --> 00:54:01,760
telescope

1001
00:54:05,190 --> 00:54:04,240
actually took pictures of things at the

1002
00:54:07,829 --> 00:54:05,200
edge of the universe

1003
00:54:09,510 --> 00:54:07,839
that proved that the expansion of the

1004
00:54:12,470 --> 00:54:09,520
universe is not slowing down

1005
00:54:13,109 --> 00:54:12,480
it's actually speeding up and no one

1006
00:54:16,069 --> 00:54:13,119
could

1007
00:54:18,309 --> 00:54:16,079
explain why so this theory was created

1008
00:54:21,589 --> 00:54:18,319
that there was some kind of

1009
00:54:23,990 --> 00:54:21,599
force or uh presence of matter

1010
00:54:26,710 --> 00:54:24,000
that was actually taking up a vast

1011
00:54:28,630 --> 00:54:26,720
majority of the universe

1012
00:54:30,950 --> 00:54:28,640
but the funny thing about dark matter is

1013
00:54:31,349 --> 00:54:30,960
that there's so much we don't know about

1014
00:54:42,470 --> 00:54:31,359
it

1015
00:54:45,990 --> 00:54:42,480
uh a lot of our current technology

1016
00:54:47,829 --> 00:54:46,000
um the cool thing that the fascinating

1017
00:54:48,710 --> 00:54:47,839
thing that i found about dark matter was

1018
00:54:51,430 --> 00:54:48,720
that

1019
00:54:53,030 --> 00:54:51,440
even though we can't see it its presence

1020
00:54:55,910 --> 00:54:53,040
can still be observed uh

1021
00:54:56,950 --> 00:54:55,920
indirectly by the way it interacts with

1022
00:54:59,030 --> 00:54:56,960
other things

1023
00:55:00,710 --> 00:54:59,040
so that's why in this picture i have

1024
00:55:04,150 --> 00:55:00,720
here um

1025
00:55:06,870 --> 00:55:04,160
you can see that the um

1026
00:55:07,510 --> 00:55:06,880
there are these blue halos surrounding

1027
00:55:10,069 --> 00:55:07,520
these uh

1028
00:55:11,430 --> 00:55:10,079
pictures of galaxy clusters and uh

1029
00:55:14,150 --> 00:55:11,440
that's because the

1030
00:55:16,150 --> 00:55:14,160
of the way that the light is bending is

1031
00:55:19,430 --> 00:55:16,160
actually being affected by the

1032
00:55:22,470 --> 00:55:19,440
uh gravitational pull of the dark matter

1033
00:55:25,270 --> 00:55:22,480
so you can see that the um

1034
00:55:26,870 --> 00:55:25,280
the dark matter is uh itself is not

1035
00:55:29,430 --> 00:55:26,880
visible but it's actually

1036
00:55:31,430 --> 00:55:29,440
affecting the uh the way the light is

1037
00:55:33,109 --> 00:55:31,440
bending around it and i thought that was

1038
00:55:34,549 --> 00:55:33,119
it's like a really fascinating and

1039
00:55:36,710 --> 00:55:34,559
profound thing

1040
00:55:38,390 --> 00:55:36,720
um as well as the fact that there is

1041
00:55:41,829 --> 00:55:38,400
this force in the universe

1042
00:55:44,630 --> 00:55:41,839
that controls so much of uh

1043
00:55:45,030 --> 00:55:44,640
what we know about the universe and yet

1044
00:55:50,230 --> 00:55:45,040
we

1045
00:55:53,829 --> 00:55:50,240
little about that force itself

1046
00:55:58,150 --> 00:55:53,839
so i'd like to share a couple clips of

1047
00:56:00,309 --> 00:55:58,160
my piece with you the first one um

1048
00:56:01,430 --> 00:56:00,319
in the first clip you're going to hear

1049
00:56:03,829 --> 00:56:01,440
what i was

1050
00:56:04,789 --> 00:56:03,839
messing around with uh or experimenting

1051
00:56:08,069 --> 00:56:04,799
with rather

1052
00:56:11,190 --> 00:56:08,079
which are these things called sub tones

1053
00:56:12,150 --> 00:56:11,200
so uh when you when you place when you

1054
00:56:14,150 --> 00:56:12,160
take two or more

1055
00:56:15,670 --> 00:56:14,160
very very high pitches and you place

1056
00:56:19,349 --> 00:56:15,680
them very close together

1057
00:56:21,030 --> 00:56:19,359
what happens is that this sort of

1058
00:56:24,150 --> 00:56:21,040
phantom lower tone

1059
00:56:25,030 --> 00:56:24,160
uh appears and it sort of has this

1060
00:56:28,069 --> 00:56:25,040
effect of

1061
00:56:29,750 --> 00:56:28,079
um ringing in your ear but this

1062
00:56:31,589 --> 00:56:29,760
tone is not actually being played by the

1063
00:56:35,430 --> 00:56:31,599
quartet it's uh

1064
00:56:38,230 --> 00:56:35,440
it's sort of a uh an um musical

1065
00:56:39,430 --> 00:56:38,240
effect so uh i thought that was a really

1066
00:56:43,030 --> 00:56:39,440
cool way of

1067
00:56:46,230 --> 00:56:43,040
uh demonstrating how uh musically how

1068
00:56:50,069 --> 00:56:46,240
dark matter is like

1069
00:56:51,750 --> 00:56:50,079
not entirely um

1070
00:56:53,270 --> 00:56:51,760
like we can't perceive it but it is

1071
00:56:55,990 --> 00:56:53,280
still there uh

1072
00:56:56,630 --> 00:56:56,000
affecting us so what you're about to

1073
00:57:00,710 --> 00:56:56,640
hear are

1074
00:57:03,750 --> 00:57:00,720
these musical subtones being played uh

1075
00:57:05,030 --> 00:57:03,760
by the quartet while this sort of very

1076
00:57:07,670 --> 00:57:05,040
fast and

1077
00:57:09,190 --> 00:57:07,680
violent and very difficult cello solo is

1078
00:57:12,980 --> 00:57:09,200
being played underneath it

1079
00:57:14,720 --> 00:57:12,990
so let's take a listen

1080
00:57:19,360 --> 00:57:14,730
[Applause]

1081
00:57:19,590 --> 00:57:19,370
[Music]

1082
00:57:32,870 --> 00:57:19,600
[Applause]

1083
00:57:52,829 --> 00:57:44,380
[Music]

1084
00:57:52,839 --> 00:57:58,470
so

1085
00:57:58,480 --> 00:58:06,829
[Music]

1086
00:58:06,839 --> 00:58:10,470
um

1087
00:58:10,480 --> 00:58:15,750
[Music]

1088
00:58:19,030 --> 00:58:17,829
all right and then the uh the next clip

1089
00:58:20,390 --> 00:58:19,040
i want to share with you comes

1090
00:58:24,069 --> 00:58:20,400
immediately after

1091
00:58:26,150 --> 00:58:24,079
um and uh in this section of music i

1092
00:58:29,190 --> 00:58:26,160
wanted to demonstrate uh

1093
00:58:30,549 --> 00:58:29,200
just how uh i wanted to demonstrate

1094
00:58:34,870 --> 00:58:30,559
musically how

1095
00:58:38,230 --> 00:58:34,880
the universe is uh expanding added

1096
00:58:39,190 --> 00:58:38,240
faster and faster rate so naturally i

1097
00:58:42,950 --> 00:58:39,200
wanted the music

1098
00:58:46,390 --> 00:58:42,960
to increase gradually uh in speed

1099
00:58:52,380 --> 00:58:46,400
until it reaches a sort of fever pitch

1100
00:58:55,660 --> 00:58:53,900
[Music]

1101
00:59:02,829 --> 00:58:55,670
[Applause]

1102
00:59:04,580 --> 00:59:02,839
[Music]

1103
00:59:44,829 --> 00:59:04,590
that

1104
00:59:44,839 --> 00:59:52,030
hey

1105
01:01:30,000 --> 01:00:22,700
[Music]

1106
01:01:36,829 --> 01:01:30,010
[Applause]

1107
01:01:36,839 --> 01:01:41,410
so

1108
01:02:09,589 --> 01:01:58,360
[Music]

1109
01:02:12,630 --> 01:02:11,190
i should add that the uh some of the

1110
01:02:15,109 --> 01:02:12,640
videos and pictures

1111
01:02:15,990 --> 01:02:15,119
used for throughout were simulations of

1112
01:02:18,549 --> 01:02:16,000
what

1113
01:02:19,990 --> 01:02:18,559
the uh distribution of dark matter

1114
01:02:23,190 --> 01:02:20,000
throughout the universe might look

1115
01:02:25,190 --> 01:02:23,200
like if it was visualized and uh

1116
01:02:26,309 --> 01:02:25,200
i thought those were very beautiful and

1117
01:02:29,430 --> 01:02:26,319
added in

1118
01:02:32,470 --> 01:02:29,440
uh added a layer of profundity to

1119
01:02:34,549 --> 01:02:32,480
this entire production so uh

1120
01:02:36,309 --> 01:02:34,559
thank you for watching and for listening

1121
01:02:38,950 --> 01:02:36,319
so next up i'd like to

1122
01:02:40,630 --> 01:02:38,960
introduce the four people or reintroduce

1123
01:02:42,710 --> 01:02:40,640
rather the four people who

1124
01:02:44,390 --> 01:02:42,720
uh made this entire project happen

1125
01:02:47,430 --> 01:02:44,400
without them uh

1126
01:02:50,150 --> 01:02:47,440
this wouldn't have happened of course so

1127
01:02:50,870 --> 01:02:50,160
uh here are four of my esteemed

1128
01:02:52,870 --> 01:02:50,880
colleagues

1129
01:02:59,750 --> 01:02:52,880
the wonderfully talented bergamot

1130
01:03:03,670 --> 01:03:01,589
hi everyone thanks dan for turning it

1131
01:03:05,349 --> 01:03:03,680
over to us um

1132
01:03:06,789 --> 01:03:05,359
we're super happy to be part of this

1133
01:03:09,270 --> 01:03:06,799
this is really fun for us

1134
01:03:10,950 --> 01:03:09,280
and um it's so great to hear all the

1135
01:03:13,510 --> 01:03:10,960
members of consonants collective

1136
01:03:15,109 --> 01:03:13,520
really talk through both the inspiration

1137
01:03:16,789 --> 01:03:15,119
and the methodology behind their pieces

1138
01:03:18,789 --> 01:03:16,799
it's really fascinating

1139
01:03:20,150 --> 01:03:18,799
um we've learned a lot through this

1140
01:03:22,710 --> 01:03:20,160
project and it's been

1141
01:03:24,069 --> 01:03:22,720
it's been really fun um we all think

1142
01:03:25,990 --> 01:03:24,079
space is cool but none of us knew that

1143
01:03:27,670 --> 01:03:26,000
much beforehand and

1144
01:03:29,430 --> 01:03:27,680
i can certainly see for myself and say

1145
01:03:30,069 --> 01:03:29,440
that i know a lot more now and my

1146
01:03:33,430 --> 01:03:30,079
curiosity

1147
01:03:34,710 --> 01:03:33,440
is peaked to learn more um

1148
01:03:36,549 --> 01:03:34,720
so we're just going to talk a little bit

1149
01:03:38,390 --> 01:03:36,559
about what the what the string quartet

1150
01:03:41,589 --> 01:03:38,400
side of this process was like for us

1151
01:03:43,510 --> 01:03:41,599
and what our experience was um

1152
01:03:44,789 --> 01:03:43,520
this was a pretty unique project for us

1153
01:03:46,950 --> 01:03:44,799
actually um

1154
01:03:49,029 --> 01:03:46,960
as a quartet we as irene said in the

1155
01:03:50,470 --> 01:03:49,039
introduction primarily focus on music by

1156
01:03:53,029 --> 01:03:50,480
living composers

1157
01:03:55,029 --> 01:03:53,039
um which means that we get to have kind

1158
01:03:56,789 --> 01:03:55,039
of a more collaborative process

1159
01:03:58,230 --> 01:03:56,799
in the music that we program than the

1160
01:04:00,230 --> 01:03:58,240
average string quartet

1161
01:04:01,750 --> 01:04:00,240
um there's a ton of repertoire for

1162
01:04:02,710 --> 01:04:01,760
string quartet out there most of it was

1163
01:04:05,190 --> 01:04:02,720
written by

1164
01:04:06,710 --> 01:04:05,200
people who died a long time ago so when

1165
01:04:08,390 --> 01:04:06,720
we perform music often we get to

1166
01:04:09,589 --> 01:04:08,400
collaborate directly with the composers

1167
01:04:11,190 --> 01:04:09,599
and that's amazing because we could ask

1168
01:04:12,789 --> 01:04:11,200
them any question that we want

1169
01:04:15,029 --> 01:04:12,799
um and the composers can even make

1170
01:04:17,109 --> 01:04:15,039
changes based on what they hear

1171
01:04:18,630 --> 01:04:17,119
but more than that with this project

1172
01:04:20,309 --> 01:04:18,640
with consonants we really got to craft

1173
01:04:23,190 --> 01:04:20,319
this whole program with them

1174
01:04:24,470 --> 01:04:23,200
um we sat down together over a year ago

1175
01:04:25,670 --> 01:04:24,480
and kind of just talked about what we

1176
01:04:26,789 --> 01:04:25,680
were interested in and what this could

1177
01:04:29,029 --> 01:04:26,799
look like

1178
01:04:30,470 --> 01:04:29,039
and um knowing that there was a goal to

1179
01:04:31,829 --> 01:04:30,480
have a multimedia component was

1180
01:04:33,270 --> 01:04:31,839
especially exciting for us because

1181
01:04:34,390 --> 01:04:33,280
that's been a goal of ours for a long

1182
01:04:36,390 --> 01:04:34,400
time and something that we're starting

1183
01:04:40,230 --> 01:04:36,400
to do more as well with our projects

1184
01:04:41,349 --> 01:04:40,240
just as a quartet so we really got to

1185
01:04:43,430 --> 01:04:41,359
have this very

1186
01:04:45,190 --> 01:04:43,440
personal and collaborative process from

1187
01:04:46,150 --> 01:04:45,200
start to finish with consonants which is

1188
01:04:48,309 --> 01:04:46,160
awesome

1189
01:04:50,069 --> 01:04:48,319
we um we already knew all of them from

1190
01:04:51,589 --> 01:04:50,079
school at peabody

1191
01:04:52,950 --> 01:04:51,599
so we were able to be in touch pretty

1192
01:04:54,870 --> 01:04:52,960
continually throughout the process

1193
01:04:56,470 --> 01:04:54,880
whenever any of the composers had

1194
01:04:57,829 --> 01:04:56,480
questions or wanted to hear a snippet of

1195
01:04:59,589 --> 01:04:57,839
their piece we could kind of

1196
01:05:01,910 --> 01:04:59,599
have dialogue back and forth about that

1197
01:05:03,829 --> 01:05:01,920
and that makes bringing music to life

1198
01:05:05,190 --> 01:05:03,839
especially exciting for us because we

1199
01:05:08,710 --> 01:05:05,200
know that it's really written with

1200
01:05:11,750 --> 01:05:08,720
with us and our instruments in mind um

1201
01:05:13,910 --> 01:05:11,760
so it has the potential to be

1202
01:05:15,270 --> 01:05:13,920
really a very profound collaboration for

1203
01:05:17,670 --> 01:05:15,280
everyone involved

1204
01:05:19,829 --> 01:05:17,680
and i hope that that comes through with

1205
01:05:22,150 --> 01:05:19,839
music to everyone listening um

1206
01:05:23,829 --> 01:05:22,160
the music is incredibly dense but really

1207
01:05:27,109 --> 01:05:23,839
just gorgeous and

1208
01:05:28,549 --> 01:05:27,119
i think extremely successful um

1209
01:05:30,230 --> 01:05:28,559
i also wanted to mention a little bit

1210
01:05:31,190 --> 01:05:30,240
about why we think this kind of

1211
01:05:34,630 --> 01:05:31,200
collaboration

1212
01:05:36,950 --> 01:05:34,640
should happen and keep happening between

1213
01:05:38,549 --> 01:05:36,960
performers composers and people from

1214
01:05:39,589 --> 01:05:38,559
totally different disciplines in this

1215
01:05:42,710 --> 01:05:39,599
case

1216
01:05:45,349 --> 01:05:42,720
astronomy um

1217
01:05:46,950 --> 01:05:45,359
i really think that something as vast as

1218
01:05:49,990 --> 01:05:46,960
the study of space

1219
01:05:51,670 --> 01:05:50,000
um kind of needs to be explored

1220
01:05:54,870 --> 01:05:51,680
from the perspective of many different

1221
01:05:56,789 --> 01:05:54,880
mediums um

1222
01:06:00,150 --> 01:05:56,799
because we can't really you know someone

1223
01:06:01,750 --> 01:06:00,160
like me who's got has a degree in music

1224
01:06:05,109 --> 01:06:01,760
can't really visualize what's out there

1225
01:06:09,510 --> 01:06:07,990
by by reading scientific texts and kind

1226
01:06:10,230 --> 01:06:09,520
of going about it the science and math

1227
01:06:13,270 --> 01:06:10,240
way

1228
01:06:14,789 --> 01:06:13,280
um but being able to play music that was

1229
01:06:15,670 --> 01:06:14,799
written about it helps bring it to life

1230
01:06:17,510 --> 01:06:15,680
for me

1231
01:06:19,270 --> 01:06:17,520
and i think i speak for all four of us

1232
01:06:20,150 --> 01:06:19,280
when i say that and and hopefully some

1233
01:06:23,349 --> 01:06:20,160
of you listeners

1234
01:06:26,390 --> 01:06:23,359
might feel the same way um it's a way in

1235
01:06:30,230 --> 01:06:26,400
for us to the emotional aspect of

1236
01:06:31,670 --> 01:06:30,240
learning about these vast topics um

1237
01:06:33,349 --> 01:06:31,680
and i think soyuna spoke really

1238
01:06:35,589 --> 01:06:33,359
beautifully about that in particular

1239
01:06:36,950 --> 01:06:35,599
when she was talking about her piece um

1240
01:06:38,230 --> 01:06:36,960
there's this incredible

1241
01:06:39,829 --> 01:06:38,240
emotion that comes with this kind of

1242
01:06:41,990 --> 01:06:39,839
discovery and i think that's what has

1243
01:06:44,390 --> 01:06:42,000
kept humanity going for millennia

1244
01:06:45,910 --> 01:06:44,400
um so we think that collaborating

1245
01:06:48,309 --> 01:06:45,920
between the arts and sciences is a

1246
01:06:50,549 --> 01:06:48,319
really really rich endeavor

1247
01:06:51,349 --> 01:06:50,559
and if this had if this project had

1248
01:06:53,589 --> 01:06:51,359
occurred

1249
01:06:55,430 --> 01:06:53,599
not in covet times we were planning to

1250
01:06:56,630 --> 01:06:55,440
kind of tore it to schools and various

1251
01:06:58,710 --> 01:06:56,640
educational

1252
01:06:59,990 --> 01:06:58,720
um circumstances so we could share it

1253
01:07:05,270 --> 01:07:00,000
with younger listeners

1254
01:07:09,829 --> 01:07:08,549
science and math can coexist with music

1255
01:07:11,670 --> 01:07:09,839
because of course all of those fields

1256
01:07:12,950 --> 01:07:11,680
have a very long history of coexisting

1257
01:07:13,349 --> 01:07:12,960
in ancient greece they were thought to

1258
01:07:14,630 --> 01:07:13,359
be

1259
01:07:16,390 --> 01:07:14,640
really on the same plane and kind of

1260
01:07:19,430 --> 01:07:16,400
using the same parts of the brain

1261
01:07:21,910 --> 01:07:19,440
um so that's super fascinating and

1262
01:07:23,349 --> 01:07:21,920
and we really think that there should be

1263
01:07:23,750 --> 01:07:23,359
many more projects like this in the

1264
01:07:25,190 --> 01:07:23,760
world

1265
01:07:27,190 --> 01:07:25,200
there of course are but we really want

1266
01:07:27,990 --> 01:07:27,200
to see this continue this kind of

1267
01:07:31,190 --> 01:07:28,000
multimedia

1268
01:07:34,230 --> 01:07:31,200
and um uh

1269
01:07:37,589 --> 01:07:34,240
crossing crossing careers i guess um

1270
01:07:39,829 --> 01:07:37,599
collaboration so

1271
01:07:40,789 --> 01:07:39,839
earlier on when bobby was talking about

1272
01:07:43,270 --> 01:07:40,799
this project

1273
01:07:44,789 --> 01:07:43,280
he mentioned that these pieces use

1274
01:07:48,150 --> 01:07:44,799
non-traditional

1275
01:07:50,390 --> 01:07:48,160
repertoire for the string quartet and i

1276
01:07:53,589 --> 01:07:50,400
wanted to talk a little bit more about

1277
01:07:54,470 --> 01:07:53,599
what that means so again you've probably

1278
01:07:56,230 --> 01:07:54,480
noticed that

1279
01:07:58,390 --> 01:07:56,240
this music doesn't sound a whole lot

1280
01:08:00,549 --> 01:07:58,400
like mozart or beethoven who

1281
01:08:01,990 --> 01:08:00,559
when we ask people what they think of

1282
01:08:03,670 --> 01:08:02,000
when we say classical music

1283
01:08:06,230 --> 01:08:03,680
those two composers are usually who they

1284
01:08:07,589 --> 01:08:06,240
list first um

1285
01:08:09,270 --> 01:08:07,599
repertoire for the string quartet has

1286
01:08:10,069 --> 01:08:09,280
evolved a lot in the last few hundred

1287
01:08:13,510 --> 01:08:10,079
years

1288
01:08:15,990 --> 01:08:13,520
um as exhibited by these five pieces um

1289
01:08:17,349 --> 01:08:16,000
of course they they draw on the on the

1290
01:08:18,550 --> 01:08:17,359
lineage that's been there since the time

1291
01:08:21,829 --> 01:08:18,560
of haydn

1292
01:08:23,669 --> 01:08:21,839
um and so each

1293
01:08:25,189 --> 01:08:23,679
each of these five composers have used

1294
01:08:27,030 --> 01:08:25,199
different techniques to

1295
01:08:29,189 --> 01:08:27,040
evoke the elements of space that they

1296
01:08:30,309 --> 01:08:29,199
chose to focus on

1297
01:08:31,669 --> 01:08:30,319
and we're just going to dive into

1298
01:08:33,590 --> 01:08:31,679
talking a little bit more specifically

1299
01:08:36,470 --> 01:08:33,600
about what those were and how it felt to

1300
01:08:40,390 --> 01:08:38,390
so bobby mentioned during his

1301
01:08:41,430 --> 01:08:40,400
presentation that his piece uses box

1302
01:08:43,510 --> 01:08:41,440
notation

1303
01:08:44,709 --> 01:08:43,520
which is different from traditional

1304
01:08:46,709 --> 01:08:44,719
notation in that

1305
01:08:48,149 --> 01:08:46,719
traditional notation is written on a

1306
01:08:49,910 --> 01:08:48,159
five-line staff

1307
01:08:53,030 --> 01:08:49,920
um kind of like you'd write on a line in

1308
01:08:54,870 --> 01:08:53,040
notebook paper per se um

1309
01:08:56,870 --> 01:08:54,880
when we have and that tells time that

1310
01:09:01,430 --> 01:08:56,880
tells location on the fingerboard

1311
01:09:04,789 --> 01:09:03,110
and basically every parameter that we

1312
01:09:06,870 --> 01:09:04,799
need to know when we're reading music

1313
01:09:08,309 --> 01:09:06,880
when using box notation it's a lot less

1314
01:09:10,950 --> 01:09:08,319
specific so

1315
01:09:12,149 --> 01:09:10,960
that can look like a lot of things um it

1316
01:09:13,829 --> 01:09:12,159
might give us kind of

1317
01:09:15,669 --> 01:09:13,839
a general pitch area where we get to

1318
01:09:17,430 --> 01:09:15,679
choose specific pitches out of it

1319
01:09:19,269 --> 01:09:17,440
it might give specific pitches but we

1320
01:09:20,070 --> 01:09:19,279
get to pick the order so it allows us

1321
01:09:26,470 --> 01:09:20,080
this

1322
01:09:28,550 --> 01:09:26,480
element of improvisation which is really

1323
01:09:30,470 --> 01:09:28,560
fun to play it it forces us to

1324
01:09:32,229 --> 01:09:30,480
really communicate to an even greater

1325
01:09:33,430 --> 01:09:32,239
degree than we already do as for string

1326
01:09:36,470 --> 01:09:33,440
quartet players

1327
01:09:39,189 --> 01:09:36,480
um and it allows us to really

1328
01:09:40,870 --> 01:09:39,199
find kind of a core of sound that feels

1329
01:09:44,229 --> 01:09:40,880
the most right to us

1330
01:09:45,349 --> 01:09:44,239
um so i think the presence of this box

1331
01:09:47,349 --> 01:09:45,359
notation in

1332
01:09:49,349 --> 01:09:47,359
in sections of bobby's piece really

1333
01:09:52,390 --> 01:09:49,359
helped us find a specific character

1334
01:09:53,829 --> 01:09:52,400
um and bobby piece is super exciting i

1335
01:09:54,229 --> 01:09:53,839
really hope you're able to check out the

1336
01:09:55,910 --> 01:09:54,239
full

1337
01:09:59,030 --> 01:09:55,920
versions of all five of these pieces

1338
01:10:01,270 --> 01:09:59,040
because they're amazing um

1339
01:10:03,030 --> 01:10:01,280
but that's something that probably

1340
01:10:05,030 --> 01:10:03,040
started outside of classical music you

1341
01:10:07,350 --> 01:10:05,040
might see it some in jazz

1342
01:10:08,470 --> 01:10:07,360
um and in this experimental music in

1343
01:10:10,950 --> 01:10:08,480
particular

1344
01:10:12,229 --> 01:10:10,960
um but we're really glad that bobby

1345
01:10:12,950 --> 01:10:12,239
chose to write in that way for this

1346
01:10:16,070 --> 01:10:12,960
piece

1347
01:10:16,630 --> 01:10:16,080
um one thing we thought was notable

1348
01:10:19,910 --> 01:10:16,640
about

1349
01:10:21,830 --> 01:10:19,920
zach's piece iridescence um was he uses

1350
01:10:23,350 --> 01:10:21,840
this huge range of the instruments and

1351
01:10:25,990 --> 01:10:23,360
i'm talking about like the lowest

1352
01:10:26,630 --> 01:10:26,000
note the c on the cello to the very

1353
01:10:28,790 --> 01:10:26,640
highest

1354
01:10:30,229 --> 01:10:28,800
harmonics on the violin which the violin

1355
01:10:32,950 --> 01:10:30,239
can literally play notes that are so

1356
01:10:34,390 --> 01:10:32,960
high you can't hear them

1357
01:10:35,990 --> 01:10:34,400
sarah and i are definitely a little bit

1358
01:10:40,310 --> 01:10:36,000
deaf in our left ears

1359
01:10:43,430 --> 01:10:40,320
um after many years of playing but

1360
01:10:46,149 --> 01:10:43,440
um zach making use of that huge

1361
01:10:47,590 --> 01:10:46,159
range of the string quartet i think

1362
01:10:50,950 --> 01:10:47,600
really evokes

1363
01:10:52,070 --> 01:10:50,960
this sense of vastness um and he talked

1364
01:10:53,110 --> 01:10:52,080
about the piece being very hard and it

1365
01:10:55,750 --> 01:10:53,120
is very hard

1366
01:10:56,950 --> 01:10:55,760
um zach also used some kind of

1367
01:10:58,950 --> 01:10:56,960
non-specific

1368
01:11:00,310 --> 01:10:58,960
notation in moments that allowed us to

1369
01:11:02,790 --> 01:11:00,320
kind of just play around

1370
01:11:04,550 --> 01:11:02,800
creating really um what i like to think

1371
01:11:07,750 --> 01:11:04,560
of as a space rather than

1372
01:11:09,110 --> 01:11:07,760
a linear narrative um

1373
01:11:10,790 --> 01:11:09,120
traditional notation i think lends

1374
01:11:13,270 --> 01:11:10,800
itself much more to linear narrative

1375
01:11:14,709 --> 01:11:13,280
whereas more experimental notation

1376
01:11:16,310 --> 01:11:14,719
allows us to kind of

1377
01:11:18,149 --> 01:11:16,320
create this setting that we're playing

1378
01:11:19,030 --> 01:11:18,159
around within in a less kind of from

1379
01:11:22,950 --> 01:11:19,040
point a to point b

1380
01:11:24,550 --> 01:11:22,960
way um i think that was that was audible

1381
01:11:25,990 --> 01:11:24,560
in the very opening of zach's piece that

1382
01:11:31,350 --> 01:11:26,000
she played

1383
01:11:34,070 --> 01:11:31,360
for us earlier um so yuna's piece

1384
01:11:35,750 --> 01:11:34,080
is i think a lot different than the

1385
01:11:38,870 --> 01:11:35,760
others in some ways she definitely

1386
01:11:41,430 --> 01:11:38,880
wrote the slowest piece of the five

1387
01:11:42,390 --> 01:11:41,440
um and this piece is so gorgeous we

1388
01:11:44,149 --> 01:11:42,400
really fell in love with it from the

1389
01:11:48,070 --> 01:11:44,159
moment we played the first melodies

1390
01:11:50,070 --> 01:11:48,080
um and also really liked that she chose

1391
01:11:52,870 --> 01:11:50,080
to work with kind of the more emotional

1392
01:11:53,590 --> 01:11:52,880
side of exploration rather than specific

1393
01:11:56,630 --> 01:11:53,600
um

1394
01:11:57,910 --> 01:11:56,640
scientific phenomena which is really

1395
01:11:58,709 --> 01:11:57,920
cool and going back to what i was saying

1396
01:12:01,590 --> 01:11:58,719
earlier

1397
01:12:03,510 --> 01:12:01,600
we think it's really important to use

1398
01:12:05,990 --> 01:12:03,520
music to explore this side of

1399
01:12:07,350 --> 01:12:06,000
space exploration because we can really

1400
01:12:10,709 --> 01:12:07,360
relate to it

1401
01:12:12,390 --> 01:12:10,719
um something we love about soyuna's

1402
01:12:13,990 --> 01:12:12,400
piece is that these slow

1403
01:12:17,110 --> 01:12:14,000
these slow melodies in the beginning and

1404
01:12:18,709 --> 01:12:17,120
end really call to mind

1405
01:12:20,390 --> 01:12:18,719
like ancient times you kind of this

1406
01:12:23,830 --> 01:12:20,400
whole stretch of time from the first

1407
01:12:25,430 --> 01:12:23,840
space explorers to now um

1408
01:12:27,350 --> 01:12:25,440
and we can kind of empathize with that

1409
01:12:29,350 --> 01:12:27,360
wonder that that every person making

1410
01:12:29,910 --> 01:12:29,360
discoveries about the world beyond our

1411
01:12:33,189 --> 01:12:29,920
own

1412
01:12:34,550 --> 01:12:33,199
have felt um

1413
01:12:35,750 --> 01:12:34,560
for good ways peace this place was

1414
01:12:36,550 --> 01:12:35,760
really this piece was really wild to

1415
01:12:39,430 --> 01:12:36,560
play

1416
01:12:40,950 --> 01:12:39,440
um he talked about the doppler effect

1417
01:12:44,070 --> 01:12:40,960
being present in the piece

1418
01:12:46,149 --> 01:12:44,080
and i'm sure you heard that the tonality

1419
01:12:49,270 --> 01:12:46,159
was a little bit weird in this piece

1420
01:12:50,550 --> 01:12:49,280
um over the course of the last third or

1421
01:12:53,189 --> 01:12:50,560
so of the piece

1422
01:12:53,590 --> 01:12:53,199
he actually asks us to very gradually

1423
01:12:56,950 --> 01:12:53,600
kind of

1424
01:13:00,070 --> 01:12:56,960
shift up the fingerboard um

1425
01:13:01,510 --> 01:13:00,080
it's like a modulation if um

1426
01:13:02,790 --> 01:13:01,520
if there's some is if this is something

1427
01:13:03,990 --> 01:13:02,800
that's familiar to anyone that's

1428
01:13:07,030 --> 01:13:04,000
studying music at all

1429
01:13:09,750 --> 01:13:07,040
um where we move from one key to another

1430
01:13:10,070 --> 01:13:09,760
in the case of blueway's piece we move

1431
01:13:12,390 --> 01:13:10,080
just

1432
01:13:13,110 --> 01:13:12,400
a very short distance so it's not even

1433
01:13:16,630 --> 01:13:13,120
like

1434
01:13:18,310 --> 01:13:16,640
a full notes worth of distance um

1435
01:13:20,870 --> 01:13:18,320
and doing this over the course of

1436
01:13:24,070 --> 01:13:20,880
several minutes is really hard

1437
01:13:27,350 --> 01:13:24,080
to do at the same time um but

1438
01:13:27,990 --> 01:13:27,360
super unsettling and it really feels

1439
01:13:30,070 --> 01:13:28,000
like we do

1440
01:13:31,270 --> 01:13:30,080
kind of move from a familiar world into

1441
01:13:32,870 --> 01:13:31,280
an alien one

1442
01:13:33,910 --> 01:13:32,880
maybe like you look in the mirror and

1443
01:13:35,189 --> 01:13:33,920
something on the other side of the

1444
01:13:36,390 --> 01:13:35,199
mirror moves and you didn't move like

1445
01:13:40,790 --> 01:13:36,400
that kind of

1446
01:13:43,910 --> 01:13:43,189
and it's really fun to play and

1447
01:13:45,669 --> 01:13:43,920
something like this

1448
01:13:47,110 --> 01:13:45,679
is really only possible for an ensemble

1449
01:13:48,550 --> 01:13:47,120
like a string quartet because we don't

1450
01:13:49,350 --> 01:13:48,560
have frets on our fingerboard we can

1451
01:13:50,630 --> 01:13:49,360
really slide

1452
01:13:51,830 --> 01:13:50,640
to any point we want to on our

1453
01:13:53,910 --> 01:13:51,840
fingerboard we can play all the notes

1454
01:13:56,790 --> 01:13:53,920
between the notes as you might say

1455
01:13:58,950 --> 01:13:56,800
um so really playing with these subtle

1456
01:14:02,630 --> 01:13:58,960
shifts of pitch and time

1457
01:14:03,110 --> 01:14:02,640
um was a huge element of kuwai's piece

1458
01:14:05,830 --> 01:14:03,120
calling

1459
01:14:07,750 --> 01:14:05,840
to mind what happens to time and space

1460
01:14:11,189 --> 01:14:07,760
when you go through a black hole

1461
01:14:14,229 --> 01:14:11,199
um and then and dan's piece

1462
01:14:16,229 --> 01:14:14,239
as he was talking about um there's this

1463
01:14:18,790 --> 01:14:16,239
kind of magical

1464
01:14:21,110 --> 01:14:18,800
tone that occurs when you play three

1465
01:14:22,630 --> 01:14:21,120
very high notes very close together

1466
01:14:24,390 --> 01:14:22,640
this is related to what i was saying

1467
01:14:26,070 --> 01:14:24,400
with gooey's piece how there's kind of

1468
01:14:27,990 --> 01:14:26,080
notes between the notes that we are able

1469
01:14:31,990 --> 01:14:28,000
to play on our stream instruments

1470
01:14:32,709 --> 01:14:32,000
um and in rehearsal we call it our

1471
01:14:35,430 --> 01:14:32,719
special friend

1472
01:14:36,709 --> 01:14:35,440
or our friend because it's this pitch

1473
01:14:37,990 --> 01:14:36,719
that just appears and it's coming from

1474
01:14:39,590 --> 01:14:38,000
nowhere

1475
01:14:42,709 --> 01:14:39,600
and you can only hear it if you listen

1476
01:14:45,750 --> 01:14:42,719
very closely it's pretty creepy but very

1477
01:14:47,110 --> 01:14:45,760
effective um

1478
01:14:48,870 --> 01:14:47,120
and this is a really fun effect to play

1479
01:14:49,590 --> 01:14:48,880
again not super kind to me in sarah's

1480
01:14:52,950 --> 01:14:49,600
ears

1481
01:14:54,070 --> 01:14:52,960
but super worth it um

1482
01:14:55,990 --> 01:14:54,080
and that this is something we always

1483
01:14:59,350 --> 01:14:56,000
wish composers would use more because

1484
01:15:02,070 --> 01:14:59,360
it's so rich um

1485
01:15:02,950 --> 01:15:02,080
this range of pitches that are available

1486
01:15:04,470 --> 01:15:02,960
to us that

1487
01:15:06,470 --> 01:15:04,480
typically are not used by people

1488
01:15:08,950 --> 01:15:06,480
composing western classical music

1489
01:15:09,590 --> 01:15:08,960
so um so that's a little fun a lot of

1490
01:15:12,950 --> 01:15:09,600
fun

1491
01:15:14,229 --> 01:15:12,960
and um

1492
01:15:15,990 --> 01:15:14,239
so yeah that's kind of broad strokes

1493
01:15:17,430 --> 01:15:16,000
overview of what our experience learning

1494
01:15:19,750 --> 01:15:17,440
the pieces was like

1495
01:15:21,590 --> 01:15:19,760
um we got to record them all in studio

1496
01:15:23,430 --> 01:15:21,600
in baltimore together last fall which

1497
01:15:26,709 --> 01:15:23,440
was super fun that was

1498
01:15:27,669 --> 01:15:26,719
i think the first time since our initial

1499
01:15:29,350 --> 01:15:27,679
meeting that

1500
01:15:30,870 --> 01:15:29,360
most of us not all of us most of us were

1501
01:15:34,229 --> 01:15:30,880
in the same room together

1502
01:15:35,830 --> 01:15:34,239
which was great um and yeah did

1503
01:15:39,030 --> 01:15:35,840
any of the other bergamots have anything

1504
01:15:40,709 --> 01:15:39,040
to add to that

1505
01:15:42,229 --> 01:15:40,719
i think that was a really good summary

1506
01:15:44,149 --> 01:15:42,239
um yeah i

1507
01:15:45,910 --> 01:15:44,159
really enjoyed playing all of these

1508
01:15:47,430 --> 01:15:45,920
pieces and getting to know the composers

1509
01:15:48,310 --> 01:15:47,440
through their music and i really hope

1510
01:15:50,830 --> 01:15:48,320
that

1511
01:15:52,070 --> 01:15:50,840
other people will perform these pieces

1512
01:15:55,750 --> 01:15:52,080
because

1513
01:15:58,070 --> 01:15:55,760
it really is all of them have

1514
01:15:59,110 --> 01:15:58,080
really amazing techniques and textures

1515
01:16:04,550 --> 01:15:59,120
that i think everyone should

1516
01:16:08,550 --> 01:16:07,590
yeah absolutely um the music is written

1517
01:16:09,990 --> 01:16:08,560
down and

1518
01:16:12,390 --> 01:16:10,000
should absolutely be played by other

1519
01:16:16,070 --> 01:16:12,400
string quartets

1520
01:16:19,030 --> 01:16:16,080
um so please throw any questions

1521
01:16:20,070 --> 01:16:19,040
in the chat on youtube we'd love to to

1522
01:16:22,790 --> 01:16:20,080
talk more about

1523
01:16:24,709 --> 01:16:22,800
how this all came together um and i

1524
01:16:28,229 --> 01:16:24,719
think i'm gonna toss it back to bobby to

1525
01:16:31,510 --> 01:16:30,229
yeah thank you so much bergamot and uh

1526
01:16:32,950 --> 01:16:31,520
well yeah thanks so much leeda really

1527
01:16:34,390 --> 01:16:32,960
for giving all those incredibly

1528
01:16:36,470 --> 01:16:34,400
insightful thoughts and um

1529
01:16:38,229 --> 01:16:36,480
i don't know insights to how realizing

1530
01:16:39,590 --> 01:16:38,239
our pieces was all that is actually

1531
01:16:40,550 --> 01:16:39,600
really interesting for us as composers

1532
01:16:42,550 --> 01:16:40,560
to know as well

1533
01:16:44,229 --> 01:16:42,560
and we hope that just as um yeah just as

1534
01:16:45,270 --> 01:16:44,239
lay people were a science people that

1535
01:16:46,870 --> 01:16:45,280
some of that was interesting and

1536
01:16:49,030 --> 01:16:46,880
engaging to you

1537
01:16:51,270 --> 01:16:49,040
um i have to give credit where credit is

1538
01:16:52,950 --> 01:16:51,280
due um and also thank the various

1539
01:16:54,470 --> 01:16:52,960
organizations that helped support this

1540
01:16:55,430 --> 01:16:54,480
project including the maryland states

1541
01:16:57,110 --> 01:16:55,440
art council

1542
01:16:59,350 --> 01:16:57,120
the jersey city arts council and the

1543
01:17:00,550 --> 01:16:59,360
awesome foundation for providing funding

1544
01:17:02,550 --> 01:17:00,560
that allowed us

1545
01:17:04,470 --> 01:17:02,560
um yeah to get this whole project going

1546
01:17:05,990 --> 01:17:04,480
and to figure out all the production not

1547
01:17:08,390 --> 01:17:06,000
cost and all that kind of thing

1548
01:17:09,030 --> 01:17:08,400
i also want to thank uh caroline xia who

1549
01:17:12,070 --> 01:17:09,040
is

1550
01:17:15,030 --> 01:17:12,080
a real monster filmmaker we gave her

1551
01:17:16,550 --> 01:17:15,040
five music videos to shoot in like a day

1552
01:17:18,390 --> 01:17:16,560
and she managed to pull it off so we

1553
01:17:20,709 --> 01:17:18,400
were incredibly grateful for that

1554
01:17:22,630 --> 01:17:20,719
um yeah so if you can we would love if

1555
01:17:26,790 --> 01:17:22,640
you could stick around for a q a

1556
01:17:27,189 --> 01:17:26,800
and um if not uh may the fourth be with

1557
01:17:32,550 --> 01:17:27,199
you

1558
01:17:34,709 --> 01:17:32,560
all so much

1559
01:17:35,910 --> 01:17:34,719
all right thank you very much bobby and

1560
01:17:39,270 --> 01:17:35,920
thank you to all

1561
01:17:40,630 --> 01:17:39,280
our composers and our performers uh this

1562
01:17:42,870 --> 01:17:40,640
is truly a

1563
01:17:44,870 --> 01:17:42,880
unique and special presentation for the

1564
01:17:49,350 --> 01:17:44,880
public lecture series

1565
01:17:52,709 --> 01:17:49,360
i will totally totally agree with leta

1566
01:17:55,270 --> 01:17:52,719
on all of this idea of trying to get art

1567
01:17:57,189 --> 01:17:55,280
and science working together as an

1568
01:17:58,390 --> 01:17:57,199
astronomer who does visualizations you

1569
01:18:02,070 --> 01:17:58,400
know we take the

1570
01:18:03,590 --> 01:18:02,080
uh astronomy we put it into into into um

1571
01:18:06,229 --> 01:18:03,600
i get to pay an astronomer who makes

1572
01:18:09,110 --> 01:18:06,239
movies so i get to do a part of this

1573
01:18:10,870 --> 01:18:09,120
and i always say that adding the music

1574
01:18:13,430 --> 01:18:10,880
when we get to the visualization done

1575
01:18:14,229 --> 01:18:13,440
adding the music is such an important

1576
01:18:16,790 --> 01:18:14,239
element

1577
01:18:17,750 --> 01:18:16,800
to really bring up the emotion why

1578
01:18:20,470 --> 01:18:17,760
doesn't everybody

1579
01:18:21,750 --> 01:18:20,480
turn on their video cameras so that we

1580
01:18:24,830 --> 01:18:21,760
can see you all

1581
01:18:28,149 --> 01:18:24,840
and we'll have a big brady bunch type

1582
01:18:29,590 --> 01:18:28,159
presentation all right uh and we have

1583
01:18:31,669 --> 01:18:29,600
some questions now i

1584
01:18:33,189 --> 01:18:31,679
as host i get to ask uh some of the

1585
01:18:36,950 --> 01:18:33,199
first questions

1586
01:18:38,310 --> 01:18:36,960
so uh bobby um you were doing star

1587
01:18:40,950 --> 01:18:38,320
formation right

1588
01:18:42,310 --> 01:18:40,960
stars and star formation and such and i

1589
01:18:44,709 --> 01:18:42,320
got to imagine that

1590
01:18:46,550 --> 01:18:44,719
um the star when it becomes goes main

1591
01:18:47,750 --> 01:18:46,560
sequence is when the fusion turns on

1592
01:18:49,110 --> 01:18:47,760
with hydrogen fusion

1593
01:18:50,870 --> 01:18:49,120
it turns into the core is there some

1594
01:18:53,110 --> 01:18:50,880
sort of crescendo that that you know a

1595
01:18:55,189 --> 01:18:53,120
musical element that says fusion

1596
01:18:56,470 --> 01:18:55,199
to you yeah yeah yeah totally that's

1597
01:18:56,950 --> 01:18:56,480
actually a really good question so the

1598
01:18:59,430 --> 01:18:56,960
part

1599
01:19:01,030 --> 01:18:59,440
leading up right to the like the last

1600
01:19:01,910 --> 01:19:01,040
excerpt that i showed this pretty ec

1601
01:19:03,590 --> 01:19:01,920
major bit

1602
01:19:04,950 --> 01:19:03,600
is probably some of the thorniest and

1603
01:19:07,189 --> 01:19:04,960
most violent that

1604
01:19:08,229 --> 01:19:07,199
um that at least my piece gets i don't

1605
01:19:10,149 --> 01:19:08,239
want to say the whole album but

1606
01:19:13,110 --> 01:19:10,159
basically what's happening there is

1607
01:19:14,630 --> 01:19:13,120
um almost there's like no basically

1608
01:19:16,229 --> 01:19:14,640
almost all the musicians are just like

1609
01:19:17,830 --> 01:19:16,239
shredding on their instruments and there

1610
01:19:19,510 --> 01:19:17,840
isn't really a kind of clear kind of

1611
01:19:20,870 --> 01:19:19,520
pitch it's just super super violent and

1612
01:19:23,110 --> 01:19:20,880
really explosive

1613
01:19:24,709 --> 01:19:23,120
um it's super awesome and it was a lot

1614
01:19:25,910 --> 01:19:24,719
of fun watching the quartet sort of lean

1615
01:19:28,310 --> 01:19:25,920
into that because

1616
01:19:29,830 --> 01:19:28,320
um i don't yeah i haven't met musicians

1617
01:19:32,950 --> 01:19:29,840
who would be that willing to sort of

1618
01:19:34,550 --> 01:19:32,960
i don't know freak out i guess on from a

1619
01:19:37,669 --> 01:19:34,560
mic microphone so to speak yeah

1620
01:19:41,189 --> 01:19:37,679
a lot of fun all right um

1621
01:19:43,510 --> 01:19:41,199
i had a question for zach um you talked

1622
01:19:45,990 --> 01:19:43,520
about the video compositions that were

1623
01:19:46,790 --> 01:19:46,000
part of your sequence and so what i

1624
01:19:50,070 --> 01:19:46,800
wanted to know

1625
01:19:51,990 --> 01:19:50,080
was how much did the composers play a

1626
01:19:53,990 --> 01:19:52,000
role in the video editing

1627
01:19:55,830 --> 01:19:54,000
right um because i know that you

1628
01:19:58,149 --> 01:19:55,840
probably worked on on the image

1629
01:19:59,350 --> 01:19:58,159
collecting images uh do you do part of

1630
01:20:00,790 --> 01:19:59,360
the editing or did you have somebody

1631
01:20:02,310 --> 01:20:00,800
else do it you stood over them

1632
01:20:05,750 --> 01:20:02,320
stick it over them said no i want this i

1633
01:20:08,149 --> 01:20:05,760
want this i want this how did that work

1634
01:20:09,430 --> 01:20:08,159
awesome question it was entirely a

1635
01:20:10,070 --> 01:20:09,440
collaborative process throughout the

1636
01:20:12,229 --> 01:20:10,080
whole thing

1637
01:20:13,910 --> 01:20:12,239
um however the composers once they got

1638
01:20:16,470 --> 01:20:13,920
the raw footage so once they had

1639
01:20:17,270 --> 01:20:16,480
all those amazing images visualizations

1640
01:20:20,550 --> 01:20:17,280
etc from

1641
01:20:22,070 --> 01:20:20,560
stsci and everyone and they had the raw

1642
01:20:23,910 --> 01:20:22,080
video from that

1643
01:20:25,669 --> 01:20:23,920
epic video shoot that bobby was just

1644
01:20:28,310 --> 01:20:25,679
talking about a few moments ago

1645
01:20:29,910 --> 01:20:28,320
we you know um shot like eight hours of

1646
01:20:31,990 --> 01:20:29,920
material from the string quartet once we

1647
01:20:34,950 --> 01:20:32,000
had all that raw material

1648
01:20:35,590 --> 01:20:34,960
it was basically on us to just put it

1649
01:20:37,590 --> 01:20:35,600
together

1650
01:20:38,870 --> 01:20:37,600
so you know we were all sort of at

1651
01:20:41,750 --> 01:20:38,880
different um

1652
01:20:42,950 --> 01:20:41,760
stages in our video editing careers we

1653
01:20:44,870 --> 01:20:42,960
want to do a lot more of this

1654
01:20:46,149 --> 01:20:44,880
but i'll say it was definitely a

1655
01:20:48,629 --> 01:20:46,159
wonderful learning experience

1656
01:20:49,910 --> 01:20:48,639
for me and all my colleagues for sure

1657
01:20:52,310 --> 01:20:49,920
definitely one of the

1658
01:20:53,030 --> 01:20:52,320
most fun parts of it and i know we all

1659
01:20:55,590 --> 01:20:53,040
um

1660
01:20:57,270 --> 01:20:55,600
started the formative research process

1661
01:21:00,550 --> 01:20:57,280
and you know sort of amassing

1662
01:21:01,830 --> 01:21:00,560
all our um sdsci related videos very

1663
01:21:03,510 --> 01:21:01,840
very early in the process

1664
01:21:04,950 --> 01:21:03,520
like i was mentioning in my piece but

1665
01:21:06,390 --> 01:21:04,960
then just putting them all together at

1666
01:21:09,510 --> 01:21:06,400
the end was

1667
01:21:13,030 --> 01:21:09,520
definitely on us and it was exciting

1668
01:21:14,629 --> 01:21:13,040
and daunting at the same time

1669
01:21:16,149 --> 01:21:14,639
that's that that does sound quite like

1670
01:21:18,149 --> 01:21:16,159
quite a challenge

1671
01:21:20,550 --> 01:21:18,159
um let's see what other questions that i

1672
01:21:23,430 --> 01:21:20,560
write down oh uh sienna

1673
01:21:24,870 --> 01:21:23,440
you put out there about this idea of

1674
01:21:27,669 --> 01:21:24,880
communication across the

1675
01:21:29,669 --> 01:21:27,679
the generations across the centuries uh

1676
01:21:31,830 --> 01:21:29,679
from 1054 up through to

1677
01:21:32,790 --> 01:21:31,840
today and it just occurred to me like

1678
01:21:34,629 --> 01:21:32,800
like

1679
01:21:35,830 --> 01:21:34,639
music really does the same thing doesn't

1680
01:21:37,910 --> 01:21:35,840
it um

1681
01:21:38,950 --> 01:21:37,920
in terms of of building off of the

1682
01:21:40,950 --> 01:21:38,960
composers and

1683
01:21:43,030 --> 01:21:40,960
the ideas that have been been around for

1684
01:21:44,070 --> 01:21:43,040
centuries um

1685
01:21:46,149 --> 01:21:44,080
i don't know what's your thoughts on

1686
01:21:46,790 --> 01:21:46,159
that what's the did it affect any of

1687
01:21:49,990 --> 01:21:46,800
your piece

1688
01:21:54,149 --> 01:21:50,000
and that idea yeah i totally agree and

1689
01:21:55,910 --> 01:21:54,159
um um i think um i mentioned that it's

1690
01:22:00,709 --> 01:21:55,920
um

1691
01:22:03,990 --> 01:22:00,719
through the generation

1692
01:22:06,550 --> 01:22:04,000
is the the motivation of

1693
01:22:07,990 --> 01:22:06,560
our whole human history and i think it

1694
01:22:10,070 --> 01:22:08,000
concludes science and

1695
01:22:11,990 --> 01:22:10,080
all the music and all the humanities

1696
01:22:14,790 --> 01:22:12,000
everything in our lives so

1697
01:22:15,430 --> 01:22:14,800
i totally agree with that and yeah

1698
01:22:19,189 --> 01:22:15,440
that's

1699
01:22:20,550 --> 01:22:19,199
what inspired my piece yes

1700
01:22:22,310 --> 01:22:20,560
all right i don't want to take the

1701
01:22:23,990 --> 01:22:22,320
prerogative and ask all my questions

1702
01:22:26,550 --> 01:22:24,000
because i have about five or six more

1703
01:22:28,310 --> 01:22:26,560
so i'm gonna bring on grant justice uh

1704
01:22:29,990 --> 01:22:28,320
grant once you turn on your video and

1705
01:22:33,350 --> 01:22:30,000
he's been monitoring our

1706
01:22:36,550 --> 01:22:33,360
um our

1707
01:22:38,709 --> 01:22:36,560
uh quite boisterous chat tonight yeah

1708
01:22:39,750 --> 01:22:38,719
and i know you've pulled a few questions

1709
01:22:40,950 --> 01:22:39,760
out of there so why don't you go ahead

1710
01:22:43,669 --> 01:22:40,960
and ask one

1711
01:22:44,470 --> 01:22:43,679
yeah absolutely um i'll just go kind of

1712
01:22:47,430 --> 01:22:44,480
in order

1713
01:22:48,870 --> 01:22:47,440
uh so the first one would be for zach um

1714
01:22:51,030 --> 01:22:48,880
especially for your piece

1715
01:22:52,229 --> 01:22:51,040
do composers sometimes have specific

1716
01:22:54,790 --> 01:22:52,239
arrangements for

1717
01:22:57,590 --> 01:22:54,800
different celestial bodies different

1718
01:23:00,310 --> 01:22:57,600
types of like interstellar phenomena

1719
01:23:01,350 --> 01:23:00,320
or is there an instrument or instruments

1720
01:23:04,550 --> 01:23:01,360
that you associate

1721
01:23:07,669 --> 01:23:04,560
specifically with particular phenomena

1722
01:23:10,070 --> 01:23:07,679
or celestial bodies great great question

1723
01:23:10,870 --> 01:23:10,080
uh i definitely say for the former part

1724
01:23:12,870 --> 01:23:10,880
of it it's

1725
01:23:14,870 --> 01:23:12,880
very very specific to composer actually

1726
01:23:16,470 --> 01:23:14,880
the caveat is all this is super specific

1727
01:23:18,470 --> 01:23:16,480
to composers so i'd love to

1728
01:23:20,070 --> 01:23:18,480
hear what my esteemed colleagues think

1729
01:23:23,189 --> 01:23:20,080
of all this stuff as well

1730
01:23:24,390 --> 01:23:23,199
um but personally for me honestly i was

1731
01:23:27,510 --> 01:23:24,400
in the perfect medium

1732
01:23:29,830 --> 01:23:27,520
anything strings based you know

1733
01:23:30,870 --> 01:23:29,840
in conjunction with astronomy is kind of

1734
01:23:32,629 --> 01:23:30,880
amazing because

1735
01:23:33,910 --> 01:23:32,639
strings can sustain they can just

1736
01:23:35,110 --> 01:23:33,920
sustain forever they're not like

1737
01:23:36,709 --> 01:23:35,120
woodwind instruments that have to you

1738
01:23:37,430 --> 01:23:36,719
know take breaths they're not like piano

1739
01:23:39,750 --> 01:23:37,440
where the

1740
01:23:41,030 --> 01:23:39,760
sound decays they can sustain forever

1741
01:23:43,189 --> 01:23:41,040
kind of create this

1742
01:23:44,709 --> 01:23:43,199
wash of ethereal sound and at the same

1743
01:23:45,189 --> 01:23:44,719
time just like bergamot was talking

1744
01:23:47,430 --> 01:23:45,199
about

1745
01:23:48,950 --> 01:23:47,440
they can create um sort of sounds

1746
01:23:49,830 --> 01:23:48,960
outside the norm you know extended

1747
01:23:52,310 --> 01:23:49,840
techniques

1748
01:23:53,430 --> 01:23:52,320
otherworldly things you might not expect

1749
01:23:55,750 --> 01:23:53,440
to hear from

1750
01:23:57,350 --> 01:23:55,760
say a conventional acoustic instrument

1751
01:23:58,709 --> 01:23:57,360
like for example um

1752
01:24:00,870 --> 01:23:58,719
in my piece i have this section that

1753
01:24:03,030 --> 01:24:00,880
just sort of drifts through the um

1754
01:24:04,390 --> 01:24:03,040
bubble nebula and i couldn't think of a

1755
01:24:07,030 --> 01:24:04,400
better instrument to use than

1756
01:24:07,510 --> 01:24:07,040
a string quartet maybe more strings

1757
01:24:09,430 --> 01:24:07,520
maybe

1758
01:24:10,709 --> 01:24:09,440
you know a string orchestra or something

1759
01:24:13,830 --> 01:24:10,719
like that but strings are

1760
01:24:17,030 --> 01:24:13,840
maybe definitely yeah that would be

1761
01:24:19,510 --> 01:24:17,040
that would be amazing would you um

1762
01:24:20,709 --> 01:24:19,520
comment on this because you created so

1763
01:24:23,910 --> 01:24:20,719
much tension

1764
01:24:24,790 --> 01:24:23,920
in part of your piece there um and using

1765
01:24:28,070 --> 01:24:24,800
the strings was just

1766
01:24:29,750 --> 01:24:28,080
like wow i i surprised you could it felt

1767
01:24:30,550 --> 01:24:29,760
like you could all you just sustained it

1768
01:24:33,750 --> 01:24:30,560
for all

1769
01:24:35,669 --> 01:24:33,760
for a really long time there yeah i

1770
01:24:37,430 --> 01:24:35,679
definitely agree with the point that you

1771
01:24:40,790 --> 01:24:37,440
know with strings there's so

1772
01:24:43,590 --> 01:24:40,800
so so many possibilities that you can do

1773
01:24:43,990 --> 01:24:43,600
with you know the extended sounds like

1774
01:24:47,669 --> 01:24:44,000
effects

1775
01:24:51,189 --> 01:24:47,679
that you wouldn't necessarily um hear

1776
01:24:53,910 --> 01:24:51,199
normally so with like space and

1777
01:24:54,629 --> 01:24:53,920
and especially my piece with black holes

1778
01:24:58,310 --> 01:24:54,639
right

1779
01:25:00,629 --> 01:24:58,320
with the heavy distortions and

1780
01:25:02,950 --> 01:25:00,639
that kind of effect that was i thought

1781
01:25:05,990 --> 01:25:02,960
that using strings was like a

1782
01:25:08,470 --> 01:25:06,000
really effective way to control

1783
01:25:09,189 --> 01:25:08,480
um you know the visual effect in an

1784
01:25:12,790 --> 01:25:09,199
audio

1785
01:25:15,270 --> 01:25:12,800
way yeah okay great

1786
01:25:15,990 --> 01:25:15,280
uh grant i think we had one for daniel

1787
01:25:19,270 --> 01:25:16,000
about the

1788
01:25:20,870 --> 01:25:19,280
the imagery yeah um we

1789
01:25:22,870 --> 01:25:20,880
had someone in the chat who was asking

1790
01:25:25,189 --> 01:25:22,880
about the imagery in the background of

1791
01:25:26,070 --> 01:25:25,199
daniel's performance the visuals that

1792
01:25:28,950 --> 01:25:26,080
you chose

1793
01:25:31,350 --> 01:25:28,960
specifically about whether or not m87

1794
01:25:32,790 --> 01:25:31,360
was in there but also just to elaborate

1795
01:25:34,950 --> 01:25:32,800
a little bit more

1796
01:25:36,149 --> 01:25:34,960
and just as a reminder to the whole

1797
01:25:37,430 --> 01:25:36,159
group if they're any of these

1798
01:25:39,590 --> 01:25:37,440
questions or whatnot that you want to

1799
01:25:43,270 --> 01:25:39,600
chime in on please do there's a bunch of

1800
01:25:48,390 --> 01:25:45,510
oh that's a great question um so i guess

1801
01:25:51,750 --> 01:25:48,400
to further elaborate uh those were

1802
01:25:54,070 --> 01:25:51,760
uh visually visualizations of

1803
01:25:55,030 --> 01:25:54,080
simulations that were created based on

1804
01:25:58,149 --> 01:25:55,040
data

1805
01:26:01,110 --> 01:25:58,159
um uh that was gathered of

1806
01:26:01,750 --> 01:26:01,120
the uh distribution of dark matter

1807
01:26:04,950 --> 01:26:01,760
within

1808
01:26:06,390 --> 01:26:04,960
a specific area so i think the one that

1809
01:26:09,149 --> 01:26:06,400
was sort of very

1810
01:26:11,669 --> 01:26:09,159
um sort of like had a lot of purples and

1811
01:26:12,870 --> 01:26:11,679
yellowish and very warm colors was

1812
01:26:16,070 --> 01:26:12,880
actually from the

1813
01:26:18,550 --> 01:26:16,080
andromeda galaxy and uh there was a

1814
01:26:19,669 --> 01:26:18,560
there was another one that was um from

1815
01:26:21,510 --> 01:26:19,679
something called the millennium

1816
01:26:22,390 --> 01:26:21,520
simulation which was just a project that

1817
01:26:25,750 --> 01:26:22,400
was like

1818
01:26:28,790 --> 01:26:25,760
um designed to uh sort of

1819
01:26:31,990 --> 01:26:28,800
take all of this data and and

1820
01:26:35,669 --> 01:26:32,000
uh sort of visualize it in a

1821
01:26:37,590 --> 01:26:35,679
more artistic way for for us to see

1822
01:26:39,669 --> 01:26:37,600
and the one that was during the uh the

1823
01:26:40,390 --> 01:26:39,679
clips of irene playing her cello solo

1824
01:26:43,990 --> 01:26:40,400
was

1825
01:26:47,030 --> 01:26:44,000
uh another uh

1826
01:26:50,229 --> 01:26:47,040
similar one but

1827
01:26:53,030 --> 01:26:50,239
that was um yeah

1828
01:26:54,629 --> 01:26:53,040
that's uh that's about the uh that's

1829
01:26:54,950 --> 01:26:54,639
about as much clarification as i could

1830
01:26:58,390 --> 01:26:54,960
give

1831
01:27:00,629 --> 01:26:58,400
off off the top of my head it's all good

1832
01:27:01,910 --> 01:27:00,639
um the exact same question rereading the

1833
01:27:04,070 --> 01:27:01,920
chat uh

1834
01:27:05,430 --> 01:27:04,080
there was some questions about gu ways

1835
01:27:06,950 --> 01:27:05,440
visuals as well

1836
01:27:10,629 --> 01:27:06,960
if you want to continue elaborate and

1837
01:27:17,430 --> 01:27:14,229
yeah so i i think may mention

1838
01:27:20,790 --> 01:27:17,440
um you know the the use of like my

1839
01:27:22,070 --> 01:27:20,800
my choice of using m87 as the um as a

1840
01:27:24,950 --> 01:27:22,080
space imagery

1841
01:27:25,270 --> 01:27:24,960
yeah so um probably reason why i chose

1842
01:27:29,110 --> 01:27:25,280
that

1843
01:27:32,149 --> 01:27:29,120
only

1844
01:27:35,350 --> 01:27:32,159
image we have now of like an actual

1845
01:27:37,830 --> 01:27:35,360
black hole um like the first

1846
01:27:38,629 --> 01:27:37,840
picture of a black hole completely taken

1847
01:27:42,470 --> 01:27:38,639
that was

1848
01:27:46,070 --> 01:27:42,480
probably m87 galaxy so um

1849
01:27:48,790 --> 01:27:46,080
because like most of my videos um like

1850
01:27:49,189 --> 01:27:48,800
the videos that i use in my keys right

1851
01:27:52,550 --> 01:27:49,199
they

1852
01:27:55,590 --> 01:27:52,560
actual

1853
01:27:55,990 --> 01:27:55,600
pictures of black holes because they are

1854
01:28:03,910 --> 01:27:56,000
so

1855
01:28:07,030 --> 01:28:03,920
you know that's

1856
01:28:10,390 --> 01:28:07,040
actually taken by by um

1857
01:28:12,390 --> 01:28:10,400
like why it's an actual photograph

1858
01:28:14,629 --> 01:28:12,400
that's not like him so it's not all just

1859
01:28:17,750 --> 01:28:14,639
all visualizations

1860
01:28:20,229 --> 01:28:17,760
yeah okay great

1861
01:28:21,110 --> 01:28:20,239
um i want love to hear from some of the

1862
01:28:23,910 --> 01:28:21,120
artists uh

1863
01:28:24,709 --> 01:28:23,920
from the quartet um because uh they

1864
01:28:27,189 --> 01:28:24,719
talked about

1865
01:28:27,990 --> 01:28:27,199
sort of pushing you guys to extreme

1866
01:28:30,149 --> 01:28:28,000
going to these really

1867
01:28:31,750 --> 01:28:30,159
high notes into these really low notes

1868
01:28:32,629 --> 01:28:31,760
sort of making you improvise and such

1869
01:28:35,350 --> 01:28:32,639
and you have to

1870
01:28:35,910 --> 01:28:35,360
learn these right uh because you're

1871
01:28:39,030 --> 01:28:35,920
working with

1872
01:28:40,629 --> 01:28:39,040
live with with you know not things that

1873
01:28:42,870 --> 01:28:40,639
it's not like an orchestra where you've

1874
01:28:44,229 --> 01:28:42,880
played this symphony over and over for

1875
01:28:46,149 --> 01:28:44,239
you know and the way you go around

1876
01:28:48,149 --> 01:28:46,159
various symphonies so tell us a little

1877
01:28:49,910 --> 01:28:48,159
bit about how hard it is to work and

1878
01:28:52,070 --> 01:28:49,920
learn this stuff although i'm sure it's

1879
01:28:53,830 --> 01:28:52,080
enjoyable

1880
01:28:55,750 --> 01:28:53,840
yeah i think that's that's something

1881
01:28:57,030 --> 01:28:55,760
that we really love about getting to

1882
01:29:00,629 --> 01:28:57,040
play

1883
01:29:02,950 --> 01:29:00,639
really brand new music um and

1884
01:29:04,709 --> 01:29:02,960
and kind of getting to explore a piece

1885
01:29:06,790 --> 01:29:04,719
for the first time that

1886
01:29:08,550 --> 01:29:06,800
that no one else has played because that

1887
01:29:10,310 --> 01:29:08,560
means it is really

1888
01:29:12,390 --> 01:29:10,320
up to us and up to the composer to to

1889
01:29:14,870 --> 01:29:12,400
figure out exactly what

1890
01:29:16,709 --> 01:29:14,880
what this does mean um and so in some

1891
01:29:20,149 --> 01:29:16,719
ways yet yes it is

1892
01:29:23,430 --> 01:29:20,159
um sometimes challenging and uh a

1893
01:29:24,070 --> 01:29:23,440
creative and welcomed challenge um but

1894
01:29:27,430 --> 01:29:24,080
it also

1895
01:29:28,390 --> 01:29:27,440
sometimes gives us a lot of freedom

1896
01:29:32,070 --> 01:29:28,400
that's really nice

1897
01:29:32,470 --> 01:29:32,080
and and being able to um say okay we get

1898
01:29:35,669 --> 01:29:32,480
to

1899
01:29:38,310 --> 01:29:35,679
this particular

1900
01:29:39,189 --> 01:29:38,320
new weird technique sound as good as it

1901
01:29:42,470 --> 01:29:39,199
can

1902
01:29:46,149 --> 01:29:44,629
make strange noises on our instruments

1903
01:29:46,629 --> 01:29:46,159
until we find something that really

1904
01:29:49,110 --> 01:29:46,639
works

1905
01:29:50,870 --> 01:29:49,120
you know um that's that's really what it

1906
01:29:52,790 --> 01:29:50,880
looks like a lot of times it's trial and

1907
01:29:54,629 --> 01:29:52,800
error um

1908
01:29:56,310 --> 01:29:54,639
in and in a way that's that's what we're

1909
01:29:57,030 --> 01:29:56,320
doing with any music that that we would

1910
01:29:58,229 --> 01:29:57,040
be playing

1911
01:29:59,430 --> 01:29:58,239
that's what we're doing with mozart's

1912
01:30:00,709 --> 01:29:59,440
what we're doing with beethoven two

1913
01:30:02,310 --> 01:30:00,719
always trial and error

1914
01:30:04,070 --> 01:30:02,320
how can we make this sound the best that

1915
01:30:06,229 --> 01:30:04,080
we can make it sound but

1916
01:30:07,750 --> 01:30:06,239
there is an added element with this

1917
01:30:10,950 --> 01:30:07,760
really

1918
01:30:14,310 --> 01:30:10,960
like i said brand new music um

1919
01:30:15,990 --> 01:30:14,320
to to kind of take that to a different

1920
01:30:16,790 --> 01:30:16,000
level or maybe in a slightly different

1921
01:30:20,229 --> 01:30:16,800
way

1922
01:30:23,430 --> 01:30:20,239
um so i wouldn't say that it's

1923
01:30:25,430 --> 01:30:23,440
more challenging than if we were playing

1924
01:30:27,270 --> 01:30:25,440
older music because because everything

1925
01:30:29,350 --> 01:30:27,280
has its unique challenges but it does

1926
01:30:31,750 --> 01:30:29,360
bring kind of a different

1927
01:30:33,510 --> 01:30:31,760
um a different way of approaching it

1928
01:30:35,990 --> 01:30:33,520
sometimes

1929
01:30:37,270 --> 01:30:36,000
it's a great question thank you uh

1930
01:30:39,270 --> 01:30:37,280
anybody else from the quartet want to

1931
01:30:42,629 --> 01:30:39,280
comment on

1932
01:30:45,030 --> 01:30:42,639
yeah i um everything sarah said is super

1933
01:30:46,390 --> 01:30:45,040
true and um i just want to add that

1934
01:30:48,070 --> 01:30:46,400
a lot of the techniques that these

1935
01:30:51,270 --> 01:30:48,080
composers use we don't

1936
01:30:53,430 --> 01:30:51,280
learn in conservatory actually these are

1937
01:30:56,070 --> 01:30:53,440
fairly new techniques

1938
01:30:56,950 --> 01:30:56,080
um so there is a little bit of a

1939
01:30:59,510 --> 01:30:56,960
learning curve

1940
01:31:01,430 --> 01:30:59,520
and a lot of the times we just kind of

1941
01:31:04,390 --> 01:31:01,440
have to

1942
01:31:06,310 --> 01:31:04,400
um like sarah said experiment but yeah

1943
01:31:06,790 --> 01:31:06,320
these are all very new techniques that a

1944
01:31:10,470 --> 01:31:06,800
lot of

1945
01:31:14,629 --> 01:31:10,480
conservatory um students are not really

1946
01:31:15,030 --> 01:31:14,639
experimenting with and i think also just

1947
01:31:17,510 --> 01:31:15,040
to

1948
01:31:19,430 --> 01:31:17,520
piggyback on what irene said about these

1949
01:31:19,750 --> 01:31:19,440
extended techniques it's really fun for

1950
01:31:23,110 --> 01:31:19,760
us

1951
01:31:25,350 --> 01:31:23,120
being um

1952
01:31:26,790 --> 01:31:25,360
used more so in contemporary and newer

1953
01:31:29,110 --> 01:31:26,800
works as opposed to

1954
01:31:31,110 --> 01:31:29,120
older classical music but i think being

1955
01:31:34,070 --> 01:31:31,120
able to blend these like

1956
01:31:34,550 --> 01:31:34,080
newer um less orthodox sounds is also

1957
01:31:36,390 --> 01:31:34,560
like

1958
01:31:38,070 --> 01:31:36,400
a really fun process for us because we

1959
01:31:38,550 --> 01:31:38,080
can get to be really creative with like

1960
01:31:40,629 --> 01:31:38,560
how

1961
01:31:42,070 --> 01:31:40,639
all these sounds can actually be made

1962
01:31:43,270 --> 01:31:42,080
with just our instruments they're the

1963
01:31:45,510 --> 01:31:43,280
same instruments that were

1964
01:31:46,790 --> 01:31:45,520
being used 200 years ago as right now

1965
01:31:48,629 --> 01:31:46,800
and um

1966
01:31:50,709 --> 01:31:48,639
and it can just do so much more and i

1967
01:31:51,510 --> 01:31:50,719
think i hope that composers are still

1968
01:31:53,510 --> 01:31:51,520
discovering

1969
01:31:55,110 --> 01:31:53,520
hopefully new ways of using it let us

1970
01:31:57,510 --> 01:31:55,120
know if you do um but

1971
01:31:58,790 --> 01:31:57,520
yeah it's a really um exciting process

1972
01:32:00,550 --> 01:31:58,800
for us

1973
01:32:03,110 --> 01:32:00,560
well i have to say that you know there

1974
01:32:05,030 --> 01:32:03,120
is a mindset of what a string quartet

1975
01:32:07,030 --> 01:32:05,040
is and you guys have really expanded

1976
01:32:10,950 --> 01:32:07,040
that here tonight

1977
01:32:13,990 --> 01:32:10,960
uh yeah i actually have some

1978
01:32:16,870 --> 01:32:14,000
expansion on the last couple points um

1979
01:32:19,470 --> 01:32:16,880
for the quartet specifically uh there's

1980
01:32:22,390 --> 01:32:19,480
obviously a lot of

1981
01:32:23,750 --> 01:32:22,400
improvisation and ambiance that's being

1982
01:32:24,310 --> 01:32:23,760
created by the instruments like you just

1983
01:32:27,750 --> 01:32:24,320
mentioned

1984
01:32:29,189 --> 01:32:27,760
in not necessarily i would say unusual

1985
01:32:30,709 --> 01:32:29,199
but

1986
01:32:32,470 --> 01:32:30,719
ways that you would not particularly

1987
01:32:33,030 --> 01:32:32,480
expect in a piece like this that's used

1988
01:32:36,550 --> 01:32:33,040
to create

1989
01:32:37,830 --> 01:32:36,560
sort of this atmosphere so in that sort

1990
01:32:40,070 --> 01:32:37,840
of improvisation

1991
01:32:41,110 --> 01:32:40,080
do you find it easier to just be given a

1992
01:32:43,990 --> 01:32:41,120
key and go

1993
01:32:44,790 --> 01:32:44,000
find it or do you like the boxes that

1994
01:32:47,510 --> 01:32:44,800
were mentioned

1995
01:32:48,870 --> 01:32:47,520
as far as like a loose guideline and

1996
01:32:50,950 --> 01:32:48,880
from there you

1997
01:32:52,149 --> 01:32:50,960
can you know noodle your way into the

1998
01:32:55,189 --> 01:32:52,159
atmosphere

1999
01:32:56,950 --> 01:32:55,199
of where you want to be and continuing

2000
01:32:58,310 --> 01:32:56,960
on that i'm sorry this is a long one i'm

2001
01:33:01,350 --> 01:32:58,320
combining two

2002
01:33:03,350 --> 01:33:01,360
um more specifically for the composers

2003
01:33:04,550 --> 01:33:03,360
once they have talked about the act of

2004
01:33:05,830 --> 01:33:04,560
doing so

2005
01:33:08,350 --> 01:33:05,840
what was it you were trying to

2006
01:33:11,510 --> 01:33:08,360
demonstrate with the

2007
01:33:14,229 --> 01:33:11,520
discordancy and the off tempo and

2008
01:33:15,669 --> 01:33:14,239
the the seeming to at least the audience

2009
01:33:19,030 --> 01:33:15,679
online a little more

2010
01:33:22,390 --> 01:33:19,040
random in avant-garde pieces or choices

2011
01:33:23,990 --> 01:33:22,400
that have been made

2012
01:33:25,990 --> 01:33:24,000
who wants to who from the quartet wants

2013
01:33:28,310 --> 01:33:26,000
to handle the first part of that

2014
01:33:29,910 --> 01:33:28,320
sorry for the giant question of doom

2015
01:33:31,990 --> 01:33:29,920
yeah that's a great question

2016
01:33:34,149 --> 01:33:32,000
um i think what we've found the four of

2017
01:33:36,470 --> 01:33:34,159
us is that

2018
01:33:38,310 --> 01:33:36,480
when we have less specific music in

2019
01:33:40,470 --> 01:33:38,320
front of us

2020
01:33:41,910 --> 01:33:40,480
the most useful thing for us to know and

2021
01:33:42,229 --> 01:33:41,920
the most exciting thing for us to know

2022
01:33:44,790 --> 01:33:42,239
is

2023
01:33:45,669 --> 01:33:44,800
what the composer wants us to be evoking

2024
01:33:48,830 --> 01:33:45,679
and there's of course

2025
01:33:50,229 --> 01:33:48,840
a number of ways that that can be um

2026
01:33:52,629 --> 01:33:50,239
communicated

2027
01:33:53,350 --> 01:33:52,639
um often just like plain english works

2028
01:33:54,950 --> 01:33:53,360
the best

2029
01:33:56,629 --> 01:33:54,960
like it's great to know if we see kind

2030
01:33:59,510 --> 01:33:56,639
of like some

2031
01:34:01,110 --> 01:33:59,520
some visual information to know that the

2032
01:34:04,149 --> 01:34:01,120
composer wants us to be

2033
01:34:07,270 --> 01:34:04,159
evoking something ethereal and

2034
01:34:10,390 --> 01:34:07,280
gauzy or something tense and nervous

2035
01:34:12,070 --> 01:34:10,400
or um or a particular nebula that's

2036
01:34:14,470 --> 01:34:12,080
being born or

2037
01:34:16,149 --> 01:34:14,480
um just kind of knowing what the goal is

2038
01:34:17,510 --> 01:34:16,159
we know our instruments really well and

2039
01:34:18,390 --> 01:34:17,520
we're still learning more about them

2040
01:34:19,990 --> 01:34:18,400
every day

2041
01:34:21,030 --> 01:34:20,000
kind of as amy and erin are talking

2042
01:34:22,149 --> 01:34:21,040
about in collaboration with the

2043
01:34:24,229 --> 01:34:22,159
composers we work with

2044
01:34:25,990 --> 01:34:24,239
um who have ideas that we would never

2045
01:34:26,950 --> 01:34:26,000
have because they're like maybe

2046
01:34:28,550 --> 01:34:26,960
a little bit removed from the

2047
01:34:29,510 --> 01:34:28,560
instruments and kind of can open their

2048
01:34:32,550 --> 01:34:29,520
minds more

2049
01:34:36,550 --> 01:34:32,560
um but

2050
01:34:38,470 --> 01:34:36,560
we we love to be able to um

2051
01:34:40,709 --> 01:34:38,480
kind of be pushed to to really make the

2052
01:34:43,830 --> 01:34:40,719
most of our instruments and create

2053
01:34:47,510 --> 01:34:43,840
sounds that will evoke the

2054
01:34:50,629 --> 01:34:47,520
emotion or seeming question and

2055
01:34:52,229 --> 01:34:50,639
i think typically that isn't necessarily

2056
01:34:53,510 --> 01:34:52,239
achieved the best by just like giving us

2057
01:34:56,950 --> 01:34:53,520
a key or that kind of

2058
01:34:58,550 --> 01:34:56,960
framework um i think really what a lot

2059
01:35:00,870 --> 01:34:58,560
of these composers have done with this

2060
01:35:05,109 --> 01:35:00,880
particular music is to kind of

2061
01:35:07,189 --> 01:35:05,119
go away from tonality a little bit um

2062
01:35:09,750 --> 01:35:07,199
like i think probably the the piece by

2063
01:35:11,830 --> 01:35:09,760
gouay had the most audible key center

2064
01:35:12,790 --> 01:35:11,840
but some crazy stuff happened to that

2065
01:35:15,430 --> 01:35:12,800
key

2066
01:35:17,350 --> 01:35:15,440
as you heard um so yeah that's a great

2067
01:35:19,350 --> 01:35:17,360
question i'll let one of the composers

2068
01:35:20,870 --> 01:35:19,360
maybe talk about the rest of it all

2069
01:35:21,910 --> 01:35:20,880
right yeah so which composer would like

2070
01:35:24,310 --> 01:35:21,920
to talk about how you're

2071
01:35:25,030 --> 01:35:24,320
challenging yeah i can take that

2072
01:35:26,950 --> 01:35:25,040
question

2073
01:35:28,390 --> 01:35:26,960
for instance because i i really like the

2074
01:35:29,750 --> 01:35:28,400
question and because i really like the

2075
01:35:33,109 --> 01:35:29,760
subject matter

2076
01:35:36,470 --> 01:35:33,119
um here i'll tackle a bit of it too

2077
01:35:37,830 --> 01:35:36,480
yeah yeah um so yeah i guess for me the

2078
01:35:39,430 --> 01:35:37,840
question

2079
01:35:41,510 --> 01:35:39,440
had to do with like why what were we

2080
01:35:43,270 --> 01:35:41,520
trying to do when i just composes why

2081
01:35:44,550 --> 01:35:43,280
were we playing around with sounds

2082
01:35:46,229 --> 01:35:44,560
that could be stopped perceived as like

2083
01:35:47,910 --> 01:35:46,239
barely even music right just like super

2084
01:35:49,030 --> 01:35:47,920
vicious very nasty sounds and all that

2085
01:35:52,470 --> 01:35:49,040
combined with

2086
01:35:54,390 --> 01:35:52,480
um well yeah so i think for myself um

2087
01:35:55,830 --> 01:35:54,400
when i think about stars at least i i

2088
01:35:57,830 --> 01:35:55,840
tend to think of like this very

2089
01:35:58,550 --> 01:35:57,840
grandiose romantic kind of image of like

2090
01:36:00,470 --> 01:35:58,560
you know

2091
01:36:01,669 --> 01:36:00,480
celestial almost religious kind of

2092
01:36:03,270 --> 01:36:01,679
quality to them

2093
01:36:04,629 --> 01:36:03,280
um but at the same time like from a

2094
01:36:05,990 --> 01:36:04,639
scientific standpoint like stars are

2095
01:36:06,790 --> 01:36:06,000
like really horrifying and you wouldn't

2096
01:36:09,510 --> 01:36:06,800
actually want to be

2097
01:36:10,310 --> 01:36:09,520
near one or like even at any point like

2098
01:36:11,990 --> 01:36:10,320
remotely

2099
01:36:13,510 --> 01:36:12,000
close to one and like right because it's

2100
01:36:14,790 --> 01:36:13,520
just it's just like super super violent

2101
01:36:16,709 --> 01:36:14,800
in that and like they

2102
01:36:17,990 --> 01:36:16,719
you know i forget how hot they get they

2103
01:36:20,149 --> 01:36:18,000
get very hot

2104
01:36:21,030 --> 01:36:20,159
and so that whole idea of like really

2105
01:36:22,950 --> 01:36:21,040
nasty and

2106
01:36:24,390 --> 01:36:22,960
um just or just dark and violent

2107
01:36:26,629 --> 01:36:24,400
behavior of stars

2108
01:36:27,990 --> 01:36:26,639
um for myself was like explosions

2109
01:36:29,990 --> 01:36:28,000
explosions certain things

2110
01:36:31,590 --> 01:36:30,000
explosions exactly it was basically what

2111
01:36:32,870 --> 01:36:31,600
i was trying to do at least in my

2112
01:36:35,030 --> 01:36:32,880
particular piece you know

2113
01:36:36,390 --> 01:36:35,040
sort of going between this really

2114
01:36:38,390 --> 01:36:36,400
religious really beautiful sort of

2115
01:36:40,550 --> 01:36:38,400
portion of stars and this very

2116
01:36:42,149 --> 01:36:40,560
i think like zoomed in kind of up close

2117
01:36:45,350 --> 01:36:42,159
and personal fortune of stars

2118
01:36:45,669 --> 01:36:45,360
that are this very sort of um i don't

2119
01:36:48,229 --> 01:36:45,679
know

2120
01:36:49,590 --> 01:36:48,239
violent kind of uh yeah in this violent

2121
01:36:51,109 --> 01:36:49,600
kind of fashion right

2122
01:36:53,669 --> 01:36:51,119
now yeah i'll let zach take over from

2123
01:36:56,390 --> 01:36:53,679
here

2124
01:36:57,750 --> 01:36:56,400
no i absolutely second all of that um

2125
01:37:00,149 --> 01:36:57,760
i'll just add just a

2126
01:37:01,910 --> 01:37:00,159
touch in terms of sort of the alien

2127
01:37:03,750 --> 01:37:01,920
torque or indeterminate notation we were

2128
01:37:06,470 --> 01:37:03,760
using i know bobby and i used a lot of

2129
01:37:07,109 --> 01:37:06,480
boxes and stuff like that and personally

2130
01:37:08,870 --> 01:37:07,119
i found

2131
01:37:10,709 --> 01:37:08,880
especially when working with such

2132
01:37:13,510 --> 01:37:10,719
amazing musicians as we had the

2133
01:37:15,270 --> 01:37:13,520
privilege to work with that um giving a

2134
01:37:16,790 --> 01:37:15,280
dose of freedom to the performers

2135
01:37:18,790 --> 01:37:16,800
actually creates

2136
01:37:20,870 --> 01:37:18,800
a lot of confidence because you don't

2137
01:37:21,990 --> 01:37:20,880
have to be so insanely specific about

2138
01:37:24,070 --> 01:37:22,000
everything like oh this note has to

2139
01:37:25,430 --> 01:37:24,080
happen exactly here because honestly

2140
01:37:27,030 --> 01:37:25,440
if you're going for a specific effect

2141
01:37:27,830 --> 01:37:27,040
like you're going for this kind of you

2142
01:37:29,910 --> 01:37:27,840
know

2143
01:37:31,109 --> 01:37:29,920
nebulous maybe perhaps slightly

2144
01:37:33,430 --> 01:37:31,119
frightening sound

2145
01:37:35,189 --> 01:37:33,440
here and there um everything doesn't

2146
01:37:37,350 --> 01:37:35,199
have to be notated to a t

2147
01:37:38,790 --> 01:37:37,360
and it's almost better to hand it over

2148
01:37:40,550 --> 01:37:38,800
to such

2149
01:37:42,629 --> 01:37:40,560
absolutely brilliant musicians and let

2150
01:37:43,990 --> 01:37:42,639
them take it from there

2151
01:37:45,590 --> 01:37:44,000
the other thing about all this box

2152
01:37:46,550 --> 01:37:45,600
notation and whatnot is it could seem

2153
01:37:48,310 --> 01:37:46,560
like this sort of

2154
01:37:49,990 --> 01:37:48,320
esoteric thing that you know happens in

2155
01:37:52,229 --> 01:37:50,000
the new music academy or whatever

2156
01:37:53,750 --> 01:37:52,239
but it's also applicable across a wide

2157
01:37:55,510 --> 01:37:53,760
spectrum of things i've looked at

2158
01:37:57,430 --> 01:37:55,520
lots of film scores that employ this

2159
01:37:59,590 --> 01:37:57,440
kind of these devices actually

2160
01:38:01,030 --> 01:37:59,600
all over the place so it's fun to think

2161
01:38:03,750 --> 01:38:01,040
about that in sort of its

2162
01:38:05,270 --> 01:38:03,760
broader implications overall that was

2163
01:38:05,750 --> 01:38:05,280
one of the words that came up in the

2164
01:38:07,510 --> 01:38:05,760
chat

2165
01:38:10,470 --> 01:38:07,520
as we were talking back and forth is

2166
01:38:12,149 --> 01:38:10,480
atmosphere this is intended to create an

2167
01:38:13,669 --> 01:38:12,159
effect it's intended to bring you a

2168
01:38:15,189 --> 01:38:13,679
place or at least that's the sense that

2169
01:38:15,990 --> 01:38:15,199
i got from it and i wanted you guys to

2170
01:38:17,510 --> 01:38:16,000
be able to elaborate

2171
01:38:19,830 --> 01:38:17,520
a little more on the intent and the

2172
01:38:21,030 --> 01:38:19,840
emotion behind that's very much what i

2173
01:38:23,669 --> 01:38:21,040
went with on my piece

2174
01:38:25,109 --> 01:38:23,679
i'll turn it over to someone else

2175
01:38:27,350 --> 01:38:25,119
anybody else want to

2176
01:38:29,030 --> 01:38:27,360
make a comment on it i mean uh so yoona

2177
01:38:32,070 --> 01:38:29,040
you talked about the last breath

2178
01:38:33,590 --> 01:38:32,080
of uh the crab nebu uh the star that

2179
01:38:35,350 --> 01:38:33,600
became the crab nebula

2180
01:38:40,709 --> 01:38:35,360
i thought that was an incredibly poetic

2181
01:38:47,109 --> 01:38:44,310
oh thank you yeah i really liked um

2182
01:38:48,629 --> 01:38:47,119
that part so even though that is the

2183
01:38:51,270 --> 01:38:48,639
last part of the

2184
01:38:52,310 --> 01:38:51,280
of my piece i wrote it um at the

2185
01:38:54,950 --> 01:38:52,320
beginning

2186
01:38:55,830 --> 01:38:54,960
that was the first part that i wrote for

2187
01:38:59,109 --> 01:38:55,840
this piece

2188
01:39:01,830 --> 01:38:59,119
because i really like that concept

2189
01:39:03,109 --> 01:39:01,840
um when i was writing that i was

2190
01:39:06,629 --> 01:39:03,119
imagining

2191
01:39:06,870 --> 01:39:06,639
just a lone star that is in the universe

2192
01:39:10,229 --> 01:39:06,880
and

2193
01:39:13,990 --> 01:39:10,239
no one is around that around

2194
01:39:14,629 --> 01:39:14,000
it and it's like 6 000 light years away

2195
01:39:17,910 --> 01:39:14,639
from us

2196
01:39:18,470 --> 01:39:17,920
it's so far and it's so isolated and i

2197
01:39:20,470 --> 01:39:18,480
was just

2198
01:39:22,310 --> 01:39:20,480
imagining how the star would feel by

2199
01:39:25,270 --> 01:39:22,320
itself like

2200
01:39:26,070 --> 01:39:25,280
and then i read it so yeah i guess

2201
01:39:28,790 --> 01:39:26,080
that's

2202
01:39:32,390 --> 01:39:28,800
very atmospheric and we just need to

2203
01:39:37,350 --> 01:39:34,790
all right i think we could go for one

2204
01:39:39,910 --> 01:39:37,360
more question if we've got it uh grant

2205
01:39:40,709 --> 01:39:39,920
do we have one more or we can finish up

2206
01:39:43,030 --> 01:39:40,719
here

2207
01:39:44,229 --> 01:39:43,040
uh i combined my questions into that

2208
01:39:47,990 --> 01:39:44,239
giant doom

2209
01:39:50,470 --> 01:39:48,000
ah okay great all right uh any

2210
01:39:51,030 --> 01:39:50,480
of the composers or the performers have

2211
01:39:53,910 --> 01:39:51,040
anything

2212
01:39:54,390 --> 01:39:53,920
any last comments they want to say um

2213
01:39:57,350 --> 01:39:54,400
it's

2214
01:39:57,910 --> 01:39:57,360
been an amazing performance here tonight

2215
01:40:00,709 --> 01:39:57,920
uh

2216
01:40:01,189 --> 01:40:00,719
usually we have in our chat people

2217
01:40:03,109 --> 01:40:01,199
saying

2218
01:40:05,270 --> 01:40:03,119
hello from australia hello from germany

2219
01:40:06,950 --> 01:40:05,280
hello from you know california texas

2220
01:40:08,709 --> 01:40:06,960
tennessee whatever

2221
01:40:10,870 --> 01:40:08,719
what's i think is really cool tonight is

2222
01:40:11,350 --> 01:40:10,880
that our performers all of us are coming

2223
01:40:13,350 --> 01:40:11,360
from

2224
01:40:14,870 --> 01:40:13,360
different places yes i'm in baltimore

2225
01:40:18,390 --> 01:40:14,880
grants in baltimore

2226
01:40:20,310 --> 01:40:18,400
um but some of you are in new york right

2227
01:40:21,990 --> 01:40:20,320
uh some of you are somebody in

2228
01:40:25,270 --> 01:40:22,000
california if i remember

2229
01:40:26,950 --> 01:40:25,280
um and uh goo you're in singapore's in

2230
01:40:30,070 --> 01:40:26,960
singapore along with one other

2231
01:40:33,430 --> 01:40:30,080
so thank you for taking uh getting up

2232
01:40:36,709 --> 01:40:33,440
way early to come and join us for this

2233
01:40:39,669 --> 01:40:36,719
uh we have a really a multicultural and

2234
01:40:42,070 --> 01:40:39,679
around the world collaboration here

2235
01:40:43,590 --> 01:40:42,080
thank you all so very much for this i

2236
01:40:46,950 --> 01:40:43,600
have to say to my audience

2237
01:40:49,910 --> 01:40:46,960
that june 1st emily rickman

2238
01:40:51,270 --> 01:40:49,920
how to hunt for distant world we will be

2239
01:40:53,030 --> 01:40:51,280
back in a month

2240
01:40:54,550 --> 01:40:53,040
won't have this many speakers but we'll

2241
01:40:58,390 --> 01:40:54,560
still have a great talk for you