Rockin’ Some Serious Science

Looking back, my childhood was always linked to the word “rock.” From age 5 on, I had a rock collection. I was so passionate about rocks that my family bought me various rocks as birthday and Christmas gifts. I loved to visit the library to check-out books on rocks and minerals or about animals in the ocean. When I turned 10, my parents bought me one of my best birthday presents ever, a microscope. In college, I followed my passions and studied geophysics and marine biology.

As the daughter of a musician who toured with classic rock artists in the 70’s, I naturally gained a passion for “rock” music. I also learned how to be a true rock musician from behind the soundboard. Our evenings at home were always filled with music. Dad would get out his guitar and we would sing and dance around the house to “Wild Thing” and “Footloose.”

You can imagine my surprise and joy when I discovered a whole new definition for the term “rock music.” Andy Michael, a seismologist and trombone player, discovered a way to turn seismic waves into music. As the earth (more technically, the tectonic plates), beneath us move, tremors known as earthquakes result. The tremors generate seismic waves. These waves on their own actually do not have any sound, even though we can hear the ground rumbling or items in a house shaking.

Michael realized that the squiggly line graphs made on a seismogram (instrument used to measure seismic waves) resembled the in-and-out motion of a speaker, which makes sound by vibrating. He then turned these recorded sounds into analogies for instruction, the basis for research, and into music for his “Earthquake Quartet.” It’s called songification, turning data into sound and then using that sound to create music.

Using a trumpet, Michael teaches that tremors trapped in a fault line are similar to the compressing and decompressing sound waves trapped within this brass instrument. Although sound waves are more complex than seismic waves, the analogy works well. To illustrate the theories scientists have about how faults stick and slip, he uses a cello to demonstrate the action of the bow sticking and slipping on the strings to make music.

Scientists can study the pitch generated through songification to determine if a tremor is from a small fault line or near the surface (high pitch) or a deep-wide fault line (low pitch).

The music resulting from the songification process creates wonderful percussion, which Mr. Michael uses in his composition, “Earthquake Quartet #1 for Voice, Trombone, Cello, and Seismograms.” The piece begins with the glissando (sliding pitch) sounds of a trombone and cello recorded from a 1992 earthquake. The other musicians interrupt with a jazzy movement underscored by percussive earthquake sounds. Later in the piece the glissando sound returns, suddenly ending with the bang of a large quake.

“Rock Music” now has a new definition! A new generation of scientists are embracing the amazing learning powers of music to unlock the secrets of the world we live in. Now we know that rock music has earthy roots that hippies and intellectuals alike can appreciate!

Note: For more information about Andrew Michael, and to hear a recording of “Earthquake Quartet,” visit here.

- posted by Miss Jesikah, who knows that music does indeed, in a round-about way, shake, rattle and roll!