Music can provoke a thought, enhance a mood or instigate an emotion — whatever the case, all mindsets inspire creative works.
In paintings, music can guide the strokes of the brush, and in films, scores complement narratives. Without Bernard Herman’s musical compositions, Hitchcock’s “Psycho” would fail to frighten its viewers. It’s nearly impossible to think the original film idea did not include a score. Music can make or break an art form.
From Hitchcock thrillers to visual works, music permeates several art mediums. Perhaps that is why the Utah Museum of Fine Arts (UMFA) continues to put on its monthly Chamber Music Series, which demonstrates the convergence of the U School of Music and the museum.
The event works to redefine the stereotypical museum experience by using music to highlight the talents of painters, sculptors and other art aficionados. Instead of stepping from illustration to illustration, attendees are offered a variety of viewing styles.
“We encourage visitors or audience members to listen to the music while … sitting comfortably, as they might wish,” said Kerry O’Grady, UMFA director of education and engagement. “[We also encourage viewers] to undertake this really unique opportunity of examining works of art with a completely different context, because the music can really influence the way that you see something.”
At 7 p.m. On Wednesday, for the series’ September performance, the Rosco String Quartet — composed of four graduate students — will complement the contemporary prints of “Under Pressure,” UMFA’s current exhibit. By pairing a repertoire of modern compilations with current artwork, UMFA hopes viewers will find parallels between the separate genres.
When attending a Chamber Music Series rehearsal, O’Grady redefined her opinion of Roy Lichtenstein’s “Bull Profile Series” — a collection of images depicting a bull break from a realistic representation into geometric shapes.
“There was one [musical] piece where it was a deconstruction of the same variation throughout the process,” O’Grady said. “The deconstruction of the image of a bull into nonobjective abstraction really parallels the even steps [in the music]. It visually represented what I was experiencing.”
At previous concerts, O’Grady noticed static pieces, when paired with music, came to life. The sounds of the School of Music jumped O’Grady into the scenery of Pieter Mulier the Elder’s “Seascape.” When gazing upon the painting, O’Grady saw raindrops, felt the storm’s wind and swayed to the waves. Like movie fans, she placed herself in the artwork’s scene.
In retrospect, “Under Pressure” galleries have reworked the meaning of music and how it is showcased. Wednesday’s show introduces a new concert format. For certain songs, the quartet will stand next to one another. For other compilations, the four musicians will work in separate galleries yet play in synchronization. Artists of the Rosco String quartet have found the task challenging.
When near each other, they predict how to play by reading facial expressions and movements. Though difficult, they have learned to trust in each other’s talents.
The setting will also highlight individual skills. Often, bigger instruments overpower the sounds of the viola and violin. By isolating instruments, the ensemble hopes to highlight the importance of the violin and viola.
From redefining music and concert techniques to gaining a respect for visual creation, the group has developed an immense appreciation for all artistic genres.
“I always try to have an image when playing music,” said Lauren Posey, Rosco String Quartet cellist. “The gallery has helped me practice pairing works/images with not only music we’ve played in the museum, but also other [musical] pieces. Art is very similar to music, in that music is just another medium to express story and emotion.”