by Ashutosh Jogalekar

As someone who has been interested in both classical music and the history of physics for a long time, I have been intrigued by comparison of the styles between the two art forms. I use the term “art form” for physics styles deliberately since most of the best physics that has been done represents high art.
Just like with classical music, physics has been populated by architects and dreamers, careful workmen and inspired explorers, bursts of geniuses and sustained acts of creativity. It is worth spending some time discussing what the word “style” might even mean in a supposedly objective, quantitative field like physics where truth is divined through precise measurements and austere theories. The word style simply means a way of thinking, calculation and experiment, an idiosyncratic method that lends itself individually or collectively to figuring out the facts of nature. The fact is that there is no one style of doing physics, just like there is no one style of doing classical music. Physics has blossomed when it has benefited from an unpredictable diversity of styles; it has stagnated when a particular style hardened into the status quo. And just like classical music goes through periods of convention and experimentation, deaths and rebirths, so has physics.
If we take the three great eras of classical music – baroque, classical and romantic – and the leading composers pioneering these styles, it’s instructive to find parallels with the styles of some great physicists of yore. Johann Sebastian Bach who is my favorite classical musician was known for his precise, almost mathematical fugues, variations and concertos. Read more »




Considered the epitome of genius, Albert Einstein appears like a wellspring of intellect gushing forth fully formed from the ground, without precedents or process. There was little in his lineage to suggest genius; his parents Hermann and Pauline, while having a pronounced aptitude for mathematics and music, gave no inkling of the off-scale progeny they would bring forth. His career itself is now the stuff of legend. In 1905, while working on physics almost as a side-project while sustaining a day job as technical patent clerk, third class, at the patent office in Bern, he published five papers that revolutionized physics and can only be compared to Isaac Newton’s burst of high creativity as he sought refuge from the plague. Among these were papers heralding his famous equation, E=mc^2, along with ones describing special relativity, Brownian motion and the basis of the photoelectric effect that cemented the particle nature of light. In one of history’s ironic episodes, it was the photoelectric effect paper rather than the one on special relativity that Einstein himself called revolutionary and that won him the 1922 Nobel Prize in physics.

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In November 1918, a 17-year-student from Rome sat for the entrance examination of the Scuola Normale Superiore in Pisa, Italy’s most prestigious science institution. Students applying to the institute had to write an essay on a topic that the examiners picked. The topics were usually quite general, so the students had considerable leeway. Most students wrote about well-known subjects that they had already learnt about in high school. But this student was different. The title of the topic he had been given was “Characteristics of Sound”, and instead of stating basic facts about sound, he “set forth the partial differential equation of a vibrating rod and solved it using Fourier analysis, finding the eigenvalues and eigenfrequencies. The entire essay continued on this level which would have been creditable for a doctoral examination.” The man writing these words was the 17-year-old’s future student, friend and Nobel laureate, Emilio Segre. The student was Enrico Fermi. The examiner was so startled by the originality and sophistication of Fermi’s analysis that he broke precedent and invited the boy to meet him in his office, partly to make sure that the essay had not been plagiarized. After convincing himself that Enrico had done the work himself, the examiner congratulated him and predicted that he would become an important scientist.
For me, a highlight of an otherwise ill-spent youth was reading mathematician John Casti’s fantastic book “