MUSIC AND ARCHITECTURE THROUGH THE AGES

2021 ◽  
Author(s):  
C Diaz Brito ◽  
B F Burgess ◽  
D Prasad
Keyword(s):  
Music And Architecture

Music and Architecture: Bonds, Interrelations, Transductions

2007 ◽  
Vol 5 (3) ◽  
pp. 551-569
Author(s):  
Miriam Bessone ◽  
Ricardo Pérez Miró
Keyword(s):  
Digital Technology ◽  
Knowledge Integration ◽  
Ad Hoc ◽  
Digital Technologies ◽  
Software Tools ◽  
Creative Processes ◽  
Visual Form ◽  
Music And Architecture

Digital technology and knowledge integration between musicians and architects enable us to explore and redefine links between music and architecture. This paper describes the experience and results of the creative processes undertaken by music and architecture students and academics to achieve a hyper-medial composition. The processes embrace the simultaneous construction from music to visual form and vice-versa. This exploration is originated from electro-acoustic music works, written ad-hoc, and based on specific assignments especially designed and framed within two types of situations and links with digital technologies: independent actions and interrelated actions. The intention of this work is to obtain constants and/or variables capable of allowing a certain type of graphic conventionalization that will make possible the mathematic representation previously necessary to create specific software tools.

‘TRANS-’ APPROACH TO ARCHITECTURE AND MUSIC INTERACTION: THE RELATIONSHIP BETWEEN MARCOS NOVAK’S LIQUID ARCHITECTURE AND MUSIC

2020 ◽  
Vol 0 (21) ◽  
pp. 0-0
Author(s):  
Gizem ÖZKAN ÜSTÜN ◽  
Pınar DİNÇ KALAYCI
Keyword(s):  
Case Studies ◽  
Historical Process ◽  
Music And Architecture ◽  
New Form ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship ◽  
Architecture And Music ◽  
Process Method ◽  
The Way

Aim: The aim of this research is to identify the Novak’s relationship of ‘liquid architecture and music’ as an approach that diverges from the architecture music relationships that have been built throughout the historical process. Method: In describing the approach, initially, the intellectual and critical foundations and features of liquid architecture were emphasized, and subsequently, its relationship with music was discussed through case studies in comparison to the current relationship between architecture and music. Results: When the current relationships of the architecture and music are evaluated, the attitude apart from the arising sensations and affections doesn’t exist within the relationship of liquid architecture and music. Liquid architecture, which has characteristics such as continuity, timelessness, plurality, poetry and obscurity, acquires the characteristics of the individual varying based on his/her body, senses, perceptions, and emotions as the way of producing architecture. It is claimed that the liquidity approach will influence music and architecture in different ways than is known, and that music will transform into a new form of architecture, while architecture becoming a new form of music. In this context, it extends ‘beyond (trans-)’ the limits of current approaches. Conclusion: The sixth category of methodical approaches in architecture music interaction can be defined as the relationship of liquid architecture and music. The way it relates to music and the way it produces architecture also suggests a direction of development to concrete architecture and virtually warns about renewing its theory and tools.

Brain, Beauty, and Art

2021 ◽  
Keyword(s):  
Empirical Work ◽  
Creative Arts ◽  
Dance Music ◽  
Short History ◽  
Future Directions ◽  
Current State ◽  
History Of ◽  
Music And Architecture ◽  
Volume Targets ◽  
Near Future

Neuroscience joins the long history of discussions about aesthetics in psychology, philosophy, art history, and the creative arts. In this volume, leading scholars in this nascent field reflect on the promise of neuroaesthetics to enrich our understanding of this universal yet diverse facet of human experience. The volume will inform and stimulate anyone with an abiding interest in why it is that, across time and culture, we respond to beauty, engage with art, and are affected by music and architecture. The volume consists of essays from foundational researchers whose empirical work launched the field. Each essay is anchored to an original, peer-reviewed paper from the short history of this new and burgeoning subdiscipline of cognitive neuroscience. Authors of each essay were asked three questions: (1) What motivated the original paper? (2) What were the main findings or theoretical claims made?, and (3) How do those findings or claims fit with the current state and anticipated near future of neuroaesthetics? Together, these essays establish the territory and current boundaries of neuroaesthetics and identify its most promising future directions. Topics include models of neuroaesthetics and discussions of beauty, art, dance, music, literature, and architecture. The volume targets the general public; it also serves as an important resource for scientists, humanitarians, educators, and newcomers to the field, and it will catalyze interdisciplinary conversations critical to the maturation of this young field.

THE SOUND OF ARCHITECTURE

Tempo ◽  
2007 ◽  
Vol 61 (242) ◽  
pp. 11-19 ◽  
Author(s):  
John Wheatley
Keyword(s):  
Cultural History ◽  
Three Dimensional ◽  
Art Form ◽  
Music And Architecture ◽  
General Response

There is a widespread perception that music and architecture are profoundly dissimilar, far removed from each other in the creative spectrum. While music is regarded as ephemeral, transient, involving vibration, pitch and time – you hear it, you feel it, its beauty is assigned to your memory – the general response to architecture is fundamentally different. Those homogeneous, concrete volumes and solid, three-dimensional forms are thought to occupy a permanent, static and unyielding part of our environment, a constant reminder of its unique presence in time, unrelated to any other art-form. Architecture just does not float away into space like music – as some might fervently wish! But music and architecture cannot possibly exist independently in hermetically sealed compartments – they are inexorably bonded together by their very nature and by the cultural history that surrounds them.

Frozen Music: Music and Architecture in Vitruvius’ De Architectura

2014 ◽  
Vol 2 (1) ◽  
pp. 124-145 ◽  
Author(s):  
Daniel K.S. Walden
Keyword(s):  
Music Theory ◽  
Liberal Arts ◽  
Architectural Design ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Architectural Theory ◽  
Liberal Arts Education ◽  
Architectural Form ◽  
Music And Architecture ◽  
Architectural Orders

AbstractThis paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musical instruments (X.12) and water-organs [hydrauli] constructed to execute all the different varieties of tuning (X.8). Section 3 reflects on Vitruvius’ use of analogies with a musical instrument, thesambuca, to explain his understanding of cosmic harmony and architectural form, and his possible sources (VI.1). Finally, Section 4 discusses Vitruvius’ ideas about the importance of a liberal arts education that includes study of music theory. The best architects, Vitruvius explains, can discover in music the secrets to forms they both encounter in nature and create themselves.

“Sound Houses”

2016 ◽  
Author(s):  
Nicholas Till
Keyword(s):  
Twentieth Century ◽  
Intrinsic Property ◽  
Sound Art ◽  
Musical Practice ◽  
Aesthetic Autonomy ◽  
Modernist Architecture ◽  
Music And Architecture ◽  
Relationship Of ◽  
The Relationship

This chapter looks at the relationship of music and architecture, both historically and with regard to the “spatial” and “acoustic” turns in recent cultural thinking. The author suggests that during the twentieth century sound art offered a distinctive challenge to the formalizing tendencies of both modernist music and modernist architecture. Architecture is instead understood in its multi-sensory materiality, while the sonic is understood as an intrinsic property of architectural experience. Similarly, space is understood as an intrinsic property of music, while much recent musical practice is shown to have recognized the inextricable association of sound and space. Examining the work of sound artists alongside the spatially conceived music of composers, this chapter considers the spatial and acoustic turns of the later twentieth century as a means for thinking about the postmodern sonic as a field that challenges the old modernist aspiration of both music and architecture to aesthetic autonomy.

scholarly journals Art as behaviour – an ethological approach to visual and verbal art, music and architecture

2014 ◽  
Vol 71 (1-2) ◽  
pp. 3-13 ◽  
Author(s):  
Christa Sütterlin ◽  
Wulf Schiefenhövel ◽  
Christian Lehmann ◽  
Johanna Forster ◽  
Gerhard Apfelauer
Keyword(s):  
Art Music ◽  
Verbal Art ◽  
Music And Architecture
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