Translatory symmetry as a constructive basis of the “cyclic principle” in music and architecture in interpretation of Vincent D’indy

2021 ◽  
Vol 32 (2) ◽  
pp. 257-260
Author(s):  
Elena Rovenko
Keyword(s):  
Music And Architecture ◽  
Vincent D'indy

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.

scholarly journals Iphigénie à Paris: Positioning Gluck Historically in Early Twentieth-Century France

2012 ◽  
Vol 27 (1) ◽  
pp. 3-15
Author(s):  
William Gibbons
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music History ◽  
Critical Reception ◽  
Unusual Event ◽  
Early Twentieth Century ◽  
Vincent D'indy

In December 1907, Gluck's opera Iphigénie en Aulide was produced in Paris at the Opéra-Comique, the last of his major operas to be revived in France. The ensuing critical reception pitted Vincent d'Indy, who harshly criticized the production, against its director, Albert Carré; d'Indy further responded by conducting the overture to Iphigénie only a few weeks later as a musical corrective to the performance at the Opéra-Comique. This unusual event highlights the historiographie problem Gluck presented to early twentieth-century critics in France: did his music look backwards to the tragédies lyriques of Lully and Rameau, or did it prefigure the Wagnerian music-dramas of the nineteenth century? The 1907 Opéra-Comique production of Iphigénie and its aftermath encapsulate the struggle to incorporate Gluck into newly developing and often competing narratives of music history.

‘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.

Vincent d'Indy and the Minor Mode. II

1920 ◽  
Vol 61 (934) ◽  
pp. 805
Author(s):  
Richard Capell
Keyword(s):  
Mode Ii ◽  
Minor Mode ◽  
Vincent D'indy

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.

Some Reflections on Gloriana

Tempo ◽  
1953 ◽  
pp. 16-21 ◽  
Author(s):  
John W. Klein
Keyword(s):  
Common Sense ◽  
Artistic Integrity ◽  
History Of ◽  
La Traviata ◽  
Vincent D'indy

Occasionally, in the history of operatic art, great works, with no pronounced revolutionary tendencies, yet models of simplicity, of sincerity, of artistic integrity, have been subjected to the most savage criticism, as unintelligent as it was undiscerning. We remain astounded at the lack of insight, of common-sense on the part of cultured critics. Even la Traviata was held up for censure as “prurient, foul and hideous”; whereas, in the whole of Verdi's work, there is nothing more poignant and sublime than Violetta's appeal: “Dite alia giovane.” Carmen was stigmatized as “grossly vulgar and vile,” whilst Vincent d'Indy—amazed at the aberrations of men—sadly remarked that the “music seemed crazy to nearly everybody.”

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