music and architecture
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2022 ◽  
Author(s):  
Axel Müller ◽  
Christopher Halls ◽  
Ben Williamson

Women with fish tails are among the oldest and still most popular of mythological creatures, possessing a powerful allure and compelling ambiguity. They dwell right in the uncanniest valley of the sea: so similar to humans, yet profoundly other. Mermaids: Art, Symbolism and Mythology presents a comprehensive, interdisciplinary and beautifully illustrated study of mermaids and their influence on Western culture. The roots of mermaid mythology and its metamorphosis through the centuries are discussed with examples from visual art, literature, music and architecture—from 600 BCE right up to the present day. Our story starts in Mesopotamia, source of the earliest preserved illustrations of half-human, half-fish creatures. The myths and legends of the Mesopotamians were incorporated and adopted by ancient Greek, Etruscan and Roman cultures. Then, during the early medieval period, ancient mythological creatures such as mermaids were confused, transformed and reinterpreted by Christian tradition to begin a new strand in mermaid lore. Along the way, all manner of stunning—and sometimes bizarre or unsettling—depictions of mermaids emerged. Written in an accessible and entertaining style, this book challenges conventional views of mermaid mythology, discusses mermaids in the light of evolutionary theory and aims to inspire future studies of these most curious of imaginary creatures.


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.


2021 ◽  
Author(s):  
C Diaz Brito ◽  
B F Burgess ◽  
D Prasad

2021 ◽  
Vol 27 (3) ◽  
Author(s):  
Benjamin R. Levy

The architect Bruce Goff (1904–82) is often associated with Frank Lloyd Wright and Organic Architecture, but his concept of organicism was equally influenced by his interest in modern music, and in particular the work of Claude Debussy. Goff maintained correspondence with musicians throughout his life—including with composers Edgard Varèse and Harry Partch—and in the 1920s and 1930s, he actively composed works for piano and player piano. In Tulsa and then Chicago, Goff developed connections to other writers, artists, and musicians (notably Richard San Jule and Ernest Brooks) who cultivated modernist sensibilities across the arts. Following close consideration of his papers at the Ryerson and Burnham Libraries at the Art Institute of Chicago, I examine Goff’s approaches to music and architecture as expressed not only through his correspondence, pedagogical writings, and architectural designs, but also through the analysis of some of his musical compositions. I also discuss a piece by Burrill Phillips that was inspired by the house Goff designed for John Garvey, violist of the Walden Quartet. By investigating the manifold contexts of these artworks as revealed by archival research, we can shed light on the divergent use of the term “organicism” as it is applied across the arts.


Leonardo ◽  
2021 ◽  
pp. 446-447
Author(s):  
Jocelyn Wolfe ◽  
Vanessa Tomlinson ◽  
Karin Schaupp

Abstract This article introduces The Immersive Guitar (TIG) Project, a proposed sonic performance installation that doubles as an intimate acoustic venue. The TIG Project responds to several needs, highlighting relations between place and performance, music and architecture. The needs concern a rarity of suitable, intimate spaces for acoustic performance and an appeal for more creative solutions in the provision of such spaces, which would afford novel ways of accessing performing arts experiences. This article introduces the proposition and provides project background and rationale.


Author(s):  
N.A. Novinskaya ◽  
◽  
A.I. Kuzyakina

The article explores the basic principles of the structural organisation in music and architecture. We analyze development and transformation of these principles through the various stages of human culture from ancient times to the present. We explore understanding of harmony and aesthetics in different cultures. We review the basic rules of harmony taking the art of ancient Greece and Rome as an example. We review the history of the Golden Ratio and its realisation in practice. The central section gives the calculation of the Golden Ratio in the J. S. Bach`s Chromatic Fantasia in D minor. Finally, we describe the formation and development of the fractal aesthetics and give the examples of fractal art in architecture and music.


2021 ◽  
pp. 213-229
Author(s):  
Alberto Pérez-Gómez

Explores the role of mood and meaning in architectural experience via the German no-tion of stimmung, relating to the central questions of temperance and harmony in music and architecture. Motor resonance and attunement are under-acknowledged ways that architecture shapes experience. Pedagogical skills that acknowledge the complexity of an embodied and situated consciousness, emphasising qualitative, experiential and em-bodied approaches.


2020 ◽  
Vol 8 (2) ◽  
pp. 6
Author(s):  
Dr. Sumit Kumari Dahiya ◽  
Ms. Harshita Chikkara

Yoga leads to right knowledge and right knowledge makes right action possible. The struggle and the victory are the hard core of poetry “Savitri”. The legend Savitri’s birth and childhood are far from conventional. Her girldhood is a wonder. She is a king’s daughter. But she masters sculpture and painting, music and architecture, dance and poetry and many other arts and crafts. She is divine and outspaces her friends. She is a divine beauty and nobody dares to claim her. She is free to choose her husband. Savitri leaves her parent’s home, her palace. She visits many places and many woods. She is attracted towards Satyawan. He tells that he is a son of king, but a king no more. Savitri becomes sure in her decision to marry Satyawan but before this, she wants to return to her parents to tell them about her choice. Inspite of being intimations of future, she is committed to her chosen path.


2020 ◽  
Vol 0 (21) ◽  
pp. 0-0
Author(s):  
Gizem ÖZKAN ÜSTÜN ◽  
Pınar DİNÇ KALAYCI

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.


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