Doors and Chords: Explorations from Music to Architecture

<p>Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.</p>

Doors and Chords: Explorations from Music to Architecture

<p>Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.</p>

PRINCIPLES OF STRUCTURAL ORGANIZATION AND COMPOSITION IN MUSIC AND ARCHITECTURAL ENVIRONMENT

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.

Art and Industry in Abbasid Governance Era

Abbasid governance era has a special place in history and is considered a huge civilization area of economy, agriculture, industry, and art with its achievements. The aim of this article is to present the Abbasid civilization industry and art. From the art aspect, beautiful artwork, painting, architecture, and music were under severe considerations and stated how music and art were considered and valued by Abbasid caliphs in their artistic meetings. But in as a look toward the industry of the era, papermaking, glass work, carpet weaving, and others introduced as their industry. The result of this article stated some parts of Abbasid governance era art and industry besides their helpful civilization practices in which would be a helpful task for art and industry history fans.

Spatiality as creativity in the music of Kaija Saariaho: A reflection with a focus on 'Lichtbogen'

In this article Saariaho's music - with a focus on Lichtbogenis explored from the perspective of spatiality. First, Saariaho's connection with Finland is discussed and in particular how Finnish space and time have influenced her music.Together with space, there is the relation between time and light. In fact, the creative process by Saariaho is strongly influenced by visual experiences. The title of Lichtbogen refers to the Nordic lights, and therefore it is an interesting example. In her article on similarities between architecture and music, Saariaho defines with great clarity her music: "Capturing time and giving it form." In this phrase she connects the aspect of time and space with musical form. Understanding how Saariaho'sconception of musical form brings the concept of a multidimensional network to the discussion. Saariaho developed this concept for Verblendungen, and the same principle has been used for an analysis of Lichtbogen. This analysis is not a score analysis, instead, it is based on the listening experience of several recordings. As Saariaho is concerned with the perception of her music, a listening-based graphic analysis is proposed based on listening. It captures an illuminating perspective on the form of Lichtbogen. Given the importance of timbre in Saariaho's music, and the way how timbre and form are connected, the question of her relation with spectral music is unavoidable. Saariaho lived in Paris during the '80s, when early spectralism made important developments. And her music is indeed deeply influenced by the spectral approach in many ways. However, there are differences, especially regarding her attitude towards musical form. Finally the discussion about space is taken to the perspective of electronics and how they contribute to the expression of space. In Lichtbogen, the amplification is used to make those sounds on the threshold of audibility audible, and the reverb is used to create virtual spaces. The concept of space is integrated in the composition itself. In conclusion, the concept of space is central to Saariaho's creativity. This connection is approached in this article from various perspectives.It illustrates how important the space is, in connection with time and light, in Saariaho'scompositional work.

Musical Preferences Correlate Architectural Tastes: An Initial Investigation of the Correlations Between the Preferred Attributes

Despite a large number of discussions on the analogical and technical interrelations between architecture and music, very few studies have looked at the interrelations between the appreciations of the attributes among them. This study investigates the correlations between the preferences of architectural and musical attributes to reflect how they generally interrelate with each other. The considered visual qualities related to architectural forms are symmetricity, complexity, rhythm, pattern, and stress; and the considered musical attributes are related to the main four categories of Genres, perceived psychological attributes, five factors of music, and 3-Factors (arousal, valence, and depth). To discover the correlations, at first, a survey was designed to gather individual appreciations of the attributes. The responses were then filtered to remove the invalid ones before Pearson’s correlation coefficient analysis unveils the relationships between every single considered attribute. In total, 5,184 correlations have been thoroughly explored, and a number of strong correlations were discovered and discussed in a classified manner; for instance, rap-followers showed higher satisfaction to asymmetrical building façade. This study also confirms some musical attributes are stronger reflectors of architectural taste, like rap, jazz, sophisticated, poetic music. Lastly, this paper confirms the significant effects of demographic attributes on the discovered correlations.

The Orthodox Church and Religious Life in Imperial Russia

Russia in the eighteenth and nineteenth centuries was a multinational, multiconfessional empire, and the Orthodox Christian autocrats who ruled it could shape religious policy more forcefully than many of their European counterparts. Peter I’s Spiritual Regulation of 1721 and his replacement of the Patriarch with the Holy Synod, and Catherine II’s secularization of monasteries, are only the best-known examples. However, ecclesiastical structures (the liturgy, the legally required sacraments of confession and communion, legislation, monasteries, theological academies, Consistories, the Holy Synod) and individual actors apart from the sovereign (bishops, spiritual elders and eldresses, publishers and writers, priests, educated laypeople) provided a framework allowing both continuity and evolution in Russian Orthodox religious life. Church art, architecture, and music reflected religious trends, as did representations of religion in contemporary literature. For the non-Orthodox absorbed into the empire as a result of military conquests or diplomatic negotiations, these centuries marked a time of renegotiation with new state structures and policies and a new self-articulation, sometimes as a direct result of their contacts with Russian imperial authorities, and sometimes independently. Their collective interaction shaped Russian religious life.

THE INFLUENCE OF PANDEMIC ON CULTURAL CONSERVATION

The paper considers some types of innovations and correlation between traditions and innovations in the context of the uniform development of the cultural landscape, maintaining its balance on the example of art history facts: architecture and music. In so doing, the coronavirus pandemic phenomenon is compared with the 14th century plague pandemic and is seen as a sudden innovation that threatens the security of the cultural landscape. The author shows that this can provoke sudden changes in culture and attitudes.