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Makrinos, George Adam. "Drawing Music, Playing Architecture." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33890.
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Architecture and music share intrinsic meanings generated by a constant stream of metaphors which are forms of poetic transformations.
This thesis sought to challenge the present way an architect-musician makes drawings through the exploration of multimedia possibilities at hand. The drawings are composed using Macromedia Flash MX.
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To download flash player, click here:
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Download flash Player</a><br>Master of Architecture
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Sheppard, Marilyn. "The music of architecture." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/35914.
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Music, as a performing art, transports us to distant moments and spaces than those we are in the present time. A hundred musicians playing Brucknerâ s Scherzo on Symphony No. 7 could make us feel emotionally moved; it could make us feel joy, anger, anguish, delight, peace, fear, freedom. Music has the ability to change our mood, to make us go through a series of feelings. This, I believe, has to do with how it involves you in it.
Arthur Schopenhauer also says: â The effect of music on the mind, so penetrating, so immediate, so unfailing, and also the after-effect that sometimes follows it, consisting in a specially sublime frame of mind, are explained by the passive nature of hearing just describedâ 3. This penetrating component of music, so immediate, of which Schopenhauer speaks, is how the Sublime is experienced through it. Music could even elevate the soul of those who are most open to perceive it.
What is that â sublimeâ moment that happens when you are listening to a live orchestra and get moved by the experience? Are we capable of achieving that moment through the use of architectural elements alone? I believe the answer is yes.
There is more to the moment than just the music itself, and that a â sublimeâ moment can be experienced in many contexts. There are elements that are common to this experience, primarily the presence of the Four Classical Elements.
With this in mind, I came to the idea that by including Air, Fire, Earth and Water into my project, then I would be a step closer to having the users go through a sublime experience.<br>Master of Architecture
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Messaris, Anastasia Miranda. "Composition: Music as inpiration and generator of space." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/24368.
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The analogy between the two arts of music and architecture has been a central theoretical theme since the conception of either. Emerging from a background that is situated in both architectural and musical instruction, the correlation between the two has always provided a certain degree of fascination for me. Having understood the linear narrative running between the translation of music and architecture, I endeavoured to locate a more conceptual foothold from which to derive my arguments. The essays below outline my discovery and development of the topic, transforming a simple analogy into a conceptual way of reading context so as to create an architectural composition of space, just as a musician uses the tools of notes (sounds), rests (silences), instrument quality, beat (time) and sequence to create a musical composition. This thesis developed similarly to that of a musical composition: where themes are presented, then developed, then treated in new ways, and finally returned to, creating a final composition that moves through exposition (stability), development (heightened tension and conflict) and resolution.
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Scheirer, Eric David. "Music-listening systems." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/31091.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.<br>Includes bibliographical references (p. [235]-248).<br>When human listeners are confronted with musical sounds, they rapidly and automatically orient themselves in the music. Even musically untrained listeners have an exceptional ability to make rapid judgments about music from very short examples, such as determining the music's style, performer, beat, complexity, and emotional impact. However, there are presently no theories of music perception that can explain this behavior, and it has proven very difficult to build computer music-analysis tools with similar capabilities. This dissertation examines the psychoacoustic origins of the early stages of music listening in humans, using both experimental and computer-modeling approaches. The results of this research enable the construction of automatic machine-listening systems that can make human-like judgments about short musical stimuli. New models are presented that explain the perception of musical tempo, the perceived segmentation of sound scenes into multiple auditory images, and the extraction of musical features from complex musical sounds. These models are implemented as signal-processing and pattern-recognition computer programs, using the principle of understanding without separation. Two experiments with human listeners study the rapid assignment of high-level judgments to musical stimuli, and it is demonstrated that many of the experimental results can be explained with a multiple-regression model on the extracted musical features. From a theoretical standpoint, the thesis shows how theories of music perception can be grounded in a principled way upon psychoacoustic models in a computational-auditory-scene-analysis framework. Further, the perceptual theory presented is more relevant to everyday listeners and situations than are previous cognitive-structuralist approaches to music perception and cognition. From a practical standpoint, the various models form a set of computer signal-processing and pattern-recognition tools that can mimic human perceptual abilities on a variety of musical tasks such as tapping along with the beat, parsing music into sections, making semantic judgments about musical examples, and estimating the similarity of two pieces of music.<br>Eric D. Scheirer.<br>Ph.D.
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Rudnycky, Andrew. "Architecture and the exhibition of sound." PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Mevorah, Jack Elliot. "Music and architecture : from object to event /." Thesis, This resource online, 1998. http://scholar.lib.vt.edu/theses/available/etd-08252008-162706/.
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Baker, Thomas J. Baker Thomas J. Baker Thomas J. "Integritas : modern relationships between music and architecture /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11270.
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Mathews, Vinay A. "The Correlative Relationship Between Music and Architecture." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337289151.
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Ruttenberg, Alan. "Optical reading of typeset music." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/69715.
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Ciraulo, Christopher Samuel. "UEME : the underground electronic music experience." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31198.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.<br>Includes bibliographical references (p. 120-121).<br>The global electronic music scene has remained underground for its entire lifespan, momentarily materializing during an event, a place defined by the music performed and the people who desire the experience. As festivals around the globe begin to take shape, the identity of electronic music defines itself almost instantaneously with a strict desire to return to its roots and find a new place to redefine itself in the next moment. The next moment is envisioned in Chicago. The city becomes a stage, through its current reputation as an event place, and through a new idea for an electronic music event alive within the interstitial spaces of the downtown. The art of electronic music, specifically the DJ and the sampling of music old and new, becomes the underlying process by which spaces are "sampled" to create a movement of light, sound and crowd through the dense architecture of Chicago's loop.<br>Christopher Samuel Ciraulo.<br>M.Arch.
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Numrich, George. "Modern sound works--building new music." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/76406.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1987.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Bibliography: leaves 70-73.<br>by George Numrich III.<br>M.S.V.S.
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Mahlangu, Nkosinathi Ernest. "Urban Soundscape: Music centre in Langa." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/19085.
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This dissertation is borne out of an interest I have in music as an expression of culture and being, its influence on social spaces and its effectiveness as a tool that transcends across cultures. The dissertation explores the nexus of sound and space, body and space and their present experiential co-existence. It seeks to explore different possibilities that would bring about a sensory and cohesive spatial phenomenon that starts to cross genres of music and performance spaces, ultimately crossing and merging cultures. When one describes music, it is within broader cultural contexts. The project makes references to both music and culture, not as separate entities, but as a unified symbiotic relationship existing between the two together with their existence and interactivity with architecture. Music, being an art form whose medium is sound, and culture, being the totality of socially transmitted behaviour patterns, beliefs, institutions, and all other products of human work and thought. Music has formed an important part of our cultures throughout history and is still to this day, part of the centre of our societies. Studying the concept of sound and space, one begins to deduct the notion that; sound and space mutually reinforce one another in our perception, in that the qualities of a space affect how we perceive a sound and those of a sound affect how we perceive space. Thus, one can safely imagine sound and space to be inextricably linked in our experience of what it is to exist in the world. The structured order of the built environment has imposed upon us ways of thinking and doing which reinforce existing patterns of our social and cultural lives. The project explores and unmasks layers that make-up these patterns by looking at music as another form of cultural expression, in a spatially conscious sphere. Essentially the paper takes on an explorative journey in unpacking relationships inherent in sound and body, body and space, space and form, form and material, and the functioning of the system as a whole.
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Skevk, Therese. "Art and Music Profile School." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135474.
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VanderPoel, Peter F. "Polyrhythms and Architecture." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/32180.
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This paper is an investigation of polyrhythms and their practical application in architecture. It includes a musical definition of the term â polyrhythmsâ and application of these theories into a design for a multi-story, urban, residential structure to serve Georgetown Law School in Washington, DC with accessory retail and parking components.<br>Master of Architecture
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Brewster, Bryan Jack. "Architecture, music, and the rules of harmonic proportion." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/15829.
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De, la Riva Richard. "Architecture and music : on rhythm, harmony and order." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22393.
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This paper examines the relationship of architecture to music in terms of rhythm, harmony and order in both the Greek Antiquity and the early Middle Ages. These basic concepts are crucial because they emphasize 'fullness' of experience and demonstrate the extent to which our own regulating experience of the world has become empirical (or formal). The discussion thus places architectural theory within the movement of ideas between mythical thought and metaphysical construct; it places architectural practice within the movement between bodily experience and reasoning.
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Semb, Thor Arne Gald, and Audun Småge. "Software Architecture of the Algorithmic Music System ImproSculpt." Thesis, Norwegian University of Science and Technology, Department of Computer and Information Science, 2006. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-9328.
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<p>This document investigates how real-time algorithmic music composition software constrains and shapes software architecture. To accomplish this, we have employed a method known as Action Research on the software system ImproSculpt. ImproSculpt is real-time algorithmic music composition system for use in both live performances and studio contexts, created by Øyvind Brandtsegg. Our role was to improve the software architecture of ImproSculpt, while gathering data for our research goal. To get an overview of architecture and architectural tactics we could use to improve the structure of the system, a literature study was first conducted on this subject. A design phase followed, where the old architecture was analyzed, and a suggestion for a new system architecture was proposed. After the design phase was completed, we performed four iterations of the action resesarch cyclical process model, where we implemented our new architecture step by step, evaluating and learning from the process as we went along. This project is a follow up of our previous research project, Artistic Software [3], that investigated how algorithmic composition was influenced by software.</p>
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De, Kock Servaas Willem Lourens. "Music Performance Lab : architecture as a sensory conductor." Diss., Pretoria : [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11252008-155320.
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Auer, Michele (Michele Laura) 1973. "Tempus fugit : music and the ephemeral in architecture." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/63217.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.<br>Includes bibliographical references (p. 115).<br>I am interested in the relationship between solidity and transparency, between permanence and ephemerality, in the context of the modern city. This thesis is an exploration of transience and of social and phenomenal exchange, using music, and, more generally, sound, as a vehicle. The project is an alternative music school and performance center located in Harlem, in New York . The functions of the institution include a community music school for neighborhood youth, a cabaret, a conservatory for adult students of music, a radio station with recording studio, and a library/museum . There are a total of up to five performance venues, depending on the configuration of the facilities . The project aspires to changeability not merely to accommodate different performance scenarios but also to create a volume of space that is porous and alive, a landscape that is accessible to all urban bodies.<br>Michele Auer.<br>M.Arch.
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Schorer, Carolyn Jones. "An architecture of connection: a place for music." Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/53109.
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Malnarick, Aaron. "Blue road : what is a music museum." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/30078.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.<br>Some pages folded. Page 111 blank.<br>Includes bibliographical references (p. 103-[108]).<br>The Rock'n'Roll Hall of Fame in Cleveland, the Kansas City Jazz Museum, and the Experience Music Project in Seattle, illustrate the steady interest in memorializing music and its innovative creators. But these memorials, lavishly adorned with classic memorabilia and exuberant imagery, rely solely on formal and aesthetic qualities to honor the musical culture they are trying to describe. What if the "Museum" for music was actually a dynamic space that illustrated its medium through active performance and culture? Could traces in contemporary precedents be used to recite the history of a musical genre? Maybe music history can be better described through a series of strategically placed architectural interventions, rather than through the autonomous building typologies that are conventionally used? The purpose of this thesis is twofold. First, the proposal for developing a Blues Museum will establish a venue for delivering the Blues to a mass audience. Second, this investigation will challenge the notion of the music museum as a place for cultural inquiry. Rather than recreating the experience of the Blues primarily through cultural artifacts and memorabilia, this project utilizes contemporary "traces" to tell the story. The Blues transcended from a secluded rural environment to a dense urban one, and eventually to an international arena, without losing its original message. The design of this project celebrates this transformation through an experiential spectrum that one moves across through time - a series of performance modes across an evolving path.<br>by Aaron Malnarick.<br>M.Arch.
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Sarkar, Mihir Ph D. Massachusetts Institute of Technology. "World music technology : culturally sensitive strategies for automatic music prediction." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77812.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 103-112).<br>Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturation builds mental structures that form the cognitive basis for musical expectation. In this thesis I argue that in order for machines to perform musical tasks like humans do, in particular to predict music, they need to be subjected to a similar enculturation process by design. This work is grounded in an information theoretic framework that takes cultural context into account. I introduce a measure of musical entropy to analyze the predictability of musical events as a function of prior musical exposure. Then I discuss computational models for music representation that are informed by genre-specific containers for musical elements like notes. Finally I propose a software framework for automatic music prediction. The system extracts a lexicon of melodic, or timbral, and rhythmic primitives from audio, and generates a hierarchical grammar to represent the structure of a particular musical form. To improve prediction accuracy, context can be switched with cultural plug-ins that are designed for specific musical instruments and genres. In listening experiments involving music synthesis a culture-specific design fares significantly better than a culture-agnostic one. Hence my findings support the importance of computational enculturation for automatic music prediction. Furthermore I suggest that in order to sustain and cultivate the diversity of musical traditions around the world it is indispensable that we design culturally sensitive music technology.<br>by Mihir Sarkar.<br>Ph.D.
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Joyner, John Edward III. "The impact architectural on acoustical settings for sacred music in the Episcopal Parish Churches of Georgia." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/21662.
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Gibson, Michael Bryant 1967. "Reconstituting experience : a place for experimental electro-acoustic music." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/39776.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.<br>Includes bibliographical references (p. 78-79).<br>This thesis explores alternative ways in which architecture can be designed. Designing architecture is not about designing new forms, but is about designing new experiences. Current standardized methods of architectural design seem too abstract, that is, they find meaning within their own structures. The new modes of design engaged during this thesis are thought of as "exploratory". These exploratory tasks are manifested from an intention, but remain ambiguous in nature so that they always remain open to further discovery and interpretation. A notion of a building has manifested as residual evidence from these exploratory tasks, but every gesture or action is not merely intended for representation of a fully constructible architectural proposal. What is important is that every last gesture remains in the form of a question and not an answer. The work should always be thought of as temporary or as a "projection ". Architecture has become valued purely by its visual aesthetics. We have come to believe that it is sufficient to appreciate architecture as an image as opposed to actually being there. This has lead to typical design methods that subjugate the other senses, thus not requiring the body and experience to be involved with the act of making. This thesis looked at ways in which I could see beyond typology in order to suggest other possible spatial relationships, allowing myself to concentrate my imagination on the sensual qualities of built space and exploring material possibilities.<br>by Michael Bryant Gibson.<br>M.Arch.
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Wang, Qian (Qian Janice). "Music, mind, and mouth : exploring the interaction between music and flavor perception." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/91820.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 119-126).<br>This thesis presents a study of how hearing and taste can influence each other, how this interaction can be measured, and how the results can be used to design new, powerful, immersive experiences. The goal of the thesis is to address two questions: does music significantly change flavor perception, and can music change the hedonic experience of a meal? Experimentally, I looked at ways to measure changes in sensory perception. Artistically, I explored how external factors can alter the eating experience. From a cultural perspective, I examined the history of multisensory experiences - in feasts, in everyday cooking, and in community rituals. I conducted a series of experiments to measure the effect of music on flavor perception, and designed a series of novel eating experiences that make use of congruencies between multiple senses, culminating in a multisensory feast for the Media Lab. From these studies, design patterns and challenges are extracted and analyzed, and new directions are discussed.<br>by Qian (Janice) Wang.<br>S.M.
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Bernal, Jorge. "Architecture as a Translation of Noise." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9649.
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Yeh, Chih-Jen. "Straight, no chaser : drawing a parallel between architecture and music." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/70696.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.<br>Includes bibliographical references (p. 58).<br>Architecture and music share the same vocabularies: rhythm, proportion, harmony, repetition, contrast, etc, and contain similar structure in terms of composition and spatial characteristics, Given these parallels, how can music principles be used to create and inform architectural compositions? The intent of this thesis is to investigate the relationship of these two art forms, seeking to establish a methodology through repetition, displacement, contrast, transition and other devices, which enables an understanding of the inherent nature of both, In order to generate the analogies of architecture and music, a multi-use art center will be the instrument through which the dynamics of architectural composition will be created, This new cultural facilities, containing the programmatic elements: art galleries, exposition space, and an auditorium will be located near the Dorchester Bay in New Squantum in North Quincy, Massachusetts, As the outcome of this exploration, this multi-use art center will establish the consciousness of memory which provides people with a variety of spatial experiences while moving through a sequence of spaces.<br>by Chih-Jen Yeh.<br>M.Arch.
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Jehan, Tristan 1974. "Creating music by listening." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/42172.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.<br>Includes bibliographical references (p. 127-139).<br>Machines have the power and potential to make expressive music on their own. This thesis aims to computationally model the process of creating music using experience from listening to examples. Our unbiased signal-based solution models the life cycle of listening, composing, and performing, turning the machine into an active musician, instead of simply an instrument. We accomplish this through an analysis-synthesis technique by combined perceptual and structural modeling of the musical surface, which leads to a minimal data representation. We introduce a music cognition framework that results from the interaction of psychoacoustically grounded causal listening, a time-lag embedded feature representation, and perceptual similarity clustering. Our bottom-up analysis intends to be generic and uniform by recursively revealing metrical hierarchies and structures of pitch, rhythm, and timbre. Training is suggested for top-down un-biased supervision, and is demonstrated with the prediction of downbeat. This musical intelligence enables a range of original manipulations including song alignment, music restoration, cross-synthesis or song morphing, and ultimately the synthesis of original pieces.<br>by Tristan Jehan.<br>Ph.D.
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Yadegari, Shahrokh David. "Self-similar synthesis on the border between sound and music." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/70661.
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LeFrancois, Yvonne M. "Music and Movement." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3838.
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The focus of this project is to provide a musical hub for the learning, practice, and performance of music for students ages 10-18 in order to cultivate trust and education in the community. This project examines the role music plays as a vital part of our communities and city resources. The communities we live in should not only supply opportunities for the music but support the music. Support of the music can allow cultural learning in the community and create a new pattern of education between parent and child. Just as most school systems support the learning of math and science, an emphasis should also be placed on the arts for educational, societal, and individual life success as the benefits are numerous.
This project looks to provide a centralized space where a relationship between music and young people can be cultivated and expressed. Many public schools have small facilities, but a large center could provide a hub for musical activities for the local community.
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Ozcan, Zeynep. "Intersection Of Architecture And Music As Gesamtkunstwerk In Iannis Xenakis." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615539/index.pdf.
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This thesis focuses on the two selected works of the architect/engineer/composer Iannis Xenakis (1922-2001)<br>Philips Pavilion (1956-58) and Le Diatope (1978). It places these works at the intersection of architecture and music by showing how they combine spatial, musical and visual performances. Accordingly, it discusses them as exceptional twentieth-century examples of Gesamtkunstwerk<br>&ldquo<br>total work of art.&rdquo
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Alvim, Diogo. "Music through architecture : contributions to an expanded practice in composition." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703888.
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This research is an inquiry into how architecture can inform the practice of composition. As an architect and composer, I try to find strategies for musical composition In architectural practice and thought, by reframing and confronting concepts from both disciplines. My research aims at an expanded practice (and analysis) of musical creation that transverses different conceptions of space-from the score based pitch space to the social and political spaces of music's production, performance and reception. This practice based PhD research consists of a portfolio of nine works that were developed in a dialectical relation to these ideas. The works are presented in a framework composed of five conceptual tools used to articulate music and architecture. These are; Material, Site. Drawing, Programme and Use. With the notion of Material. I explore how the acoustic behaviour of a performance space, or of a performatlve device' affects the musical work. Architectural materials become musical ones as they are implicated in the listening experience. The discussion about Site brings to music the notions of place. the local, and everyday life, embracing soundscapes so many times excluded from musical discourse. Musical sites are also architectural sites, always related to their present environment, and their everyday contlngenclt;ls. Drawing Is a tool for developing ideas, but also the main mediator between architect and builder. or composer and performer. Programme exposes the constraints and conditions of the creation process, while also revealing the sociopolitical relations between musicians and audiences, institutions and composers, composers and performers. Programming as framing can be a platform to expand what the work concerns. Through a consideration of Use, the work becomes dispersed in a pJurality of agents that converge in a useful event. Thus composition. as architecture, moves from being about conditioning design to designing conditions where musical events may happen.
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Murali, Meera. "Conservatory of Music and Dance." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/64379.
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Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality.
This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people.
Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing.<br>Master of Architecture
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Solís, García Hugo 1976. "Improvisatory music and painting interface." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28766.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.<br>Includes bibliographical references (p. 101-104).<br>(cont.) theoretical section is accompanied by descriptions of historic and contemporary works that have influenced IMPI.<br>Shaping collective free improvisations in order to obtain solid and succinct works with surprising and synchronized events is not an easy task. This thesis is a proposal towards that goal. It presents the theoretical, philosophical and technical framework of the Improvisatory Music and Painting Interface (IMPI) system: a new computer program for the creation of audiovisual improvisations performed in real time by ensembles of acoustic musicians. The coordination of these improvisations is obtained using a graphical language. This language is employed by one "conductor" in order to generate musical scores and abstract visual animations in real time. Doodling on a digital tablet following the syntax of the language allows both the creation of musical material with different levels of improvisatory participation from the ensemble and also the manipulation of the projected graphics in coordination with the music. The generated musical information is displayed in several formats on multiple computer screens that members of the ensemble play from. The digital graphics are also projected on a screen to be seen by an audience. This system is intended for a non-tonal, non-rhythmic, and texture-oriented musical style, which means that strong emphasis is put on the control of timbral qualities and continuum transitions. One of the main goals of the system is the translation of planned compositional elements (such as precise structure and synchronization between instruments) into the improvisatory domain. The graphics that IMPI generates are organic, fluid, vivid, dynamic, and unified with the music. The concept of controlled improvisation as well as the paradigm of the relationships between acoustic and visual material are both analyzed from an aesthetic point of view. The<br>Hugo Solís García.<br>S.M.
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Whitman, Brian A. (Brian Alexander). "Learning the meaning of music." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32500.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.<br>Includes bibliographical references (p. 99-104).<br>Expression as complex and personal as music is not adequately represented by the signal alone. We define and model meaning in music as the mapping between the acoustic signal and its contextual interpretation - the 'community metadata' based on popularity, description and personal reaction, collected from reviews, usage, and discussion. In this thesis we present a framework for capturing community metadata from free text sources, audio representations general enough to work across domains of music, and a machine learning framework for learning the relationship between the music signals and the contextual reaction iteratively at a large scale. Our work is evaluated and applied as semantic basis functions - meaning classifiers that are used to maximize semantic content in a perceptual signal. This process improves upon statistical methods of rank reduction as it aims to model a community's reaction to perception instead of relationships found in the signal alone. We show increased accuracy of common music retrieval tasks with audio projected through semantic basis functions. We also evaluate our models in a 'query-by-description' task for music, where we predict description and community interpretation of audio. These unbiased learning approaches show superior accuracy in music and multimedia intelligence tasks such as similarity, classification and recommendation.<br>by Brian A. Whitman.<br>Ph.D.
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Fisher, Ebon. "Passion in science and rock music : a comparison of two faiths." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/73753.
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Hernandez, Juan de Dios. "NATIONALISM AND MUSICAL ARCHITECTURE IN THE SYMPHONIC MUSIC OF SILVESTRE REVUELTAS." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/196046.
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In this study I will attempt to demonstrate that stylistic and compositional features and a non-traditional approach to form in the orchestral output of composer Silvestre Revueltas contributed to the development of a nationalist school in Mexico in the twentieth century. In the paper, I present a biographical sketch of Silvestre Revueltas (1899-1940), as there is little available printed information in English concerning the life and work of this composer who is acknowledged to be one of the most significant figures in the history of music in Mexico. I also address the cultural, artistic, and philosophical influences that shaped the cultural world in Mexico in the first quarter of the twentieth century, and their influence on Revueltas and his music.The heart of the paper is an overview of certain compositional and stylistic features in the music of Silvestre Revueltas, followed by observations on structural elements in two of his symphonic works: Janitzio and AlcancÃas. The document concludes with a brief summary of the influence of Revueltas on some of the contemporary composers of his time and on the musical life in Mexico and the United States in the first half of the twentieth century. I have also included in this document a chronological list of works and a substantial list of bibliographic references.
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Richards, Emma-Ruth. "Music and architecture : a composer's perspective on form, process and product." Thesis, Manchester Metropolitan University, 2014. http://e-space.mmu.ac.uk/6/.
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This portfolio consists of fourteen compositions: 1. on hearing light fall (piano sextet) 2. Woven Palaces (saxophone quartet) 3. Piranesi’s Fantasies (solo piano) 4. Portrait of Marinela (8 players) 5. Hora Spoitorilor (solo viola) 6. de stamparare (solo oboe) 7. Fantasia on theme of Marinela (solo piano) 8. Caught on the Corner (wind quartet) 9. A Body is a Body is a Body Even So (SSAATTBB acapella) 10. Proprioception (symphony orchestra) 11. Nacre Voit (string quartet and trumpet) 12. Cantec Tesute (14 players) 13. Ikon (solo clarinet) 14. Traffick – excerpts: Sc.1 Mother(s) and Daughter(s) // Sc. 2 Road Kill (chamber opera) In these pieces I explore a variety of compositional processes and show how I aim find a rationale to realise a poetic, abstract architectural idea. Whilst there are a variety of separate ‘leitmotifs’ in my output there is a clear distinction between both the technical and expressive concerns that results in a hierarchical level in the compositional process. The larger-scale, structure-specific translation of architectural spaces into my musical composition is of paramount importance whilst my interest in the trumpet timbre and a particular anonymous Romanian folk theme Hora Spoitorilor are material-specific, creative springboards and used more intuitively. The more technical ‘environmental’ concerns are a method for organising the intuitive use of particular sonorities and the melodic and rhythmic qualities of the folk tune. Modern art and architecture deals with the sensuous relationship between space and artistic experience as well as the notion of drawing a concept of space into the work itself, not just symbolically, but experientially. In a similar way I draw on particular sonorities of the trumpet timbre, and the instrument’s associations with light, by mapping these sensuous associations to my treatment of, and appreciation of, its sound whilst still continuously focusing on architectural ideas as subjective metaphors in my work. Although each piece does prescribe its own terms, in-as-much that it stands in its own right, this thesis will look at the role of the pieces as ‘satellite’ works surrounding the final work Traffick. My in-depth research into particular sonorities, harmonic progressions, orchestration, and augmentation and diminution of rhythmic devices are all compositional processes that have informed my writing in Traffick. Each piece is also contextualised with other works of art and artistic ideas. This exchange is sometimes with painting or sculpture but most importantly for this work with architecture and philosophical writings on architecture.
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Boulanger, Adam. "Autism, new music technologies and cognition." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/37390.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.<br>Page 108 blank.<br>Includes bibliographical references (p. 99-107).<br>Central coherence accounts of autism have shown dysfunction in the processing of local versus global information that may be the source of symptoms in social behavior, communication and repetitive behavior. An application was developed to measure cognitive abilities in central coherence tasks as part of a music composition task. The application was evaluated in collaboration with the Spotlight Program, an interdisciplinary social pragmatics program for children with Asperger's syndrome. This research indicates that it is possible to embed cognitive measure as part of a novel music application. Implications for current treatment interventions, and longitudinal experimentation designs are presented.<br>by Adam Boulanger.<br>S.M.
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Parrott, Jordan A. "Timbre Architecture: The Glitch is the System." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243013919.
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Rowe, Robert James. "Machine listening and composing--making sense of music with cooperating real-time agents." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/13835.
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Ellsworth, Campbell H. (Campbell Harrison). "Approaching the new : a center for the research and performance of contemporary music." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/73299.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.<br>Includes bibliographical references (p. 66-68).<br>This thesis examines the idea that the spatial experience of a place can make the activity of being in the presence of a new art form more understandable, more meaningful and more powerful. The premise is that contemporary art is significant for it reflects the goals and spirit of an era, and that it is important for us all to be conscious of and to participate in that spirit. The vehicle for this thesis is the design of a center for the research and performance of contemporary music. It is a place where researchers can study , composers compose, musicians perform and audience observe. And here, each of these individuals will experience a new form of an old art. The form and the experience of moving through the building is intended to bring these individuals, especially the audience, closer to the experience of the new.<br>by Campbell H. Ellsworth.<br>M.Arch.
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Gargarian, Gregory Mark. "The art of design expressive intelligence in music." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12559.
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De, Angelis Maria. "Street of rock'n'roll dreams : the story of a pop music school for Washington, D.C." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/73298.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.<br>Includes bibliographical references (p. 83-84).<br>The thesis tests the assumption that a building is not an isolated occurrence, but is integral with the ongoing scene from which it emerges. The design was developed with a constant sense of its context, both built and sociological: people effect and are affected by a building's existence. The building is a facility for the enhancement of lives as they are lived, and of the city as its fabric finds its way into and through its buildings. Far from demarcating a sacred precinct, the building is more like a net which undulates with the flow of the city and its life, but lets that life pass through with only the remembrance of what has been experienced. Consistent with this philosophy, the thesis is presented in a story format which views the building as continuous with the people, context, and mores from which it emerges. The scene focuses on Adams Morgan, specifically Columbia Road NW, its main street. We see it through the eyes of of three characters whose lives become entwined through the creation of a new school of popular music there. The story of the characters, related in comics format, tells of the genesis and realization of the Whynot School of Contempo Music, an institution whose campus finally be comes the street. In the telling we are reminded of the significance of pop iconography and the sights, sounds, and feel of Rockitecture.<br>by Maria DeAngelis.<br>M.Arch.
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Tang, Charles Wei-Ting. "Live interactive music performance through the Internet." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/62625.
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Lillie, Anita Shen. "MusicBox : navigating the space of your music." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/46583.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.<br>Includes bibliographical references (p. 121-124).<br>Navigating increasingly large personal music libraries is commonplace. Yet most music browsers do not enable their users to explore their collections in a guided and manipulable fashion, often requiring them to have a specific target in mind. MusicBox is a new music browser that provides this interactive control by mapping a music collection into a two-dimensional space, applying principal components analysis (PCA) to a combination of contextual and content-based features of each of the musical tracks. The resulting map shows similar songs close together and dissimilar songs farther apart. MusicBox is fully interactive and highly flexible: users can add and remove features from the included feature list, with PCA recomputed on the fly to remap the data. MusicBox is also extensible; we invite other music researchers to contribute features to its PCA engine. A small user study has shown that MusicBox helps users to find music in their libraries, to discover new music, and to challenge their assumptions about relationships between types of music.<br>by Anita Shen Lillie.<br>S.M.
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Scheirer, Eric David. "Extracting expressive performance information from recorded music." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29103.
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Harrod, Neal A. "You are [T]HERE: Architecture and the detachable aspect." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277139857.
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Sockanathan, Andrew. "Digital desire and recorded music : OiNK, mnemotechnics and the private BitTorrent architecture." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6569/.
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This thesis centres on the P2P internet protocol BitTorrent, music filesharing, and nascent forms of collective action developing through private BitTorrent communities. The focus is on one of these communities, a music filesharing website called ‘OiNK’. Founded in 2005, it was the first of its kind to garner membership in the hundreds of thousands, was emblematic of user-led movements to improve the quality, efficiency and availability of digital media online, and was very publically shut down in 2007. Making critical use of Simondon’s notion of ‘individuation’, two interrelated techno-historical impulses are identified as central to the ‘in-formation’ of both BitTorrent and OiNK. Firstly, through research into the development of the global music industry’s ‘productive circuit’ of manufacturing, distribution, retail and radio, it is shown how consumers were gradually excluded from having a say in how, what and where they could consume. Secondly, a history of ‘OiNK-style’ filesharing is gleaned, not from P2P, but from research into small, decentralised ‘online’ communities that emerged throughout the 1980’s and 1990’s, where enthusiasts learned how to use software and hardware to manage the storage, reproduction, uploading and sharing of information. This thesis shows how BitTorrent exposed these previously exclusive practices to masses of consumers who were dissatisfied with both retail/broadcasting and public P2P, through the new possibility of private BitTorrent communities. Through a case study of OiNK, encompassing in-depth interviews with ex-members, screenshots and technical analysis, this thesis shows how OiNK gathered a large and diverse online cache of ‘archival grade’ recorded music, bringing old and deleted music back into circulation and amassing a core of fanatically committed members. It accounts for a nascent form of online community, where large member-bases manage every aspect of the reproduction and circulation of digital artefacts, and at higher levels of quality/efficiency than legal alternatives.
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Van, Dyk Annami. "An assessment of the strategic architecture of an international music licensing company." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/95686.
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Thesis (MBA)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: The global music industry has undergone a radical shift in the past decade due to the recent digital
revolution. Many big players in the industry have been forced to downsize their operations. Some
even had to close their doors, due to the significant drop in revenues generated by the companies
in the music industry. This has led to recording labels, publishing companies, and independent
artists to change their business models in order for their companies to stay in business in a world
where the rules of the game, as it was a few years ago, now no longer applies.
This study analyses and assesses the strategic architecture of an international music licensing
company, CCLI Africa. Even though the company has been operating its business successfully
since 1995, it has never formalised its strategic architecture. The research study thus performed a
thorough strategic architecture assessment of CCLI Africa and concluded with a strategy map and
Balanced Scorecard to be utilised as practical tools to monitor the company’s achievements in
terms of its strategic initiatives. It also investigated methods whereby the current strategic
architecture can be innovated in order to ensure a robust and sustainable business for the
company.
The research question can be expressed as follows: What can be learned from the current
strategic architecture of CCLI Africa and how can it be improved to ensure a robust business
model in an ever-changing music industry?
The study focused on a qualitative methodological approach and the literature review was done by
exploring the various schools of thinking in the field of business model innovation and growth.