Bibliografías temáticas / Architecture and Music

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Literatura académica sobre el tema "Architecture and Music"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 13 de febrero de 2022

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Artículos de revistas sobre el tema "Architecture and Music"

Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura". Greek and Roman Musical Studies 2, n.º 1 (28 de enero de 2014): 124–45. http://dx.doi.org/10.1163/22129758-12341255.

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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.

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Purwantiasning, Ari Widyati y Ahmad Mubarak Djuha. "TRANSFORMASI MUSIK DALAM BENTUK ARSITEKTUR". NALARs 15, n.º 2 (1 de julio de 2016): 149. http://dx.doi.org/10.24853/nalars.15.2.149-158.

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ABSTRAK. Saat berbicara tentang musik dan arsitektur, satu yang dapat didefinisikan pada keduanya, yaitu bahwa keduanya merupakan karya seni. Sebuah karya seni tentunya muncul tidak dengan sendirinya, pengaruh beberapa aspek tentunya menjadi sangat penting dalam proses terbentuknya suatu karya seni. Pengaruh tersebut tidak hanya internal namun juga eksternal. Faktor-faktor eksternal yang dapat mempengaruhi proses terbentuknya suatu karya seni diantaranya adalah manusia, ruang dan waktu. Kedua karya seni musik dan arsitektur sangat dipengaruhi oleh ketiga faktor eksternal tersebut dalam proses perencanaan, perancangan dan implementasi idenya. Keterkaitan musik dan arsitektur sudah banyak diperbincangkan sejak lama, bagaimana dan aspek apa saja yang dapat mengkaitkan keduanya juga sudah lama diperdebatkan. Tulisan ini akan mengkaji tentang benang merah antara musik dan arsitektur, terutama elemen-elemen yang saling terkait di dalamnya, kemudian bagaimana mendiskripsikan dan menganalisis transformasi sebuah musik dalam bentuk arsitektur. Pembahasan masalah ini akan menggunakan metode deskriptif dengan pendekatan deduktif yaitu mengambil sebuah studi kasus dan dianalisa secara umum kemudian dikaitkan secara khusus sesuai dengan teori yang berkaitan dengan musik dan arsitektur.Kata Kunci: transformasi, musik, bentuk, arsitekturABSTRACT. When we discuss about music and architecture, there is a significant thing that should be underlined about it, both of them are artworks. An artwork will not performed by itself, there are some aspects that would become important in the process of artworks’ formation. Those aspects were not just an internal aspect but also external one. Some external factors which would effect the process of artworks’ formation are human as doer, space and time. Both artworks either music or architecture have been affected by those three external factors in the process of planning, designing and implementing the idea. The relation between music and architecture had been talked since years ago, how and what kind of aspects which will connected both of those artworks had been debated as well. This paper will review about the relation between music and architecture, particularly the elements of each artwork, then how to describe and analyze the transformation of music into architectural form. The discussion of this paper will conduct a descriptive method using deductive approach by taking a case study and analyse generally then will be connected in particular referring to the appropriate theory about music and architecture.Keywords: transformation, music, form, architecture

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Coffeen, Robert C. "Teaching architectural acoustics to architecture, architectural engineering, and music students". Journal of the Acoustical Society of America 130, n.º 4 (octubre de 2011): 2465. http://dx.doi.org/10.1121/1.3654897.

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Beranek, Leo L. "Music, Acoustics, and Architecture". Bulletin of the American Academy of Arts and Sciences 45, n.º 8 (mayo de 1992): 25. http://dx.doi.org/10.2307/3824233.

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Sugiarto, Roni. "DINAMIKA KETERHUBUNGAN RUANG ARSITEKTURAL DAN MUSIKAL BAROK". Vitruvian 9, n.º 2 (26 de febrero de 2020): 99. http://dx.doi.org/10.22441/vitruvian.2020.v9i2.004.

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ABSTRAKKetika kita mendengar suara (audial, akustikal) kitapun dapat melihat ruang (spatial). Di samping dapat melihat bentuk dan mendengar bunyi, kita dapat juga mendengar bentuk dan melihat bunyi. Meskipun bahasa yang dipergunakan arsitektur dan musik berbeda, namun kedua bidang ini memiliki karakter berkesenian yang sama yaitu pencarian makna keindahan yang tiada akhir. Arsitektur dan musik berbagi tujuan yang sama dalam hal estetika, namun keduanya memiliki perbedaan wujud. Melalui penjelajahan imajinatif dan perseptif karya seni Barok, tulisan ini mencoba mencari hubungan yang analogis antara sensasi auditory berupa tatanan melodi dan irama dengan manifestasi ruang arsitektural. Dengan menerapkan pendekatan yang bersifat kualitatif dengan teknik penarikan sampel yang sesuai dengan ruang lingkup pembahasan, dan menelusuran hubungan yang analogis (yang atributif) dicapai juga dengan kajian komparatif tatanan/ruang antara arsitektur dengan musik Barok. Dengan Sistem representasi yang menjadi kunci dalam menghantarkan visi tatanan/ruang arsitektural serta musikal Barok, maka diharapkan secara imajinatif dan ekspresif perwujudan dinamika hubungan antara ruang arsitektural dan musikal Barok dapat ditemukan. Di lain hal, penelusuran keterhubungan antara arsitektur dan musik terbuka bagi berbagai kekuatan seni, dapat berkomunikasi dengan aspek arsitektur dan dapat dicari kedekatan hubungan antar masing-masing kekuatan seni. ABSTRACTWhen we hear the sound (audial, acoustical) we can see the space (spatial). In addition to being able to see the shapes and hear the sound, we can also hear the shapes and see the sound. Although the language used by architecture and music s different, but these two fields have the same artistic character that is the exploration for the endless beauty of the end. Through the imaginative and perseptive exploration of Baroque artwork, it seeks to find an analogic relationship between the auditory sensation of melody and rhythm with the manifestation of architectural space. By using a qualitative approach with sampling techniques that fit the scope of the discussion, and tracking analogical (attributive) relationships is also achieved by a comparative study of the order / space between Baroque architecture and music. With the representation system, the key of delivering the vision of Baroque architectural / space order and musicals, it is hoped that imaginatively and expressively the realization of the dynamics of the relationship between architectural space and Baroque music can be found. On the other hand, the research for the connection between architecture and music is open to various artistic, possible to communicate with aspects of architecture and to find the closeness of the relationship between each art.

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ÖZKAN ÜSTÜN, Gizem y Pınar DİNÇ KALAYCI. "‘TRANS-’ APPROACH TO ARCHITECTURE AND MUSIC INTERACTION: THE RELATIONSHIP BETWEEN MARCOS NOVAK’S LIQUID ARCHITECTURE AND MUSIC". INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, n.º 21 (2020): 0. http://dx.doi.org/10.17365/tmd.2020.21.3.

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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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Mohamed, Essam Metwally. "The Relationship Between Interior Architecture and Music". Modern Applied Science 12, n.º 10 (27 de septiembre de 2018): 86. http://dx.doi.org/10.5539/mas.v12n10p86.

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There is no doubt that there is a calculated relationship between architecture and music. If music is the translation of emotion, this emotion has been reflected in the architectural character and the arts of building and shaping its style. And the music of primitive tribes and barbaric peoples represented by the drums of homogeneous repetitions reflected on their buildings and primitive character or their huts identical and compact without compatibility or homogeneity. The rural music of each country, which is characterized by simple melodies and monotonous tones belonging to the living nature and sprouts from its land, we find a reflection of the buildings that are characterized by simplicity and calm and building materials derived from the surrounding nature. The Harmonized melodies and the continuous repetition of original tones and their background can easily be read or heard on the facades of the Islamic style buildings in the continuous surface repetition of contracts and decorations The change of the personality of Arab architecture from one country to another and the change of the form of contracts and domes, has found a similarity in the changing personality of contemporary music. Every modern development in architecture and its character is recorded by the music and its character. The more the cultures of the peoples are merged, the more modern the modern architecture, which occupies its place in the different countries, resonates with contemporary world music and converges with the civil affinity and culture of the peoples. "Architecture is music embodied in the place," says Hassan Fathi. "Music is an architecture embodied in time" Studying the relationship between interior architecture and music enables us to "enjoy" it by using our senses to "see what we listen to" and "hear what we see" achieve greater levels of experience. I think this is what the "normal" people do, and they use their senses to live life differently than they did before. Through practical experiments for students of Design 2, the music has been transformed into an interior design through the sensation, sensation and impression of the music in the same designer to translate these feelings into design forms and stereoscopic elements with materials, colors and reflections that express these feelings and the emotional state raised by this music.

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Tokhmechian, Ali y Minou Gharehbaglou. "Music, Architecture and Mathematics in Traditional Iranian Architecture". Nexus Network Journal 20, n.º 2 (26 de mayo de 2018): 353–71. http://dx.doi.org/10.1007/s00004-018-0381-0.

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Heo, Woon-Haeng, Hyemi Kim y Oh-Wook Kwon. "Integrating Dilated Convolution into DenseLSTM for Audio Source Separation". Applied Sciences 11, n.º 2 (15 de enero de 2021): 789. http://dx.doi.org/10.3390/app11020789.

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Herein, we proposed a multi-scale multi-band dilated time-frequency densely connected convolutional network (DenseNet) with long short-term memory (LSTM) for audio source separation. Because the spectrogram of the acoustic signal can be thought of as images as well as time series data, it is suitable for convolutional recurrent neural network (CRNN) architecture. We improved the audio source separation performance by applying the dilated block with a dilated convolution to CRNN architecture. The dilated block has the role of effectively increasing the receptive field in the spectrogram. In addition, it was designed in consideration of the acoustic characteristics that the frequency axis and the time axis in the spectrogram are changed by independent influences such as speech rate and pitch. In speech enhancement experiments, we estimated the speech signal using various deep learning architectures from a signal in which the music, noise, and speech were mixed. We conducted the subjective evaluation on the estimated speech signal. In addition, speech quality, intelligibility, separation, and speech recognition performance were also measured. In music signal separation, we estimated the music signal using several deep learning architectures from the mixture of the music and speech signal. After that, the separation performance and music identification accuracy were measured using the estimated music signal. Overall, the proposed architecture shows the best performance compared to other deep learning architectures not only in speech experiments but also in music experiments.

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Dutilleux, Pierre y Christian Müller‐Tomfelde. "Architecture and music: A laboratory". Journal of the Acoustical Society of America 105, n.º 2 (febrero de 1999): 1215. http://dx.doi.org/10.1121/1.425858.

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Tesis sobre el tema "Architecture and Music"

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. OPEN HOMEPAGE.EXE To download flash player, click here: Download flash Player
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.
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.
Includes bibliographical references (p. [235]-248).
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.
Eric D. Scheirer.
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.
Includes bibliographical references (p. 120-121).
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.
Christopher Samuel Ciraulo.
M.Arch.

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Libros sobre el tema "Architecture and Music"

Music in architecture--architecture in music. Austin, TX: Center for American Architecture and Design, 2014.

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Xenakis, Iannis. Music and architecture: Architectural projects, texts, and realizations. Hillsdale, NY: Pendragon Press, 2008.

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Music, space and architecture. [Amsterdam]: Amsterdam Academy of Architecture, 2012.

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1968-, Sugeno Yūko, ed. Kenchiku to ongaku: = Architecture and music. Tōkyō: NTT Shuppan, 2008.

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White, Anthony G. Music shell architecture: A selected bibliography. Monticello, Ill., USA: Vance Bibliographies, 1988.

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1968-, Sugeno Yūko, ed. Kenchiku to ongaku: = Architecture and music. Tōkyō: NTT Shuppan, 2008.

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1929-, Gehry Frank O., ed. Frank Gehry: The city and music. Australia: G+B Arts International, 2001.

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Lena, Lenček, ed. Frozen music: A history of Portland architecture. [Portland, Or.]: Western Imprints, the Press of the Oregon Historical Society, 1985.

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Nandagopal, Choodamani. Dance and music in the temple architecture. Delhi: Agam Kala Prakashan, 1990.

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Frozen music: A literary exploration of California architecture. Berkeley, Calif: Heyday Books, 2010.

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Capítulos de libros sobre el tema "Architecture and Music"

Milmeister, Gérard. "Architecture". En Computational Music Science, 81–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-00148-2_9.

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Mazzola, Guerino. "Architecture". En The Topos of Music, 807–11. Basel: Birkhäuser Basel, 2002. http://dx.doi.org/10.1007/978-3-0348-8141-8_40.

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Levarie, Siegmund. "Architecture and Music". En Two Cultures, 153–58. Basel: Birkhäuser Basel, 2006. http://dx.doi.org/10.1007/3-7643-7540-x_12.

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Briot, Jean-Pierre, Gaëtan Hadjeres y François-David Pachet. "Architecture". En Deep Learning Techniques for Music Generation, 51–114. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-70163-9_5.

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Mazzola, Guerino. "Architecture". En The Topos of Music II: Performance, 665–68. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64444-8_9.

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Neuhaus, Christiane. "‘Music as fluid architecture’". En Body, Sound and Space in Music and Beyond: Multimodal Explorations, 168–88. Abingdon, Oxon; New York, NY: Routledge, 2017. | Series: SEMPRE studies in the psychology of music: Routledge, 2017. http://dx.doi.org/10.4324/9781315569628-10.

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Mazzola, Guerino, Maria Mannone y Yan Pang. "The Architecture of Sets". En Computational Music Science, 37–48. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42937-3_3.

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Milmeister, Gérard. "Architecture of Concepts I: Principles". En Computational Music Science, 19–29. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-00148-2_3.

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Milmeister, Gérard. "Architecture of Concepts II: Forms and Denotators". En Computational Music Science, 55–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-00148-2_5.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien y Nathan Torunsky. "De Saussure and Peirce: the Semiotic Architecture". En Computational Music Science, 63–66. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_7.

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Actas de conferencias sobre el tema "Architecture and Music"

"Psychology behind Music and Architecture". En Eminent Association of Pioneers. Eminent Association of Pioneers (EAP), 2016. http://dx.doi.org/10.17758/eap.eap816425.

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Wu, Fu-Hai Frank y Jyh-Shing Roger Jang. "An Architecture for Optical Music Recognition of Numbered Music Notation". En International Conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2632856.2632930.

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Avila-Haro, B. E., J. A. Avila-Haro y J. A. Avila. "Music for everyone: “building the space where the differences co-exist”". En ECO-ARCHITECTURE 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/arc140521.

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Gonçalves, Clara Germana y Maria João Dos Reis Moreira Soares. "Le Corbusier: architecture, music, mathematics: longing for classicism?" En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.791.

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Abstract: This paper aims to study the role of the relationships between architecture, music and mathematics in Le Corbusier's thought and work and their relevance in his reinterpretation of classical thinking. It seeks to understand to what extent working with this triad – a foundational and, up until the seventeenth century, dogmatic aspect of architecture in general and of its aesthetics in particular – expresses a will not to break with the fundamental and defining aspects of what could be considered as architectural thought rooted in classical tradition: that which is governed by the will to follow the universal order in the work of art; building a microcosmos according to the macrocosmos; linking, in proportion to one another, the universe, man and architecture. The Modulor presents itself as a manifestation of that will, synthesizing these aspects while proposing itself as an instrument for interdisciplinary thought and practice in which the aforementioned aspects of classical thought are present, clearly and pronouncedly. Le Corbusier’s thought and work presents itself as a twentieth century memory of an ancient and ever present tradition conscious of its struggle for “humanity”. Resumen: Este artículo pretende estudiar el papel de la relación entre arquitectura, música y matemática en el pensamiento y la obra de Le Cobusier y su significado en su reinterpretación del pensamiento clásico. Intenta entender en qué medida con esta triada – aspecto fundacional y hasta el siglo XVII dogmático de la arquitectura, en general, y de su estética, en particular – Le Corbusier expresa su recusa por cortar el vínculo con los aspectos fundamentales y definidores de lo que puede considerarse un pensamiento de tradición clásica en arquitectura: aquel tutelado por la voluntad de seguir el orden universal en la obra de arte – construyendo un microcosmos según un macrocosmos – para así vincular, a través de la proporción, universo, Hombre y arquitectura. El Modulor se presenta como manifestación de esa voluntad, sintetizando estos aspectos y presentándose como un instrumento para un pensamiento y una práctica interdisciplinares en los cuales el pensamiento clásico se encuentra clara y marcadamente presente. El pensamiento de Le Corbusier, través su mirada hacia la relación arquitectura-música-matemática, se presenta, en el siglo XX, como una memoria de una antigua y siempre presente tradición, consciente de su busca por “humanidad”. Keywords: Le Corbusier; Architecture, music and mathematics; classical thought; Modulor. Palabras clave: Le Corbusier; Arquitectura, música y mathematica; pensamiento clásico; Modulor. DOI: http://dx.doi.org/10.4995/LC2015.2015.791

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Etienne, Caroline, Guillaume Fidanza, Andrei Petrovskii, Laurence Devillers y Benoit Schmauch. "CNN+LSTM Architecture for Speech Emotion Recognition with Data Augmentation". En Workshop on Speech, Music and Mind 2018. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/smm.2018-5.

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Morandi, F., E. B. P. Tiezzi y R. M. Pulselli. "Mathematics and music: the architecture of nature". En DESIGN AND NATURE 2010. Southampton, UK: WIT Press, 2010. http://dx.doi.org/10.2495/dn100011.

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"BLUEMUSIC: A MULTICHANNEL ARCHITECTURE FOR MUSIC DISTRIBUTION". En International Conference on Security and Cryptography. SciTePress - Science and and Technology Publications, 2007. http://dx.doi.org/10.5220/0002133703480351.

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Werth, Dirk, Andreas Emrich y Alexandra Chapko. "An Architecture Proposal for User-Generated Mobile Services". En 2012 Third FTRA International Conference on Mobile, Ubiquitous, and Intelligent Computing (MUSIC). IEEE, 2012. http://dx.doi.org/10.1109/music.2012.32.

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Angel-Alvarado, Rolando, Miguel R. Wilhelmi y Olga Belletich. "Holistic Architecture for Music Education: A proposal for empirical research in educational situations". En Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8079.

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Holistic Architecture for Music Education (HAME) arises as a Design-Based Research, that is, it is an interdisciplinary research approach based on mixed research methods, which attempts understanding empirical phenomena from music education complexity. The HAME’ structural design poses a preliminary study of phenomena, the formulation of a research hypothesis, fieldwork in real-world situations and, finally, an analysis of data collected during the fieldwork with the intention of contrasting the hypothesis. This study aims to explore the technical suitability of the HAME in music education’s empirical research. Results demonstrate consistency between four phases of the structural design, in addition to prove the empirical complexity of organisational structures in music classrooms. In conclusion, the HAME is understood as an interdisciplinary educational research approach, which is holistically described as it connects theoretical currents of the social sciences and humanities with actual educational situations of music education. As a consequence, the HAME provides theoretical and practical knowledge about music education.

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Fratila, Mariana. "XX-TH CENTURY ROMANIAN MUSIC: STYLISTIC ORIENTATIONS". En SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s13.019.

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