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Artículos de revistas 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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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Humfrey, Peter, Michael Bury, John G. Bernasconi, Iain Fenlon, Bojan Bujic, Christopher Cairns, Cecil H. Clough, Kate Flint y Philip Cooke. "ARCHITECTURE, ART, MUSIC & CINEMA". Italian Studies 49, n.º 1 (enero de 1994): 146–56. http://dx.doi.org/10.1179/its.1994.49.1.146.

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12

Harisdani, D. D. y W. Tantri. "The Implementation Of Green Architecture In Music Center Building". Jurnal Koridor 10, n.º 2 (25 de julio de 2019): 94–102. http://dx.doi.org/10.32734/koridor.v10i2.1353.

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Green architecture can be implemented on the design of a music center building in Medan, Indonesia. The effectiveness of the studying process is related to the environment of the study places created through the implementation of green architecture into a natural, comfortable and tranquil environment both in and outside of the building. With this implementation, an energy-efficient building is designed which supports the development of the city’s green area. To design the building itself, the architectural and non –architectural design stages are carried out by analyzing through various libraries and media as a consideration in solving design problems. The design of this building is related to the orientation of the building itself which utilizes natural lightning, attention to the direction of wind to create natural air circulation, provision of parking spaces and open spaces for convenience and the reuse of water resources which is a green architectural concept that is implemented in urban area’s buildings.

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13

Wheatley, John. "THE SOUND OF ARCHITECTURE". Tempo 61, n.º 242 (octubre de 2007): 11–19. http://dx.doi.org/10.1017/s0040298207000265.

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There is a widespread perception that music and architecture are profoundly dissimilar, far removed from each other in the creative spectrum. While music is regarded as ephemeral, transient, involving vibration, pitch and time – you hear it, you feel it, its beauty is assigned to your memory – the general response to architecture is fundamentally different. Those homogeneous, concrete volumes and solid, three-dimensional forms are thought to occupy a permanent, static and unyielding part of our environment, a constant reminder of its unique presence in time, unrelated to any other art-form. Architecture just does not float away into space like music – as some might fervently wish! But music and architecture cannot possibly exist independently in hermetically sealed compartments – they are inexorably bonded together by their very nature and by the cultural history that surrounds them.

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14

Wheatley, John. "THE SOUND OF ARCHITECTURE". Tempo 61, n.º 242 (octubre de 2007): 11–19. http://dx.doi.org/10.1017/s0040298200000267.

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There is a widespread perception that music and architecture are profoundly dissimilar, far removed from each other in the creative spectrum. While music is regarded as ephemeral, transient, involving vibration, pitch and time – you hear it, you feel it, its beauty is assigned to your memory – the general response to architecture is fundamentally different. Those homogeneous, concrete volumes and solid, three-dimensional forms are thought to occupy a permanent, static and unyielding part of our environment, a constant reminder of its unique presence in time, unrelated to any other art-form. Architecture just does not float away into space like music – as some might fervently wish! But music and architecture cannot possibly exist independently in hermetically sealed compartments – they are inexorably bonded together by their very nature and by the cultural history that surrounds them.

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15

ANG, MINNI, ABU TALIB OTHMAN, A. K. RAMANI, GAN SIOWCK-LEE y PATRICIA MATUSKY. "A layered architectural model for music: Malaysian music on the World Wide Web". Organised Sound 3, n.º 2 (agosto de 1998): 101–15. http://dx.doi.org/10.1017/s1355771898002039.

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The design and development of a layered Web architecture for Malaysian music can be applied as a model of Web architecture for music education, specifically for the introduction of the music of a particular country or region. The model is designed and developed in two phases: the building of the subject architecture and the design and development of the application architecture. The complete Web architecture is analysed and tested to determine its suitability for delivery of music-related content. Research findings indicate that the Web architecture is reliable, efficient and suitable for its purpose. The classification scheme proposed is found to provide a firm foundation for the building of the Web architecture. In conclusion, the prototype model provides a suitable extensible platform for the delivery of music content, which may be packaged for the purpose of education.

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Antonio, Nicholas y Martin Halim. "RUANG REKREASI MUSIK DI PAPANGGO, TANJUNG PRIOK". Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 2, n.º 2 (1 de noviembre de 2020): 1729. http://dx.doi.org/10.24912/stupa.v2i2.8510.

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It was found in the area of North Jakarta has a fairly high level of labor force participation. It can be concluded from this data that all levels of society in North Jakarta have jobs. With the changes from manual technology to high technology, It is through these circumstances that people must revolutionize technology that’s actually not ready to be faced by the community. This condition creates a lot of pressure on the community. According to North Jakarta BPS data, the labor force in Tanjung Priok reaches 66% and the rest are part of the non-workforce. So, the solution to reduce the level of saturation at work, namely providing a place for intermediary space, between the first and second places in the form of music and culinary recreation. "Why is music used as a medium to reduce one's level of saturation?" According to research by the British Journal of Psychiatrist, this journal describes that music good for a variety of health problems, and music is also a medium that can reduce one's saturation level. "Music Is Liquid Architecture, Architecture Is Frozen Music" Johann Wolfgang von Goethe. As the main values that facilitate the project are music recreation and street food snacks that related to relaxation and eliminating saturation as part of the response to problems experienced by the community. Keywords: Labor Force; Music; Recreation AbstrakDidapati bahwa daerah Jakarta Utara memiliki tingkat partisipasi Angkatan kerja yang cukup tinggi. Kondisi tersebut ternyata banyak menimbulkan terjadinya stress pada masyarakat. Menurut data BPS Jakarta Utara, Angkatan kerja di Tanjung Priok mencapai 66% dan selebihnya merupakan bagian dari bukan angkatan kerja. Bisa disimpulkan lewat data ini bahwa hampir seluruh lapisan masyarakat daerah Jakarta Utara memiliki pekerjaan. Dengan adanya perubahan-perubahan dari teknologi manual menjadi teknologi tinggi. Melalui keadaan tersebutlah yang membuat masyarakat harus mengalami revolusi teknologi yang sebetulnya belum siap untuk dihadapi oleh masyarakat. “Mengapa musik dipakai sebagai media untuk mengurangi tingkat jenuh seseorang?” Menurut penelitian British Journal of Phsychiatrist, dalam jurnal ini dipaparkan bahwa musik berdampak baik untuk berbagai macam gangguan kesehatan, dan musik juga merupakan media yang dapat mengurangi tingkat jenuh seseorang. “Music Is Liquid Architecture, Architecture Is Frozen Music”- Johann Wolfgang von Goethe. Adapun nilai utama yang memfasilitasi proyek ini yaitu rekreasi musik dan jajanan makanan jalanan yang berhubungan dengan relaksasi serta menghilangkan jenuh sebagai bagian dari respon masalah yang dialami masyarakat. Jadi sebagai solusi untuk mengurangi tingkat jenuh pada saat bekerja, yaitu menyediakan wadah berupa ruang perantara, antara first place dan second place dalam bentuk rekreasi musik dan kuliner jalanan.

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17

Bessone, Miriam y Ricardo Pérez Miró. "Music and Architecture: Bonds, Interrelations, Transductions". International Journal of Architectural Computing 5, n.º 3 (septiembre de 2007): 551–69. http://dx.doi.org/10.1260/147807707782581828.

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Digital technology and knowledge integration between musicians and architects enable us to explore and redefine links between music and architecture. This paper describes the experience and results of the creative processes undertaken by music and architecture students and academics to achieve a hyper-medial composition. The processes embrace the simultaneous construction from music to visual form and vice-versa. This exploration is originated from electro-acoustic music works, written ad-hoc, and based on specific assignments especially designed and framed within two types of situations and links with digital technologies: independent actions and interrelated actions. The intention of this work is to obtain constants and/or variables capable of allowing a certain type of graphic conventionalization that will make possible the mathematic representation previously necessary to create specific software tools.

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Tallon, Andrew. "Acoustics at the Intersection of Architecture and Music". Journal of the Society of Architectural Historians 75, n.º 3 (1 de septiembre de 2016): 263–80. http://dx.doi.org/10.1525/jsah.2016.75.3.263.

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The Cathedral of Noyon houses the most unusual—and largely unknown—installation of acoustic vases in Western Europe, the caveau phonocamptique, a chamber installed beneath the pavement of the crossing. Acoustic vases are simple earthenware pots placed in the walls and vaults of postclassical churches, their installation inspired by Marcus Vitruvius Pollio's De architectura libri decem. In Acoustics at the Intersection of Architecture and Music: The Caveau Phonocamptique of Noyon Cathedral, Andrew Tallon investigates the intended operation of the caveau as a monumental amplifier. According to the principle of conservation of energy, the effect of an acoustic vase can only be one of absorption, but when sung directly into, a vase appears to “sing back.” Tallon asserts that this effect, along with the importance of Vitruvius as the foremost authority on ancient architecture known to European builders and patrons, must ultimately account for this unique array at Noyon.

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Fassler, Margot E. "Allegorical Architecture in Scivias:". Journal of the American Musicological Society 67, n.º 2 (2014): 317–78. http://dx.doi.org/10.1525/jams.2014.67.2.317.

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Hildegard of Bingen's Ordo Virtutum has come to occupy a major role among Western European dramatic musical works, with scenes widely anthologized, multiple studies in print, and several recordings. I argue that the “setting” of Hildegard's Ordo Virtutum is the allegorical architecture created in her first major treatise, Scivias, written in the 1140s and early 1150s. In this period, while Hildegard was composing the play and writing her first major theological work, she was also designing a complex of new monastic buildings, which helps explain her concentration on architectural themes and images. Hildegard has situated the main “acts” of the play within allegorical towers, and the musical dimensions of the play are driven by its unfolding within this architectural understanding, including the “climbing” through the modes and the development of longer processional chants that link the action in one tower or pillar to that of another. We can see that the particular characters chosen for the play from a broad array of possibilities, underscore themes that relate to the lives and governance of Benedictine nuns. Hildegard's work provided parallels for her community between the allegorical architecture of Scivias, the play and its music, and the new church whose building was overseen by Hildegard.

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شریعت راد, فرهاد. "Denotational Associations between Architecture and Music: A Reflection on Commonalities of Iranian Architecture and Music". Sofeh Journal 29, n.º 4 (22 de diciembre de 2019): 19–38. http://dx.doi.org/10.29252/soffeh.29.4.19.

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Rafi, Quazi Ghulam, Mohammed Noman, Sadia Zahin Prodhan, Sabrina Alam y Dip Nandi. "Comparative Analysis of Three Improved Deep Learning Architectures for Music Genre Classification". International Journal of Information Technology and Computer Science 13, n.º 2 (8 de abril de 2021): 1–14. http://dx.doi.org/10.5815/ijitcs.2021.02.01.

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Among the many music information retrieval (MIR) tasks, music genre classification is noteworthy. The categorization of music into different groups that came to existence through a complex interplay of cultures, musicians, and various market forces to characterize similarities between compositions and organize collections is known as a music genre. The past researchers extracted various hand-crafted features and developed classifiers based on them. But the major drawback of this approach was the requirement of field expertise. However, in recent times researchers, because of the remarkable classification accuracy of deep learning models, have used similar models for MIR tasks. Convolutional Neural Net- work (CNN), Recurrent Neural Network (RNN), and the hybrid model, Convolutional - Recurrent Neural Network (CRNN), are such prominently used deep learning models for music genre classification along with other MIR tasks and various architectures of these models have achieved state-of-the-art results. In this study, we review and discuss three such architectures of deep learning models, already used for music genre classification of music tracks of length of 29-30 seconds. In particular, we analyze improved CNN, RNN, and CRNN architectures named Bottom-up Broadcast Neural Network (BBNN) [1], Independent Recurrent Neural Network (IndRNN) [2] and CRNN in Time and Frequency dimensions (CRNN- TF) [3] respectively, almost all of the architectures achieved the highest classification accuracy among the variants of their base deep learning model. Hence, this study holds a comparative analysis of the three most impressive architectural variants of the main deep learning models that are prominently used to classify music genre and presents the three architecture, hence the models (CNN, RNN, and CRNN) in one study. We also propose two ways that can improve the performances of the RNN (IndRNN) and CRNN (CRNN-TF) architectures.

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22

Negus, Keith y Pete Astor. "Songwriters and song lyrics: architecture, ambiguity and repetition". Popular Music 34, n.º 2 (30 de abril de 2015): 226–44. http://dx.doi.org/10.1017/s0261143015000021.

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AbstractThis article argues for understanding popular songs and songwriting through the metaphor of architecture, an idea we draw from vernacular terms used by songwriters when comprehending and explaining their own creative practice, and which we deploy in response to those who have called for writing about music to use a non-technical vocabulary and make greater use of metaphor. By architecture we mean those recognisable characteristics of songs that exist as enduring qualities regardless of a specific performance, recording or sheet music score. We use this analogy not as a systematic model, but as a device for exploring the intricate ways in which words and music are combined and pointing to similarities in the composition of poetry and the writing of song lyrics. The art of repetition and play with ambiguity are integral to popular song architectures that endure regardless of the modifications introduced by performers who temporarily inhabit a particular song.

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23

Alvim, Diogo. "As the World Leaks into the Work: Composition and architecture". Organised Sound 23, n.º 1 (26 de diciembre de 2017): 51–60. http://dx.doi.org/10.1017/s1355771817000279.

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This article proposes a framework as a contribution to the expansion of compositional practice. It analyses and problematises different dimensions of architectural thinking and practice, and transposes them to the field of music. This way it suggests and develops compositional strategies that are more deeply engaged with the several spatialities of music creation, performance and listening.Material,site,drawing,programmeanduseoperate as conceptual tools to articulate music and architecture in a discussion towards a more comprehensive understanding of music composition. This was the theoretical ground of a practice-based PhD research in which I developed a portfolio of works. I will describe some of these to contextualise and demonstrate the contemporary relevance of this framework.

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24

Martin Iddon. "Music and Architecture: Architectural Projects, Texts, and Realizations (review)". Notes 66, n.º 2 (2009): 308–11. http://dx.doi.org/10.1353/not.0.0229.

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25

Fa, Stefan Williamson. "Music, sound, and architecture in Islam". Ethnomusicology Forum 28, n.º 3 (2 de septiembre de 2019): 384–87. http://dx.doi.org/10.1080/17411912.2019.1700817.

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26

ÖZKAN ÜSTÜN, Gizem y Pınar DİNÇ KALAYCI. "METHODOLOGICAL APPROACHES IN ARCHITECTURE-MUSIC INTERACTION". INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, n.º 10 (15 de marzo de 2017): 16–36. http://dx.doi.org/10.17365/tmd.2017.1.013.x.

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27

Walton, Judith. "Heide II Project: Dance, Music, Architecture". Architectural Theory Review 18, n.º 2 (agosto de 2013): 227–33. http://dx.doi.org/10.1080/13264826.2013.825945.

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28

Botstein, L. "Sanctioned Daydreams: Music, Pictures, and Architecture". Musical Quarterly 94, n.º 3 (1 de septiembre de 2011): 271–77. http://dx.doi.org/10.1093/musqtl/gdr015.

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29

Shrestha, Sujan. "Mathematics Art Music Architecture Education Culture". Nexus Network Journal 20, n.º 2 (16 de marzo de 2018): 497–507. http://dx.doi.org/10.1007/s00004-018-0371-2.

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30

Srećković, Biljana. "Architecture and music/sound: Points of meeting, networking, interactions". SAJ - Serbian Architectural Journal 6, n.º 1 (2014): 75–88. http://dx.doi.org/10.5937/saj1401075s.

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This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).

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31

Yue, Hulan. "The Unity of Space in Buildings and Music". World Construction 5, n.º 1 (12 de agosto de 2016): 8. http://dx.doi.org/10.18686/wcj.v5i1.2.

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<p class="p1"><span class="s1">The phrase “buildings are the essence of music while music is the flow of buildings” is well known but rarely understood by many. If indeed music is repeated in its simplest way, it could not escape its literary metaphor. This is a property that is difficult to define as music and architecture should be examined from all perspectives. This report examines the compatibility between music and buildings from the viewpoint of modern art which improves our understanding and appreciation of architectural features. Therefore, in principle, the relationship to unify buildings and music should be investigated.</span></p>

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32

Hu, Lanyue. "The Unity of Space in Buildings and Music". World Construction 5, n.º 1 (12 de agosto de 2016): 8. http://dx.doi.org/10.18686/wc.v5i1.63.

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<p class="p1"><span class="s1">The phrase “buildings are the essence of music while music is the flow of buildings” is well known but rarely understood by many. If indeed music is repeated in its simplest way, it could not escape its literary metaphor. This is a property that is difficult to define as music and architecture should be examined from all perspectives. This report examines the compatibility between music and buildings from the viewpoint of modern art which improves our understanding and appreciation of architectural features. Therefore, in principle, the relationship to unify buildings and music should be investigated.</span></p>

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33

Trachtenberg, Marvin. "Architecture and Music Reunited: A New Reading of Dufay's Nuper Rosarum Flores and the Cathedral of Florence". Renaissance Quarterly 54, n.º 3 (2001): 741–75. http://dx.doi.org/10.2307/1261923.

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The proportions of the voices are harmonies for the ears; those of the measurements are harmonies for the eyes. Such harmonies usually please very much, without anyone knowing why, excepting the student of the causality of things.—Palladio(1567)The chiasmatic themes of architecture as frozen music and music as singing the architecture of the world run as leitmotifs through the histories of philosophy, music, and architecture. Rarely, however, can historical intersections of these practices he identified. This study proposes a transient nexus of architecture, sacred music, and theology in early modern Florence.

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34

Oukawa, Carolina. "Potentialities of drawing from observation in architectural analysis based on an analysis of the Copan building". Estoa, n.º 15 (2019): 57–63. http://dx.doi.org/10.18537/est.v008.n015.a05.

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Observation drawing can be a central tool in architectural analysis. The starting point for reflection was the analytical path of Copan Building, icon of the architecture of São Paulo, designed in the 1950 by Oscar Niemeyer. One of the motivations of that research was the lack of architectural analysis as a discipline. In music, for example, structural disciplines (Harmony, Counterpoint and Musical Perception) lead to Musical Analysis discipline, which combines reading sheet music, listening to recordings and executing the play itself. Similarly, in architecture, observation drawing made in loco can be a tool of recognition of space. In Copan analysis, besides graphical analysis (the closest one still can get from an architectural analysis procedure) successive visits to the building were made. Observation drawing proved to increase spatial perception and, above all, led to discoveries about the work.

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35

Dwyre, Cathryn, Chris Perry y Bernard Tschumi. "Architecture Beyond Architecture". PAJ: A Journal of Performance and Art 37, n.º 1 (enero de 2015): 8–15. http://dx.doi.org/10.1162/pajj_a_00231.

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36

Smyth, Fiona y Donal Lennon. "Drawing on the digital: Analysis and modelling in architecture and music". International Journal of Humanities and Arts Computing 4, n.º 1-2 (octubre de 2010): 1–16. http://dx.doi.org/10.3366/ijhac.2011.0004.

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The present study deploys acoustic theory and digital analysis to investigate the dynamics of the inter-relationship of architecture and music. It assesses the impact of the built environment on music composition and performance. Drawing upon the science that underpins both architecture and music, it is also informed by the qualitative and artistic attributes of both. Reference to a specific case study, St. Patrick's Cathedral in Dublin, describes the design and implementation of a methodology designed to allow for context and era-specific assessment. The research design is interdisciplinary, bridging theory and practice. The methodology is firmly based on the use of digital technologies, which allow for efficient, accurate and replicable procedure. Data capture, analysis and mapping of the architectural site was supplemented by reference to primary archived material. Digital preservation of primary material was an integral part of the project; the resulting record created a more complete digital repository of the cathedral, combining the information which can be read in the structure itself with documents relating to its history. This article makes use of Victor Hugo's concept of the ‘Book of Stone’ to comment on the information gleaned from paper records and digital analysis of the architecture and acoustics of St Patrick's Cathedral, Dublin.

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37

Lerdahl, Fred. "Genesis and Architecture of the GTTM Project". Music Perception 26, n.º 3 (1 de febrero de 2009): 187–94. http://dx.doi.org/10.1525/mp.2009.26.3.187.

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I EXAMINE THE INTELLECTUAL AND MUSIC-THEORETIC origins of A Generative Theory of Tonal Music (Lerdahl & Jackendoff, 1983) and review the crucial steps in theory construction that led to its overall architecture. This leads to a discussion of how shortcomings in GTTM motivated developments in Tonal Pitch Space (Lerdahl, 2001). I conclude with a diagram that encompasses the major components of the expanded GTTM/TPS theory.

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38

Götestam, K. Olof. "Lefthandedness among Students of Architecture and Music". Perceptual and Motor Skills 70, n.º 3_suppl (junio de 1990): 1323–27. http://dx.doi.org/10.2466/pms.1990.70.3c.1323.

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39

GOTESTAM, K. OLOF. "LEFTHANDEDNESS AMONG STUDENTS OF ARCHITECTURE AND MUSIC". Perceptual and Motor Skills 70, n.º 3 (1990): 1323. http://dx.doi.org/10.2466/pms.70.3.1323-1327.

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40

Crain, W. Mark y Robert D. Tollison. "Economics and the architecture of popular music". Journal of Economic Behavior & Organization 32, n.º 2 (febrero de 1997): 185–205. http://dx.doi.org/10.1016/s0167-2681(96)00901-8.

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41

Kilicaslan, Hare y Isik Ece Tezgel. "Architecture and Music in the Baroque Period". Procedia - Social and Behavioral Sciences 51 (2012): 635–40. http://dx.doi.org/10.1016/j.sbspro.2012.08.215.

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42

WINTERS, EDWARD. "A Dance to the Music of Architecture". Journal of Aesthetics and Art Criticism 69, n.º 1 (febrero de 2011): 61–67. http://dx.doi.org/10.1111/j.1540-6245.2010.01447.x.

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43

Uitdenbogerd, Alexandra L. y Justin Zobel. "An architecture for effective music information retrieval". Journal of the American Society for Information Science and Technology 55, n.º 12 (2004): 1053–57. http://dx.doi.org/10.1002/asi.20057.

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44

Mottier, Valentin. "“Talking about music is like dancing about architecture”: Artspeak and pop music". Language & Communication 29, n.º 2 (abril de 2009): 127–32. http://dx.doi.org/10.1016/j.langcom.2009.01.003.

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45

Djordjevic, Zorana, Kristina Penezic y Stefan Dimitrijevic. "Acoustic vessels as an expression of medieval music tradition in Serbian sacred architecture". Muzikologija, n.º 22 (2017): 105–32. http://dx.doi.org/10.2298/muz1722105d.

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Archaeoacoustics is a multidisciplinary field of research focused on the history of the relatedness of the field of sound and architecture. The architectural history of Europe, from Antiquity to the modern period, is abundant in the findings of vessels, which are considered to have an acoustic purpose. This paper addresses these acoustic vessels embedded in the massive walls of sacred architecture in medieval Serbia (15 churches). We considered the wide context of current archaeoacoustic research, in order to argue that this practice can be regarded as an expression of a certain medieval musical tradition.

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46

Frohburg, Jan. "Ellington under Glass". BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 9 (4 de noviembre de 2019): 45–68. http://dx.doi.org/10.17979/bac.2019.9.0.4582.

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In November 1957 Mies van der Rohe’s Crown Hall at IIT broke with convention when it became the venue for a jazz concert by Duke Ellington and his orchestra. This extraordinary event is reconstructed based on personal recollections, campus newspapers and other archival material. In the context of architectural pedagogy Crown Hall is appreciated as a supreme expression of Mies’s architectural philosophy, both for its spatial openness and its spiritual character. Here, influences from Mies’s own evolution as an architect intersected with developments in modern music and performance art it inspired. Parallels are uncovered between Ellington’s jazz and Mies’s steel and glass architecture, both distinctly American idioms that characterise post-war modernity. The Ellington concert at Crown Hall presented the perfect synthesis of people, space, light, music and nature. At the same time it attested to the disruptive potential that exists in jazz and modern architecture alike.

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47

Sütterlin, Christa, Wulf Schiefenhövel, Christian Lehmann, Johanna Forster y Gerhard Apfelauer. "Art as behaviour – an ethological approach to visual and verbal art, music and architecture". Anthropologischer Anzeiger 71, n.º 1-2 (1 de marzo de 2014): 3–13. http://dx.doi.org/10.1127/0003-5548/2014/0371.

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48

Furini, Marco. "Mobile Music Distribution: A Multichannel Approach". Advances in Multimedia 2011 (2011): 1–14. http://dx.doi.org/10.1155/2011/706164.

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In contrast to what is happening in the Internet-based scenario, the music market in the mobile scenario is far from being considered a large success. Several studies state that excessive downloading time and high cost are the main burdens. Motivated by the growth of social and mobile applications, in this paper we propose an approach that aims at reducing both the downloading time and the cost to get digital music when acquired in the mobile scenario. The proposed architecture exploits the usage of personal communication technologies embedded in cellphones (e.g., Bluetooth and Wi-Fi) to couple the current distribution model (mainly based on 3G networks), so as to provide a multichannel distribution model where users are free to redistribute digital music. The architecture includes a license-based security mechanism that prevents unauthorized usage of digital music, and makes use of an incentive mechanism to stimulate and reward the music distribution among customers. By analyzing pros and cons of the music distribution chain, results show that the proposed architecture might help in reducing both the downloading time and the cost to get digital music when acquired in the mobile scenario. Therefore, it might be helpful to the success of the mobile music scenario.

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49

López-Domínguez, Virginia. "¿Por qué la arquitectura es música congelada? Schelling, Le Corbusier y Xenakis". Theoría. Revista del Colegio de Filosofía, n.º 30-31 (1 de diciembre de 2016): 39–60. http://dx.doi.org/10.22201/ffyl.16656415p.2016.30-31.451.

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Architecture is frozen music is a phrase which has been transformed by use, but it has also been taken away the importance it has for an esthetic ontology and a different conception of the world, and that is why its deepness and meaning are analyzed through Schelling, Le Corbusier and Xenakis in order to show why architecture is frozen music. Here architecture and music have a correlation that cannot be perceived at first, which places architecture itself in a quest for beauty, when in the past it only used to be taken into account in the criteria of the useful. The narrow connection between architecture and music dwells on the level of a priori regarding structure and mathematics, but also shows the relation with the sensitive, the real and the ideal, which means that it involves the fluctuation between the objective and the subjective that can be shown regarding the execution of the work.

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50

Nekrošius, Liutauras. "PARALLELS OF EUROPEAN STRUCTURALISM IDEAS IN LITHUANIAN ARCHITECTURE". JOURNAL OF ARCHITECTURE AND URBANISM 30, n.º 3 (30 de junio de 2006): 111–24. http://dx.doi.org/10.3846/13921630.2006.10697072.

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One of the most controversial periods of architectural history, which has been identified with avant-garde of philosophy, art, music and science, in Lithuania is laconically described as soviet modernism. One of contemporary architectural phenomena, which is characterized as a part of soviet modernism, is structuralism. In Lithuania it developed as a reaction to creative results of a modernistic style. The text concentrates on one segment of a wider research of structuralism ideas in contemporary Lithuanian architecture. The paper discusses the basic concepts of structuralistic architecture and their genesis, reviews the manifestation of these ideas in Lithuania and other European countries. Attention is paid to ideas which determined changes in townscape. Supposedly, such a review will help to define peculiarities in the genesis and development of structuralistic tendencies in Lithuania and understand their influence on architectural development in the country.

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