Architecture and Music: Morphological and Expresive Compositional Synergies and their Applicaitions in University Campuses
Resumen Este artículo se basa en una investigación centrada en las sinergias entre elementos compositivos en Música y Arquitectura. El estudio se centra en fuentes de composición innovadoras desde la Música, que se enfrenta a procesos de creación similares a los de la Arquitectura. Las relaciones compositivas y de génesis artística que existen entre la Música y la Arquitectura son diversas y han sido analizadas tradicionalmente, pero existe la necesidad de actualizarlas. Para ello, el texto explora dos estrategias compositivas contemporáneas: la expresividad y la morfología. Tomándolos como vehículos para canalizar sinergias, se establecen relaciones entre composiciones musicales y arquitectónicas, ilustrándolas con dos parejas: dos melodías innovadoras y dos campus universitarios emblemáticos (Universidad de Virginia y Universidad Nacional Autónoma de México-UNAM). La razón de elegir este tipo de proyectos es que, por su tributo a la dimensión espacio-temporal, los campus tienen vínculos sugerentes con composiciones musicales, que pueden inspirar futuras pautas de diseño.
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POURZAKARYA, M. and AHMADZADEH, S. (2020). Comparative Study and Melodic Projective Interpre-tation of Music to Architecture with a Reflection on the Visual Elements of Point, Line, and Surface. Glory of Art (Jelve-y Honar) Alzahra Scientific Quarterly Journal. 12(2), 59-68. DOI: 10.22051/jjh.2020.27256.1427 https://jjhjor.alzahra.ac.ir/article_4914_ea60d30869c595af8659a37e2bcf7ac8.pdf?lang=en
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STERKEN, S. (2007). Music as an art of space: interactions between music and architecture in the work of Iannis Xenakis. Ressonance: Essays on Intersection of Music and Arquitecture, 1, 31-62.
VARGA, B. A. (1996). Conversations with Iannis Xenakis. London: Faber & Faber.
WILSON, R. G. (2009). Thomas Jefferson’s academical village: The creation of an architectural masterpie-ce. Charlottesville, VA: University of Virginia Press.
BAXTER, P. and JACK, S. (2008). Qualitative Case Study Methodology: Study Design and Implementation for Novice Researchers. The Qualitative Report, 13(4), 544-556.
CHARITONIDOU, M. (2019). Music as a Reservoir of Thought’s Materialisation. In P. Assis and P. Giudici (eds.), Aberrant Nuptials: Deleuze and Artistic Research (pp. 101-120). Leuven University Press.
COCHRANE, T.; FANTINI, B. and SCHERER, K. R. (eds.). (2013). The emotional power of music: Multi-disciplinary perspectives on musical arousal, expression, and social control. Oxford: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199654888.001.0001
CSÍKSZENTMIHÁLY, M. (1995). Creativity across the life-span: A systems view. In N. Colangelo and S. Assouline (eds.), Talent Development III (pp. 9-18). Scottsdale, AZ: Gifted Psychology Press.
GAINES, T. A. (1991). The Campus as a Work of Art. New York, NY: Praeger Publishers.
GERRING, J. (2004). What Is a Case Study and What Is It Good for? The American Political Science Review, 98(2), 341-354.
GIEDION, S. (2009). Space, time and architecture: the growth of a new tradition. Cambridge, MA: Harvard University Press.
HOLL, S. (2017). The Architectonics of Music. PAJ A Journal of Performance and Art, 39(2), 49-64. https://doi.org/10.1162/pajj_a_00363
HOLOWCHAK, M. A. (2014). Thomas Jefferson’s philosophy of education: A utopian dream. New York, NY: Routledge.
JENCKS, C. (2013). Architecture becomes music. Architectural Review, 233(395), 91-108.
JUSLIN, P. N. and VÄSTFJÄLL, D. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and brain sciences, 31(5), 559-575. https://doi.org/10.1017/s0140525x08005293
KERMAN, J. and TOMLINSON, G. (2012). Listen. Boston, MA: Bedford/St. Martin’s.
LEAL, A.; CRUZ, B. and PÉREZ-DUARTE, A. (2021). Architecture and transformation in Mexico City’s UNAM University Campus. VLC Arquitectura, 8, Issue 1, 151-171.
LEOPOLD, C. (2005). Experiments on relations between Geometry, Architecture and Music. Journal for Geometry and Graphics, 9(2), 169-176.
LUCEÑO, L. (2018). Study of the paradoxes of fashion. dObra [s] Revista da Associação Brasileira de Estu-dos de Pesquisas em Moda, 24(11), 188-201.
LYNCH, K. (1960). The image of the city. Cambridge, MA: The MIT Press.
MARGULIS, E. H. (2007). Silences in music are musical not silent: An exploratory study of context effects on the experience of musical pauses. Music Perception, 24(5), 485-506. https://doi.org/10.1525/mp.2007.24.5.485
MOHOLY-NAGY, L. (1947). Vision in Motion. Chicago, IL: Paul Theobald.
NOWAK, R. and BENNETT, A. (2014). Analysing everyday sound environments: The space, time and cor-porality of musical listening. Cultural Sociology, 8(4), 426-442.
POURZAKARYA, M. and AHMADZADEH, S. (2020). Comparative Study and Melodic Projective Interpre-tation of Music to Architecture with a Reflection on the Visual Elements of Point, Line, and Surface. Glory of Art (Jelve-y Honar) Alzahra Scientific Quarterly Journal. 12(2), 59-68. DOI: 10.22051/jjh.2020.27256.1427 https://jjhjor.alzahra.ac.ir/article_4914_ea60d30869c595af8659a37e2bcf7ac8.pdf?lang=en
SERAJ, S. H. (2017). Comparative Study of Music and Architecture from the Aesthetic View. Journal of History Culture and Art Research, 6(1), 685-702. https://doi.org/10.7596/taksad.v6i1.772
STERKEN, S. (2007). Music as an art of space: interactions between music and architecture in the work of Iannis Xenakis. Ressonance: Essays on Intersection of Music and Arquitecture, 1, 31-62.
VARGA, B. A. (1996). Conversations with Iannis Xenakis. London: Faber & Faber.
WILSON, R. G. (2009). Thomas Jefferson’s academical village: The creation of an architectural masterpie-ce. Charlottesville, VA: University of Virginia Press.
Campos Calvo-Sotelo, P., & Aguirre Díez, C. (2023). Architecture and Music: Morphological and Expresive Compositional Synergies and their Applicaitions in University Campuses. Aula, 29, 245–261. https://doi.org/10.14201/aula202329245261
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