Architecture and Music: Morphological and Expresive Compositional Synergies and their Applicaitions in University Campuses
Abstract
This article is based on research focused on the synergies between compositional elements in Music and Architecture. The study focuses on innovative composition sources from Music, which is faced with creation processes similar to those of Architecture. The compositional and artistic genesis relationships that exist between Music and Architecture are diverse and have been analysed traditionally, but there is a need to update them. To this end, the text explores two contemporary compositional strategies: expressiveness and morphology. Taking them as vehicles for channeling synergies, relationships are established between musical and architectural compositions, illustrating them with two couples: two innovative melodies and two emblematic university campuses (University of Virginia and National Autonomous University of Mexico-UNAM). The reason for choosing this type of project is because, due to its tribute to the space-time dimension, campuses have suggestive links with musical compositions, which can inspire future design guidelines.
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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
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GIEDION, S. (2009). Space, time and architecture: the growth of a new tradition. Cambridge, MA: Harvard University Press.
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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.
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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