Arquitectura e Música - uma reflexão sobre a influência recíproca entre o Espaço e o Som

• Autor(a) principal: António Miguel Moreira Ferreira Marques
• Data de Publicação: 2011
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/151034
• topic: Artes; Arts

This paper will present the history of the musical thought in the twentieth century on the space, describing the development of "spatialization" in theory and practice of contemporary music in parallel with the performance space, reflecting the close relationship of space and time in human experience. The music for different acoustic environments will be, immediately, embraced by a new type of space projects, the movements of the artists and the public, musicians of various positions in space, etc. We will try to understand how the composition of space interferes with the specific criteria of presentation of various forms of music. Nevertheless, how the existing supply of these spaces can respond to new spatial patterns imposed by the music? Which way does it make sense to take in the architecture design of these spaces? Is the use of "adaptation" a rule or an exception? The study starts with an introduction that will address the different possibilities of relationship between music and architecture throughout history. The first chapter of the work will be a way to introduce and explain concepts and theories to understand the language and the mechanisms of perception in the specific relationship between the human being, the space and the organized sound. On the other hand it will be studied the elements of a sound space. In the second chapter of the work it will be developed a practical way of how music relates to space on specific contexts. For it will be released and analyzed the different spatial characteristics in parallel with the architectural requirements of space music. Architects´s interpretations of musical works will be confronted in parallel with spaces made for music but conceived by composers. In the third chapter it will be held the designation of spatial music using the illustration of specific cases like the beginning of a spatial music (Renaissance) until the end of the twentieth century. It will be studied, in fact, how the concept of spatial sound evolved, in parallel with the geometric component of the music and the appropriation of new spaces for musical performance. In the last chapter, it will be considered a special case, unique in Portugal, the "Casa da Música" at Oporto, as it was designed and programmed in order to accommodate the various spectrums of music. Its spaces are thus faced with some works of contemporary music that explores the new sound spatialization.