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    Music and Space

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    Alain TheLone
    This document is an introduction that discusses the relationship between music and architecture from ancient Greek times through the Renaissance and into the 18th century. It describes two levels on which speculations about their relation occur - the intellectual level concerning form and structure, and the phenomenological level concerning expressive quality and aesthetic effect. The intellectual level peaked in the Renaissance when architects and composers tried to shape forms according to numerical principles, while the phenomenological level originated in the 18th century focusing on beauty arising from aesthetic experience rather than structure.

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    Music and Space

    Uploaded by

    Alain TheLone
    47 views1 page
    This document is an introduction that discusses the relationship between music and architecture from ancient Greek times through the Renaissance and into the 18th century. It describes two levels on which speculations about their relation occur - the intellectual level concerning form and structure, and the phenomenological level concerning expressive quality and aesthetic effect. The intellectual level peaked in the Renaissance when architects and composers tried to shape forms according to numerical principles, while the phenomenological level originated in the 18th century focusing on beauty arising from aesthetic experience rather than structure.

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    music and space

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    This document is an introduction that discusses the relationship between music and architecture from ancient Greek times through the Renaissance and into the 18th century. It describes two levels on which speculations about their relation occur - the intellectual level concerning form and structure, and the phenomenological level concerning expressive quality and aesthetic effect. The intellectual level peaked in the Renaissance when architects and composers tried to shape forms according to numerical principles, while the phenomenological level originated in the 18th century focusing on beauty arising from aesthetic experience rather than structure.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    47 views1 page

    Music and Space

    Uploaded by

    Alain TheLone
    This document is an introduction that discusses the relationship between music and architecture from ancient Greek times through the Renaissance and into the 18th century. It describes two levels on which speculations about their relation occur - the intellectual level concerning form and structure, and the phenomenological level concerning expressive quality and aesthetic effect. The intellectual level peaked in the Renaissance when architects and composers tried to shape forms according to numerical principles, while the phenomenological level originated in the 18th century focusing on beauty arising from aesthetic experience rather than structure.

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    Download as pdf or txt
    of 1

    Sven Sterken

    Music as an Art of Space:


    Interactions between Music
    and Architecture in the Work of
    Iannis Xenakis*

    Introduction

    T
    he speculations about the relation between music
    and architecture are probably as old as both arts
    themselves. Generally speaking, they occur on two
    levels: the intellectual and the phenomenological. The first
    interpretation dates back to ancient Greek thought and
    is linked with the problems of form and structure. The
    most elaborate paradigm here is the theory of ‘harmonic
    proportions’. This synthesis of rationalism and metaphysics
    knew its peak in the Renaissance when numerous architects
    and composers tried to shape architectural and musical form
    according to the same numerical principles. In the second
    interpretation, originating from 18th century aesthetic
    relativism, the expressive quality of art is central. Here,
    beauty does not arise from the intricate structure of the
    work of art, but from its aesthetic effect and its immersive
    power. As Paul Valéry states in Eupalinos ou l’architecte,
    in this context, music and architecture differ from the
    other arts in their capacity to surround man entirely.1 This

    

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