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This is a book about sound studios, focusing on their architectural and geographical aspects. It explores how music is materialized under specific spatial and technological conditions and the myths associated with this process.Through ten in-depth studies, it examines the design, evolution and current function of sound studios amidst economic and technological shifts in the music industry. Traditional studios are in flux between the past and future. The industry, while steeped in romanticism and nostalgia, also embraces forward-driven pragmatism and an extensive reuse culture, encompassing heritage audio, building materials and existing buildings. A surprisingly diverse architectural heritage, the most significant feature is the host building, the framework around the studio capsule. Many traditional studios adapt to digitalization with hybrid solutions, reflecting a shift toward smaller, more versatile spaces. In a time when recordings in theory can happen anywhere, destination studios must excel to attract clients, balancing historical legacies with diversification. Although they may be easy to deconstruct, many of the myths endure, sustaining ideas of landmark recordings, unique locations and distinct remnants of sonic heritage. Courtesy of their capacity to keep the past alive in the present, traditional sound studios are best described as museums that work.This book aims to reach scholars and students with an interest in history, theory and preservation, as well as practicing architects and architectural students who wish to find out more about the relationship between sound and space, acoustic design and retrofitting of historical buildings into specialized functions. It also aims to reach practicing musicians, producers, music students and music scholars.

Ferruccio Busoni as Architect of Sound presents the composer as an innovator inspired not only by past musical traditions but also by a contemporary interest in experimentalism. In the twentieth-century, Busoni wrote pieces where sound radiates from different directions, created montage formal structures, and freely used all twelve pitches of the chromatic scale without avoiding consonances. This book reveals how he also applied his understanding of tangible architectural spaces, buildings, and floor plans to his music, reconciling the spatial and temporal divide in music through an interdisciplinary approach. His innovation prompted and inspired new trends in pitch organization, the spatialization of sound, and the expansion of formal structures. Transcending physical boundaries of compositional innovation, Busoni also engaged in a rich exchange of ideas with contemporary architects and artists. Through a broad analysis of Busoni's compositional activities, musicologist Erinn E. Knyt brings Busoni's music into dialogue with more recent accounts of modernism in music that move beyond elitist esotericism and notions of rupture with the past. In addition, she facilitates a discourse between Busoni and other twentieth-century artists and explores how Busoni's spatialized architectural music left a lasting imprint on future generations of musicians and early film pioneers.

Urban Roar argues for the existence of'autonomous affectivities'that roar beneath the din of the urban, seeking the attention of us humans so captured by the environments of our own making. In hearing the urban roar, it is the mythic intention of this book to discover ways in which we can work with the intensities of more-than-human forces to vitalize our cities. The book explores methods by which artists, particularly those sound artists involved in fieldwork practices, might encounter and translate autonomous affectivities between different environments. Of particular interest is Jung's concept of synchronicity and its relationship to artistic creation – as experience, flow and catalyst – in manifesting autonomous affectivities into diverse and affective environments. The book makes use of both theoretical and practical approaches: from a study of scholarship through which it is argued that an autonomous affectivity is equivalent to an archetype (via Jung) and an essence (via Deleuze's reading of Spinoza), to theoretical considerations of the situated body in everyday contexts, to practical study of an artistic research experiment designed to reveal and index autonomous affectivities encountered during fieldwork practices, for the purpose of influencing urban design interventions. In this fresh analysis, Lacey reveals the possibilities in urban environments.

Xenakis Creates in Architecture and Music describes the collaborative interaction of internationally acclaimed composer Roger Reynolds, musician Karen Reynolds, and musically inspired composer, engineer, and architect Iannis Xenakis (1922-2001) to create a house design, The Reynolds Desert House. The process combined aesthetics and intuition with mathematical systems, showcasing how art and science are balanced—by way of music and architecture—to address the essential technical aspects of music along with the role of emotion and energy. The book analyzes three representative chamber works and presents a trove of primary sources: letters, diaries, notes, photographs, sketches, and person-to-person conversations. What emerges are patterns of direct parallels between how Xenakis characterized the process of musical creation and his design of The Reynolds Desert House. Xenakis Creates in Architecture and Music is a testament to the singularly innovative and creative mind of Iannis Xenakis.Supplementary materials—including color reproductions of black and white images in the book—can be found at: www.rogerreynolds.com/xenakisreynoldsroutledge.html

This new edition of this standard work adds several new information the book, so that sound engineering and architects can better assess the acoustic value of a Rock and Pop Venue. In particular, new insights to the influence of sound absorbers in reflected and important ISO standards are included into the new edition. Based on the first ever scientific investigations on recommendable acoustics for amplified music conducted by the author, this book sets forward precise guidelines for acoustical engineers to optimize the acoustics in existing or future halls for amplified music. It Gives precise guidelines on how to design the acoustics in venues that present amplified music Debates essential construction details, including placement of sound system and use of possible building materials, in the architectural design of new venues or the renovation of old ones Portrays 75 well-known European Rock & Pop venues, their architecture and acoustic properties. 20 venues were rated for their acoustics by music professionals leading to an easy-to-use assessment methodology

Raum kann integraler Bestandteil einer Komposition sein - davon handelt der dritte Teil der Trilogie zum hörbaren Raum und seiner Technologie. Im Mittelpunkt der Studie steht mit Nonos Prometeo eine der bekanntesten und komplexesten Raumkompositionen des 20. Jahrhunderts. Ausgangspunkt der Untersuchung ist die Rekonstruktion des hörbaren Klangs der im speziellen Holzbau von Renzo Piano verteilt aufgestellten Musiker, Sänger und Lautsprecher bei der Uraufführung 1985. Die Analyse der Raum-Klang-Verhältnisse zeigt, dass die elf Teile des Prometeo aus sich ständig wandelnden Raumklangskulpturen bestehen, die mit den Texten aus Massimo Cacciaris Libretto interagieren.

Nesta obra examinei relações entre a Arquitetura e a Música. Reflexionando sobre alguns elementos formais utilizados por ambas as artes, busquei métodos de aproximação entre elas. Como resultado, apresento o processo de desenvolvimento de um programa de computador que traduz elementos geométricos a formas musicais (ou pseudomusicais). O nome do mecanismo programado é Caixa de Música. O conteúdo é resultado da tese de doutorado defendida em 2009 na UFRJ/Proarq, trabalho que apresento revisado e atualizado. Trata-se de uma incursão da disciplina conhecida como Desenho Assistido por Computador (CAD) dentro do campo da Composição Assistida por Computador (CAC). Desenvolvi diversas técnicas de composição a partir da tradução de objetos geométricos tridimensionais modelados dentro do popular ambiente gráfico AutoCAD. Apresento as diversas técnicas e critérios de manipulação formal utilizados para capturar e traduzir os objetos geométricos. Os instrumentos utilizados são a linguagem AutoLISP para manipular os objetos de AutoCAD e o Compo Music para processar musicalmente os objetos geométricos. A modelagem plástica do som, partindo de uma matéria-prima geométrica, visa a um objetivo maior que é o da qualificação sonora dos espaços arquitetônicos. Como referência principal, foi estudada a obra teórica e os fundamentos filosóficos e políticos do compositor grego Iannis Xenakis (1922-2001). Em especial, as suas especulações acerca das noções de estrutura musical outside-time e a teoria dos sieves. O estudo foi me levando, seguindo um enfoque epistemológico, para a problemática da relação entre Arte e Ciência. São apresentadas noções simplificadas de teoria musical e o instrumento matemático que serve para realizar as operações de tradução: a aritmética modular. Teorizo sobre diretrizes que permitam estender o uso da técnica como instrumento de qualificação espacial.

This Must Be The Place is the first architectural history of popular music performance space, describing its beginnings, its different typologies, and its development into a distinctive genre of building design. It examines the design and form of popular music architecture and charts how it has been developed in ad-hoc ways by non-professionals such as building owners, promoters, and the musicians themselves as well as professionally by architects, designers, and construction specialists. With a primary focus on Europe and North America (and excursions to Australia, the Far East and South America), it explores audience experience and how venues have influenced the development of different musical scenes. From music halls and Vaudeville in the 1800s, via the seminal clubs and theatres of the 20th century, to the large-scale multi-million-dollar arena concerts of today, this book explores the impact that the use of private and public space for performance has on our cities'urban identity, and, to a lesser extent, how rural space is perceived and used. Like architecture, popular music is neither static nor standardized; it continuously develops and has multiple strands. This Must Be The Place describes the factors that have determined the development of music venue architecture, focusing on both famous and less well-known examples from the smallest bar room music space to the largest stadium-filling rock set.

Experimentations provides a detailed historical and theoretical analysis of the first three decades of experimental composer John Cage's aesthetic production (ca. 1940-1972). Paying particular attention to Cage's inter- and cross-disciplinary engagements with the visual arts and architecture during this period, the book sheds new light on some of Cage's most controversial and influential innovations, such as the use of noise, chance techniques, indeterminacy, electronic technologies, and computerization, as well as upon lesser known but important ideas and strategies such as transparency, multiplicity, virtuality, and actualization. Ultimately, it traces the development of Cage's avant-garde aesthetic and political project as it transformed from the emulation of historical avant-garde precedents such as futurism and the Bauhaus, to the development of important precedents for the post-World War II movements of happenings and Fluxus, to its ultimate abandonment in the aftermath of problems encountered in the vast, multimedia composition HPSCHD (1967-69).

Sonic Rupture applies a practitioner-led approach to urban soundscape design, which foregrounds the importance of creative encounters in global cities. This presents an alternative to those urban soundscape design approaches concerned with managing the negative health impacts of noise. Instead, urban noise is considered to be a creative material and cultural expression that can be reshaped with citywide networks of sonic installations. By applying affect theory the urban is imagined as an unfolding of the Affective Earth, and noise as its homogenous (and homogenizing) voice. It is argued that noise is an expressive material with which sonic practitioners can interface, to increase the creative possibilities of urban life. At the heart of this argument is the question of relationships: how do we augment and diversify those interconnections that weave together the imaginative life and the expressions of the land? The book details seven sound installations completed by the author as part of a creative practice research process, in which the sonic rupture model was discovered. The sonic rupture model, which aims to diversify human experiences and urban environments, encapsulates five soundscape design approaches and ten practitioner intentions. Multiple works of international practitioners are explored in relation to the discussed approaches. Sonic Rupture provides the domains of sound art, music, creative practice, urban design, architecture and environmental philosophy with a unique perspective for understanding those affective forces, which shape urban life. The book also provides a range of practical and conceptual tools for urban soundscape design that can be applied by the sonic practitioner.

While we are used to looking around us, we are less used to listening to what happens around us. And yet, the noises we produce reveal our way of life, and learning to master them is a necessity. This book aims at drawing the reader's attention to the sound of the urban environment. The topic is by its very nature complex, as it involves sounds and noises, urban space and social activities. Using an interdisciplinary approach, it examines a heterogeneous selection of experimentations from the domains of music, art and architecture. Significant case studies of pieces of music, public art works and scientific research in the field of urban planning are analyzed, investigating the methods that have been adopted and the aural processes that have been generated. It then uses the findings to reconstruct the underlying theories and practices and to show what might be drawn from these procedures applied to urban planning. The overall objective is to learn to build and enrich space with sound, arguing that there is a need to reconsider architecture and urban planning beyond building, and to look to the world of the arts and other disciplines. In doing so, the book guides the reader toward a sensorial architecture, and more generally toward consciously creating environmental architecture which is sustainable and connects with art and which diffuses a culture of sound.

Live Architecture explores the physical form of popular music performance space from 1960 to the present day.This book quantifies the factors that determine what makes a venue successful focusing on both famous and less well-known examples from the smallest barroom music space to the largest stadium-filling rock set. It draws on the author's extensive research expertise in the field of temporary and portable architecture, in the development of general contemporary architectural design, and personal experience of music performance.Including a range of case studies, the book analyses some of the most significant popular music venues, events and landmarks in the world. The detail of how a venue is created, how it is constructed, and the acoustic and visual environmental factors that impact on its success are examined here.Highly illustrated throughout with design drawings, plans and full colour photographs, this book provides a comprehensive overview of the architecture of live popular music.

Trans architettura. L'approccio con i tempi alla conquista del cosmo - La “costruzione visionaria” di Gehry, la musica dodecafonica di Schoenberg - Gehry. Il recupero dell'informale e dell'informe - Schoenberg. Il superamento della tonalità - Gehry e Shoenberg. Considerazioni sui concetti di “informale” e di “informe” - Gehry. Concetto di “flusso incompiuto” - Schoenberg e la “musica infinita” - La modalità - Trans architettura. Schoenberg e Berio attraverso Gehry - Forma e percezione enarmonica - Il “semiautomatic drawing” - Comparazioni tra schizzi e percorsi armonici - Trasposizione in musica degli elementi architettonici - Quando la musica interpreta l'architettura - L'atto creativo come processo dinamico - “Consonanze” e “dissonanze” nella percezione spaziale - La rappresentazione dei suoni - “Allusioni” e contaminazioni -“Schematizzazione” dei processi compositivi. Fonemi e morfemi di linguaggi in evoluzione - La codificazione dei “complessi simbolici” - L'architetto e il musicista. Il dibattito tra Piano e Berio - Architettura e musica: la conoscenza policentrica e la rappresentazione polifonicaLe geometrie dell'armonia - Le forme della natura_Le forme dell'arte - Rappresentazione armonica del triangolo e del quadrato - Rappresentazione di una piramide esagonale e di un parallelepipedo compenetrati - Rappresentazione di un prisma e di una piramide - La scala tonale - La scala modale - Rappresentazione dei rapporti armonici relativi alle combinazioni delle triadi di base del prisma - Commistione di solidi “aperti” e “chiusi” - Le regole dell'enarmonia - Eliminazione del primo prisma pentagonale - Eliminazione del parallelepipedo centrale - Eliminazione del secondo prisma pentagonale - Eliminazione del primo prisma pentagonale e del parallelepipedo centrale - Eliminazione dei due prismi pentagonali - Eliminazione dei due prismi pentagonali e del parallelepipedo centrale - Eliminazione del prisma eptagonale - Eliminazione del parallelepipedo di copertura e del cilindro

In this book the concept of functionalism, well-known in 20th-century architecture and design, is used to investigate the musical thoughts of two of the leading composers at the time of the Bauhaus, the time of Adolf Loos and Le Corbusier. Functionalism may be characterized by the functional treatment of the chosen material, by functional design, and by a focus on the work's intended function. This tripartite requirement also defines the concept of musical functionalism as developed in this study, and it serves as the foundation for a presentation of Schoenberg's and Hindemith's thoughts on the subject. Examined through the lens of musical functionalism, common traits between thetwo composers become evident, despite all their individual characteristics as artists of noticeable integrity. Discussions of the musical material, of musical form, and of the function of music allow the author to reveal a sharedepistemological base underlying the external dissimilarities of the two composers'style and language.

This book explores a paradox: how can a musical work that was written specifically for a certain architectural space «survive» dramatic changes in performance conditions, as in the case of Handel's Messiah? From the chamber music hall in Dublin where it was first performed in 1742, small baroque theaters, and the chapel of London's Foundling Hospital, performances of Messiah after Handel's death moved to cathedrals, to new and large 19th-century concert halls, and finally to the immense Crystal Palace in Sydenham. Are there boundaries determining an adequate performance? How can we define the quality of room acoustics and how does this quality affect the performance as actual sonorous presentation of a musical work? In short, how do different acoustical conditions affect basic aesthetic premises? There are no simple answers to these complex questions, which elicit different responses according to varying points of view. This aspect of cultural history necessarily calls for an investigation based on systematic, historical, and psychological methods. In the first part of this book, which draws from an extensive database of documents on halls, theatres, and churches, essential concepts from the main disciplines involved are introduced in order to define quality of room acoustics in relation to different performance situations. This background then serves as framework to investigate the performance history of Handel's Messiah in the second part.

Qui n'a pas, à l'écoute d'un organum parisien, établi un rapport avec l'architecture des cathédrales gothiques, ou rencontré une telle comparaison dans un ouvrage traitant de musique ou d'histoire de l'art? Ces rapports résultent de deux faits : d'une part, un remarquable parallélisme entre les événements marquants de la polyphonie parisienne et de l'architecture gothique, et d'autre part, la propension actuelle à percevoir de façon spontanée cette analogie. Cet ouvrage propose donc un nouvel examen de ce parallélisme historique en tenant compte de la perception actuelle, et en se basant sur les caractères concrets de l'architecture des cathédrales gothiques, de la polyphonie de Notre-Dame et du contexte culturel et intellectuel de l'époque. Basées sur la pensée scolastique, les analyses des compositions polyphoniques et des cathédrales gothiques d'Ile-de-France font ressortir des structures qui expliquent enfin que l'on perçoive entre ces œuvres des liens organiques et esthétiques. Cet ouvrage propose un parcours inédit d'éléments historiques concrets vers l'organisation et la perception de créations centrales de l'art médiéval.

Qu'est-ce que la musique et les expérimentations artistiques peuvent nous apprendre à propos de la ville? Comment avancer dans le projet d'architecture et d'urbanisme grâce à l'étude de la perception de l'espace au moyen de l'ouïe? Voici un guide utile pour découvrir l'architecture sensorielle et apprendre à construire et enrichir l'espace avec les sons.

In this lively book, David Brown locates jazz music within the broad aesthetic, political, and theoretical upheavals of our time, asserting that modern architecture and urbanism in particular can be strongly influenced and defined by the ways that improvisation is facilitated in jazz. Improvised music consists of diverse properties that fail to register in the object-oriented understanding of composition. As a result, it is often dismissed as noise—an interfering signal. However, Brown asserts, such interference can bear meaning and stimulate change. Noise Orders identifies how architecture can respond to the inclusive dynamics of extemporaneous movements, variable conceptions of composition, multiple durations, and wide manipulation of resources found in jazz to enable outcomes that far exceed a design's seeming potential. By exploring overlapping moments between modernism and the cultural dimensions of jazz, Noise Orders suggests that the discipline of improvisation continues to open and redefine architectural theory and practice, creating a world where designers contribute to emerging environments rather than make predetermined ones. Comparing modern and avant-garde artists and architects with individuals and groups in jazz—including Piet Mondrian and boogie-woogie, John Cage and Rahsaan Roland Kirk, Le Corbusier and Louis Armstrong, and Ludwig Mies van der Rohe and the Association for the Advancement of Creative Musicians (AACM)—Brown examines how jazz can offer alternative design ideas and directions, be incorporated in contemporary architectural practices, and provide insight on how to develop dynamic metropolitan environments. Interdisciplinary in its approach, innovative in its methodology, and unexpected in its conclusions, Noise Orders argues for a deeper understanding of the infinite potential inherent in both music and architecture. David P. Brown is associate professor of architecture at the University of Illinois at Chicago.