As the World Leaks into the Work: Composition and architecture

Alvim, Diogo d’Aguiar de Sousa

doi:10.1017/s1355771817000279

Cited by 5 publications

(2 citation statements)

References 19 publications

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“…Room acoustics have always been interwoven with music. Indeed, the development of musical traditions may have been directly influenced by the architecture [25][26][27][28]. Sabine [29] is often considered as the founder of architectural acoustics.…”

Section: Orchestrating Acoustic Effectsmentioning

confidence: 99%

A History of Audio Effects

et al. 2020

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Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects.

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Section: Orchestrating Acoustic Effectsmentioning

confidence: 99%

A History of Audio Effects

et al. 2020

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“…Common to these projects is the desire to develop a more complex and meaningful relationship between sound and architecture, a reflection of the aim to broaden boundaries separating the various art practices; expressed in both architectural (Levy, 2003), and musical publications (Alvim, 2017). Tracing a direct lineage between contemporary works of architectural representations and the tradition of graphical music developed by John Cage, John Whitney, and Dennis Smalley is useful for understanding the reasoning behind this field of enquiry.…”

Section: Representational Studiesmentioning

confidence: 99%

AMORPHOUS Towards a Sonic Architecture

Mccosh¹

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Architecture practice maintains an ongoing interest in the relationship between space and sound. While the work of many architects has produced a wealth of knowledge about applying the rules of western musical arrangement to spatial design, emerging contemporary theories raise questions about the prioritisation of formal outcomes exemplified by this line of enquiry. The increasing validation of cross-disciplinary practice as a model for design research, and the development of virtual reality technologies, means that new explorations into the role of sound as a dimension of architectural experience are now possible. Therefore; As a critical response to the ongoing visual bias of architectural praxis, this body of research explores how an understanding of the relationship between architecture and sound may develop through design-led research undertakings. An open-ended design process engaging with a multitude of digital and analogue tools was used to investigate the nature of the relationship between sound and architecture. This design process was arranged into three sections. The first section - Seeking - explored practical design applications of theoretical ideas about the relationship between sound and architecture, examining the differences between designing with musical arrangement methods, and designing with sound as a spatial experience. The second section - Defining - considered the technical limitations and creative opportunities presented when using virtual reality as the primary design tools. The final section - Developing- built upon the outcomes of the first two sections, focusing on the design of a coherent outcome that presents the creative opportunities of designing with sound as the primary dimension of spatial experience. In summary, this thesis argues for a more broad perspective on the utilisation of sound in architecture design; shifting focus away from appropriating musical arrangement rules, aiming instead towards designing sound as a dimension of spatial experience.

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Composition as Artistic Device

Alvim

2021

Current Research in Systematic Musicology

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As the World Leaks into the Work: Composition and architecture

Cited by 5 publications

References 19 publications

A History of Audio Effects

A History of Audio Effects

AMORPHOUS Towards a Sonic Architecture

Composition as Artistic Device

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