Rhythmus. Harmonie. Proportion. Zum Verhältnis von Architektur und Musik

This volume is divided into four chapters that cover and methodically reflect on the main areas of research dealing with the interplay between music and architecture. The contributing authors come from a variety of areas: art historians and musicologists, architects and musicians, authors and journalists all shed light on the examined phenomena from a variety of perspectives. 1. Architecture aesthetics and music aesthetics. Architecture and music employ a common vocabulary. The language connection suggests more profound links both in theory and in practice in many stages of architecture and music history. The concept of a structural principle that unites both of these art forms and is a manifestation of the order of the cosmos can be traced from ancient times through to today. At the heart of this first area of research lies the comparison of music and architecture in art theory, aesthetics and in other literature e.g. novels. Furthermore, characterisations of both forms of art, some of their representatives or certain works with references to the respective other art form are of interest. Historical models for comparison are introduced and systematic questions investigated. The essays also show which consequences for interpretation result from the use of a common vocabulary, even in case of diverging definitions of individual terms. 2. Creative process, structures, principles The second area of research attempts to transfer structural and organising principles, methods and ideals from the one form of art onto the other, without taking any specific construction projects into account. The focus of investigation is on basic decisions regarding orientation towards the affiliated art form that are rooted in the ideology, the general concepts of art and the way the architects and composers see themselves. This often involves structures that affect the creative process but are not immediately recognisable as such in the work. In this context, let the significance of the Pythagorean-Platonic concept be noted. The introduction of a cosmic organising principle that also affects music and architecture plays an important role until the 20th century - from Arnold Schoenberg to Daniel Libeskind. The same applies to the golden ratio, which was sought in such diverse buildings as the Parthenon in Greece, Florence Cathedral, the Notre Dame in Paris and in many a musical opus. Methodical problems, which also lead to the question of insight gained through this approach, mainly arise when there are various parameters for gauging to be chosen from. 3. Composition, performance, giving the music space, and 4. Building for music For centuries music was played in rooms in which it had the role not of the host but of the guest: in churches and palaces. Yet interdependencies between compositions and buildings or rooms arose, even in these venues. The architectural design of a church may develop primarily from its sacral purpose, but the performance of sacred music is nevertheless an integral aspect. Master builders did take into account that sacred music requires not only a venue, but a specially designed space. Composers, on the other hand, reacted to certain architectural features that also always affect the acoustics. In this area of research, it will firstly be investigated to what extent the purpose of any given venue or building influenced musical compositions. Secondly, architectural solutions will be presented whose expression and influence on sound quality react to or seek to initiate the performance of music.