Music & Architecture – Anna Bofill
From the generation of sounds or the creation of pure sounds we have to build or design the sound work. There are many possible prospects for sound work. The sound is associated with the time variable as well as the space variable. To work, the sound must be inserted into the double space/time dimension.
In the prehistory of music, before the established role, philosophers and scientists cared about thinking about the musical/sound phenomenon to understand it and the first claims related the essence of sound matter to the proportions given by geometry. And at the same time the geometric proportions and other characteristics described by mathematics provided the resources to analyze and compose architecture, art in space, and establish their rules. That is, from the beginning of Western culture and art were found and addressed the relationships between music and architecture, or sound constructions and spatial constructions (architecture, sculpture, painting).
By extension we will see the analogies between sounds and images. Images are given only as shapes in two-dimensional or three-dimensional space. How to think about building music/sound in pictures. Spatial analogy such as idea, starting point, inspiration, etc.
We will deal with analogies of landscapes, paintings, buildings, architecture, physical phenomena of nature, social or human phenomena, etc.
We will draw the idea of sound work. Historically graphic music, with references to Xenakis’ work and his “out-of-time music,” to Mestres Quadreny and his random Mironian work; and in my works of a generative nature or spatial analogies, from Esclat to El silencio transcurre.
Practice work: sound/image correspondences. From sound work to spatial or graphic image and vice versa. An author’s work will be performed graphically and then worked on a sound work from this spatial image.