Music in Architecture—Architecture in Music
- Precedent Field Text
- Editor Michael Benedikt
- Date 2014
Title:
CENTER 18: Music in Architecture—Architecture in Music
Author:
Michael Benedikt
Date:
2014
Publisher:
Center for American Architecture and Design
Link:
Music in Architecture—Architecture in Music
Amazon
About:
Music is more than sound–more, even, than interesting sound. Architecture is more than building–more, even than interesting building. This was our conviction. And this was the quest: to explore what that ”more” was today by imagining that it was the same, or at least comparable, for the intuitively-related arts of music and architecture. Winner of the Bronze Medal in Architecture from the Independent Publisher Awards. Second place winner in the publications category at the Texas AIGA show.
Table of Contents:
Foreword | Michael Benedikt
Borromini and Benevoli: Architectural and Musical Designs in a Seventeenth-Century Roman Church | Julia Smyth-Pinney and David Smyth
Warps, Ribbons, Crumpled Surfaces, and Superimposed Shapes: Surfing the Contours of Miles Davis’s “Lost Quintet” | Michael E. Veal
Louis Sullivan, J.S. Dwight, and Wagnerian Aesthetics in the Chicago Auditorium Building | Stephen Thursby
Curious Mixtures | David P. Brown
Space and Sound: Harmonies of Modernism and Music in Richard Neutra’s Clark House | Michael J. Ostwald
(De)Compositions: Intersections of Architecture and Music in the Abstract Films of Hans Richter and Viking Eggeling | Michael Chapman
Visualizing Beethoven’s An die ferne Geliebte Digitally | Hedy Law and Ira Greenberg
How Not To Be “Theatrical”: Emile-Jaques Dalcroze, Adolphe Appia, Le Corbusier | Joseph Clarke
Spatial Notation in Experimental Music: The Case of Stuart Marshall | Peter Tschirhart
Cage, Chance, and Architecture: Distancing the Formalizing Agent | Steve Harfield
Creative Uncertainty | Yiu-Bun Chan
Composing Space: The Terminology of Space between the Venetian School and New Music | Yvonne Graefe
Music, Landscape Architecture, and the Stuff of Landscapes | Brenda J. Brown
The London Flat and Manhattan Studio of Jimi Hendrix | Marie-Paule Macdonald
A Dodecahedral House of Blues: From Buckminster Fuller’s Jitterbug Transformation to an Elusive, Bilaterally Symmetrical Harmonic Architecture | David A. Becker
Rethinking Xenakis and the Role of Information in the Immediate Production of Architectural Affects | Andrew P. Lucia and Jenny E. Sabin
Along Parallel Lines: Architectural and Musical Notation | Jim Lutz
Architecture in Motion: A Model for Music Composition | Jorge Variego
Bebop Performances | Bennett Neiman
