When we talk about “Music and Architect’s” the need arises to describe how the architect and the shape of the space have for a long time made considerable impact on music creation and the performance. This establishes a platform that bring out the mutual relationship that exists between music and architecture and in doing so explains that they are dependent on each other. The architectural design is portrayed as being the independent variable whereas the creation of music and the performance is the independent variable.
Music can simply be defined as an emotional case of artist translated into a musical art and designed to impact the audience. From this definition it is imperative to say that creation of music is consistent of three major things; 1. The composer
2. The listener
3. The musical work
Architectural work only falls under the ‘the musical works’ because it helps in ensuring that the message gets to the audience. What I am trying to say is that when the artist is creating music often times they do not have the architectural design in mind. What the artist usually has is the emotion that they long to express to audience.
Images of the Hollywood bowl
Adopted from: https://www.google.com/search?q=the+hollywood+bowl&espv=2&biw=1024&bih=667&tbm=isch&imgil=dT4rHvrg4ldHlM%253A%253BIfdTaW-
The researchers further explored on architectural autistics and tried to explain how innovative measures or variable space can be utilized to address the challenge transforming regular indoor events to variable acoustic spaces.
Architectural acoustics is simply a science and engineering aimed at enhancing a good sound within a building mostly used when the building is meant to be a theatre, meeting hall or just a place where various kinds of presentations can be made. The acoustic designs use various innovative methods just as the researchers explain. There are various materials that can be used with the floor, windows, walls and roof that can make certain adjustments into the sound so that it is well articulated to the audience. The adjustment is made through
Sound absorption; especially in reducing background noise.
Sound reflection
Sound transmission
Images of acoustic architectural designs
Images from: https://www.google.com/search?q=Architectural+acoustic&tbm=isch&imgil=CYhomBE6e0EKaM%253
Some of the examples that the authors have given in trying to explain this skill are the floor of early Greece and Rome which were made of stones that could reflect sound. Recent innovations include using the reverberation knowledge in projecting good sound to the audience, utilizing the performance stage and the general space in the hall and use of modern- digitalized systems for reinforcing the sound.
What the author tries to explain in the research is that the sound system should be adjusted so that it will be well audible to all the audience and in a good projection. This is true to some extent, only to the point that the sound is going to help the audience hear what the music artist is presenting. It also applies only to the extent that the person performing will not worry about the straining so much to be heard by the audience and can therefore just concentrate on the performance.
I stand to dispute the author’s assumption that simple adjustment of the sound system will affect the creation of music and performance. This can never be true for various other reasons. To begin with analyzing of performances not only takes sound into account but also focuses on the way the person performing is able to utilize the stage, the way the person presents themselves and the way the persons voice is even before it is amplified and adjusted in the way that the acoustic design allows.
It is therefore not logical to say that if all the theatres are adjusted acoustically it will mean that the performance of all the musicians and all the will be satisfactory or good. To add on that, the adjustment of sound will have little if any effect on the creation of music. Music and performance involves far many things, sound being just a small fraction of the many things. The author’s assumption that architectural adjustments will enhance performance and creation of music is so shallow. The general flow of ideas and the examples given are good and necessary but not sufficient. This article therefore calls for critical thinking for a comprehensive relation about architect and music not just focusing on sound.
