Page 284 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 284
musica et artes
Le Corbusier was not the first person in the history who discovered and
described the spacious aspects of music and related them to the architecture.
Tracks of these considerations are definitely earlier.
As Ludwik Bielawski points out
humankind had taken an interest in proportion and harmonia mundi problems
for a long time. […] Problem of proportion has been interweaving in the whole histo-
ry of art whether it is by searching for the divine order or by the more laic form of ne-
eding harmony and beauty or some programme towards these categories.5
Jacques le Goff in his studies on the culture of the Middle Ages Europe6 re-
calls the dominating in this time tendency of treating the world harmony as
a symbolism of numbers and structure of thoughts which existed as one of
the leading basic rules of arts and among of them architecture. Expression of
the ideal composition of numbers in the real world was music actually. Com-
bining these categories the ideal architect was called “a composer”. Beauty had
its origins in proportion and harmony as it was commonly said at that time.
Due to this opinion the privileged position of music aroused. “who knows mu-
sic – said Thomas from York – knows the order of all the thing in the world.”7
Jacques le Goff mentioned the Middle Ages idea of the composer of music
as an architect. The famous is also the sentence of Goethe who called archi-
tecture the frozen music. Among the today’s theoretical perspectives we can
find similar concepts combing music and architecture such as describing Ian-
nis Xenakis as “the sound architect” by James Harley8 as well as the architect
of musical space. One of the latest versions of this kind of defining music is
Beata Bolesławska’s book on Andrzej Panufnik titled Panufnik – the archi-
tect of emotions.9
Le Corbusier and His Vision of Architecture
in Relation to Music
Le Corbusier himself points out some basic elements of architecture which
can be seen as these ones closely related to music. An architect creates the or-
5 Bielawski, op. cit., 194.
6 Jacques le Goff, Kultura średniowiecznej Europy, trans. Hanna Szumańska-Grossowa (Warszawa:
Volumen, 2002).
7 Jacques le Goff, Kultura średniowiecznej Europy, trans. Hanna Szumańska-Grossowa (Warszawa:
Volumen, 2002), 396.
8 James Harley, „Iannis Xenakis: racjonalny mistyk, architekt dźwięku [Iannis Xenakis: rational
mystic, architect of sound],” Muzyka 43, no. 4 (1998): 171.
9 Beata Bolesławska, Panufnik. Architekt emocji (Warszawa: PWM, 2014).
282
Le Corbusier was not the first person in the history who discovered and
described the spacious aspects of music and related them to the architecture.
Tracks of these considerations are definitely earlier.
As Ludwik Bielawski points out
humankind had taken an interest in proportion and harmonia mundi problems
for a long time. […] Problem of proportion has been interweaving in the whole histo-
ry of art whether it is by searching for the divine order or by the more laic form of ne-
eding harmony and beauty or some programme towards these categories.5
Jacques le Goff in his studies on the culture of the Middle Ages Europe6 re-
calls the dominating in this time tendency of treating the world harmony as
a symbolism of numbers and structure of thoughts which existed as one of
the leading basic rules of arts and among of them architecture. Expression of
the ideal composition of numbers in the real world was music actually. Com-
bining these categories the ideal architect was called “a composer”. Beauty had
its origins in proportion and harmony as it was commonly said at that time.
Due to this opinion the privileged position of music aroused. “who knows mu-
sic – said Thomas from York – knows the order of all the thing in the world.”7
Jacques le Goff mentioned the Middle Ages idea of the composer of music
as an architect. The famous is also the sentence of Goethe who called archi-
tecture the frozen music. Among the today’s theoretical perspectives we can
find similar concepts combing music and architecture such as describing Ian-
nis Xenakis as “the sound architect” by James Harley8 as well as the architect
of musical space. One of the latest versions of this kind of defining music is
Beata Bolesławska’s book on Andrzej Panufnik titled Panufnik – the archi-
tect of emotions.9
Le Corbusier and His Vision of Architecture
in Relation to Music
Le Corbusier himself points out some basic elements of architecture which
can be seen as these ones closely related to music. An architect creates the or-
5 Bielawski, op. cit., 194.
6 Jacques le Goff, Kultura średniowiecznej Europy, trans. Hanna Szumańska-Grossowa (Warszawa:
Volumen, 2002).
7 Jacques le Goff, Kultura średniowiecznej Europy, trans. Hanna Szumańska-Grossowa (Warszawa:
Volumen, 2002), 396.
8 James Harley, „Iannis Xenakis: racjonalny mistyk, architekt dźwięku [Iannis Xenakis: rational
mystic, architect of sound],” Muzyka 43, no. 4 (1998): 171.
9 Beata Bolesławska, Panufnik. Architekt emocji (Warszawa: PWM, 2014).
282
