Page 285 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 285
ms of musical architecture in polish contemporary music
der which is the pure product of his mind by arranging solids and forms: by
these forms he gets to our senses and arouses the artistic emotions. Relations
of forms in space response and resound deeply in us and an architect shows
the measure of their order harmonised with the world order. It influences the
movement of our hearts and mind and we can experience beauty then.10 In
the same time this special order is a kind of harmony which has been distinct-
ly felt by the audience.11
We can find further in his considerations some reflections on architec-
ture as the art evoking emotions such as sounds and musical constructions.
This thought is as if it was directly taken out of the dissertations on music and
emotions:
Architecture grounds in the fine arts emotions and must be derived
from the very beginning by using elements which can stir our senses and satis-
fy our desires. Architecture must compose them in such a way that their view
would move us by its finesse or brutality, chaos or peace, unconcern about it
or total commitment of fine arts elements. Its forms should be seen proper-
ly by our eyes and measured in our mind. These are subtle or sever forms, stiff
or pliable which influence our sense physiologically (sphere, cube, cylinder,
level, perpendicular, angle etc.) by shaking them. In this state of movement
we can receive not only sudden and violent experiences. Some relations hav-
ing impact on our consciousness are revealed giving us a delight to the sens-
es which are in accordance with rules of the world in which a man can use his
abilities of recollecting memories, analysing, reasoning and creating.12
It seems that music can also be observed from this perspective. The fol-
lowing measurements of composition can be designed and used for it:
• Solid, surface, plan
• Compositional lines
• Sound architecture
Blocks, solids, surface and plan can be treated as the basic forms of or-
ganization in the musical work. It refers to all the main elements of the com-
position such as melody, harmony, rhythmic and formal structure. The next
questions is how they can be formed in the quasi-architectural composition.
The special energy can form them. It is given to the piece by defining com-
positional lines. According to the Le Corbusier’s opinion compositional li-
10 Le Corbusier, W stronę architektury, trans. Tomasz Swoboda (Warszawa: Centrum Architektury,
2012), 59.
11 Le Corbusier, op. cit., 71.
12 Le Corbusier, op. cit., 71.
283
der which is the pure product of his mind by arranging solids and forms: by
these forms he gets to our senses and arouses the artistic emotions. Relations
of forms in space response and resound deeply in us and an architect shows
the measure of their order harmonised with the world order. It influences the
movement of our hearts and mind and we can experience beauty then.10 In
the same time this special order is a kind of harmony which has been distinct-
ly felt by the audience.11
We can find further in his considerations some reflections on architec-
ture as the art evoking emotions such as sounds and musical constructions.
This thought is as if it was directly taken out of the dissertations on music and
emotions:
Architecture grounds in the fine arts emotions and must be derived
from the very beginning by using elements which can stir our senses and satis-
fy our desires. Architecture must compose them in such a way that their view
would move us by its finesse or brutality, chaos or peace, unconcern about it
or total commitment of fine arts elements. Its forms should be seen proper-
ly by our eyes and measured in our mind. These are subtle or sever forms, stiff
or pliable which influence our sense physiologically (sphere, cube, cylinder,
level, perpendicular, angle etc.) by shaking them. In this state of movement
we can receive not only sudden and violent experiences. Some relations hav-
ing impact on our consciousness are revealed giving us a delight to the sens-
es which are in accordance with rules of the world in which a man can use his
abilities of recollecting memories, analysing, reasoning and creating.12
It seems that music can also be observed from this perspective. The fol-
lowing measurements of composition can be designed and used for it:
• Solid, surface, plan
• Compositional lines
• Sound architecture
Blocks, solids, surface and plan can be treated as the basic forms of or-
ganization in the musical work. It refers to all the main elements of the com-
position such as melody, harmony, rhythmic and formal structure. The next
questions is how they can be formed in the quasi-architectural composition.
The special energy can form them. It is given to the piece by defining com-
positional lines. According to the Le Corbusier’s opinion compositional li-
10 Le Corbusier, W stronę architektury, trans. Tomasz Swoboda (Warszawa: Centrum Architektury,
2012), 59.
11 Le Corbusier, op. cit., 71.
12 Le Corbusier, op. cit., 71.
283
