Page 286 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 286
musica et artes
nes are a kind of protection against arbitrary: in the same time this is a kind
of verification which can appreciate all the fervent work. Compositional line
gives the mental order which leads to the search of creative and harmonious
relationships. It gives the work eurhythmics. Compositional line creates this
special sensual mathematics generating salutary sense of order. Choosing the
compositional lines is the first step to define the basic geometry of the pie-
ce and gives the main impression of the piece in the same time. It is a cruci-
al point of inspiration and the main activity in architecture.13 Le Corbusier
notices that plan flows from the inner part of composition to its surface. The
outer part of composition results from its inner part. He also mentions the
other architectonical elements playing the significant role in the constructi-
on which can be pointed out here which are: light and shadow, the wall and
space.14 I would add another element to the above group of features which is
sound architecture. I understand it as a shape of a sound which is reached by
the combination of parameters of the sound such as dynamics, colour and
articulation and a source of the sound. In the below parts of the paper I am
going to present the use of the above parameters in analysis of the selected
examples of musical pieces.
Blocks, Solids, Surface and Plan
Combination of these elements I would like to describe basing on the
example of Panufnik’s music. The play of musical blocks and the surface
animating them can be observe in Panufnik’s symphonies, especially the
late ones. Panufnik himself sees music in the space context and compares
music to space and architecture. He describes music as the sequence of for-
ms and shapes manifesting themselves in the real world. Taking the defini-
tion of music as non-frozen architecture the composer considered that he
can be like an architect and look for inspiration in the geometrical forms.
He also imagined that if any way of giving the musical pieces the real shapes
would exist the works of Bach and Mozart would have presented the grea-
test structures and geometrical forms. He decided to plan the further com-
positions such as deriving from and growing up organically from the own
geometrical basis.15
13 Le Corbusier, op. cit., 121.
14 Le Corbusier, op. cit., 207.
15 Andrzej Panufnik, Panufnik o sobie, trans. Marta Glińska (Warszawa: Niezależna Oficyna Wy-
dawnicza, 1990), 341.
284
nes are a kind of protection against arbitrary: in the same time this is a kind
of verification which can appreciate all the fervent work. Compositional line
gives the mental order which leads to the search of creative and harmonious
relationships. It gives the work eurhythmics. Compositional line creates this
special sensual mathematics generating salutary sense of order. Choosing the
compositional lines is the first step to define the basic geometry of the pie-
ce and gives the main impression of the piece in the same time. It is a cruci-
al point of inspiration and the main activity in architecture.13 Le Corbusier
notices that plan flows from the inner part of composition to its surface. The
outer part of composition results from its inner part. He also mentions the
other architectonical elements playing the significant role in the constructi-
on which can be pointed out here which are: light and shadow, the wall and
space.14 I would add another element to the above group of features which is
sound architecture. I understand it as a shape of a sound which is reached by
the combination of parameters of the sound such as dynamics, colour and
articulation and a source of the sound. In the below parts of the paper I am
going to present the use of the above parameters in analysis of the selected
examples of musical pieces.
Blocks, Solids, Surface and Plan
Combination of these elements I would like to describe basing on the
example of Panufnik’s music. The play of musical blocks and the surface
animating them can be observe in Panufnik’s symphonies, especially the
late ones. Panufnik himself sees music in the space context and compares
music to space and architecture. He describes music as the sequence of for-
ms and shapes manifesting themselves in the real world. Taking the defini-
tion of music as non-frozen architecture the composer considered that he
can be like an architect and look for inspiration in the geometrical forms.
He also imagined that if any way of giving the musical pieces the real shapes
would exist the works of Bach and Mozart would have presented the grea-
test structures and geometrical forms. He decided to plan the further com-
positions such as deriving from and growing up organically from the own
geometrical basis.15
13 Le Corbusier, op. cit., 121.
14 Le Corbusier, op. cit., 207.
15 Andrzej Panufnik, Panufnik o sobie, trans. Marta Glińska (Warszawa: Niezależna Oficyna Wy-
dawnicza, 1990), 341.
284
