Musica e architettura

The theme is not new, but its variations are endless, and the book intentionally presents some of the least obvious ones. For example, it problematically addresses the relationship between music and architecture (Vasco Zara), reexamining musical treatises from the Middle Ages to the 19th century. It demonstrates how Venetian polychoral music from the late 16th century rapidly spread across Europe (Helen Geyer). The book investigates the figure of Antonio Niccolini (Marco Bizzarini), an architect of theaters and promoter of musical performances, and analyzes the concept of space/time in Japanese culture (Christoph Hahn), as well as the soundscapes of the contemporary Turkish composer Fazıl Say (Andreas Krause). It also explores research on the environmental acoustics of recorded, reproduced, or teletransmitted sounds (Marco Russo), and humorously raises broad aesthetic questions (Giovanni Guanti). A significant portion of the volume is dedicated specifically to the relationship between the two arts in contemporary music (between the 20th and 21st centuries), through new analyses of illustrious cases or the presentation of more recent poetics. Iannis Xenakis is reconsidered within the artistic and philosophical context of the time (Séverine Bridoux-Michel), as well as Morton Feldman's music for the Rothko Chapel (Cosimo Colazzo). Karlheinz Stockhausen's experiments are placed within a long-term trajectory (Massimo Priori), while an opera by Giacinto Scelsi reveals his deep exploration of spatio-temporal homologies (Francesco Schweizer). Claudio Ambrosini recounts and explains his numerous works based on sound propagation in space or architectural subjects/objects. Jean-Luc Hervé describes various works inspired by the topography of places and the transformation of sounds that pass through them, and Javier Torres Maldonado emphasizes the formal function that the spatial component assumes in defining the extension and structure of his compositions.

(Authomatic translation by Chat-GPT 4)