Architects and composers share striking similarities despite their difference in medium. Beyond some shared vocabulary– composition, rhythm, texture, and volume, they use the same process, struggle with similar concepts, and affect people in comparable ways. Both architects and composers translate an idea to a graphic description which then serves as instructions for others to create. Not only is someone else realizing the creation, but several others must collaborate. Conventions exist in both graphic contexts: blueprints with graphic standards, and sheet music with musical notation. Both fields also exist in the context of their respective history, and new creations are regarded as a part of that discourse. On a smaller scale, part to whole relationships are crucial when designing or composing. Perhaps more important than the common processes and methods, is the common aim of architects and composers: to evoke emotions and affect people.
Not only does architecture affect people, it affects phenomenon which take place within its interiors. Architecture molds music. Depending on the architecture’s shape, size, and material, it can either enhance or decrease the music’s reverberation, clarity, intimacy, warmth, brilliance, loudness, spaciousness, and background noise. One architectural decision often impacts multiple factors, and each acoustic quality is often impacted by multiple architectural factors.
Architecture molds music, but what if the relationship were reversed? What if music made architecture? The music could be analyzed to determine its intentions and means, and then those intentions and means could be translated into architecture. For example, consider my favorite piece, Aaron Copland’s Appalachian Spring. There are eight parts, and we fortunately have Copland’s own description of each to aid in the analysis.
- Very slowly. Introduction of the characters, one by one, in a suffused light.
- Fast/Allegro. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.
- Moderate/Moderato. Duo for the Bride and her Intended – scene of tenderness and passion.
- Quite fast. The Revivalist and his flock. Folksy feeling – suggestions of square dances and country fiddlers.
- Still faster/Subito Allegro. Solo dance of the Bride – presentiment of motherhood. Extremes of joy and fear and wonder.
- Very slowly (as at first). Transition scene to music reminiscent of the introduction.
- Calm and flowing/Doppio Movimento. Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title “The Gift to Be Simple.” The melody most borrowed and used almost literally is called “Simple Gifts.”
- Moderate. Coda/Moderato — Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed prayerlike chorale passage. The close is reminiscent of the opening music.
Appalachian Spring was originally written for a ballet, so narrative and imagery play a large part in these descriptions. Each part of the piece is a different space, and an inhabitant progresses through them as a listener progresses through the music. The emotion, mood, or imagery of each part translates literally, while the means to these intentions are abstracted. Instrumentation (number and type of instruments) or number of actors relate to the simplicity or complexity of the space. Tempo (speed) translate to the constriction or openness of space. Fast parts may function as passageways, while slower parts serve as destinations. Dynamics (loudness) greatly impact the mood of music, much the way the quantity and quality of light does for architecture. Finally, motives (recurring themes) imply physical or visual connections to the same or similar spaces.
Architecture and music are different worlds, but they share similar processes, methods, intentions, and consequences. Perhaps each could benefit from a closer relationship with the other. Renaissance men gained much from cross-disciplinary practices. Thought processes and patterns are broadened by looking outside the field and working between different media. Since design is a system of thinking and making, it is appropriate and beneficial to apply design principles to other areas of life. If applied to more popular areas of life, it might also bring architecture back into public awareness, or help develop clients that relate with, and value, design thinking. Not only that, but interdisciplinary design practices could bring architects and designers new markets and opportunities for expansion.
What similarities and relationships can you draw between architecture and music? How would you use music to create architecture?
