Comparative Study and Melodic Projective Interpretation of Music to Architecture with a Reflection on the Visual Elements of Point, Line, and Surface

Document Type : Research Paper

Authors

1 Master of Conservation of Historical Buildings and Fabrics, Faculty of Architecture, Fine Arts Campus, University of Tehran, Tehran, Iran. (Corresponding Author)

2 Master of Interior Architecture, Faculty of Architecture and Urban Planning, Art University of Tehran, Tehran, Iran

Abstract

 
It has always been tried to make a comparison between various arts, including architecture, music, poetry, or painting and theatre. The arts are composed of various harmonic components, which have common characteristics. However, so far, their exact relationship at the level of traditional music or architecture of culture has not been examined. So today we are witnessing their disruption and the decline in quality of artistic production and building. This article attempts to answer the question as "How does the melodic projective interpretation of the art of music to the art of architecture come about through the elements of point, line, and surface and their mutual forms?". Thus, given the distance between the arts, this research tries to explore these common features in the two arts of architecture and music in ten categories of hierarchy, the principle of unity, symmetry and reflection, beat or rhythm and repetition, contradiction, rise and fall, presumptive factor, color, perspective, and mathematical proportions. Furthermore, the purpose of this research is to investigate the definitions of the visual elements of point, line and surface, and to comparatively examine the means of applying them in the two arts of architecture and music and to investigate the relation between these two arts through the melodic projective interpretation of the elements. This analytical-descriptive study has been interpreted and classified based on qualitative and logical argumentation methods by the application of the meanings and definitions contained in the documentary and library studies, and the application of common features of the two arts has been analyzed. Also, both of these arts can be expressed and displayed with the elements of the point, line, and surface. Visual elements including point, line, surface, volume and texture related to "shape and form" are also measurable and computable. The emergence of all visual forms starts with the movement of a point. The point in architecture is identifiable in pillar shapes in the plan, the element in the center of a historical square, or the culmination of a dome in religious buildings, and is characterized in music as single-stroke in various sizes with varying degrees of intensity. The line in architecture is drawn in an element stretched towards the sky, the lines used in sketches, Gereh and Arabesque designs in Islamic architecture, and can be seen in music playing a piece of music and the climax of its notes. Architectural surfaces consist of elevations in vertical surfaces or floor and ceiling in horizontal surfaces, and the musical surfaces are determined by how the various musical instruments play and the movement of the hands while stroking. In his book, Kandinsky has translated musical compositions by points. Apart from the drum, a point can be produced by other musical instruments. The piano allows the creation of closed compositions and exclusively made of sequential combinations of audio points. A comparison has been made between the notes of the music and the ups and downs of the mountains in nature. An image of the gradient and elevation of the mountains and peaks, turning them into half-lines and then matching them on the lines of the carrier, can indeed be a reflection of the musical space of those images, and with this basis, a way of creating musical works in this kind of background. Undoubtedly, each of these peaks has distinct ups and downs that their musical lines can vary in different directions. It should be noted that focusing on a type of architecture or music is not enough and the study of these similarities is required at all times in order to obtain a full consensus on the translation of these two arts. In the visual translation, three different pieces of Iranian music from three different structures were selected. First, each note, according to the review, was drawn to the dotted line, and then the final lines were formed by connecting the dots. By connecting the beginning and the end of the lines to the hypothetical axis of the earth, architectural elevations were illustrated. Results indicated that pieces that have a more rhythmic order form regular, repetitive views, and the ones that are played more freely depict more diverse views. In short, by understanding the various characteristics of the elements mentioned in these two arts, this article has tried to draw the melodic and visual translators of the two arts of architecture and music, assuming that it is possible to interpret the two arts. As a result, as in the past, using different arts to create each other can lead to more outstanding works than any other art.
 

Keywords

References

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