a/ relative musical encounter (DL in the description)

Studio Meteora

/ 1 A/ Relative Musical Encounter

2

Jierui Yu Meteora Season 4 Alienations ETH Zurich FS21 3

Table Of Contents Preface 006 Poem 010 Text

014

Private Rehearsals

Dress Rehearsal

Premiere

Chambers 028

Sensuous Lavatory

Somatic Rehearsal

Mindful Rehearsal

Palpable Living

Enigmatic Island

Profound Concert

Gamelan Garden

Sheet Music 086 4

Comments

Lennies Friends

Ludwigs Friends

094

Conception 106

Conceptual Ground

ngrams

Setup

126

Disposition Morphology

Lennies Setup

Ludwigs Setup

Analysis of Profound Concert

Discography 166 Afterword 170 5

Preface

6

“Music and architecture are counter-designs, essentially alien to one another, but as opposites they can be metaphorically related to one another. Music is an irreversible process, architecture an immovable form. Architecture encloses a room, music fills a room. Music is essentially placeless, architecture defines its place. Architecture is to enter, it is a constant. Music is to comprehend, it is fleeting. Music takes place as an immaterial body in instant form, architecture places a fixed spatial structure in time and in space.“ Wolfgang Rihm‘s view of the relationship between music and architecture essentially outlines the main questions with which this book is concerned. What is the creative relationship between music and space in the context of the contemporary? To what extent is a domain leap between the two forms of expression possible? Can this leap of domains in a perhaps broader context dissolve binary juxtapositions and bring forward a multiplicitous view?

The two protagonists Lenny and Ludwig will help us to work out the topic in an active, performative sense. Granted, we should not expect definitive answers, but rather understand this book as a playful exploration of possibilities this constellation between music and space can bring forward.

7

Part One:

8

Performance

9

Poem

10

ludwig lenny l/l ludwig. ludwig is relative. ludwig was hyper.

lenny. lenny is a relative. lenny was hype.

11

ludwig likes dodecaphony. like schönberg. ludwig likes microtonality. ludwig likes every note to be in precise relation to another. like arpeggios. ludwig likes precise articulation. like algorithm.

lenny likes fugues. bach or händel. lenny likes a steinway and sons slightly detuned to stradivarius. lenny likes the forceful crescendo decrescent wistfully. lenny likes notes to relate and sympathize.

12

approximation: l to l drift: l from l to desin l to virtue? to detox l to antiseptic? l. l.

13

Text

14

I. Private Rehearsals Lennies hands vulgarly pass of

into moisture. [1] A considerable amount

ointment emit a fragrant odor [2] which he gently rubs in with

a scrupulous movement,

with many fatty drops coming, especi-

ally from the cellular texture [3] his hands in. The ointment is made from

of the ointment, for him to bathe

kiki, a fruit that is sown in

the fields [4]. Kiki, an unthinkable rarity, a wondrous combination of sweetness and power. [6] The ointment makes up a fundamental ingredient of a peculiar conjunction with the oval bronze basin embracing it from below. This conjunction nurtures Lennies eternal spirit,

and that

Eternal Spirit moulds forever, for his mortal child, images to remind him of the Infinite. [5] Lennies hands now repeatedly immerse themselves in the ointment with a distinctly bizarre scooping motion.

First his left and then his right thumb spread the congruency concentrically away from the center of his palms until they reach his fingertips. An act, perceptible as obscure as a shamans sacrificial fetishes.

spiritual transcendence. [13] A

An experience of

physical transcendence of Lennies

hands into a compound of silky tissue. In so far, as the tongue communicates with others by speech, Lennies hands can now do so convincingly

through

the ointment, by its odor. [6] A ritualistic habitude, before he reaches out to assertively stroke the first notes on his rather uncharacteristically dim Bösendorfer.

15

F sharp dominant chord. A fugue. Exposition.

Lenny plays as his vintage mahogany chair with cream colored leather upholstery gently screeches when he shifts his bodyweight in order to glide over the notes. Lennies rehearsal room. Lennies room is

carnal warmth, a co-

existence where his Italian marble and weathered woods feel at ease in its presence. [37] A textile skin [22], with all the niches being plastered exuberance, decorated with painted stucco. [48]

His room, is an eternal yearning for bronze relics,

silver ceremonial objects and columns wrapped in cloth of gold.

minerals [47]

Kermes

can be found next to the ointment flasks on his Bösendor-

fer’s music stand. Lennies

spiritual alterants. [47]

Lenny plays a lavishly ornamented low register D ostinato that gradually mushes into the first motive.

Lushing in Ludwig, the music theatre, once strongly antipathic towards Lennies sound, now eagerly tempers itself to every minute detail of its sonical inhabitant. Infinitely reconstructing and reorganizing, Lennies proximate surroundings are in constant flux in absence of its former frequencies to comfort and accommodate Lennies play. A shift,

away from calculated

execution towards visceral expression. [24] Chanting motives embracing the full dynamic range. Ornamentations accentuating rhythmic complexities. Canonical disposition of voices in their full magnificence.

16

Now, a pyramidal cascade of rubatos. The

pyramidal cascade of Len-

nys very notably imprecise, however vivid rubatos

entirely dissolve to

lead into the upward crescendo of four rocket like full scale accords. [7] And yet a syncretism of sensitivity keeps his accords from crystallizing into perfect solids. [8] A collection of deliberate

dissonances; before the eternal silen-

ce, the dominant chord! [14]

Ludwigs turn. Ludwig brightens the suspended lighting fixtures to 87% power.

Ludwig. For

the proportions were what they should be, ever-

ything about it had been designed and calculated by a meticulous mind for purposes of maximum clarity in sound travel. [8] It is precisely the exact audible sound of voices and instruments in the reality of continuous sound-waves [9] Ludwig fetishizes about. So, as Madrid was once placed in the mathematically absolute centre of Spain, so was the Steinway in Ludwigs rehearsal room.

And the room, a careful construction on the basis of simplex sigillum veri. [44]

17

The interior, a reduction to white walls with soundproof wainscoting, brass strips acting as electrical conduits, suspended

lighting fixtures and

supercardioid microphones and two Thonet chairs. [5] Brisk chrome.

Synthetic Leather.

From a logical point of view,

the space could not be more reasonable. [10] The sound-waves have to reflect perpendicular to the precise walls if

wished to be brilli-

ant [11] and clear in articulation.

Ludwig now plays a dodecaphonical arpeggio generated by three oscillators, played at 120 BPM at 80dB.

One

tone row

appears, then another, then another, and so

on, almost like the steady ticking of a metronome. [12] They are merely provided here to shape a certain pattern of expectations. [15] Algorithmic Selection. Autopoietic systems. [16] A well calculated process through lines of code, sequences of zeros and ones, links and repetitions, scans and databases. [41] Sound creation is synced between all four adjacent walls,

each with a perforated screen. [17] Unlike the soundproof

wainscoting, these polymer screens refract sound, so that the sound waves connect in the central focal point, after being equalized to a 110Hz lowpass, in order to bypass frequency interference between the generated oscillation and resonating objects in the rehearsal room. Neither the polymer screens nor the wainscoting calibrate towards bodily flesh.

18

An otherwise absolute clarity of what is structural acoustic frame and what is not. [18] Calculated isomorphic partitioning and hexachordal combinations. There is no climax. The Arpeggios stop.

II. Dress Rehearsal F sharp mixolydian chord. Variation of a fugue.

Reflection, luster, refraction, luminosity, darkness, color, softness, absorption, liquidity [19]

Audible clarity of meta sound.

The touch is inspired. [20] Lennies sound moves fuzzily this time - in this particular space, it

moves in confused color, and the music

was suddenly brassy, evil, haunting, flourishing in high crescendo [12], wild in gesture and motion. [21] Did the lower D ostinato already merge into the first F sharp motive?

A reasonable distinction in coloration.

Variations in texture. [22]

Texture as difficult and in some ways as secretive as the vision of potential history which it embodies. [20] Texture consonant with the onstage presence

of Ludwig. [13] An altera-

tion of Ludwig. Lennies play has morphed about half of the soundproof wainscoting into emerald marble panels.

19

The heavy doors deliberately opened up for the textures to delicately infuse each other through mutual resonances. Ludwigs Steinway, now with some of Lennies Kermes minerals unmethodically placed on top of the piano’s cast iron frame, desires to move out of its perfect symmetrical positioning, so that accidental interference can start to enrich the sound. Ludwigs white walls, coated with velvety felt, fixated with a considerable amount of organic rubber.

Rubber so soft and sticky. [43]

The Thonet, however, grew on Len-

ny. The Thonet vibrates. Ludwig vibrates,

the space quivers in every

corner. [22]. Lenny notices the absence of the lowpass. As he reaches for the low A sharp diminished trill,

it is as all the metallic doorhand-

les and railings start to respond [23]. A change of timbre. A gentle resonance. Augmenting Interference. Spiritual reverberation. So much so, that the imperishability of Ludwig can be momentarily questioned.

A pyramidal cascade of crescending rubatos decrescent in eclipsing emotion yet intent.

No dissonance; no

eternal silence, no dominant chord… [14]

…as Ludwig has already started. Lennies rubatos were mimicked beginning at 6 dB, so

as the hearer was left only with the general im-

pression that language is [24]

unconsciously continuous.

Alpha,

beta, and gamma particles, inscribe themselves in the soft tissue of the soundscape. [42] Oscillations between the code

20

of utility and the code of beauty. [38] Each three decibel increment represents a 100% change in sound pressure. [25] Each sequenced BPM increment represents a 100% change in movement. This time, each decibel increase feels significant,

bodies in motion. [13]

each sequence presents

Sound in motion. The arpeggios have been

awakened by their individual micro-collisions with Lennies emerald marble.

Stereophonic atonality raises the apex of Lennies melody by a mere halftone, complemented by the velvety felt, it

projects a mountainous sound

of the breath of millions, shrivelling the grasslands [37] of rationality.

A sonical error? Though, what can it be but motion? What

can it be but

metallic emotion? [22] The metallic luster that was clearly describable as moving within grayscale was now almost ivory in color. [12] peggios. Chunky pads.

Metallic interplay between shapeshifting fleshy ar-

Dance of a serpent. [13]

Intense oscillation.

The metallic luster approaches some kind of a climax and stops. [12] The stage will not be prepared for [17] the vacuum of silence.

21

III. Premiere Ludwig. The music theatre. An island in the city. Embodiment of disentanglement. Distinct separation from his domain. The impenetrable walls of Ludwig, absorb the city’s cacophonous hustle. The impenetrable walls of Ludwig, surrounded by the gasping anticipation of the appetent gathered. The

antici-

pation cannot be wrong because it is what has taken the curious bunch to the premiere [45].

Patiently, they stand, as an

indivisible mass, gathered as concentric ripples to the droplet of enigma. The droplet however does not grant access for the ripples yet, as for the performers to be within each others uninterrupted profoundness. So outside, they wait, the gathered. Gathered ripples from all kind of liquids, all stretches of water.

The space that has been opened by the tension and

‘expectation’ of endless speculation has to be filled with no less than ethereal matter. Air of short-lived serenity.

The calm before the storm. [40]

Just before the serenity turns un-

bearable...

F sharp dominant tone cluster accompanied by dodecaphonical staccatos.

Elevation of a fugue.

Reflection, luster, refraction, luminosity, darkness, color, softness, absorption, liquidity, atmospheric density, in stability of shape [26]; soul, spirit, breath, ancestors, fire,

22

form, God. [27] Sound space creation in all directions, space creation in a continuum. [28] Rejuvenation of particularities.

Ondulation of the sum. Evaporation

of opaque bodies as objects

disappear from sight. [29] The hall, a sophisticated form in sophisticated surroundings, a space subtracted from the whole, exposition of shifting thicknesses and firmnesses of walls and floors. [19] The

walls, an organification of a synthetic

body. Organic bodily tissue deliberately introduce

layers of carboniza-

tion over fused sheets of metal. [12]

The corners of the space,

constantly in act of reconstruction between

texture [51]. Absurd

pliable skin and alveolar

perforation and disintegration. The instruments, as

well as a handful of sumptuous onyx and glass vases, appear to float above ground, perpetually dampened by an indeterminable, strangely fragrant solution reminding of both lubricating saliva and electric liquid. The ceiling is cut open; exposed, oculus: an

opening 8.92 meters in diameter that

is at the hall’s apex. The oculus illuminates. [49] Brass strips collected, fused into a colossal euphonium, attaching itself to the oculus, reaching into the troposphere.

Exhaustive sound embracing all air

particles. Composures being made up of the clearness of the skie, and moisture of the air, hath joyned together an indissoluble superficies. [30] Hall of Supreme Harmony.

[31] Unity in fluids and solids alike, in compounds and in elements. [39] Fluid extravagance. [35]

23

L/L.

L is free movement, outside any zone of both rational and sensorily apprehension, as L becomes L, movement equals rest, freeing

its expressive

power once the links that oblige bodily positions to signify fixed emotions are undone. [13] In retrospect, the bodies of L/L not only tend to indicate a world beyond themselves, but

this movement

beyond their own boundaries, a movement of boundary itself, appeared to be quite central to what their bodies are now. [32] Boundlessness. Absurd perforation and disintegration. A precarious balance. [33] How L matured within L, how noble, majestic the proportion; their

bright, vivid colours have finally acquired all

their brilliance. [5] Their musical hyacinth has risen to intense variety with bright blue, pink, and distinctly yellow sound petals. [34] Kaleidoscopic fireworks of a thousand suns.

Touching the luminous troposphere. unison. Creation and decay.

Glance into the garden of

Its flowers breathe parallaxing per-

fume, its grasses devise celestial white noise and its birds warbled amid the bloom. [50] fruits, fertilized by the scintillating

Everlasting growth of harmonious

Chorus of six-hundred voices.

[40] A pyramidal cascade of crescending yet decrescending rubatos formed by the interplay of L/L, opens

an inconceivable temporal dimen-

sion; the duration of time in time. [35] L in L, total synchronicity, rings both sharp and explosive and as regular as an

24

atomic metronome [12]. An intensely densified aural landscape. The rhythm is both stable and unstable. 3⁄4, 4⁄4, 6⁄4, 8⁄4, 4⁄8, 6⁄8, 8⁄8, 9⁄8, 5⁄4, 7⁄8, 12⁄16. Monophony, Micropolyphony, Macropolyphony. Adagio, Andante, Moderato, Vivace, Presto. 80, 112, 168, 324 BPM. 10 Hz to 20000 Hz. The embo-

diment of Metastability. [36] What a gleaming ethereal outflow of modular systems of coordination, of scientific methods of experimentation, laws of automation, and precision [37].

Of eternal source, matter; the form, the shape and the arrangement of the visible invisible. [1] Matters reached an ecstatic climax. A thing of indescribable awe. [12] Space in sound or sound in space. For us to dream there, to

the irrationality of the depths… [8]

Consonance; eternal sound. [14] Awakening of the city.

Galamb Barong.

25

be in harmony with

[1] Seneca_Complete Works [2] Augustine_The City of God [3] Bichat_General Anatomy Applied to Physiology and Medicine [4] Strabo_The Geography [5] Mallgrave_Architectural Theory [6] Aquinas_Summa Theologica [7] Payne_Renaissance and Baroque Architecture [8] Bachelard_The Poetics of Space [9] Buehlmann Hovestadt_Symbolizing Existence [10] Eco_From the Tree to the Labyrinth [11] Hugo_Les Miserables [12] Asimov_Complete Robot Anthology [13] Ranciere_Aisthesis [14] Proust_In Search of Lost Time Vol III [15] Buehlmann_Mathematics and Information in the Philosophy of Michel Serres [16] Weinstone_Avatar Bodies [17] Hays_Architecture Theory since 1968 [18] Leatherbarrow Eisenschmidt_Twentieth Century Architecture [19] Evans_The Projective Cast Architecture and Its Three Geometries [20] Steiner_After Babel Aspects of Language and Translation [21] Kemp_Behind the Picture [22] Prince_Historical and Philosophical Issues in the Conservation of Cultural Heritage [23] Voltaire_Candide [24] Kittler_The Truth of the Technological World [25] Hovestadt Buehlmann_Quantum City [26] Evans, The Projective Cast Architecture and Its Three Geometries [27] Sloterdijk_Critique of Cynical Reason [28] Mallgrave_Modern Architectural Theory [29] Alhacen_Theory of Visual Perception Books 1 2 3 [30] Agrippa_Three Books of Occult Philosophy

26

[31] Koolhaas_Elements of Architecture [32] Butler_Bodies That Matter [33] Foucault_The Birth of the Clinic [34] Darwin_The Variation of Animals and Plants under Domestication [35] Braidotti Hlavajova_Posthuman Glossary [36] Braidotti Dolphijn_Philosophy After Nature [37] Ockmann_Architecture Culture 1943 1968 [38] Schumacher_The Autopoiesis of Architecture Vol 2 [39] Rousseau_Collected Works of Jean-Jacques Rousseau [40] Joyce_Ulysses [41] Burrows_Fictioning [42] Morton_Hyperobjects [43] Zimring_Encyclopedia of Consumption and Waste [44] wikipedia_Music and Architecture [45] Ayache_The Blank Swan [46] Gannon_Reyner Banham and the Paradoxes of High Tech [47] Laennec_A Treatise on the Diseases of the Chest and on Mediate Auscultation [48] Marzano_The Roman Villa in the Mediterranean Basin [49] Yerkes_Drawing after Architecture [50] The Book of the Thousand and One Nights

27

Chambers

28

29

1

Sensuous Lavatory Aqueous Texture

30

Johann Sebastian Bach „Prélude and Fugue No. 6 BWV 851“

Lennies hands vulgarly pass of

into moisture. [1] A considerable amount

ointment emit a fragrant odor [2]

scrupulous movement, with

which he gently rubs with a

many fatty drops coming, especial-

ly from the cellular texture [3] of the ointment, for him to bathe his hands in. The ointment is made from kiki,

a fruit that is sown in the

fields [4]. The ointment is his eternal spirit. And that Eternal Spirit moulds forever, for his mortal child, images to remind him of the Infinite. [5] Applied in his hands, his hands transcend into a compound of silky tissue. In so far as the tongue communicates with others by speech, Lennies hands can now do so convincingly by the ointment, by its odor.

31

...with many fatty drops coming, especially from the cellular texture [3]

of the oint-

ment, for him to bathe his hands in.

32

Applied in his hands, his hands transcend into a compound of silky tissue.

33

34

An experience of spiritual transcendence. [13]

A

physical transcendence of Lennies hands into a compound of silky tissue. In so far, as the tongue communicates with others by speech, Lennies hands can now do so convincingly

through

the ointment, by its odor. [6] A ritualistic habitude, before he reaches out to assertively stroke the first notes on his rather uncharacteristically dim Bösendorfer.

35

36

37

2

Somatic Rehearsal Contrapuntal Vibration

38

Johann Sebastian Bach „Die Kunst der Fuge BWV 1080“

F sharp mixolydian accord…Lenny plays as his vintage mahogany chair with cream colored leather upholstery gently screeches when he shifts his bodyweight in order to glide over the notes. A room he had made his own instantly after moving into Ludwig. Lennys room is ce

carnal warmth, a coexisten-

where his Italian Marble and weathered woods feel at

ease in its presence. [37] A textile skin. [22] With all the niches being plastered exuberance, decorated with painted stucco. [48] A room, a yearning for bronze relics, silver ceremonial objects and embroidery fabrics.

Kermes minerals next to the ointment

flasks on the cupboard are his spiritual alterants. [47]

39

Lennys room is tence

carnal warmth, a coexis-

where his Italian Marble and

weathered woods feel at ease in its presence [37].

40

A textile skin [22]. With all the niches being plastered exuberance, decorated with painted stucco [48].

41

Lushing in Ludwig, the music theatre, once strongly antipathic towards Lennies sound, now eagerly tempers itself to every minute detail of its sonical inhabitant. Infinitely reconstructing and reorganizing, Lennies proximate surroundings are in constant flux in absence of its former frequencies to comfort and accommodate Lennies play. A shift,

away from calculated execution

towards visceral expression. [24]

Chanting motives

embracing the full dynamic range. Ornamentations accentuating rhythmic complexities. Canonical disposition of voices in their full magnificence.

42

43

44

45

3

Mindful Rehearsal Dodecaphonic Articulation

46

Arnold Schönberg „Piano Piece Op. 33 a/b“

For the proportions were what they should be, everything

about it had

been designed and calculated by a meticulous mind for purposes of maximum clarity in sound travel. [8] So, as Madrid was once placed in the mathematically absolute centre of Spain, so was the Steinway in Ludwigs rehearsal room. The music, a dodecaphonic composition, and the room, a

room carefully crafted on the basis

of simplex sigillum veri. [44] The interior, a reduction to white walls with soundproof wainscoting, brass strips (electrical conduits), suspended

lighting fixtures and supercardioid microphones, mirrors, and two Thonet chairs. [5]

Brisk chrome. Stiff synthetic leather. Cal-

culated isomorphic partitioning and hexachordal combinations.

47

The music, a dodecaphonic composition, and the room,

a room care-

fully crafted on the basis of simplex sigillum veri. [44]

48

Brisk chrome.

Stiff synthetic leather.

49

50

Sound creation is synced between all four adjacent walls,

with a perforated screen. [17]

each

Unlike the soundproof

wainscoting, these polymer screens refract sound, so that the sound waves connect in the central focal point, after being equalized to a 110Hz lowpass, in order to bypass frequency interference between the generated oscillation and resonating objects in the rehearsal room. Neither the polymer screens nor the wainscoting calibrate towards bodily flesh. An

otherwise absolute cla-

rity of what is structural acoustic frame and what is not. [18]

51

52

53

4

Palpable Living Dodecapuntal Timbre

54

Alban Berg „Piano Sonata Op. 1“

An alteration of Ludwig. Lenny had replaced about half of the soundproof wainscoting with his emerald marble panels. The heavy doors deliberately opened for the rich textures to delicately infuse each other through mutual reflections. The Steinway, now with some of Lennies Kermes minerals unmethodically placed on top of the piano’s cast iron frame, desires to move out of its perfect symmetrical positioning, so that accidental interference can start to enrich the sound. The brass strips of Ludwig, Lenny had replaced with velvety felt, fixated with a considerable amount of organic rubber. Rubber

and sticky. [43] Ludwig vibrates,

so soft

The Thonet, however, grew on him. The Thonet vibrates.

the space quivers in every corner [22]. Lenny

notices the absence of the lowpass. As he reaches for the low A sharp diminished trill, it is as all the metallic doorhandles and railings start to respond. A change of timbre. A gentle resonance. Augmenting Interference.

55

An alteration of Ludwig. Lenny had replaced about half of the soundproof wainscoting with his emerald marble panels.

56

The brass strips of Ludwig, Lenny had replaced with velvety felt, fixated with a considerable amount of organic rubber.

soft and sticky. [43]

Rubber so

The Thonet, howe-

ver, grew on him. The Thonet vibrates. Ludwig vibrates,

the space quivers in every

corner. [22].

57

Alpha, beta, and gamma particles, inscribe themselves in the soft tissue of the soundscape. [42] Oscillations between

the code of utility and the code

of beauty. [38] Each three decibel increment represents a 100% change in sound pressure. [25] Each sequenced BPM increment represents a 100% change in movement.

This time, each decibel increase feels significant, each

ce presents bodies in motion. [13]

sequen-

Sound in motion.

The arpeggios have been awakened by their individual micro-collisions with Lennies emerald marble. Stereophonic atonality raises the apex of Lennies melody by a mere halftone, complemented by the velvety felt,

it projects a mountainous sound of

the breath of millions, shrivelling the grasslands [37] of rationality.

58

59

60

61

5

Enigmatic Island Pause

62

(Silence)

Ludwig. An island in the city. Embodiment of disentanglement. Distinct separation from his domain. […] His impenetrable walls, absorb the city’s cacophonous hustle and bustle. His impenetrable walls […], now surrounded by the gasping anticipation of the appetent gathered.

The anticipation

cannot be wrong because it is what has taken the curious bunch to the premiere [45].

Patiently, they stand, as an indivisible

mass, gathered as concentric ripples to the droplet of enigma. The droplet however does not grant access for the ripples as for the performers to be within each others uninterrupted profoundness. So outside, they wait, the gathered.

Gathered ripples from all kind of liquids, all stretches of water.

The space

that has been opened by the tension and ‘expectation’ of endless speculation has to be filled with no less than ethereal matter [46].

63

An island in the city. Embodiment of disentanglement. Distinct separation from his domain. […]

64

His impenetrable walls, absorb the city’s cacophonous hustle and bustle. His impenetrable walls […], now surrounded by the gasping anticipation of the appetent gathered.

65

66

67

68

69

6

Profound Concert Toccatic Oscillation

70

Alois Hába „Toccata quasi una fantasia, Op. 38“ Evaporation of opaque bodies as objects disappear from sight. [29] The hall, a sophisticated form in sophisticated surroundings, a space subtracted from the whole, exposition of shifting thicknesses

and firmnesses of walls and floors. [19] The walls are the organification of a synthetic body. Organic bodily tissue deliberately introduce lay-

ers of carbonization over fused sheets of metal. [12] The corners of the space, constantly in act of reconstruction between pliable skin and alveolar texture [51]. Absurd perforation and disintegration. The instruments, as well as a handful of sumptuous onyx and glass vases, appear to float on grounds, perpetually dampened by an unclassifiable, strangely fragrant fluid reminding of both lubricating saliva and electric liquid. The ceiling is cut open; exposed, oculus:

a circular

opening 8.92 meters in diameter that is at the hall’s apex.

The oculus illuminates. [49]

71

The instruments, as well as a handful of sumptuous onyx and glass vases, appear to float on grounds, perpetually dampened by an unclassifiable, strangely fragrant fluid [...]

72

The ceiling is cut open; exposed, oculus:

a circular

opening 8.92 meters in diameter that is at the hall’s apex. The oculus

illuminates.

[49]

73

74

Exhaustive sound embracing all air particles.

Composures

being made up of the clearness of the skie, and moisture of the air, hath joyned together an indissoluble superficies. [30] Hall of Supreme Harmony. [31] Unity in fluids and solids alike, in compounds and in elements. [39] Fluid extravagance.

[35] L/L.

L is free movement, outside any zone of both rational and sensorily apprehension, as L becomes L, movement equals rest,

fre-

eing its expressive power once the links that oblige bodily positions to signify fixed emotions are undone. [13] In retrospect, the bodies of L/L not only tend to indicate a world beyond themselves, but this movement beyond their own boundaries,

a movement of boundary itself,

appeared to be quite central to what their bodies are now. [32] Boundlessness. Absurd perforation and disintegration. A

precarious balance. [33]

75

76

77

7

Gamelan Garden Vivacious Color

78

György Ligeti „Étude 7: Galamb Barong“ Their musical

hyacinth has risen to intense varieties with

bright blue, pink, and distinctly yellow sound petals. [34] Kaleidoscopic fireworks of a thousand suns. Touching the luminous troposphere. Glance into the garden of unison. Creation and decay.

Its flowers

breathe parallaxing perfume, its grasses devise celestial white noise and its birds warbled amid the bloom. [50] Everlasting growth of resonating harmonious fruits, fertilized by the scintillating Chorus of

six-hundred voices. [40]

A pyramidal cascade of crescen-

ding yet decrescending rubatos formed by the interplay of L/L,

opens an

inconceivable temporal dimension; the duration of time in time. [35] L in L, total synchronicity, now rings both sharp and explosive and as regular as an atomic metronome [12]. An intensely densified aural landscape.

79

Their musical

hyacinth

has risen to intense varieties with bright blue, pink, and distinctly yellow sound petals. [34

80

Everlasting growth of resonating harmonious fruits, fertilized by the scintillating Chorus of

voices. [40]

81

six-hundred

82

83

84

85

Sheet Music

86

Chamber 1

87

Chamber 2

88

Chamber 3

89

Chamber 4

90

Chamber 6

91

Chambers 1,

2, 3, 4

92

Chamber 7

93

Comments

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The Contact List

Bach, Johann Sebastian Berg, Alban Cage, John Gherardi, Antonio Loos, Adolf Messiaen, Olivier Ravel, Maurice Riegl, Alois Schönberg, Arnold

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Lennies Friends

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Antonio Gherardi

„I have always admired Lennies inventive freedom and keenness to improvisation. What a fantastic touch he had.“ Antonio Gherardi was an Italian painter, architect, and sculptor (stuccoist) of the Baroque style, active mainly in and near Rome, the Vatican and his native city of Rieti. Although he did not build much, Gherardi‘s mature architecture is extraordinarily inventive. Designed in a late Baroque manner, he drew freely on forms and ideas of Bernini, Borromini and Cortona to make his inventions. The best examples of his work can be seen in the Santa Cecilia Chapel, San Carlo ai Catinari and the Avila Chapel, Santa Maria in Trastevere, both in Rome.

„Things stand the test of time if they possess sacred and symbolic value.“ Gherardi was known for his use of bronze railings and lighting, silver ceremonial objects, and carved and decorated wood for seating and framing pictures. Almost all surfaces were painted or gilded, embroidered textiles were used as hangings, vestments and covers, and sculptures of wood, stone, clay or plaster were set on and around the altars.

Johann Sebastian Bach

„Lenny is a musician with such moving conviction. Especially his execution of ornamentation is done with transcendental precision.“ Bach was generally quite specific on ornamentation in his compositions (where in his time much of the ornamentation was not written out by composers but rather considered a liberty of the performer), and his ornamentation was often quite elaborate.

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„Lennies interpretation of my Matthäuspassion magnifies my intended emotions…“ ...as is typical of settings of the Passion the emphasis is on the suffering of Jesus. Bach‘s recitatives often set the mood for the particular passages by highlighting emotionally charged words such as „crucify“, „kill“, or „mourn“ with chromatic melodies. Diminished seventh chords and sudden modulations accompany Jesus‘s apocalyptic prophecies. In the arias, obbligato instruments are equal partners with the voices, as was customary in late Baroque arias. Bach often uses madrigalisms, as in „Buß und Reu“, where the flutes start playing a raindrop-like staccato as the alto sings of drops of his tears falling.

In „Blute nur“, the line about the serpent is set with a twisting melody. In „Erbarm es, Gott“, the relentless dotted rhythm of the diminished chords evoke the emotional shock of the scourging.

„Lenny loves to improvise.“ ...the fugue, having completed the initial imitative entrances, take the passage which has served as accompaniment to the theme and make it the basis for new imitative treatment, so that „he will always have material with which to compose without having to stop and reflect“. This formulation of the basic rule for fugal improvisation anticipates later sixteenth-century discussions which deal with the improvisational technique at the keyboard more extensively.

Olivier Messiaen

„Lenny and I talk about music only in terms of color. Is there anything left to say after the evocation of the deepest richest colors?“ Color lies at the heart of Messiaen‘s music. He believed that terms such as „tonal“, „modal“ and „serial“ are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without color. In his multi-volume music theory treatise Traité de rythme, de couleur, et d‘ornithologie, Messiaen

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wrote descriptions of the colors of certain chords. His descriptions range from the simple „gold and brown“ to the highly detailed „blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant“

Maurice Ravel

„Music is about creation of atmospheres. Lennies playing, I recall, was both intimacy as well as virtuoso grandeur.“ When writing for solo piano, Ravel rarely aimed at the intimate chamber effect characteristic of Debussy, but sought a Lisztian virtuosity. Most of Ravel‘s piano music is extremely difficult to play, and presents pianists with a balance of technical and artistic challenges.Writing of the piano music the critic Andrew Clark commented in 2013, „A successful Ravel interpretation is a finely balanced thing. It involves subtle musicianship, a feeling for pianistic color and the sort of lightly worn virtuosity that masks the advanced technical challenges.“

„Whatever sauce you put around, the melody is a matter of taste. When Lenny and I worked together on renditions, we both put particular emphasis on the melodic outline.“ Ravel placed high importance on melody, telling Vaughan Williams that there is „an implied melodic outline in all vital music“. His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel‘s harmonic language.

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Ludwigs Friends

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Alois Riegl

„Maschinenstil. That was what we loved to talk about.“ ...exactly embossed form, devoid of any randomness, clear contrasts, arrangement of the links, sequence of identical parts and unity of form and color will accordingly (...) become the aesthetic tools of the modern architect.

Adolf Loos

„ *You are like me!* Ludwig once said to me.

I know nobody as adamant and stubborn as him.“ Wittgenstein enjoyed Loos’ first ornamentless house. Wittgenstein‘s aversion to ornament far exceeded that of Adolf Loos. Wood was fully painted over so that no grain could be seen. The philosopher did not tolerate baseboards, borders or ledges and forbade his sister to use curtains, carpets or chandeliers. Only bare 200 watt bulbs were allowed. The garden had to stay completely green, without flowers. In a letter, the house owner asked him if she could at least hang up an outdoor thermometer.

Arnold Schönberg

„Ludwig and I share the aversion towards Vienna. An aversion towards kitsch.“ Many of Schoenberg‘s practices, including the formalization of compositional method and his habit of openly inviting audiences to think analytically, are echoed in avantgarde

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musical thought throughout the 20th century. Schoenberg was polemical. He heavily criticized the late romantics, e.g. Bizet, Stravinsky, and Ravel. Writing to Alban Berg, he cited his „aversion to Vienna“ as the main reason (for declining the teaching position at the Vienna Conservatory). He went on to found the „Verein für musikalische Privataufführungen“.

„Ludwig and I used to talk about Einstein a lot.“ Schönberg worked at evolving a means of order that would make his musical texture simpler and clearer. He regarded it as the equivalent in music of Albert Einstein‘s discoveries in physics. Schönberg worked with Hexachordal inversional combinatoriality, Aggregates, Linear set presentation, Isomorphic partitioning, Invariants, Hexachordal levels, Harmony „consistent with and derived from the properties of the referential set“, Metre, established through „pitch-relational characteristics“ Schoenberg returned to tonality with works during his last period.

John Cage

„Ludwig understood the music instrument first as the instrument.“ A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde.

Cage was a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48).

„I always saw parallels in how we both proportion.“ „Nested proportions“, as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces

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such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example) Since chance procedures were used by Cage to eliminate the composer‘s and the performer‘s likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer‘s preferences.

Alban Berg

„One word to describe Ludwig? Calculated. I guess that is why he prefers Arnolds music to mine.“ Although he left a relatively small oeuvre, he is remembered as one of the most important composers of the 20th century for his expressive style encompassing „entire worlds of emotion and structure“. He is said to have brought more „human values“ to the twelve-tone system, his works seen as more „emotional“ than Schoenberg‘s. His music had a surface glamour that won him admirers when Schoenberg himself had few.

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Part Two:

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Archaeology

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Conception

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Lenny relative fugue

sound

music

dodecaphony

noise

relativity

Ludwig The conceptual setup of the project is based on the idea that the seemingly dualistic constitution of Lenny and Ludwig is in fact not of a dualistic, but rather of an algebraic nature. Hence, Lenny and Ludwig do not stand in absolute polarity against each other, they position and reposition themselves relatively within a spectrum.

Therefore, iteration and particularization are essential for firstly, finding a possible common ground for the parts to communicate on, and secondly, making possible the necessary domain switch to make their communication fruitful for an architectural extrapolation. In the following, concepts within this approach will be introduced, starting from the base concepts, to concepts increasing in levels of iteration and particularization.

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Conceptual Ground

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The two terms algebraic and quantum indicate the general mechanic quality of the project. These two terms are to be thought of as friends, terms which are mutually intersecting, however still autonomous.

These friends can be interpreted as the boundary layer which keeps the conversation intact.

algebraic (adj.) „formal mathematics; the analysis of equations; the art of reasoning about quantitative relations by the aid of a compact and highly systematized notation,“ 1550s, from Medieval Latin algebra, Arabic al jabr („in vulgar pronunciation, al-jebr“ [Klein]) „reunion of broken parts“ (reducing fractions to integers in computation) was one of the two preparatory steps to solving algebraic equations.

quantum (n.)

1610s, „sum, amount,“ from Latin quantum (plural quanta) „as much as, so much as; how much? how far? how great an extent?“ neuter singular of correlative pronominal adjective quantus „as much“ (see quantity).The word was introduced in physics directly from Latin by Max Planck, 1900, on the notion of „minimum amount of a quantity which can exist;“ reinforced by Einstein, 1905. The fundamental notion that a physical property can be „quantized“ is referred to as „the hypothesis of quantization“.[1]

Algebra and quantum are essentially general rules that construct the framework of the talk. Thus, the constituted talk between the parts, Lenny and Ludwig, and between their subparts can be seen as of algebraic or quantum nature.

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The two terms relative and relativity embrace the fundamental difference of Lenny and Ludwig. Whereas one term refers to the laterality and defineability of algebra, the other points to the flux character of quanta. The terms, relative and relativity, are to be seen as the belief structures of the protagonists Lenny and Ludwig. They themselves are fundamentally different to one another.

relative (n.) late 14c., „a relative pronoun,“ from Old French relatif (13c.), from Late Latin relativus „having reference or relation,“ from Latin relatus, past participle of referre „to refer“ (see refer). Meaning „person in the same family“ first recorded 1650s.

relativity (n.)

1834, „fact or condition of being relative“ (apparently coined by Coleridge, of God, in „Notes on Waterland‘s Vindication of Christ‘s Divinity“), from relative (adj.) + -ity. In scientific use, connected to the theory of Albert Einstein (1879-1955), published 1905 (special theory of relativity) and 1915 (general theory of relativity), but the word was used in roughly this sense by J.C. Maxwell in 1876.

Given the definitions above, a proposal can be made to assign the term relative to Lenny, as relatives can be understood as lateral connection, as they are reciprocative siblings. Further, relatives can be also about vertical connection, in that sense generational. The binding element of laterality and verticality are hierarchical structures, formed on a particular weighting of criteria that give meaning to a defined set of subjects or objects. Lenny therefore talks of relation in terms of

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subjective relatability, the term subsumes an intangible emotional and personal component or, in algebraic terms, factors in a subjection coefficient. By definition, relative then stands in stark contrast to relativity, the term which is assigned to Ludwig. Relativity is neither about a lateral connection, nor is it about vertical connection. Unlike the relative, relativity precipitates instability and hence causes the mutability of a thing per se. Thus, the relation of things, a relation between the subjects and objects, is also instable. Therefore we can think of relativity as a conceptual driver for the synthesis of dynamic constellations. The relation is then to be understood in objective, concrete and quantifiable terms.

There is a case to be made that the starting point of a potential conversation between Lenny and Ludwig, or the relative and relativity, is inherently dichotomous. This dichotomous starting point makes the forming of a meaningful conversation rather difficult. However, the dichotomy can be turned generative if the ground of conversation is shifted or rotated. To overcome this direct confrontation of the concepts, a distinctive shift of conversation towards the domain of music is suggested. In this domain, specific forms of music are linked to the belief structures and philosophies of Lenny and Ludwig without Lenny and Ludwig having to directly talk about their specific beliefs.

Rather, this domain shift encourages the two parts to actively express and enact their beliefs through performances, knowing well their differences in taste, and knowing well that despite the differences, they both share a mutual enthusiasm and love for the topic of conversation in music.

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Two specific forms of music are chosen to correspond to each one of the concepts. The baroque fugue corresponds to Lenny and the relative, whereas the modernist dodecaphony corresponds to Ludwig and relativity.

fugue (n.)

The Fugue is a composition founded upon one subject, announced at first in one part alone, and subsequently imitated by all the other parts in turn, according to general contrapuntal principles. The name is derived from the Latin word fuga, a flight, from the idea that one part starts on its course alone, and that those which enter later are pursuing it. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works.

dodecaphony (n.)

Dodecaphony is a method of musical composition first devised by the Austrian composer Josef Matthias Hauer who published his „law of the twelve tones“ in 1919. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in key.

To understand why the fugue embraces the core conception of the relative, it is important to consider the main compositional principle of the fugue, the counterpoint.

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counterpoint (n.)

The counterpoint is the relationship between two or more musical

lines

dependent

which in

are

rhythm

harmonically and

melodic

interdependent contour.

yet

in-

Counterpoint

music strongly developed during the Renaissance and in much of the common practice period, especially in the Baroque. The term originates from the Latin punctus contra punctum meaning „point against point“, i.e. „note against note“.

There are some noticeable similarities comparing the idea of counterpoint to the conception of the relative. A composition after canonical and contrapuntal principles forms relations analogous to how the relative forms his. As mentioned before, the relative forms relations based on laterality in terms of siblinghood and verticality in terms of generations. These resulting relations are then organized to construct a hierarchical setup. This is precisely how counterpoint music is shaped, consequently the conceptual principles can be transposed.

Laterality in counterpoint is represented by the main musical line, a specified melodic progression of one voice. Verticality in counterpoint occurs, as multiple lateral voices are layered over each other. The constellation is of hierarchies as the voices are given different roles, for instances, exposition or development. Counterpoint pieces are commonly fixed in terms of rhythmic structure, tempo, key and articulation. A counterpoint composition often makes use of Gregorian modes for harmonic relations, thus the idea of the subjection coefficient is also applicable, as the harmonic relations are connotated with subjective emotive states e.g. Ionian Scaling and ecstatic happiness.

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To understand how dodecaphony resembles a musical conception of relativity, it is important to consider the main compositional principle of the dodecaphony, serialism.

serialism (n.)

In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg‘s twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition‘s melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixedorder series, and extend the technique to other musical dimensions (often called „parameters“), such as duration, dynamics, and timbre.

In similar fashion as the connection between counterpoint and relative, the assumption can be made that serialism is a musical transference of relativity. Relativity looks for the quanta, and serialism aims for the quantization of music by dividing music into something describable as „particles of properties“. Relativity precipitates instability.

Instability in dodecaphonical composition is best to be understood as calculated chance. In Dodecaphony, music is no longer a body of subjectivity, but rather a body of stochastics and algorithmics. The absence of a tonal center, combined with the algebraic treatment of all twelve tones within the scale causes the dodecaphonic composition to be indeterminable and unpredictable. Alternatively, this can be

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referred to as lateral instability. An overlay of laterally instable melodic lines, given their variances in rhythm, dynamics et cetera, results in vertical instability. The lines of calculated chances stand in constellations that create overlays, which consequently leads to more indeterminacy. Furthermore, serialism aims to perceive music in similar terms as relativity perceives the worldly matters. Both claim a paradigmatic intent in order to overcome subjectivity in favour of calculated measure and rational proportion.

To recapitulate, these attempts aim to bring the dichotomous concepts of relativity and the relative into the domain of music by identifying suitable styles of music and their conceptions. It is an attempt to lay a groundwork for the constitution of the performative conversation between Lenny and Ludwig. These concepts can be somewhat thought of as the thumbnail of a video, in the sense that whilst inherently a static display, they can be highly indicative to their performative content.

By means of particularization of the initial conversation between the two, the dualistic setup gradually becomes spectral. Mutual exposure of Lennies music to Ludwig and of Ludwigs music to Lenny results in moments of approximation of the parts and moments of adrift.

approximation (n.) early 15c., „act of coming near or close,“ noun of action from approximate (v.). Meaning „result of approximating“ is from 1650s. c. 1300, „to go or come near“ in place; late 14c. „come near in time,“ also „come near in quality or character, resemble, become similar,“ from Anglo-French approcher, Old French aprochier“come closer“ (12c.),

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from Late Latin appropiare, adpropiare „go nearer to,“ from Latin ad „to“ (see ad-) + Late Latin propiare „come nearer.“

drift (n.) early 14c., literally „a being driven“ (at first of snow, rain, etc.); not recorded in Old English, it is either a suffixed form of drive (v.) (compare thrift/thrive) or borrowed from Old Norse drift „snow drift,“ or Middle Dutch drift „pasturage, drove, flock,“ both from Proto-Germanic *driftiz (source also of Danish and Swedish drift, German Trift), from PIE root *dhreibh- „to drive, push“ (see drive (v.)).

This setup remains dynamic throughout the entire performance. Within the dynamic setup itself, there are essentially two roles to be filled.

The projection and recevient. Projection is to be understood as the sonical source in defined space and time. The projection is of relative music, fugue, or relativity music, dodecaphony. It emanates from the active playing part. The counterpart actively receives the projection.

The two parts have to always calibrate to each other. Despite the fact that the projection can enjoy the benefits of its freedom of action, it however has to struck a balance between artistic expression and calibration towards the recevient. Different factors can play into how the reception views the projection. Generally we can speak of subjective reception and objective reception. Lenny, the relative, is a subjective recevient, this manifests in his clear cut distinction between what is music and what is noise in line with his musical understanding. Main determining factors for the subjective recevient are qualities that describe music in terms of melody, harmony, rhythm, and timbre.

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These factors can give the subjective recevient an educated judgement understanding music in terms of the relative which alludes to auditive familiarization. This familiarization can be induced by experience and exposure and generates musical understanding on basis of epochal and cultural affiliation. A subjective recevient is able to distinguish between the harmonious and disharmonious, expectancy towards certain rhythmic structures and then also anticipation of larger musical sequences.

music (n.) mid-13c., musike, „a pleasing succession of sounds or combinations of sounds; the science of combining sounds in rhythmic, melodic, and (later) harmonic order,“ from Old French musique (12c.) and directly from Latin musica „the art of music,“ also including poetry (also source of Spanish musica, Italian musica, Old High German mosi ca, German Musik, Dutch muziek, Danish musik), from Greek mousik (techne) „(art) of the Muses,“ from fem. of mousikos „pertaining to the Muses; musical; educated,“ Music is the art of arranging sounds in time to produce a composition through the elements of melody, harmony, rhythm, and timbre.[1]

noise (n.) c. 1200, „sound of a musical instrument;“ mid-13c., „loud speech, outcry, clamor, shouting;“ c. 1300, „a sound of any kind from any source,“ especially a loud and disagreeable sound, from Old French noise „din, disturbance, uproar, brawl“ (11c., in modern French only in phrase chercher noise „to pick a quarrel“), also „rumor, report, news,“ a word of uncertain origin, replacing Replaced native gedyn (see din).

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Ludwig, along the lines of relativity is an objective recevient. Music is to the objective recevient a specific and deliberate arrangement of sound. The term sound itself is intrinsically objective, it essentially characterizes and quantizes all that is audible. The connection to quantum is especially apparent with the term sound design, which looks into sculpting sounds by modulation of its smallest unit, the soundwave. There are six experimentally separable ways in which sound is analysed. They are: pitch, duration, loudness, timbre, sonic texture and spatial location.

sound (n.) „noise, what is heard, sensation produced through the ear,“ late 13c., soun, from Old French son „sound, musical note, voice,“ from Latin sonus „sound, a noise,“ from PIE *swon-o-, from root *swen- „to sound.“ „(a) Oscillation in pressure, stress, particle displacement, particle velocity, etc., propagated in a medium with internal forces (e.g., elastic or viscous), or the superposition of such propagated oscillation. (b) Auditory sensation evoked by the oscillation described in (a).“[4] Sound can be viewed as a wave motion in air or other elastic media. In this case, sound is a stimulus. Sound can also be viewed as an excitation of the hearing mechanism that results in the perception of sound. In this case, sound is a sensation.

Unlike the subjective reception, the objective reception is not formed based on a degree of auditive familiarity, rather, the objective recevient operates comparable to Artificial Intelligence, it presents itself a preoccupation of algebra and algorithmics, fit for pattern recognition by pointedly looking at music for structure and rules.

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Albeit, subjective and objective recevient seem to be opposites at first, one might notice that the defining elements of music, noise and of sound are similar, both recevients talk of pitch, dynamic, timbre and texture. However derived from different starting points, both value musical structure. This is an opportunity to form a common ground that can constitute the conversation between Lenny and Ludwig. The conducted play will be held between the realm of music and of sound.

This play shifts to either side throughout the process, is rather precarious and inconsistent, and will in turn be subjectively consonant or dissonant to Lenny, Ludwig, and the listener.

consonance (n.) late 14c., „pleasing combination of sounds, harmony,“ from Old French consonance (12c.) „consonance, rhyme“ and directly from Latin consonantia „harmony, agreement,“ from consonantem (nominative consonans) „agreeing in sound,“ present participle of consonare „to sound together, sound aloud“ (see consonant (adj.)). From early 15c. as „agreement among persons as to facts or opinions.“

dissonance (n.) early 15c., dissonaunce, „disagreement, discrepancy, incongruity, inconsistency“ (between things), from Old French dissonance and directly from Medieval Latin dissonantia, from Latin dissonantem, present participle of dissonare „differ in sound,“ from dis- „apart“ (see dis-) + sonare „to sound, make a noise,“ from PIE *swene-, from root *swen- „to sound.“ Etymological sense, „inharmonious mixture or combination of sounds,“ is from 1590s in English.

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To make the musical performance productive, the musical conversation held will have a defined structure. This structure is showed as each conversation has a specific tone of talk. The talk can be sensuous, somatic, palpable, profound. The specificity in tone is important in order to transpose the musical performances for architectural extrapolation.

sensuous (adj.)

1640s, „pertaining to the senses“, by 1870 sensuous had begun down the same path and come to mean „alive to the pleasures of the senses.“ Rare before Coleridge popularized it „To express in one word all that appertains to the perception, considered as passive and merely recipient ....“ (1814). From Latin sensus (see sense (n.)) + -ous.

somatic (adj.) „pertaining to the body“ (as distinct from the soul, spirit, or mind), 1775, from French somatique and directly from Latinized form of Greek somatikos „of the body,“ from soma (genitive somatos) „the body“ (see somato-).

mindful (adj.) mid-14c., „having knowledge, remembrance, or recognition;“ late 14c., „taking thought or care, heedful,“ from mind (n.) + -ful. Related: Mindfully. Old English myndful meant „of good memory.“ Old English also had myndig (adj.) „mindful, recollecting; thoughtful“ (Middle English myndy), which if it had lived might have yielded a modern *mindy.

palpable (adj.) late 14c., „that can be felt, perceptible by the touch,“ from Late Latin

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palpabilis „that may be touched or felt,“ from Latin palpare „touch gently, stroke“ . Some sources suggest it is onomatopoeic. The figurative sense of „easily perceived, evident, clear, obvious“ also is from late 14c., on the notion of „seeming as if it might be touched.“ Related: Palpably; palpability.

profound (adj.) c. 1300, „characterized by intellectual depth, very learned,“ from Old French profont, profund (12c., Modern French profond) and directly from Latin profundus „deep, bottomless, vast,“ also „obscure; profound; immoderate,“ from pro „forth“ (from PIE root *per- (1) „forward“) + fundus „bottom“ (see fund (n.)).

These tones of talk aim to provoke different constellations of Lennies and Ludwig music which can then orchestrate distinct spatial constellations. Later this book will specifically focus on the translative principles that makes possible the transference from musical to spatial conception.

The next chapter utilizes Google ngrams to look for further readabilities and interpretations of the core concepts from this chapter.

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ngrams

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Google‘s ngrams is an online search engine that charts the frequencies of a set of concepts found in printed sources within a defined timeframe. Through ngrams, new correlations between concepts can be made, and thus additional readabilities can emerge.

The ngram of relativity compared to the relative shows, that the term relativity gained a lot of importance after the publication of Einstein‘s theorem in the early 20th century, and kept pace with the relative ever since. In recent times, it is detectable that the relative is talked about less and less whilst the concept of relativity is stable in relevancy.

A further reading considering the development of the two concepts is to view the linear rise of the relative since the early 20th century as a consequence to the emergence of relativity. Relativity presents the option to interprete the relative as an objective term. The term perhaps has been mentioned in similar contexts as relativity.

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The concept of sound has been mentioned more than music until its frequency of mention caught up in the mid 20th century. They have then been mentioned in almost identical frequencies. This development coincides with the evolution of Western music, which in the 1950s and 1960s, due the emergence of electronics with the radio and computers, looked at music in terms of sound. Music had been computed, synthesized, recorded and played back. Nowadays, music and sound are equally relevant terms and inseparable to many.

The same claim can be consequently made for the terms consonance and dissonance. Dissonance, unlike the gradual rise of the concept sound, has encountered a meteoric rise in the 1950s. Now, it is being talked about in equal terms as consonance.

The classical conception of music allowed the term consonance to flourish, when the emphasis had been on melody and harmony. For instances, the diminished fifth, a traditionally dissonant interval has been labeled as the devil‘s chord and has been generally avoided.

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Modernity takes a different approach to music. Modern music takes special consideration for rhythm, texture and structure/form, in addition to new melodic and harmonic setups, therefore consonance and dissonance can be talked about in equal terms.

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Setup

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As per prior definition, Lenny and Ludwig are bodies of projection and bodies of reception. Projection occurs in form of music, respectively as Baroque Fugue or Modern Dodecaphony. The projected music is subject to compositional principles, respectively counterpoint and serialism. These compositional principles produce a bandwidth of operative tools, which can be translated from the temporal domain of music into the spatial domain of architecture. These tools can be thought of as mediators that are able to transpose temporal conceptions to space and spatial conception to time.

Hereby, the objective of generating musical spaces is to be emphasized. A musical space is to be seen as both music and architecture. Alternatively it is to be thought of as „music“ times „space“, as equal factors within a multiplication, with autonomous properties. Multiplied with each other, the autonomous factors can bring forward a greater product. Musical space is therefore different from spaces for music or spatial music. These terms both coincide with the hierarchization of the domains which this particular setup tries to avoid. Moreover, with spaces for music and spatial music, the domain is rotated only once, whereas the musical space is apt for multiple rotations between the domains.

A contemporary concert hall is an example for spaces for music. It is a space appropriated to serve music. The spatial setup is typically condensed to a purely infrastructural framework, a functional reaction to music. Roughly speaking, the space presents itself to be perceived as the lesser sum. The music stands above the space in hierarchy. However, even the music seems to be deducted in this setup. The musical body has been reduced in its form to just an acoustic frame. Musical

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properties thereby exist as a set of acoustic requirements and regulations, which sets up a definitive set of rules the spatial conception tries to obey and optimize itself towards. This is not to say that concert halls can not be aesthetically pleasing or of architectural value, it only suggests that exterior limitations can hinder an intrinsic architectural exploration.

Another concept, which appears to apply similar principles, however from the opposite starting point is spatial music. Spatial music is composed music that intentionally exploits sound localization. Spatial music is not a reaction to spatial principles in the sense that music would place itself below space in hierarchy, which was the case for the prior concept. Furthermore, the spatialization of music does not necessarily diminish complexity or intrinsic qualities within its domain. Instead, it adds a spatial component to the domain of music in terms of sound locality. However, there is a strong case to be made that with spatial music the rotation of the temporal domain of music into a spatial domain has never actually taken place. Music remains in its original domain.

Given the arguments, music and architecture therefore have to be brought together in the sense of a musical space, so that music responds to space responds to music and so on and so forth. „Music is liquid architecture; Architecture is frozen music“ is a dictum, attributed to Johann Wolfgang von Goethe, that delineates the attitude for this particular setup. Granted, this quote is not to be taken literally, as there is no direct aim to liquify space or freeze sound, rather, the statement reveals a universal theme of expression underscoring all creative disciplines. Goethe’s idea suggests all processes of creation and

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invention are connected by a human’s need to express something, no matter the final medium of construction. The expression could be a new idea, an evolution of an existing solution, or an aesthetic creation. It could be said that the architect “paints” with building materials, the composer “constructs” using vibrations, and the scientist “composes” forms and formulas using the “modes” of math and physics.

Goethe hereby hints to precisely the interchangeability and rotation between the domains which this setup tries to sustain.

Additionally, of both architecture and music can be said that it is not about the representation. As Jacques Herzog has said, „A building is a building. It cannot be read like a book. It doesn’t have any credits, subtitles or labels like a picture in a gallery. In that sense, we are absolutely anti-representational. The strength of our buildings is the immediate, visceral impact they have on a visitor.“ There is to add, that perhaps this visceral impact can be experienced by different senses, therefore it renders an experience across different media, in other words the perception can be placed between music and architecture.

By understanding not the product, but the creative process of the domain of music and the domain of architecture, a mutual base of understanding can be achieved. The conversation is then about proportion, ratio, form. Certain patterns and rule systems can be extrapolated.

These can be mostly abstracted into specific methods of operation, or tools. The manifold operative methods will be generally categorized under „Disposition“ and „Morphology“.

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Disposition

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disposition (n.) late 14c., disposicioun, „ordering, management, a setting in order, arrangement,“ also „tendency of mind, aptitude, inclination,“ from Old French disposicion (12c.) „arrangement, order; mood, state of mind“ and directly from Latin dispositionem (nominative dispositio) „arrangement, management,“ noun of action from past-participle stem of disponere „to put in order, arrange“ (see dispose).

Meaning „frame of mind, attitude, inclination; temperament, natural tendency or constitution of the mind“ (late 14c.) are from astrological use of the word for „position of a planet as a determining influence“ (late 14c.). Related: Dispositional.

The word can be mainly understood in the context of metaphysics or within hermeneutics. The debate about dispositions in metaphysics attempts to understand the fundamental nature of properties, including how they relate to laws of nature. The initial question asks if dispositions are real. Realism about dispositions, or dispositionalism, argues that dispositions are causally efficacious properties inherent to objects that are sufficient to produce change.

In hermeneutics a disposition provides a way in which knowledge can be organized. Robbie Shilliam defines an intellectual disposition as framing „a set of elements into a coherent problem at the same time as this framing clarifies ethical commitments to the redressing of that problem.“

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Within this particular setup, disposition can be thought of as the quality of character, a habit. Dispositions are hence causally efficacious properties inherent to a specific body of work. This definition stands analogous to the lineament, disposition is therefore to be equated with a contour or an outline. To paraphrase Shilliam, we might define a disposition within a creative setup as framing a set of elements into a coherent constellation simultaneously as this framing clarifies conceptual commitments to that constellation.

Along these prior definitions, disposition bears close resemblance to the musical motif. A motif is a short musical phrase, a salient recurring figure, that has some special importance in or is characteristic of a composition. The motive is the smallest structural unit possessing thematic identity. The thematic identity is the projection of an inherent logic of the composer. A well-written motif is open for motivic development, such as the famous „fate motif“ in Beethovens Fifth Symphony: three short notes, followed by a longer note. This motif opens his Fifth Symphony and reappears throughout the work in surprising and refreshing permutations.

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In spatial terms, disposition can be described as the main spatial or figual definition derived of the committed conceptual framework. The disposition is based on a recurring figure, or dominating gesture, that has some special importance in or is characteristic of a composition.

Peter Eisenmans House VI can be considered as an intellectual disposition in an arguably radical form. Eisenmans interest in Semiotic Architecture, in trying to understand and explain architectural meanings based on the grammar system of language, sets up his clear conceptual commitment: Along with the grid, four lines are extruded and become intersecting walls. The walls get extended and invert each other. The walls stretch and two of them fall down making vertical level difference.

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Morphology

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morphology (n.)

1824 in biology, „science of the outer form and inner structure of animals and plants,“ from German Morphologie (1817); see morpho„shape“ + -logy „study of.“ By 1869 in philology, „science of structure or forms in language.“ General sense of „shape, form, external structure or arrangement“ is by 1890. Related: Morphological; morphologist. Related: Morphologist.

Morphology is a branch of biology dealing with the study of the form and structure of organisms and their specific structural features. This includes aspects of the outward appearance such as shape, structure, colour, pattern, size which is to be understood as external morphology or eidonomy, as well as the form and structure of the internal parts like bones and organs, the internal morphology or anatomy. „On Growth And Form“ by D‘Arcy Wentworth Thompson, a work widely admired by biologists, anthropologists and architects, deals with morphologies of biological entities in terms of magnitude or size, the rate of growth, the relation between form and mechanical efficiency amongst other things.

Morphology is also a concept in linguistics. There, morphology is the study of words, how they are formed, and their relationship to other words in the same language. Morphology is an analysis of the structure of words and it parts such as stems, root words, prefixes, and suffixes. It is closely related to syntax, a set of rules, principles, and processes that govern the structure of sentences in a given language, usually including word order. The term syntax is also used to refer to the study of such principles and processes.

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For this setup, both the biological and the linguistic view are viable.

Morphology is a specific appearance and form, furthermore it is also in a sense a syntax. Morphology is responsible for a certain form, shape and „flavour“. In language, morphology not only defines how to structure a sentence so that a message is conveyed, but also defines the fine nuances of delivery and tone. Alternatively, morphology can be interpreted as an act of refinement and detailing after a set disposition. In figurative sense it can be viewed as the infill of contours.

Paraphrasing Shilliam, Morphology is the specific elaboration of elements within a set, aligned to the conceptual commitments proposed through the disposition.

Morphology translates into the domain of music as resonances. The resonance hereby is a discrete body, a „Klangkörper“.This resonating body can be thought of as a pliant and malleable volume. A volume, like soft dough, in need of an existing structure that it can envelope, as on its own, it does not possess the inherently efficacious properties to withstand external forces. However, wrapped around its conceptual wireframe, the resonance volume is then crucial for the amplification and thus proper audibility of the intended sound. Within a performance, morphological operation is both proactive and reactive. Reactive, in the sense of always preserving the original meaning set by the disposition, and proactive as it still adds an autonomous component. An apparent morphological feature of Baroque is for instances ornamentation, which are musical flourishes, added notes, that are not essential to carry the overall line of the melody or harmony, but serve instead to decorate or „ornament“ that line. These ornamented lines are in that sense a malleable body, carefully wrapping around an original melodic line, to amplify its original character.

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In Architecture, morphology is also to be presumed as a discrete body, visible and tactile. Spatial morphology is about shape, structure, colour, pattern, size. Using the previous example of Eisenmans House VI, we can understand morphology as the act of elaborating an appearance (Erscheinung). Here to mention is for instances the upside down staircase, the element which portrays the axis of the house and is painted red to draw attention. As disposition is a contour which stems from conceptual commitment, morphology is the infill and elaboration of the disposition for accentuation or amplification. Together they build a comprehensible formation of a Gestalt. This Gestalt understands „the whole to be more than the sum of its parts.“

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Lennies Setup

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In order to be able to create musical space in line with the concepts of disposition and morphology, rotation between domains has to be assured. For that, an operative „toolset“ is being introduced, which should operate both in the temporal and the spatial domain. In the case of Lennies setup, compositional methods within counterpoint will be abstracted and shifted from being temporal to being spatial devices. Dispositional techniques are to be understood as the contours derived of the conceptual commitment to the idea of counterpoint.

Morphological techniques are to be understood as the infills, in other words the elaboration of the disposition.

Dispositional Techniques In counterpoint, the functional independence of voices is of primary concern. Parallel voices are therefore prohibited because they violate the homogeneity of musical texture when independent voices occasionally generate new timbre qualities. Spatial counterpoint is thus a specific constellation whereby a subject is deliberately iterated differing in dispositional qualities such as form, shape, size, volume. To put this in algebraic terms, counterpoint achieve an outcome, whereby derivation F‘ is a retrograde, augmentation or diminution of function F. In counterpoint, musical lines stand between independency and interdependency.

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An imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, however still retaining its original character.

Imitation in the spatial domain is definable as the copy of a specific dispositional operation, articulated with a different group of elements, for example the transfer of a column ratio to a set of openings.

A stricter rendition of the imitation is the canon, the initial melody is called the leader, or dux, while the imitative melody, which is played by a different voice, is called the follower, or comes. The follower must imitate the leader as an exact replication of its rhythms and intervals.

Repeating canons in which all voices are musically identical are called rounds.

In transference, a canonical setup is a peculiar exact repetition of a collective group of subjects within a singular spatial setup, for instances by axial mirroring a set of subjects making an exact copy of the original set.

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The counter-exposition is a second exposition. With that, a fugue obtains the conventional question answer structure. The counter-exposition in a fugue is separated from the exposition by an episode and is in the same key as the original exposition.

In an algebraic context if we attune the original form to a function F, the counterexposition is then a solitary function G, which however bears a degree of resemblance to F. As a counterpart to a subject, the counter-exposition fosters an interesting dialogue between the subjects.

Morphological Techniques Between exposition and counter-exposition, each episode has the primary function of transitioning for the next entry of the subject in a new key, and may also provide release from the strictness of form employed in the exposition, and middle-entries. André Gedalge states

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that the episode of the fugue is based on a series of imitations of the subject that have been fragmented.

In spatial terms, the episode is a transition subject that hints to both qualities of the exposition and counterexposition in order to counter an otherwise too abrupt juxtaposition, enabling a gradual shift from one set of disposition to another.

An accent is an emphasis, stress, or stronger attack placed on a particular note or set of notes, or chord, either as a result of its context or specifically indicated by an accent mark. Accents contribute to the articulation and prosody of a performance of a musical phrase.

Accentuation can mean several things, more detailed elaboration, a skip, a change of property such as opacity of one element within a set of elements.

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Ornamentation as introduced prior is particularly a morphological technique for Lenny. In Baroque music, ornaments take on a different meaning. Most ornaments occur on the beat, and use diatonic intervals more exclusively than ornaments in later periods do. While any table of ornaments must give a strict presentation, specific consideration has to be given to the tempo and note length, as realised in the excerpt of the Klavierbüchlein für Wilhelm Friedemann Bach by J.S. Bach below.

In spatial terms, the ornament is a decoration used to embellish parts of a building or object. Important is the relative size, ornaments are small compared to the overall scale. As musical ornaments are nonessential to carry an overall musical line or harmony, architectural ornaments are to be considered non-essential for the overall architectural reading, though they can emphasize specific parts of a disposition.

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Ludwigs Setup

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There is a case to be made that within Lennies setup, especially the morphological techniques put forward an emphasis on the subjective intention of the composer or designer, for instances with the accent or ornamentation. Ludwigs setup generally focuses on tools that rationalize and level the setup, to a preferably objective treatment of composition and design. Instead of subjective heterogeneity, these following tools attempt to foster a position of objective homogeneity.

This unbiased, rational approach is made apparent in how Schoenberg treats each of the twelve semitones of the chromatic scale with equal importance, as opposed to Lennies counterpoint music which had treated some notes as more important than others, particularly the tonic and the dominant note, which in Schoenberg‘s serialism become the „1“ and „5“ within a set of twelve semitones. Ludwig way of operating therefore leaves the field of classical musical notation, into set theory, fundamentally characterised by the set, which is an unordered collection of pitch classes consisting of distinct integers.

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Set theory presents the basis upon which Ludwigs compositional methods can be extracted. Set theory operates with ideas closely linked to 20th century mathematics. These ideas will be put in order analogous to Lennies setup. For dispositional techniques we understand the contours derived of the conceptual commitment to serialism and under morphological techniques, the elaborations of the disposition as infills.

However, especially the morphological techniques in serialism differ strongly from contrapuntal morphological concepts, hence the morphological techniques will have to be examined not as additional features to the existing disposition but in terms of being its derivate.

Dispositional Techniques A tone row or note row, also series or set, is the main dispositional concept within serialism. A tone row is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale. Below is a row form consisting of two hexachords, two six-note series‘ forming one completed tone row.

012345/6789te A tone row might be shifted to the spatial domain as an elementary row, a particular spatial organization of a (sub)set of elements in balanced quantity and magnitudes. This organization can be based upon a purely geometrical evaluation, else it can consider additional parameters, such as visual weight or formal complexity.

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Rows may be combined to produce melodies or harmonies in more complicated ways, such as taking successive or multiple pitches of a melody from two different row forms. This generates an aggregate.

Principally, the aggregate is very well comparable to the Baroque counterpoint, where in both cases lateral lines with an inherent logic are being combined vertically. The difference is, that the main melodic line, harmonic in Baroque receives a quantum shift in Dodecaphony.

012345/6789te/012345/6789te secondary set: [6 7 8 9 t e / 0 1 2 3 4 5] An aggregate can undergo a further systemic structuralization. A cross partition is an often monophonic or homophonic technique which, arranges the pitch classes of an aggregate into a rectangular design, in which the vertical columns (harmonies) of the rectangle are derived from the adjacent segments of the row and the horizontal columns (melodies) are not (and thus may contain non-adjacencies).

One possible realization out of many for the order numbers of the 34 cross partition of the aggregate above would be 0369056e 147t237t 258e1489 Cross partitioning would be a tool which leads to additional complexity in the spatial domain as it introduces a stochastic element to a given setup. The elementary row gains a degree of unpredictability.

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Morphological Techniques A „weighted aggregate“ is an aggregate in which classical harmony is at least partially reintroduced, supplied by segments of different set forms. An aggregate may be vertically or horizontally weighted.

Interestingly, through introduction of a classical harmonic system, serialism enables itself to approximate counterpoint. Pierre Boulez‘s Second Piano Sonata series demonstrate such weighting with bar A consisting of an ascending perfect fifth followed by a tritone and a perfect fourth.

Every set has at least one symmetry, as it maps onto itself under the identity operation T0. T0 is called the „prime form“, symmetries can be added to it in varying forms of transformations, as inversion, retrograde, retrograde inversion, as well as transposition.

Spatial equivalence of dodecaphonic symmetry, are therefore symmetry of symmetries. A symmetrical setup in serialism translates to nested symmetries with symmetrical organization and sub-organization.

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Invariant formations are often the side effect of derived rows where a segment of a set remains similar or the same under transformation.

These formations may be used as „pivots“ between set forms similar to the use of episodes within Baroque music. Invariance is defined as the „properties of a set that are preserved under [any given] operation, as well as those relationships between a set and the so-operationally transformed set that inhere in the operation“.

George Perle describes their use as „pivots“ or non-tonal ways of emphasizing certain pitches. This pivoting can be achieved by usage of recurrent rhythmic patterns. In spatial terms, this is comparable to an organizational grid or pivots in measurements, such as fixed height or width.

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Analysis of Profound Concert

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„It takes generosity to discover the whole through others. If you realize you are only a violin, you can open yourself up to the world by playing your role in the concert.“ Jacques-Yves Cousteau „Profound Concert“ is the sixth setting of the play, and is the performative playground of Lenny and Ludwig. In this setting, a strong prevalence of both algebraic and quantum operations make possible a combinatorial interweaving of Lennies setup and Ludwigs setup, which is in fact the combination of previously discussed dispositional and morphological techniques. Of particular interest is the product of such a juxtaposition: what can possibly eventuate out of combining a distinctly baroque disposition with a modernist morphology and vice versa? To make these juxtapositions work, the emphasis has been set on constellation, which determine how to achieve specific spatial expressions. Constellations are active, not static. They are the creative process between the domain of music and the domain of architecture, building a mutual base of understanding. Constellations help to synthesize the prior defined „Musical Space“.

The entirety of the 3rd floor in the Haus Wittgenstein has been inherited as the starting point of the active constellation. The contour of this space is rectangular, central to its layout is the corridor that connects a number of smaller rooms. Essentially, we want to think of the space as an active conversation partner of the music. The music is played at the central point of the space and expands outwards radially, affecting the superpositions of the walls as the space forms a reciprocative

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vessel that contains the music. In formalist terms of Peter Eisenman, we can divide the existing space into a set of boolean forms, in his words „[...] a complex structure which lies between purity of a platonic form and the infinite and unlimited form of non-Euclidean structure“ and music as a boolean operator that shapes and reshapes the existing space through a diverse set of boolean operations.

A multitude of boolean operations combine to create the main dispositional gesture within the „Profound Concert“ setting, the ondulating wall. The ondulating wall is referred to in the text as follows: „...Ondulation of the sum. Evaporation of opaque bodies as objects disappear from sight. [29] The hall, a sophisticated form in sophisticated surroundings, a space subtracted from the whole, exposition of shifting thicknesses and firmnesses of walls and floors...“This particular passage of the text hints to the ondulating wall as of being within a seemingly paradoxical trifecta. The ondulation contextualizes as a sum, a part within a whole and a substraction all at the same time.

This quality might become more apparent through comprehending how the wall is constructed.

The ondulating wall derives from an extensive study on Baroque proportion, most notably of the works of Borromini, such as the San Carlo alla quattro fontane and the Sant‘ Andrea al Quirinale. These works were especially valuable in terms of providing a guide for the initial decisions made on geometry and ratio of the intervention.

By sectioning the existing floor plan along the idea of Baroque dynamic symmetry, the size of the intervention has been determined in a first step. A Baroque diagonal, a diagonal line that extends from the

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lower left corner to the upper right corner, has been combined with two reciprocal lines, which are lines that intersect the major diagonal at a 90˚ angle. The intersections form the outermost points of the boolean intervention.

The shape of the intervention is an oval, or to be precise, constructed after Serlio‘s second oval, which is an oval constructed using two GSEducationalVersion

neighboring circles. The oval shape is crucial within this setting, as it is essentially a geometrification of the Baroque melody; a combined rotation of two independent rotating lines around their respective base pivot.

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According to the contrapuntal principle, a longer line of melody within a fugue can be divided into specific sequences or smaller chunks, which can be referred to as musical phrases. Along these principles, the oval base shape is modified, as it is fragmented into equal segments. By canonical reproduction, each circular segment obtains an oval derivate with each eight epicycles, which are small circles whose centre moves round the circumference of a larger one, or in other words, smaller independent rotations within the boundary set by a larger rotation.

The dynamic readability of a fugal piece seemed conducive for the following spatial operation. Since, as suggested in prior chapters, a

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fugue can be simultaneously structured as a collection of larger sets of notes, of expositions and episodes, and as smaller sets consisting of sequences of motifs and cadences, the oval and its derivates are to be treated in a similar fashion. The larger oval is then representative for an entire voicing, the medium ovals are equivalent to expositions and episodes, whilst the smaller ovals compare to motifs and cadences. A dynamic readability in a spatial sense would suggest, that scale

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transitions of the ovals are to be of a comparable spatial fluidity to the temporal fluidity of a fugue. Transitions between varying scales thus have to be seamless which is why the single ondulating line is being introduced. This line resembles one lateral melodic line that constitutes not the piece as total, but one continuous voicing of such a piece.

As prior defined, counterpoint is delineated within this setup as the combinatorial effort of conjoining laterality, verticality and hierarchy.

The ondulating line, existing only in plan, hereby constitutes the laterality in a spatial counterpoint. Verticality is then the overlay of independent spatial voicings in section. By attributing distinct weightings of the ondulations through variation in sizes and thicknesses, hierarchies are being set forth.

This particular ondulating wall can be also equated to the stretto sequence, a close succession of statements of the subject in a fugue. In stretto, the subject is presented in one voice and then imitated in one or more other voices, with the imitation starting before the subject has finished. The subject is therefore superimposed upon itself contrapuntally. This succession of statements of the subject signals the arrival of the fugue‘s conclusion in climactic fashion.

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The second gesture within the „Profound Concert“ setting are a collection of twelve stochastically placed columns. These columns are constructed based upon dodecaphonic dispositional principles, and therefore constitute a modernistic disposition with the aim to counteract the Baroque ondulating wall.

To set up this dodecaphonic counterdisposition, it is important to first define an invariant formation, a pivot. This pivot requires the definition of properties that are preserved under any given operation; in case of the „Profound Concert“, a geometric invariance is suggested by the introduction of a grid to restrict placement of columns to the intersections of vertical and horizontal lines of the grid, and secondly, the introduction of a measurement pivot serves to maintain homogeneity in column height.

The dodecaphonic disposition builds on the existing logic of the Haus Wittgenstein. The pivotal grid introduced is essentially borrowed from the house itself, as the existing floorplan has already been mapped to a collection of cartesian grids. This act of cartesian mapping is a modern act, as the house becomes a systematic link between Euclidean geometry and algebra. Using the Cartesian coordinate system, geometric shapes can be described by Cartesian equations: algebraic equations involving the coordinates of the points lying on the shape.

The modernist Cartesian grid is a manifestation of the continuousness present in serialistic composition. As suggested by Williamson, „the modern was synonymous with the continuum itself, it may be defined equally well as a set of continuous axes or as a never ending series of modules. The modern grid thus continued to be a field based matrix predicated on the line and module.“ The modules can then be

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perceived as a defined correlation between vertical and horizontal segments, respectively with length A and length B - which is length A multiplied by the factor 1.875. This resulting grid is a matrix consisting of lines or modules, and extends as far as the ondulating wall.

B= 1.875 A

A

The dodecaphonic technique is above all a means of ensuring that all twelve notes of the chromatic scale are sounded as often as one another in a piece of music, preventing the emphasis of any one note

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through an ordering of all pitch classes. All twelve notes are given more or less equal importance. The search for a specific architectural element fit to represent this main quality of muscal serialism brings forward the modernist column. A multiplicity of new attitudes broad by social and technological advancements lead to the emergence of a broad range of distinct columns, from the Corbusian Maison Domino round column, the Bo Bardi columns with entases to the Miesian Villa Tugendhat cruciform columns. A total of twelve iconographic modernist columns are selected, ordered with regards to formal continuity within the set, from round profile columns, to rectangular to cross profile. Each of the twelve columns is attributed to the halftones 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 [t], 11 [e]. Each one of the columns is identifiable by one of the attributed numbers and is, according to Schoenbergs

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conception of the tone row, set to appear once. Out of a variety of possibilities, one version of such a row might be 83e402t79156 The ordered columns are introduced to the spatial arrangement based upon the before mentioned gridded pivot. Like a dodecaphonic aggregate, the arrangement produces a spatial matrix equivalent to a cross partition, a technique that arranges the pitch classes of an aggregate into a rectangular design. The columns are therefore being arranged within the constraints of an invisible rectangular frame on the grid, where, ensuring absolute objectivity in decision making according to serialism, a game of algorithmic stochastics is being played.

Each of the intersection points presents a binary possibility of whether to place or not place a column, an automated probability calculation where the outcome can be either 0 [False] or 1 [True]. If a column is to be placed, as the selection on a particular intersection falls on 1 [True], there is a 1/12 chance for a column between 0 and e, for the next intersection where 1 [True] is being decided, the chance stands of 1/11 and so on. Given the number of intersection in a five by five matrix is 25 with 12 columns to be distributed, 25*24*...*13 = 3,24*1016 different distribution patterns are possible. A binary matrix might be 1

0

1

0

1

0

1

1

0

0

0

0

0

1

1

1

1

0

1

0

1

0

1

0

0

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One might already notice a further restriction, a third pivot, which prescribes that on each vertical and each horizontal line, the number of placed columns cannot supercede three. A possible outcome of these operations, with the cross partition of 8, 3, e, 4, 0, 2, t, 7, 9, 1, 5, 6 in a matrix of the size [5, 5] is then 8

2 4

t

3

5 9

0

6

1

e 7 The methodics applied compare to the idea of cellular automata, that consists of a regular grid of cells, each in one of a finite number of states, such as on and off. For each cell, a set of neighboring cells is defined relative to the specified cell. An initial state (time t = 0) is selected by assigning a state for each cell. A new generation is created (advancing t by 1), according to fixed rules that determines the new state of each cell in terms of the current state of the cell and the states of the cells in its neighborhood.

2

8 4

5

t 9

3 e

0

1 7

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6

For the following gesture, the space is overlayed once again with the Baroque dynamic symmetry, the initializing technique used for the ondulating wall. The two reciprocal lines, the lines that intersect the major diagonal at a 90˚ angle, are to be considered the starting point for a further gesture.

Each Baroque reciprocal line has been dissolved dodecaphonically into 20 points with equal distances to one another. Similar to the placement of the columns within the main space, seven modernist columns are assigned corresponding numbers from 0 to 6, generating a possible row of 6241530 Following the 2-3-2 disposition, a common proportioning found both in Baroque music in terms of rhythmic grouping and Baroque architecture often for facade and colonnade proportioning, a distribution along a specified segment of the reciprocal lines is then

6 2 4 1 5 3 0

0 3 5 1 4 2 6

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As a sort of fusion of Baroque and Dodecaphonical dispositional techniques, this arrangement serves the purpose of an „architectural appetizer“- a prélude that combines the main principles of Baroque euclidian geometry and the modernist cartesian approach.

The two approaches are likewise applied on the overall contour of setting, as the facade takes on the gradual shift from ondulating Baroque to Cartesian Modernism. With the reductive appearance of just one singular line, the facade is a spatialized episode, a transition subject that hints to both qualities of counterpoint and serialism in a more abstracted manner, in order to counter an otherwise too abrupt juxtaposition.

6 2 4 1 5 3 0

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To push further the idea of an active constellation, the thus far produced gestures, all within the realm of disposition, are to be conceptually mapped to the figure ground, a term linked to Gestalt psychology.

Figure ground theory suggests a distinct solid-void condition. Similar to how a note in musical notation suggest the physical occurence of sound on the base condition of silence, these dispositional figures in plan or section suggest the physical occurence of matter on the base condition of void-space.

Through morphological methods these figure grounds, created by means of dispositional operations, can become graspable and tactile.

The aim is thus to generate a physical Gestalt, not in the sense of the creation of singularities, but along the lines of holism, a degree of pluralized interconnectivity is to be fostered. The particular techniques used should blur so that they cannot be deciphered independently of the whole. The Gestalt-creation should particularly interlock and juxtapose the dispositional conceptive qualities with morphological perceptive qualities, such as color, texture, tactility to name a few. The desideratum is that this interlocking can then produce a new whole to overcome the precedenting dualisms, namely between Baroque and Dodecaphony or in the overlying sense relative and relativity.

Therefore, along these lines the question to be asked is, what can a dodecaphonical treatment of something baroque, and a baroque treatment of something dodecaphonic, look like?

The ondulating wall is thus far a product of strictly Baroque dispositional techniques. It is a product of Euclidean conceptualizations, of an idealized ratio that informs platonic shapes informing the oval and its

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derivates. With a strong Baroque conception, the ondulating wall requires an equally striking dodecaphonic perceptive treatment. Morphological tools have to invoke modern visual and tactile characteristics. The visual perception to pair the ondulating wall with is hence spectrality. With serialism, a musical setting becomes spectral, the tone row treats all semitones objectively. This particular auditive spectrality in frequency translates to a visual spectrality, when colors are equally weighted. The result is the color white.

Tactility in modernistic music can be described by the way Stravinsky asked his students to play his music; he was adamant that the music is being played as written, without connotation of a subjective. The music is smoothed out, abstract and mechanical. The modern texture is of this smoothness rendering a surface reflective. The specific shape of the ondulating wall, white and reflective, shifting from convex to concave, combined with smoothness leads to light refraction. The ondulating wall thus becomes an optical device as the white light is split into a rainbow-spectrum. The baroque disposition and dodecaphonic morphology interlock to generate a Gestalt of new colors. These different colors correspond to new blurred frequencies.

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The ondulating wall is presented a synthesis of contrapuntal conception and serialistic perception, a synthesis of the Euclidean shaping and the smooth treatment. The counterpart, the cross partitioned columns principally reverse these logics by asking, what constitutes an adequate baroque morphology to a strictly dodecaphonic disposition?

Counterpoint music culminates in the fact that each voice within the piece is unconditionally distinctly perceptible. This individualistic musical line can be read as a specific musical color, a result from strong musical coloration. Through development of this musical line, through variations and flourishes, this line is more and more pronounced and characterized. Accordingly, Baroque tone colors are highly vibrant and saturated. A fugue then consists of a multitude of saturated singular vibrant colors alongside each other.

The tactility of Baroque can be rendered clear by looking at the specific treatment of the colored lines, by means of decorative accentuation and ornamentation, or according to Summerson „surface modulation“. Baroque surface modulations lead to a rough and organic tactility.

The modern, dodecaphonic columns appear in a Baroque façon through lush ornamentation and saturated colors. Again, a blurry Gestalt is developed; this time the Gestalt generates an anti-optical machine. The overlay of texture deliberately off-balances the visual perceptibility of modern, Cartesian columns as their formal clarity is notably diminished.

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Through the specified treatment of the ondulating wall and the columns, singularities are morphed into pluralities, strongly characterized however blurred. The constellation is presented as an interlocked whole, intending to be understood as such. The dualism becomes a both and, and further becomes an activated gradient, receptive for Baroque and dodecaphonic musical recital. Receiving music, the space is in fact of music.

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Discography

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„Prelude und Fuge No.6, BWV 851“ Johann Sebastian Bach It is assumed that by „well-tempered“ Bach intended equal temperament, in German „Stimmung“, which is inherently dualistic as it can both refer to the atonement of the piano as well as atmosphere or poetic aura. It is precisely the poetic content of the pieces that has fascinated performers and listeners of the work through the centuries.

„Die Kunst der Fuge, BWV 1080“ Johann Sebastian Bach Although Bach‘s most famous fugues are those for the harpsichord in The Well-Tempered Clavier, which many composers and theorists look at as the greatest model of fugue. The Art of Fugue, BWV 1080, is a very intricate collection of fugues (and four canons) on one single theme that is gradually transformed as the cycle progresses.

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„Piano Pieces, Op. 33 a / b“ Arnold Schönberg Schoenberg announced it characteristically, during a walk with his friend Josef Rufer, when he said, „I have made a discovery which will ensure the supremacy of German music for the next hundred years“.This period included the Variations for Orchestra, Op. 31 (1928); Piano Pieces, Op. 33a & b (1931), and the Piano Concerto, Op. 42 (1942).

„Piano Sonata, Op. 1“ Alban Berg Piano Sonata, Op. 1 (1907–1908); one of the most formidable „first“ works ever written.

Berg studied with Schoenberg for six years until 1911. The idea that the unity of a musical composition depends upon all its aspects being derived from a single basic idea; developing variation. The Piano Sonata is an example—the whole composition is derived from the work‘s opening quartal gesture and its opening phrase.

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„Toccata quasi una fantasia, Op. 38“ Alois Hába Hába was a student of Schönberg. It was the genuine folk music of his own native region that led him to the idea of enriching the musical language by microtonality. „Often just raising the apex of a melody by a mere halftone, a quarter-tone or a sixth-tone, just prolonging or shortening a certain passage by a single beat (…) will be enough to achieve satisfactory musical expression.“

„Galamb Borong“ György Ligeti A piano étude from the Hungarian composer György Ligeti heavily influenced by gamelan. In the Études I, Ligeti implements a new conception of pulse. In the earlier works, the pulse is something to be divided into two, three and so on. The effect of these different subdivisions, especially when they occur simultaneously, is to blur the aural landscape, creating the micropolyphonic effect of Ligeti’s music.

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Afterword

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“Music and architecture are counter-designs, essentially alien to one another, but as opposites they can be metaphorically related to one another. Music is an irreversible process, architecture an immovable form. Architecture encloses a room, music fills a room. Music is essentially placeless, architecture defines its place. Architecture is to enter, it is a constant. Music is to comprehend, it is fleeting. Music takes place as an immaterial body in instant form, architecture places a fixed spatial structure in time and in space.“ Regarding Rihm‘s quote again, the dichotomous relationship between music and architecture brings about a great challenge. In other words, since music establishes itself linear in time and architecture occupies a concrete line in space, the gap between the different domains renders itself insurmountable. An attempt of bridging this gap would result in a notable reduction of complexity and hence the loss of either musical or architectural qualities.

This book explored the possibility of placing design in the position of a mediator, that enables common grounds in the realm of abstraction with the aim to retain musical and architectural autonomy. This desired autonomy can help to dissolve existing hierarchies that often occur in the design of musical spaces. The term musical space indicates the equal emphasis put on both music and architecture, rather than speaking of spaces for music, or music for space, which might be interpretable as Spatial Music referring to composers such as Xenakis or Stockhausen, establishing musical spaces can offer a different approach.

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Contemporary musical spaces, with regards to today‘s well received concert halls, appear trapped in the beforementioned dilemma. As ever so often, music performs, architecture serves. Architecture serves in terms of being infrastructure, optimizing its acoustic decoupling or its reverb and resonance reduction values. Therefore, the challenge lies in how to bring about the necessary autonomies that enables each domain within the constellation to develop their inherent qualities whilst relating to one another. Music performs. Architecture performs.

In Synchronicity.

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