Concert halls

Jazz music have been around for more than a hundred years, and is one of few music genres
which pre-existed modern performance technology which is still developing and
a highly relevant. Since the acoustical nature of a performance space greatly
influences the auditory impression for both the performer and audience, the
environment will influence the very nature of the performance. This art form is based on
the movement in the moment, a dialogue carried by the acoustics of the space. The
authenticity of the expressed sound is vital, which may require more attention to be
paid to the design process and acoustical development of the space, as well as from
everyone involved in a production and performance. A paradox is that temporary
improvised music is often created in improvised spaces which may challenge all
principles of the acoustics. This underlines a proposed fundament of what this form of art stands for: listen and question.

Türkiye’nin önemli sanat merkezlerinden biri olan Ahmed Adnan Saygun Sanat Merkezi (AASSM) ve bünyesinde yer alan Küçük Salon gerek çağdaş bir yapı olması, gerek akustik projesini hazırlayan firmanın sektördeki yeri açısından önemli bir mekândır.
Bu çalışmada, çoğunlukla resital ve küçük çalgı grupları için dinleti salonu olarak kullanılan Küçük Salon’un işlevine göre belirlenen temel akustik parametrelere uyumluluğu araştırılmaktadır.
Çalışma, seyircisiz salonda ölçümlenen fiziksel ve akustik verilerin seçilen akustik parametrelere ve bu parametrelerin tipik aralık değerlerine uyumluluğunu, benzetim ortamında salonun 3D olarak modellenmesini, benzetime göre akustik sonuçların değerlendirilmesini, ölçümlenmiş veriler doğrultusunda malzeme kalibrasyonunun yapılmasını ve son olarak seyircili salon benzetiminden elde edilen analizlerin evrensel akustik parametrelere göre ne kadar uygunluk gösterdiğini incelemektedir.
Bu çalışma, evrensel araçlar ve yöntemler kullanarak, benzer hacim akustiği çalışmaları yapmak isteyen genç araştırmacılara tipik bir etüt örneği sunmaktadır.

Architecture of modern day concert halls has changed significantly from the concert halls from 17 th , 18th and 19 th century. This is due to technological advancements and improvements on acoustical science. With more understanding about the way sound behaves, architects have more chance of getting the job more accurately. Apart from architecture of concert halls there is vertical definition and horizontal definition which is to do with music composers and singers. Music composers such as Mozart have done their masterpieces specifically keeping in mind about the concert hall they are going to perform. Today with the movement of globalization, we can expect to play more than one style of music in a concert hall and therefore we need the acoustic considerations to be precise when it comes to different styles of music. This paper looks into the problematic areas of getting the acoustics correct with new innovative architectural and engineering models and how the musical influences fit in or clash. Can we arrive at a perfect architectural model with perfect acoustics? Are we ready to put them into practice? A deeper understanding of the behaviour of sound and analysing the elements of architecture and music which goes hand in hand, will lead us to a universal solution.

Architecture and Music in stretto. Bricks of a Canon

History of architecture and history of music are rarely seen in close connection. This might be surprising as every music needs space and every space has a sound. However, music is usually analysed acoustically and architecture visually. In this article we select examples, where both music and architecture emerged in close relation: either the one inspired by the other or both conceived together.
While the musical sources from antiquity are too vague, throughout the entire European history from early medieval times onwards examples can be found, where both arts demonstrate a close relationship. Such building bricks of an architectural and musical history in stretto are: the Carolingian plan of the cloisters of St. Gallen together with the musical manuscripts from the library of St. Gallen, the Gothic cathedral Notre Dame de Paris and the music by Leonin, Perotin and Anonymous IV, the cathedral Santa Maria di Fiore of Florence and the Nuper rosarum lores by Guillaume Dufay, the castle of Versailles under Louis XIV and the various sorts of court music by Lully, Delalande and Couperin, the Musikvereinsgebäude in Vienna and the symphonies by Mahler, Le Corbusier’s and Xenakis’ Philips Pavilion in Brussels or the Philharmony in Luxembourg together with Penderecky’s eigth symphony – just to mention the most telling examples.
The result of this brief overview is that there have been historic moments when architecture and music were conceived in interdependence, one depending on the other; thus for the historian these moments can only be appropriately explained by analysing both arts together. But while examples of direct relationships between the two arts are rare, the more usual connection is via a common cultural context in which both arts act as a common cultural practice.

This bibliography presents selected sources (mostly in English) in the field of music and architecture, a topic for which a growing number of anthologies and journal articles have appeared in the past two decades. Many of the sources approach the relationship between the practices through multiple case studies. Several books focused on particular artists in both disciplines have been included not because those artists are central to the study of music and architecture, but because those are the most informative examples of such books currently in publication. There exists a body of theoretical literature dealing with the spatial dimension of music in the abstract, with methods of translating music into architecture, and with the acoustics of architecture; only works addressing aspects of cultural studies have been included from that literature. Throughout the bibliography, works of particular interest from a musical and cultural perspective have been marked with an asterisk.

Learning to Listen: Audience, listening and experience in the classical music concert hall is a phenomenological research study exploring the perceptions and experiences of listening and being an audience in the classical music concert hall. The research explores the ways that audience members are participatory and the competencies they employ as listeners.
Using a qualitative phenomenological approach, the research was conducted within the context of a community orchestra in rural Australia and reports the experiences of twelve research participants including audience members, orchestra members and arts organisers of the orchestra. The data generated by semi structured interview was analysed using a combination of methods including thematic analysis and interpretative phenomenological analysis to achieve a rich and complex understanding of the nature of listening and being an audience in the classical music concert hall.
The findings articulate the diversity of listening practices and experiences presenting a fresh understanding of the classical music audience as an active community of practice vital to the process of musicking. These findings advocate the importance of supporting community arts organisations by demonstrating the need to reframe arts development as an issue of education and can be used to draw creative models for pedagogical and organisational practice within the arts.

Focusing on a single concert at the Wigmore Hall in February 2016, this paper explores audience responses to historically-informed concert programming from a dual perspective of historical musicology and social science. The concert programme involved the interspersing of a single cyclical work – Robert Schumann’s 1840 song-cycle Dichterliebe Op.48 with individual numbers from other works, thus breaking up the anticipated sequence in a way typical of 19th-century concert programmes. The small-scale study established the general audience demographic for the concert, and then explored the role of several key
factors on their appreciation of the concert, including their age, whether they played a musical instrument/sang, the importance of the venue, artists, repertoire, and finally the effect of the programme order and the historical authority which underpinned it. The writing-up process caused both authors to reflect on the challenges of exploring such phenomena from different epistemological perspectives.

Uno dice Verdi, e inmediatamente piensa en ópera; igual que en el bicentenario de su nacimiento, que coincide con este 2013. Uno dice Nino Rota, y piensa en el cine, cómo no; además en algunas bandas sonoras que pueblan estancias de honor en el salón de la fama del celuloide. Uno dice Taffanel… ¿Y qué piensa uno cuando dice Taffanel? Quizá esta sea una pregunta nada fugaz para el gran público en general, aunque también, es probable, para el melómano amante de la música, bregado y familiarizado en el trato de programas discográficos y de concierto. Taffanel no es un habitual, para nadie, y no lo es por demérito propio, como en esta velada se tendrá la posibilidad de constatar.
Tres nombres, pues, que pudieran ser vistos como tres ingredientes, escogidos para la imaginación de un nuevo plato. Cada uno con su propio sabor; cada cual con sus propios matices. Y es que, de forma similar a lo que sucede en la alta cocina, tan en boga en nuestros tiempos, es mérito del chef reunirlos, adecuarlos, presentarlos en la forma propicia para que no haya sustracción posible al deseo de probar el resultado. Al cabo, cuántas veces no es éste un recurso natural de la nouvelle cuisine: presentar a dosis equilibradas sabores conocidos con otros aún por conocer o, lo que puede ser más estimulante, olvidados. Es más, si Taffanel nos puede resultar de entrada una llegada de fondo de repertorio, es decir, un sabor como poco olvidado, el Verdi y el Rota de hoy no son los acostumbrados. Y eso es interesante, es atractivo. La mezcla, ya en la misma disposición instrumental, el viento, la cuerda, que desembocan en el viento y la cuerda, también en los estilos. Sólo hay una manera de saber si un plato determinado nos gusta…

This thesis is an investigation of the venue’s implications on music consumption and dissemination among the American music landscape. I analyze the topic through theories of media and space that are shaped by Marshall McLuhan, William Duckworth, and Michel Foucault. In addition to surveys conducted by the National Endowment for the Arts on the public’s participation in the arts, I include case studies of my own observations during performances as various venues. However, as I consider both the physical and virtual spaces of music, I center my research on two performances at (Le) Poisson Rouge in New York City, one observed through live streaming and one in attendance at the venue. Furthermore, I focus on classical music and the effect live streaming and alternative venue spaces have on the Western art tradition’s location as a central genre of American music.

A recently discovered street poster advertising the Concert Spirituel performance of August 15, 1754, when compared with the previously known ones from 1779 and 1787, sheds light on the efforts by Parisian concert entrepreneurs to build a paying audience for public concerts, in an era when the means of communicating with that public were extremely limited. Analysis of the corresponding concert reviews in the Mercure de France and other publications shows that these early examples of published music criticism were essentially transcriptions of the posters. “Critics” simply amalgamated the texts of the posters with pithy observations by acquaintances who had attended the concert; there was no expectation that the writer would have been present in person. The considerable time and money that the entrepreneurs spent on creating and distributing street posters demonstrate the commercial imperatives that shaped the programs of the Concert Spirituel

Proof copy of the paper: A New Society for the Best and Most Approved Instrumental Music: The Foundation of the Philharmonic Society in London (1813), presented at the Gesellschaft der Musikfreunde, Vienna, in 2012, at the conference "Die Emporbringung der Musik – 200 Jahre Gesellschaft der Musikfreunde in Wien".

Avant de devenir un site iconique, le Trocadéro abritait une salle de concert aux dimensions exceptionnelles pour Paris (4 700 places). Intégré au programme architectural de l’Exposition universelle de 1878, ce lieu accueille – dès son inauguration et durant cinq mois – l’un des premiers festivals en France dans le sens moderne du terme. Plus de cent auditions s’y succèdent pour présenter les différentes facettes de l’art musical français et étranger : pratiques professionnelles et amateurs, compositions contemporaines ou plus anciennes, chœurs et orchestres monstres ou formations de chambre. La musique ne sert plus seulement à embellir les cérémonies protocolaires. Il s’agit, bien au contraire, de l’exposer, en suivant l’exemple des beaux-arts. Comment se forme ce projet ? Et que nous raconte-t-il de l’époque qui le voit naître ? En s’appuyant sur un événement jusqu’alors peu étudié, ce livre revisite l’histoire du concert et y pose un nouveau jalon.

This is my BAA-thesis (Bachelor of Applied Arts in cultural management) for Humak University of applied sciences.

Kulttuuri kuuluu kaikille! on opinnäytetyö esteettömyyden tilanteesta Turun kaupungin kulttuuri-instituutioissa: pääkirjastossa sekä konserttitalolla. Sen on tilannut Turun vapaa-aikatoimiala ja se on kirjoitettu pyrkien intersektionaaliseen esteettömyys- ja saavutettavuuskäsitetteen käyttöön. Tavoitteet olivat kartoittaa olosuhteita näissä kahdessa kulttuurikohteessa, sekä kehittää ja korjata epäkohtia ja ongelmia. Ajatuksena kuitenkin on, että tietopohjaa ja menetelmällisyyttä voisi käyttää hyväkseen missä tahansa julkisen sektorin kulttuuri-instituutiossa, sekä hiukan näkökulmaa siirtäen myös muihin ra- kennuksiin ja julkisiin tiloihin.

Menetelminä työssä on käytetty havainnointia, eli kartoitusta. Sitä tehtiin kahdessa erässä ja siitä tuli ikään kuin autoetnografista tutkimusta, sillä lähtökohtani olivat aivan aluksi omat tarpeet, jotka kannustivat aihepiirin pariin. Kartoituksien lisäksi menetelmänä käytettiin haastatteluja ja kyselyjä. Nämä olivat erittäin tarpeellisia, koska esteettömyydessä ei ole ikinä kyse vain yhdestä näkökulmasta. Pyrkiessäni tuomaan esiin epäkohtia minun oli muistettava oman positioni tässä tutkimuksessa valkoisena, ei- liikuntarajoitteisena tai vammaisstatuksen omaavana henkilönä.

Tuloksia tuli varsin runsaasti: olen pyrkinyt käsittelemään niitä asiakaskaarimallin mukaan, miettien kronologista palvelunkäyttökokemusta. Kirjasto osoittautui odotettua laajemmaksi tilaksi esteettömyysnäkökulmasta. Konserttitalossa taas ihmetytti monet asiat, joihin en ollut kiinnittänyt ennen huomiota, koska tila on minulle tuttu harjoittelujen myötä. Molemmissa kohteissa esiin nousi sujuva liikkuminen kerrosten välillä: portaat eivät täyttäneet esteettömyysstandardeja, konserttitalosta puuttuu hissi ja kirjastolla taas arkkitehtitoimiston suunnittelemat portaat ovat kaikessa esteettisyydessään esteelliset. Myös sosiaalinen esteettömyys ja sitoutuminen teeman strategiseen valvomiseen puuttuu organisaatiotasolla Turun kaupungin vapaa-aikatoimialalla. Tätä on (onneksi) paikattu valtavan sitoutuneilla työntekijöillä, jotka kuitenkin tekevät kohderyhmätyöskentelyä varsin itsenäisesti ja vailla toimialan tukea.

Toivon, että työni inspiroi Turun kaupungin työntekijöitä pohtimaan omia rutiinejaan ja aktiivisesti vaatimaan tukea työhönsä, sekä sisällyttämän esteettömyysaspektit jokapäiväiseen suunnittelutyöhönsä. Etenkin konserttitalon tulevassa peruskorjauksessa on nyt hyvä mahdollisuus tehdä alusta asti asiat oikein. Vaikka muutokset maksavat enemmän, kuin suunnitteluvaiheessa tehty työ, toivoisin silti, että räikeimmät epäkohdat korjattaisiin myös pääkirjastolla läheisessä tulevaisuudessa. Turkulaiset ansaitsevat esteettömiä kulttuuripalveluja, sillä kulttuuri kuuluu kaikille!

Bjelovarska tvrtka Kudumija trade u ponudi ima veliki izbor šatora raznih dimenzija za sve prigode. Cijene šatora izuzetno su povoljne s obzirom na sav komfor koji Kudumija šatori nude. Prodaja šatora je samo jedna od djelatnosti tvrtke Kudumija trade, gdje možete i iznajmiti šator, te nude maksimalnu mobilnost i brzo postavljanje. U ponudi Kudumija trade nalaze se razne vrste šatora kao što su rabljeni šatori, hale, skladišni šatori, party šatori, veliki šatori, paviljoni, montažne hale, pozornice i ostalo. Uz iznajmljivanje i prodaju šatora tvrtka se bavi i izradom kamionskih cerada. Osim iznajmljivanja i prodaje šatora u Hrvatskoj, Kudumija trade svoje šatore izvozi i u zemlje regije, kao što su Srbija, Bosna i Hercegovina, Slovenija, ali i ostale zemlje Europe, Njemačku, Austriju... Uz Kudumija šatore organizirajte svoje vjenčanje iz snova na mjestu na kojem poželite.

Appropriate room acoustics are a necessity for music performance. Good room acoustics support the direct sound of musical instruments and ease ensemble playing. Minimal geometric and architectural requirements are well-established. Music experts who are familiar with multiple concert halls evaluated their acoustical characteristics from the viewpoint of performers and the audience. This inter-subjective impression can be explained to some degree by acoustic parameters derived from room impulse responses. It could be shown that the best-rated concert halls are exhibit the highest degree of spaciousness. Spatial impressions, like listener envelopment and apparent source width correlate significantly with objective parameters, like the binaural quality index and the lateral energy fraction. However, many causal relationships are still to be found.

This article introduces The Immersive Guitar (TIG) Project, a proposed sonic performance installation that doubles as an intimate acoustic venue. The TIG Project responds to several needs, highlighting relations between place and performance, music and architecture. The needs concern a rarity of suitable, intimate spaces for acoustic performance and an appeal for more creative solutions in the provision of such spaces, which would afford novel ways of accessing performing arts experiences. This article introduces the proposition and provides project background and rationale.

In this study, we address the impact of COVID-19 on classical music concerts. New forms of cultural consumption and their convenience have raised the question as to whether concert halls will still be needed in the future, and whether the audience will take on the extra time and effort to be present in person at a musical artistic event. In an analysis of international surveys, we formed an accurate picture of music listening habits in the period before and during the pandemic. We also administered a survey, completed by 134 music teachers. Although the findings cannot be generalised to society as a whole, the respondents in the sample are well acquainted with the artistic setting and possess sufficient prior experience, so their opinion is relevant to the topic. Despite the convenience of the online space and the rich selection of art available, the interviewed music teachers will still prefer live music events, which offer them a more profound experience.

La troisième exposition universelle organisée en France advient huit ans après la naissance de la Troisième République, alors que le pays tente d’oublier sa défaite face à la Prusse, la perte d’une partie de son territoire et le souvenir de la Commune. Suivant l’exemple du Second Empire, le nouveau régime compte utiliser cet événement comme une vitrine et démontrer sa vitalité en proposant, notamment, des bâtiments à la pointe de la modernité. De part et d’autre de la Seine, deux «palais» sortent de terre: sur le Champ-de-Mars et sur la colline de Chaillot. Ce dernier — baptisé Palais du Trocadéro — n’est pas destiné, comme bon nombre des ouvrages nés avec une exposition, à être démoli à l’issue des festivités industrielles. Il doit devenir une infrastructure définitive dont la ville pourra jouir par la suite. Il offre à Paris, trois ans après l’inauguration du Palais Garnier, sa première «vraie salle de concert».

Focusing on a single concert at the Wigmore Hall in February 2016, this paper explores audience responses to historically-informed concert programming from a dual perspective of historical musicology and social science. The concert programme involved the interspersing of a single cyclical work –Robert Schumann’s 1840 song-cycle Dichterliebe Op. 48 with individual numbers from other works, thus breaking up the anticipated sequence in a way typical of 19th-century concert programmes. The small-scale study established the general audience demographic for the concert, and then explored the role of several key factors on their appreciation of the concert, including their age, whether they played a musical instrument/sang, the importance of the venue, artists, repertoire, and finally the effect of the programme order and the historical authority which underpinned it. The writing-up process caused both authors to reflect on the challenges of exploring such phenomena from different epistemo...

During the latter half of the nineteenth century, instrumental music, in particular symphonic music, came to be regarded as art. The classical concert became a symbol of high culture in urban society, and a clear distinction became drawn in public musical life between music considered as " art " , from that which was considered " entertainment ". This distinction between high and popular culture emerged out of the efforts of urban elites to build organizational forms that, first, isolated high culture and, second, differentiated it from popular culture. New concert institutions in the form of symphony orchestras and concert halls were established in a number of European and North American cities. Special efforts were also made to achieve an unequivocally pure and spiritual musical experience, in purpose-built concert halls. The notion " purpose-built " involves making a distinction between concert halls and, on the one hand, multi-functional venues such as churches, theatres, taverns, and other public venues where music often is played alongside other activities such as eating and serving food, conversation, which was generally loud and often disturbing, etc. On the other hand, opera houses and other venues where the visual object of the spectacle is as important as the accompanying music. By the turn of the 20 th century, this development had also reached Scandinavia. Creating the necessary conditions for the establishment of institutions of high culture in Stockholm took time. In previous decades, attempts had been made to realize a purpose-built concert hall, but they were unsuccessful. Finally, around the end of the First World War and fueled by a variety of factors, such efforts succeeded. This study asks; What factors made it possible to create public concert institutions at this particular point in time, and not before? Why was this process successful only then, and how did it develop in order for the necessary factors and circumstances to be realized? The dissertation has answered these central questions by examining the evolution of those preconditions necessary for institutions of high culture to be established in Stockholm. The essential methodology for answering my questions has taken the form of an analysis of the specific processes which resulted in the establishment of a permanent symphony orchestra

During the latter half of the nineteenth century, instrumental music, in particular symphonic music, came to be regarded as art. The classical concert became a symbol of high culture in urban society, and a clear distinction became drawn in public musical life between music considered as " art " , from that which was considered " entertainment ". This distinction between high and popular culture emerged out of the efforts of urban elites to build organizational forms that, first, isolated high culture and, second, differentiated it from popular culture. New concert institutions in the form of symphony orchestras and concert halls were established in a number of European and North American cities. Special efforts were also made to achieve an unequivocally pure and spiritual musical experience, in purpose-built concert halls. The notion " purpose-built " involves making a distinction between concert halls and, on the one hand, multi-functional venues such as churches, theatres, taverns, and other public venues where music often is played alongside other activities such as eating and serving food, conversation, which was generally loud and often disturbing, etc. On the other hand, opera houses and other venues where the visual object of the spectacle is as important as the accompanying music. By the turn of the 20 th century, this development had also reached Scandinavia. Creating the necessary conditions for the establishment of institutions of high culture in Stockholm took time. In previous decades, attempts had been made to realize a purpose-built concert hall, but they were unsuccessful. Finally, around the end of the First World War and fueled by a variety of factors, such efforts succeeded. This study asks; What factors made it possible to create public concert institutions at this particular point in time, and not before? Why was this process successful only then, and how did it develop in order for the necessary factors and circumstances to be realized? The dissertation has answered these central questions by examining the evolution of those preconditions necessary for institutions of high culture to be established in Stockholm. The essential methodology for answering my questions has taken the form of an analysis of the specific processes which resulted in the establishment of a permanent symphony orchestra in Stockholm, 1890's-1926.

Şizofren markasıyla her şeyi batırdığınız bu adam, keşke süslü benlikleriniz yerine, beyninde oluşturduğu "şey"lere çalsaydı, size sarılmasaydı, elinizi sıkmasaydı keşke. Hiç korkmadınız mı elini sıkarken “delilik” bize geçer mi acaba diye? Merak etmeyin, siz isteseniz de o yüce mertebeye erişemezsiniz! Siz aslında bir “hiç” bile değilsiniz…

This article introduces The Immersive Guitar (TIG) Project, a proposed sonic performance installation that doubles as an intimate acoustic venue. The TIG Project responds to several needs, highlighting relations between place and performance, music and architecture. The needs concern a rarity of suitable, intimate spaces for acoustic performance and an appeal for more creative solutions in the provision of such spaces, which would afford novel ways of accessing performing arts experiences. This article introduces the proposition and provides project background and rationale.

Two crises opened up the Toronto new music community's collective frame of mind, affecting positive change and driving toward a future that will put creative, contemporary art music in a good position within the city's arts ecology. The first crisis involved the closing of the Massey Hall New Music Festival (or NuMuFest) by the Toronto Symphony Orchestra in 2001. This decision sent the community into a reactionary phase, resulting in the creation of the Coalition of New Music Presenters. The Coalition pulled this community together in a positive, collaborative and cooperative spirit - one that wants to raise the new music waterline higher for all. The largest public manifestation of the Coalition's work was the SoundaXis Festival of Music, Architecture and Acoustics, which ran throughout Toronto June 1-11, 2006. The second crisis was one surrounding the Music Gallery - Toronto's home for creative music. The potential loss of the Gallery- which has been a steady undercurrent since it was kicked out of its home on Richmond Street several years back to make room for condos - really came to a head in fall 2005. The crisis rallied the community together to save the Gallery, but also started a conversation about what an ideal home for new music in Toronto would look (and sound) like. Amsterdam opened its own new home for contemporary musical arts - the Muziekgebouw - in June 2005. Canada had a stake in this building via the Canadian Music Centre (the Muziekgebouw's only international partner). Past Governor General Adrienne Clarkson, who was present the Muziekgebouw opening, clearly voiced a need for such a facility in Toronto, to celebrate the work of our country's contemporary musical voices.  For the Toronto new music community, the Muziekgebouw is a beacon of what a home for Toronto's new music could be. The Coalition struck a facilities committee to begin the see this dream through to a reality. It was clear that the environment for new music in Toronto in the early part of the 21st Century was positive and ready for of big things to happen.

A collection of visual links to information about new concert halls and opera houses worldwide, with a focus on the 2000s to 2010s boom in constructing cultural landmark buildings in Asia and the Middle East: https://pin.it/5fmaGpj . A second Pinterest board focuses on unbuilt proposals: https://pin.it/52pdjXz

Desempeñar la labor de profesor pianista acompañante en los conservatorios profesionales de música y danza de la Comunidad Valenciana suele convertirse en un verdadero desafío, ya que ni las leyes educativas han ofrecido posibilidad de formación específica al respecto, ni el trabajo con el profesor pianista acompañante se contempla como asignatura para los estudiantes de grado. Este estudio se centra en comprender cómo se desenvuelven estos profesionales, tanto desde el punto de vista personal como pedagógico, y qué repercusión tiene ese desafío en el desarrollo de sus identidades. Assuming the role of piano accompanist teacher in professional music and dance conservatories of the Valencia Autonomous Community usually constitutes a real challenge, because educational laws have not offered any possibility of specific training, and it does not exist as a subject for piano majors. The purpose of this study is to understand how these professionals carry out their work, both from personal and pedagogical points of view, and what is the impact of this challenge in the development of their identities. INTRODUCCIÓN Este trabajo de investigación se centra en la figura del profesor pianista acompañante (PPA) y, concretamente, sobre el desafío que supone tener que desempeñar dicha función en el contexto de los conservatorios profesionales de música y danza de la Comunidad Valenciana. El objetivo del estudio es llegar a comprender la actividad y pensamiento profesional del PPA en unas determinadas circunstancias contextuales y temporales, tanto desde el punto de vista personal como pedagógico, y determinar los factores que pueden influir en "la manera" en que se asume esta función y aquellos que influyen en la "respuesta" que de ésta se deriva. Siguiendo las reflexiones de Ocaña (2006) sobre el concepto de "desarrollo profesional", esta estrecha relación entre lo personal y lo profesional implica una evolución que se da de forma continuada en el tiempo y ayuda a interpretar los acontecimientos que se suceden a lo largo de toda la trayectoria laboral. Además, la comprensión de la actividad y conducta de estos profesionales requiere la comprensión de todos los contextos en los que interactúan y, a la vez, definen su labor. Por una parte, trataré de especificar el contexto institucional o mesocontexto, descrito por Bresler (2004), trataré de especificar el contexto institucional o mesocontexto (estructura y fines del sistema escolar), su interacción con el microcontexto (intenciones y experiencia), y con el macrocontexto (valores de la cultura y sociedad). Por otra parte, y siguiendo a Eisner (1998), trataré de descubrir debajo de la conducta manifiesta el significado que los hechos tienen para quienes los experimentan en todos estos contextos e interacciones. JUSTIFICACIÓN Y CONTEXTO Al analizar las leyes y decretos que regulan (o deberían regular) las funciones del PPA en los conservatorios de música y danza en la Comunidad Valenciana, se observa que:  Ni la Ley Orgánica de Educación 2/2006, de 3 de mayo (BOE nº 106, 4/5/2006), ni el Real Decreto 1577/2006, de 22 de diciembre, por el que se fijan los aspectos básicos del currículo de las enseñanzas profesionales de música hacen alguna referencia a la figura del PPA.  El artículo 24 del Decreto 158/2007, de 21 de septiembre (DOCV nº 5605, 25/9/2007), que regula el currículo de las Enseñanzas Profesionales de música en la Comunidad Valenciana, establece que:

Metaphors, Architecture & Music

By Barie Fez-Barringten
www.bareifez-barringten.com
6,378  words on 26 double spaced pages

What role do users have in metaphors?
The answer lies in the comprehensive application of the  metaphor  to the wider field of all the arts, and specifically architecture and music.  Recalling that much has already been written about the relationships and analogies between the two this work explores neither the work nor architecture but their part of a metaphoric holism  whereby he or she (user) completes a metaphor interacting with more value than the mere sum of elementary components. 
The commonalities and differences of music and architecture highlight the commonality of composer, performers, audience and users.  The architect is likened to the composer and their commitment to project their experience  to the user/audience through builders and performers into the work This monograph refers to the author's notes from a lecture series at Yale University: Architecture the making of metaphors involving, amongst others,  Paul Weiss and William J. Gordon. 
Additionally, this work recalls Danial MacGalvray's research from his article in The proper Education of Musicians and Architects".  The discussion about the kind of effort expended to appreciate music and architecture refers to George Dodds  On the place of Architectural speculation. 
Metaphors, Architecture & Music


April 22, 1993, on the evening of Earth Day's twenty-third anniversary my wife and I attended a concert of  The Clementi Ensemble in a pre-engineered metal building" in the Dhahran Academy in the Eastern Province of Saudi Arabia.  But my mind was not on the concert, as such, but the context and the circumstances of what we all expected to experience from these four fine musicians.  We also compared this experience to when we helped John McConnel and UThant stage"  in central park (that day the United Nations declared Earth Day a world legal holiday); and, the year before the Mayor of New York in Union Square. 

Indeed, the evening was replete with making leaps back into history to seemingly unrelated events.  Even the musical program of Schubert, Beethoven, Mozart and Dvorak conjured "barocco" visions of courtly recitals of other periods and places.  We also noticed the many languages and dresses of the audience and yet we were all attending this one concert.  It then occurred to me that we were all participating in a metaphoric event which had everything to do with architecture.  Perhaps this event and our role as an audience and participants in this metaphor could shed light on the user's  role in works of architecture.  Because, that night we were both audience, participants and users.  The persons of the metaphor So much has already been written about the relationship between music and architecture.  Particularly about music's design components and overall  modes and meanings. 

But this night I realized that the audience to this concert was not unlike a building's .  We both had a relationship to a Context: weaving together of words, connections; coherence; the interrelated conditions in which something exists. We were an a group of listeners, spectators and perceptors; reading, viewing and listening in public. 
Metaphors, Architecture & Music
We were amongst those to whom things were made audible by the originator, designer, assembler and composer of the works.  Before playing each piece one of the musicians would remind us to remember the composer, his intentions about the work and his life in relation to the work.  It occurred to me that I had not read anything about metaphor's relationship to architecture.  Particularly about their performance.  Yet  it was the performance in which we all were involved. 

Having already been to other recitals, in addition to listening to the sound of the music one also watches the communication between players.  It is as though one is watching a "musical conversation".  Recitals seem to have that quality.  Each plays the libretto composed to create interactions between players.  But they add so much more by the movement of their body, head and eyes.  Their face expresses agreement and satisfaction about the timing, quality and acoustics of what they hear and see.  We are watching them make a metaphor between themselves and the composer, the audience, and all using the years of skill with their instruments.  This evenings instruments were the violin, cello, viola and piano.  I noticed the way in which each of the players positioned themselves on their chairs in relationship to each other, the stage and the audience.  They could do little about the theatre or the metal building except ask that only during the performance the airconditioning be shut off because of its' noise.  All musicians, dancers and actors have specific routines, responses and actions which as letters in a word, words in sentence, etc, string together to complete the intended metaphor.



Metaphors, Architecture & Music

Originator to User
I began to sketch and plot their positions which then led me to recall how attentive we were in selecting where we'd sit to watch the performance.  We also noticed others who did the same.  This was one of the components of how we, the audience, must participate in completing  the making of the metaphor :the one originally intended by the composer and the theater's architect. I recalled the way in which we perceive buildings and the analogies between seat selection and positioning in buildings. 

When we enter restaurants and snack shops we look for views, proximity to fountain features, exits, entrances, etc.  When we sit in living rooms or lounges we try to find comfortable seats with views, position in space, location to perimeter, center, etc.  In planning the layout of an existing apartment or house we care for locating each piece of furniture and functional item on the basis of our vistas, views, position, hierarchies and priorities.  Our experience with each building type is generic  with both interchangeable and unique considerations.  We take responsibility for the control of what we are going to experience in any given situation depending on the length of time, importance, social standing or privacy of the situation.  We may settle for one position on a subway ride but yet another in a bus with a view.  One position in a concert  yet another in a metal auditorium building  Aside from our instincts for comfort and obvious mundane necessities we are also aware of yet another responsibility. 


Metaphors, Architecture & Music


We are completing metaphor intentions  by the architect of the metaphor  in which we find ourselves.  We instinctively look to optimize our relationship to the arcitects and composers generique birth characteristic of the whole group and serves to control the projection of  characteristics, specifying the structure, accommodating a particular function, or accommodating the function of other form generators.  intentions and his design parameters. 

We are aware that we are the final players in a scenario devised well before our arrival.  We are kind of actors or performers playing out the rationale of the place.  This then was the link between music and architecture relevant to contemporary orientation.  Differences between music and architecture Architecture and music are apparently  different from one another.  One is static and the other dynamic.  One is performed  the other .  They are both experienced in different ways.  Music is best experienced by being physically passive while architecture active.  Music, as such is experienced by the ears, while architecture by the sense of vision, touch, smell and sound (acoustics). 

Particularly these days when we can appreciate music through electronic media; or or the connosseur  by reading street music. The differences between architecture are vast: one is a while the other is an applied art.  Indeed they both have a spiritual, sensual and unseen dimension but music will not shelter nor materially limit and bound space.  The differences focused my attention beyond their  Dance music and, background music (muzac), ballet, etc. are exceptions as are rooms where we sit, lie, stand still etc. 


Metaphors, Architecture & Music

Architecture's perceptions are in operations and perceptions in relation to operations while a connoistre understands the details, technique or principles of music, architecture, painting, etc. and is competent to act as a critical judge as one who enjoys with discrimination and appreciation of the subtleties of our metaphors  we are each the cognoscere.
Paul Weiss says in his book " Nine basic arts" that music and architecture both limit and bound space. (but not materially: different technique, limiting and bounding) aesthics and analogous artistic dimensions to the way they are completed metaphor  we can better understand the commonalities and differences between origination, making and experience.  All the sizes, heights, clearances and dimensions of rooms and corridors are contingent upon people and the quantity of people a facility must accommodate.  The Metaphor of music and architecture Metaphor  is a literary term which means "carrying-over"; it associates meanings, emotions, things, times and places which otherwise would not have been related.  Metametaphorically  times and places (or any essence thereof) known to have a preferential, specific or localized use in one context are explicitly employed in another. 

One familiar and one strange term are usually composed into a single form where one term normally used in one context is brought over into another with the object of illuminating; making more evident © something in the second domain which otherwise remains obscure.  The best of metaphors allow us to express two truths at the same time about two times, the past and future; the past can illuminate the future or the future the past.  They are interactive.  Both ideas converge on the idea of some activity, vision, or idea. 

Metaphors, Architecture & Music
The metaphor points beyond each of its members to the reality then diversity express, articulating a power common to both, telling us that both have an intrinsic nature.  “Complete  bring into a perfect stage; execute fully; having all the necessary parts” says: Paul Weiss in “The metaphorical process’ published by Main currents in modern thought, Sept Oct. 1971.
A part may be  more comprehensive; transcending; change or transformation used with the metaphor to designate its new but related function so as to deal critically with the original concept of the metaphor. 

Functional  performance is a  quality that depends and varies with another: as elements of a  metaphor. Music and architecture are experienced in the same way.  They are both composed through the experience of another person and in his context.  The strange context  and other person's experience are encapsulated ina composition, design, assemblage, or some other work of  applied  art for us to experience in our context in the future.  That future is the present where we, in our context, experience the original composition.  The two times, past and future contexts: the composers and ours converge on the work.  We perceive the work in the present stimulated by  signals  These signals  in music are in the form of volume, sincopations, creshendos, tones, notes etc. 

In architecture it is materials, structures, textures, light, shadow etc.  Both music and architecture can create scale, harmony, space, tension, compression, vision, illusions, etc.  Music and architecture both are joined together by metaphoric  works.  Sorjs through the signals  in the work the place, events, and history of the origins of the work.  We compare them with our place, time and context.  We see commonalities and differences: it is a metaphoric experience. 
Metaphors, Architecture & Music
This explains why concert hall architects try to create the kind of visual and accoustical context compatible to the function of the performers and the audience.  In doing so he recreates the vision of the composer and a context common to both composer, performer and audience.  Signal  sign, an act, event, or sound that has been agreed on as the occasion of concerted action.  Something that incites to action.  A meaningful linguistic, musical or architectural form.  it is distinctive and conspicuous.  Music and architecture's commonality  Paul Weiss in "Nine Basic Arts"  classifies music with architecture as arts that enclose a created dimension. 

That dimension may be space,  time or becoming.  "Just as the composer must be familiar with conducting and performing, the designer must know the skill's of the builder and the craftsperson".  Creative composers, skilled conductors, and talented performers are joined by their original study of a theoretical and historical common body of musical knowledge that binds them together as musicians.  There is the shared universally accepted musical language.

"The work of musicians long dead"  is familiar and immediately accessible, not only to musicians, but through musicians to the general public as well".  Even the audience  most of whom may lack a formal music education bring to the concert a certain familiarity with at least an interest in music .  They read the metaphor  through the familiar signals learned in other contexts.  Musicians, after all, move and breathe and their instruments imitate nature. 



Metaphors, Architecture & Music

It is in the harmony of these sounds in some systems that musicians and audience appreciate the scale, dimension and visions of the composition.  Both architect and composer begin with a concept, an idea of involved in a creative act, which may then be written down using an accepted notation system.  But where is the composer or the audience  in this metaphor .  To find him or her we must explore the metaphor  which links the two arts.  Why are they both an art and how are they significant and relevent to our experience as natural human beings?  The literary metaphor says  MacGilvray, D.F., " The proper education of musicians and architects (JAE, Nov. 92). about one thing in terms of another and makes the strange familiar.  As it does it identifies our position in society and is the emblem  of who we are.  We are not the metaphor  but our experience of it is as real as anything else we know.  As we perceive it is our virtual reality.  It contains our identity, signs and signals.  Its' vocabulary, symbols and characters are symbiotic.  The metaphor  itself is symbiotic and our relationship to the metaphor is symbiosis. 

The metaphor  is a vehicle change.  It  transforms  and it is a transformer .  It works internally between its' elements and upon us as we complete metaphor .  It is  completion  that users and audience participate in the ultimate creation of any  metaphor  Like music, architecture issues from the past  a past which is multifaceted.  There is first the past of the composer, the metaphor maker, the architect of the  metaphor, his or her background, training, experience and knowledge.  There is also the whole history of music and architecture.  For the musician as well as the architect both are brought up in the world of their art.  Art is a skill acquired by experience, study and observation.  It is a conscious use of that skill along with creative imagination in the production of the work.  The metaphor  is not only an idea but a composed and created idea over a period of time and experiences. 
Metaphors, Architecture & Music
Weiss, P.says " The metaphorical process architecture , musicians and an audience to a performance share common operations.  They participate in a  mimesis  which  reveals the original.  Meaning is established in both simulacrum  and lack of resemblance.  Both the strange and the familiar can be read.  Users, musicians and audiences do not imitate the composer's specific action but rather his creative process.  The musicians as well as building's  users utilize techniques  which enable this recreative  process. Musicians more so than users or audiences.  But all share their faithfulness to the original composer.  It is only the musician who has committed himself to  techne" recreation  in a consequent, responsible and accountable effort.  He enters into a discipline of special signals, skill and craft. He can be more likened to architect's craftsmen and artisans who build from the architect's plans.  Both builders and musicians perform according to techniques and systems and in concert halls which transcend any one composer, place or country.  It is the composer and architect who write for extant artisans who must use their known instruments, notes and language of music to reproduce the musical thought.  The audience and users of the work of architecture both benefit from the performance of the artisans. 

The finished building, like the musical recording becomes the vehicle through which the metaphor is experienced.  It is one of the common links between the composer and the audience.  It is as a constant in the vision of the composer as his sheet music, the instruments and the musicians.  It is not the live performance of the builders in process  which users of architecture
Dodds, G., "On the place of Architectural speculation" (Journal of Architectural Education, Nov. 92) "Techno" or  technique is a  method of accomplishing a desired aim. Includes the architect's planted and endued  signals.  On the other hand the audience of music does enjoy the humanity of the way in which a musical metaphor  is performed. 
Metaphors, Architecture & Music
The users of architecture do however enjoy the quality of craftsmanship, faithfulness and fidelity to the architect's intentions.  He or she perceives it not while it is being produced but after it is completed Architecture as frozen music Goethe referred to architecture as " petrified music ".  Both concepts refer to  the difference between the perceptions of the craft.  With musical rendition it is neither frozen nor petrified but dynamic and flowing.

Users complete the Metaphor Completion  of a  metaphor  implies that a  metaphoric  conception is complex and a system which includes all the dimensions in which it exists.  This includes the  of everything that satisfies the metaphor  context, place, conditions, composer, vehicles, instruments, techniques, medias, frames, settings, scenarios, performers, audiences, perceptors, users, operators, makers, assemblers, artisans, craftsmen, etc.  Any one or another kind of a metaphor ultimately is an admixture of a number of constants and variables that finally completes the metaphor.  Every  metaphor  is never all together totally complete says  MacGilvray, D.F., "The proper education of musicians and architects (JAE, Nov, 1992) 

A meatphor is rendered when it gives back, transport to another, restores and it imports to reproduce by artistic means.  A mewtraphor translates; performs, and interprets. A metaphor is complete and brought to an end having all its necessary parts fully carried out.  A Metametaphor is concluded and in  a perfected state when it has all its parts  and closed  successfully.


Metaphors, Architecture & Music

A Locus can function and communicate but it will be different from one to another stage as its' dimensions are added.  Such is the experience of musical works which are performed before different persons located in various places in a concert hall; audiences of different contexts and times and by musicians with the same type but different instruments.  The composition and design for music and architecture may be constant but are only part of the conception.  It is the user who will ultimately perceive and reexperience the personalized ideas of the composer.  Metaphors  like music are composed, assembled, and conjured . 

Reified and created by technique from experiences with the elements of the metaphor The composer has experienced the metamorphosis  of the elements.  He has "seen" the commonalities, the differences and the essence common to both.  In any case the building's  is a variable in the experience of the metaphor  and depending on his choices, decisions, faith, discipline, conditioning, skill, commitment and language skills will he participate.  But he is part of the metaphor .  He will perceive and read what is composed, played, constructed and generally أreified. The metaphoric composition does not include him in its' character, vocabulary, form, style, meanings, definitions, derivatives, signs and symbols. 
Metaphor conditions the composition of the metapho. A  metaphor for one may be inappropriate for another.  This is because the users vary. R.J. Kaufman said "we conjure up our own metaphors' for our own needs".  When a some thing abstract is reified to material or concrete thing it becomes  a  metaphor


Metaphors, Architecture & Music

In a synectic experience the use tests the work to prove it’s' claims.  He employs the work by occupation, exercise or practice.  The user seeks to benefit or profit by putting the work into service.  He operates within the work and manipulates it to carry out a purpose.  The user personalizes, enjoys and mindfully probes the work, seeking correspondence between him and the composer's intentions.  For every move though space, at features, near limits and boundaries the user applies what he has learned in other contexts to achieve his purposes in the current work.

The user is constantly comparing all previous experiences with the one he currently experiences.  He compares all former cues, signs, and signals for elegance and correspondence.  The metaphor  interacts with our past and circumstances to modify the meaning of our lives. 

Irving Kriesberg said that painting was a metaphor. The arts all transform  our  natural lives, needs and necessities to the etherial. 
The metaphor lends significance to the mundane the ordinary.  We know who we are, our value, status and rank in society by the metaphors in which we live, work and play.  We seek a well orchestrated system of consistent metaphoric standards by which we wish others to judge us.  We want to be known for our metaphor...
The user of a metaphor is in the scope of the metaphor’s program.  The user is an inherent part of metaphor without which the objects of the form have no meaning.


Metaphors, Architecture & Music
William J. Gordon identified synectics to bring forth together: a theory of problem stating and problem solution based on creative thinking that involves free use of metaphor and analogy in informal interchange within a carefully selected small group of individuals of diverse personality and areas of special­ization. Elegance scientific precision, neatness and simplicity: select high grade or quality.

*Correspondence is the agreement of things with one another; a particular similarity a relation between sets in which each member of one set is associated with one or more members of the other: mapping: function.
*Quality of what kind: who: a peculiar and essential character: nature, and inherent feature; property: capacity; role; social status; rank.  A distinguishing attribute;
Meaning purport: the thing that is conveyed: intended; significant quality.
*Gordon, W.J.," Synectics: The metaphoric way of knowing
*Fez-Barringten, B.: Introduction: Architecture, the making of Metaphorsؤ
"Notes from a Symposium: (Main currents in Modern Thought Sept.Oct.
1971).






Metaphors, Architecture & Music
The Past and Future
The concert hall, musicians, and particularly the music, composer and his history are on one side of the metaphor along with the past of their society, civilization and culture.  Even today's music is, in part, a function of what we have gone through and of what the past has been.  Music, architecture and the other arts relate the past to the present through the creative aspect of the dynamic metaphor
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A work of art may bring the past forward directly, or it may distort or negate it, but it is always in usage, a manipulation, of what has gone before in terms of the present".
Classic music, particularly operettas, operas and small recitals in some places are performed in the original theater where it was first played and with the performers wearing the clothes of the original period. Ethereal lacking material substance; intangible: marked by unusual delicacy and refinement... Mundane characterized by the practical, transitory and ordinary; earthly measure; a proportion between two sets of division. a distinctive relative extent.






Metaphors, Architecture & Music

(1.1.) Weiss, P.  The metaphorical processؤ
In these cases there is an attempt to literally recreate the context of the composer in order to share with the audience so that the audience and the composer would share a common context, and that the  Metaphor experienced by the composer would be imparted to the audience through the artifacts common to both.  Present in both times, the past the future.  Even the instruments will be the same ones used at the time.

In the performance we saw in Dhahran for example the  instrument was made in 1724 by Alexander Gagliano.  This instrument itself drew our attention and indeed recalled whatever we know about the history of  the composers.  It was a way of recalling royal courts, regal pomp and pagentry.  Of the suffering experiences of the composers and of our own plights.
No music nor architecture is produced without some awareness of the future.  Particularly the plan of the work to be accomplished and the functions the work it is to perform.  Is it to be a school, residence, restaurant, office building etc?  The quality of workmanship, availability of craftsmanship, and materials for architecture equate well to the discipline of musicians, their instruments and the system of sheet music reproduction, orchestration and distribution.  The composer in the past must have considered all these needs of the future. 

Metaphors, Architecture & Music

A future in which he participates through planning and foresight., however, is closed to us and, therefore, we cannot perceive the reciprocal movement of the two way relationship of the metaphor.
We cannot affect the past, it is gone forever. 
Metaphors at their best are reciprocal and therefore a  metaphor composed today which "begins with the past cannot be a very good one".  However, classical music wasP. Weiss, The metaphorical processplanned for the future and for us to participate in its' metaphor,

Its' composers acted on the future.  What composers and architects devise today may condition the future.  A future which is continually being modified by present action and therefore will not conform to our vision
of it which is abstract and can only embrace the possible.  Architects and composers who do not include the hearing range of an audience; the competence and skills of the musicians; the acoustics of the instruments; nor the proportions, functions and context of the users are doomed to obscurity.  Their works are bound to be demolished, shelved or ignored.  At best made into curiosities and symbolic of despotic ignorance.  Metaphors conditioned by the user, considering his instincts to adapt, vary and change, interact with the future.

Metaphors, Architecture & Music

Metaphor's value Musical forms  in many societies have been added since the classics and with them the notion of the temporary, transient and obsolete.  Further, the notion of works prepared for the highest  of Roman citizen where each and all works established a recognized value and a standard
of excellence.  Those works of architecture, music, and other arts were designed to .
They were thought of as permanent with a life span into our time and even beyond.  Not only the materials, construc­tion and structure but the ideals of excellence and perfection. 

The classics established systems, orders and laws of standards of universal and enduring validity.  That is why  classics are appreciated today as before.  We not only tune into themes and idioms but are able to
identify ourselves with their high standard of quality and human accom­plishment.  Attending such concerts one becomes part of a group ostensibly metaphor, but it is actually to  participate in the metaphor.
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Participate by confirming and sharing the same, if not intended similar economic or social status.  Enjoying the music alone in this sense becomes a  culturing experience allowing ones self to be positively affected by the quality of the music.  It is the act of developing the intellectual and moral faculties.  It is  culturing  by the enlightenment and excellence of taste acquired by intellectual and aesthetic training. 
Metaphors, Architecture & Music

It is the mission of such metaphors to use their transformation change capabilities to transmit knowledge to succeeding generations.  Classic metaphors which culture include the integrated pattern of human knowledge, belief, and behavior that depends on  audience and perceptor's capacity for learning and receiving.  The user must be receptive and somewhat like the musician or the audience: eager, zealous and motivated to vicariously enjoy the composers genius.

Works of architecture and their users are  endued with this excellence
and these standards.  That is why they provide us with a measure of our accomplishments and relative position in society.  Once known and understood it may be  dialectically rejected.  In this way  metaphorsؤ dialectic tension between two interacting forces. 

"Strictly speaking, a  metaphor  involves the carrying over of material ordinarily employed in a rather well defined context into a wholly different
Ostensible plausible rather than demonstratibly true or real:
Dialectical materialism development through the stages of  thesis
Thesis  a system of reasoning that  juxtaposes (metaphor opposed or contradictory ideas) and usually seeks to resolve their conflict.


Metaphors, Architecture & Music

Weiss, P., "The metaphorical process situation.  If there is not initial separation between the two elements, there is no  metaphor.. The  metaphor  involves the intrusion not of neighbors but of aliens.  It brings together what seems to be radically different in nature".

The user as the second composer:
We now know that the metaphor is  completed by the choices and decisions of the user as  perceptor or even performer.
But can he intervene and take  responsibility  in the metaphoric composition? 
The answer is an emphatic, yes!  There can be more than one composer, architect, engineer and interior designer.  But these are usually associated with those teams caring out their work in the initial design period before beneficial occupancy.  The very big exception is commercial office and retail space which is initially designed for unknown future tenants.  These tenants themselves are left to design and often build to suit their own needs and aesthetics within estab­lished frameworks of the project.  The cry for user involvement is more than that.  It is a cry for user's social and psychological character and personality to be expressed.  It is also a cry to redistribute large fees paid to the original team.  If those fees and the projects could be organized so that future occupants could not only be represented in the
original creation but that the original creator would devise a way to surrender his fees, control and responsibility to future occupants. 
Metaphors, Architecture & Music

In this way those future users would not only have the desire but also the added motivation to continue the creation of the original  metaphor responsibility moral, legal, or mental accountability: reliability trustworthy: burden; liable: able to answer for one's conduct and obligations; able to  choose for oneself, between one and another alternative.  "We are often held accountable for things for which we are not responsible".in terms compatible with their personal context.ئ
The architect of public works is the authorized responsible agent for the needs of the public.  Although he is the  consultant to the owner (who may or may not ultimately retain ownership) his role as the user's agent is to look out for the health, safety and welfare  the users and the owner as well as insure that the owner will receive from the contractor the planned quality at a reasonable price. 

He is in  control of these issues and on behalf of the typical  plurality of claims of any facility.  This plurality may be of use, ownership and control. It is only in building types involving sustained use where user's claims may be raised above casual concern to a strong need and desire to: improve their environment; expand for more space; and  impose their norms and values. The issue of  adaptability  centers around the interference by the  control person to prevent and not facilitate thes natural needs.  The tenant does not control the apartment, shop, or area he is using. He can rearrange the أ"movables(furniture, low partitions, raised floor, equipment, etc) which he controls but not the constructed walls, ceilings, etc. 
Metaphors, Architecture & Music

It is these limitations, constraints and restrictions within these pluralities which are  claims upon the facility.  The issue is different in demand from the  private personal habitat where the أ constructs his personal أ metaphor  to the shared public functions.  The  metaphor of the civic functions includes the collective  metaphor of individual  metaphors and is the basis for the lassic  plaza, monument and public building.  Just as the performer and the audience intuitively play out their responsibility  in a concert to complete the composer's original metaphor so the user is  inclined Akbar, S. Crisis in the built environment play a role in completing the building  metaphor. The intentions of the original composer or architect can be modified to include such future completions.

Claims adaptations interventions.
In a theater it is the way performers everything about their performance and the scenario to the theater.  The theater is  intentionallydesigned to receive the troupe's needed claims for scenery, access, lighting, acoustics, sound effects, lines of vision, scale, proportions, storage, preparation, etc.  The theater's architect's metaphor must potentiatemetaphorof performers, and through them the users'.  Ultimately the user completes the metaphor originated by the architect of the theater and composer of the concert, play, ballet, opera etc. Even Jazz music, modern dance and,improvisation theater begins with a metaphor which is then complete, scaled and metered with interventions, insinuations and initiatives. 
Metaphors, Architecture & Music

It is the oriental who mastered repetitive patterns which adapt well to varieties of applications and adaptations. It is  metametaphor which describes the creative  context which weaves together the  metaphoric dimensions of composers, performers and audience as it does owners, managers (control) and users. The user is the second composer  of the  metaphor which when incorpo­rated into the originating composer's initial experience reifies into inclusive rather than exclusive metaphors  Such  inclusive metaphors facilitate the users claims and potentiate his  metaphor. Both composers can participate simultaneously in the present, or be in the two times of the present and the future.  In this way the two interact  where the *Akbar, S. "Crisis in the built environment

Where  is a temporary building forming the background for a dramatic performance; a stage setting. composer of the future impacts the composer of the present and vice versa.  The two form a reciprocal metaphoric interaction between their two histories, contexts and special training. Lessons Every  who has sought the environment for the meaning, identity and significance of his or her life knows that this information is  relative and can be the basis for change.  These metaphors can provide the comfort of places like with all its' negative connotations like the tenement of a slum project.

Metaphors, Architecture & Music



Landmarks have a positive effect for users and incarnate what a society considers its' best.  As such, everyone welcomes and identifies with its' message.  Landmarks incorporate unusual historical and aesthetic values and are therefore set aside for
Preserva tion.  We preserve our landmarks for much the same reasons as classical music: to continue to participate in the original  metaphor being in that family of high quality perceptions.  This is made possible by metametaphoric phenomenon which is perineal and receptive to all users.  It is  permissive and accessible  and is inherently adaptive. 

In any case  friendly metaphors are first born within a composer which users may access by perception and  volvement.  The lesson for users is to be receptive, involved and perceptive.  Look for أmetaphorsand participate fully in their potential. Reject those that are incompatible or which have become obsolete or irrelevant.  Participate too, in أ metaphors which are external to your own context to receive the culture and uplift to your own standards.  Choose and decide about your  metaphoric context and participate in its' benefits.

Isn't this a major reason why, if we can and however small, inconvenient
and expensive, we select a free standing single family house?  With all its' functional drawbacks.  For many, it still represents the best possibility for a  personal metaphor. Or the selection of an old  low rent apartment which likewise offers the opportunity for remodeling, renovation and adaptability. 
Metaphors, Architecture & Music
Even in places where this may be restricted for a second home in the country or a cottage in a city like Leipzig, Germany where we can  metaphor with a miniature version of the house (Schraeber Gardens) we might have had if we did not live in the city.  Mausoleums in the form of "dream houses, villas, castles, palaces, etc." testify to this أ metaphoric urge.  Even on the other extreme if we carefully study the dwellings of أSquatters and the urban "homeless we can see glimpses of these same  metaphors in the choice of location, colors, coverings, spaces, heights and furnishings.  It is not these specifically but all of the issues discussed above that are the user's metametaphoric  phenomena of architecture and music Author's work with both groups in "La Pearla", Puerto Rico and New York city's South Bronx, Harlem and Brooklyn's Bedford Styvestant.phenomena an observable fact or event;
a fact of scientific interest susceptible of scientific description and explanation.phenomenology.

All of this work in  metametaphors is a kind of study of the development of human consciousness and self awareness as a preface to a philosophy about art and architecture. It describes formal structures of  metaphors and the perception of metaphors in abstraction from any claims concerning manifest existence.
As metaphors exist we can only sense them but they do not have physical material properties of structure material, density, weight, dimension, velocity, etc. "Metaphors" like the "mind" are a phenomena.
It is intensively educational and experiential.
Metaphors, Architecture & Music
Bibliography
1. Main currents in Modern Thought , September©October 1971, Vol.28, No.1
The Journal of the Center of Integrative Educationؤ
2. Weiss, Paul, "أThe metaphorical processؤ" (19,10,11, 12)ئ
3. Gordon, W.J., "Synectics: "أThe metaphorical way of knowingؤ "(pg. 12©14).ئ
4. Fez-Barringten, B., أ"Architecture, The Making of Metaphor": Notes from a Symposium (Yale University 1967) (pg. 9©10; 14©16).ئ
5. "Journal of Architecture Education" , November 1992, Vol.46, No.2
6. published by Butterworth©Heinemann for the  Association of the Collegiate Schools of Architecture, Inc (ACSA).
7. MacGilvray, Daniel F. (Texas A & M University), "أThe proper education of musicians and architects" (pg. 87©94).
8. Dodds, George, "أOn the place of Architectural Speculation
9. Akbar, Jamel, "أCrisis in the built environment" (the case of the Muslim city). 1988; A Mimar Book; Concept Media Pte Ltd/E.J.Brill Pub. Co.). Provides a definition of the  claims by users to clarify the user as the second of metaphor's  composers. 
10. All definitions and references to grammar and syntax is from "
11. Webster's Ninth New Collegiate Dictionary"by Merriam-Webster Inc. Publishers
12. (1991) William A. Llewellyn, President and Publishers.
13. Readers are invited to avail themselves of other works by this author about Metametaphorؤ which delve further into those items found in italics throughout this work.

ABSTRACT: As an aftermath of 20th century's now classical modern period the spatial was introduced in the sociosphere of music, architecture and acoustics. Space in architecture gives form to the acoustic properties of concert halls, and dramatically affects the musical experience. For this reason the interconnection between three professions has to be sought after: Music, architecture and acoustics. The anachronistic raison d'etre of the architect and the acoustic consultant is to design the space in such a way that the music is perceivable in a proper volume by the audience without losing any musical quality. The discipline of room acoustics which developed until the 20th century has improved considerably in the transformation of subjective impressions to objective (measurable) ones. In the musical production after the 1950's, and as a direct result of reinforcing the direct contact between the audience and the experimentation with spatiality, the design criteria for concert halls drifted away into a novel direction, establishing a collaborative effort of different disciplines. This culminated in, unlike the original design criteria for the traditional concert hall, a novel way of collaboration between composer, architect and assorted specialists. This process led to new concert hall design criteria and acoustic parameters. Music underwent a process of emancipation regarding to the spatial in architecture.
ÖZET: Çalışmada, müziğin mekansallık serüveni, antik çağdan günümüze mimarlık ve akustik bilimi ile ilişkisi bağlamında incelenmiştir. Konser salonlarının akustik niteliklerini mekanın, mimari, hacimsel (geometrik) özellik ve ayrıntıları belirlemektedir. Bu niteliklerin müzik üzerinde belirleyici etkileri bulunmaktadır. Bir konser salonu tasarımı, üç uzmanlık alanıyla doğrudan ilişkilidir. Müzik, mimari ve akustik bilimi. Mimar ve akustik danışmanın öncelikli amacı, müziği dinleyiciye müzikal özellikleri kaybolmaksızın en iyi şekilde verebilecek hacmi tasarlamaktır. Konser mekanlarını anlayabilmek için öncelikle müziği anlamak gerekmektedir. 20. yy.'dan bu güne gelişen hacim akustiği disiplini, içinde müzik yapılan salonlarla ilgili beğenilerin nesnel (ölçülebilir) değerlerle örtüştürülmesine yönelik çalışmalarda önemli aşamalar kaydetmiştir. Aynı zamanda 1950 sonrası müzik üretiminde dinleyici ile kurulan doğrudan ilişkinin ve mekansallık olanağının kullanılmasının, konser salonu tasarımını başka bir boyuta taşıması sonucu, tasarlanan mekan ortak bir çalışmanın ürünü haline dönüşmüştür. Bu bağlamda geleneksel konser salonu tasarım kriterleri yerine özgün, besteci, mimar ve diğer uzmanlık alanlarının ortak çalışmasına dayanan yeni konser salonu tasarım kriterleri ve akustik parametreler ortaya çıkmıştır. Müzik, mimarinin mekansal olanaklarından yararlanarak kendini geliştirmiş, özgürleştirmiştir.

Interrogeant les fondements du concert dit « de musique classique », cet ouvrage propose une poétique née de la considération d’un tableau. L’enquête menée sur Le Concert de Nicolas de Staël peint à Antibes en 1955, y introduit une réflexion sur la nature du concert, sa fonction et l’initiative qui le fonde. Un temps marqué par le sceau de l’inachèvement et la disparition du peintre, l’ultime tableau de Nicolas de Staël vit aujourd’hui, sur les cimaises du Musée Picasso d’Antibes et dans de très nombreuses reproductions, indépendamment de la circonstance qui l’a vu naître. La genèse de cette toile, néanmoins, interroge d’autant plus qu’elle fut secrète, isolée, et rattachée à l’audition historiquement documentée de deux concerts du Domaine musical. Couleurs, formes, abstraction et figuration donnent alors corps à une interrogation plus vaste sur la définition même du concert : quel est le sujet de ce tableau, que signifie le mot concert ? Si les velléités de changement exprimées devant la réalité contemporaine du concert font l’objet d’une antienne consensuelle, l’absence de fondements théoriques reste flagrante. Changer quoi ? Changer en conservant quel socle et en balayant quels dévoiements ? Ce livre propose de s’attacher à une analyse du faire, refusant l’habitude prise de dissoudre le point de vue de la production dans celui de la réception et de résoudre la poétique dans l’esthétique.
EAN : 9782213671741
454 pages

Community Music und Outreach gewinnen in der Musikvermittlung angesichts kulturpolitischer Forderungen nach kultureller Teilhabe stetig an Bedeutung. Während die Ansätze im angloameri-kanischen Raum seit jeher einen festen Bestandteil der Musikvermittlung von Orchestern und Konzerthäusern bilden, wird im deutschsprachigen Raum damit weitgehend Neuland betreten. Die Arbeit befasst sich daher mit der Frage, welche Perspektiven und daraus resultierenden Anforde-rungen sich für die Ausrichtung an Outreach und die Einbindung von Community Music in die institutionelle Musikvermittlung im Konzertbetrieb ergeben. Ausgehend von der Darstellung der Prinzipien und historischen Entwicklung von Community Music in Großbritannien und Deutsch-land werden Begründungsmuster für Outreach vorgestellt und im Spannungsfeld von Teilhabe und Teilnahme beleuchtet. An die Beschreibung ausgewählter deutschsprachiger Outreach-Formate knüpft – orientiert am Partizipationsverständnis, den Grundprinzipien von Community Music und einer Sondierung des Vermittlungsbegriffs – eine kritisch-konstruktive Bestandsaufnahme der bestehenden Praxis an. Auf der Suche nach Zukunftsperspektiven der Musikvermittlung werden schließlich Möglichkeitsräume für Partizipation sowie Outreach als Change-Management unter Bezug auf das Konzept des Artistic Citizen beschrieben.

Richard Wagner hat mit dem Festspielhaus in Bayreuth einen außergewöhnlichen Aufführungsraum für seine Musikdramen geschaffen. Im Folgenden werde ich erörtern, wie sehr sich Wagners Kunst in der Architektur widerspiegelt, und wieso diese Beziehung von baulicher und musikalischer Kunst so wichtig ist.

The Immersive Guitar Project responds to several needs that have been identified by Lancaster et al. (2009) highlighting relations between place and performance. These needs concern a rarity of suitable, intimate spaces for acoustic performance in Australia, and an appeal for more creative solutions in the provision of such spaces which would afford novel ways of accessing performing arts experiences. The project extends innovations in performance space design commenced by Le Corbusier and Xenakis in the twentieth century wherein instrument design as well as inventive approaches to musical composition inform the built outcome. Lutz (2007) notes the richness of variation amongst the inspirations and discoveries that have come out of this connection between music and architecture. He posits that beyond acoustics and the shared ideas of compositional structure and aesthetics there is another commonality; " … the affinities that are made possible between the tectonics of buildings ...

Активне виконання реформи децентралізації влади, розпочате у 2014 році, передбачає забезпечення якісних і доступних культурних послуг в громадах, а це безпосередньо передбачає розробку
механізмів фінансування культури та відповідне прийняття політичних рішень. Імплементація сучасних результатоорієнтованих методів бюджетування спрямована на перехід від утримання бюджетних
закладів культури до фінансування культурних послуг, які вони надають. Відповідна трансформація підходу сприятиме оптимізації та
ефективнішому використанню наявних ресурсів, що також є одним із
наскрізних завдань згаданої реформи. Відтак сфера культури створюватиме необхідну екосистему для розвитку людського та соціального
капіталу в українському суспільстві, тим самим сприяючи підвищенню конкурентоспроможності регіонів.
Аналітична записка підготовлена з метою надання інформації
щодо світових практик багатоканального фінансування культури та
імплементації критеріїв ефективності діяльності закладів культури як
підґрунтя для фінансування з державного та місцевого бюджетів, а
також пропозицій адаптації зазначених диференційованих механізмів до вітчизняних потреб галузі. Розробка та впровадження критеріїв
ефективності діяльності закладів культури як визначальних для надання фінансування дозволило би реалізувати чільні для вітчизняного дискурсу стратегічні завдання: підтримку існуючої інфраструктури
мережі закладів культури за рахунок стимулювання працівників сфери до створення конкурентоспроможного культурного продукту, що
в свою чергу розширюватиме аудиторію його споживачів та залучатиме до екосистеми культури нових агентів, мотивуючи їх до подальшої
якісної роботи і формування конкурентного ринку культурних послуг.

Community Music und Outreach gewinnen in der Musikvermittlung angesichts kulturpolitischer Forderungen nach kultureller Teilhabe stetig an Bedeutung. Während die Ansätze im angloamerikanischen Raum seit jeher einen festen Bestandteil der Musikvermittlung von Orchestern und Konzerthäusern bilden, wird im deutschsprachigen Raum damit weitgehend Neuland betreten. Die Publikation befasst sich daher mit der Frage, welche Perspektiven und daraus resultierenden Anforderungen sich für die Ausrichtung an Outreach und die Einbindung von Community Music in die institutionelle Musikvermittlung im Konzertbetrieb ergeben. Ausgehend von der Darstellung der Prinzipien und historischen Entwicklung von Community Music in Großbritannien und Deutschland werden Begründungsmuster für Outreach vorgestellt und im Spannungsfeld von Teilhabe und Teilnahme beleuchtet. An die Beschreibung ausgewählter deutschsprachiger Outreach-Formate knüpft – orientiert am Partizipationsverständnis, den Grundprinzipien von Community Music und einer Sondierung des Vermittlungsbegriffs – eine kritisch-konstruktive Bestandsaufnahme der bestehenden Praxis an. Auf der Suche nach Zukunftsperspektiven der Musikvermittlung werden schließlich Möglichkeitsräume für Partizipation sowie Outreach als Change-Management unter Bezug auf das Konzept der Artistic Citizenship beschrieben.

A futuristic architectural typology is rising on Chinese skylines: the “grand theatre” (大剧院), housing a concert hall, opera house, and playhouse or cinema. China has outpaced every Western nation in building performing arts centers, and some forty million piano students are among those training to become tomorrow’s audiences and performers. The construction of cosmopolitan cities has turned to the “classic arts,” a Chinese category encompassing the BBC Proms and Peking opera alike, for an infrastructural and metaphorical foundation. The production of these spaces and performances is driven by state political and economic policy, but on a local scale, is producing new cultures of listening as well as contradictory architectural and social structures of access and exclusion.

In Beijing and Shanghai, I have examined three areas in which these social formations are developing in relation to the exceptional status of Western classical music and to the use of technology and its metaphors. First, theatres are policed spaces where ushers wield laser pointers to publicly shame the many eager audience mem- bers who record performances with their mobile phones. These institutional tools serve as extensions of ushers’ bodies and of Western behavioral norms, colliding with audience desires to share their experiences on social media. Second, only-children with their mothers constitute a major audience demographic. Listening their way towards global citizenship, they complicate the Chinese perception of musical train- ing as a purely pragmatic career path by developing connoisseurship, and distance themselves as individualized listening subjects from the automaton stereotype to which Asians are frequently subjected. Third, most theaters are run by Poly Group, a state-owned corporation formerly owned by the People’s Liberation Army, with divi- sions from cinemas to explosives. Do audiences understand classical music as part of a military-industrial-cultural complex? If so, how do they interpret theatres’ contradictory architectural and programming efforts to bring affordable arts to the public and mount musical displays of state power and elitism?

The West’s musical past has become the East’s future. The resulting concertgoing cultures challenge the very notion of East and West, of the classic and the new, in twenty-first century transnational flows.