Abstract

Music, as any other form of art, is primarily a construction of a space. Order, proportion, and temporal rhythm has stabilized/unified the relationship between music and architecture since old times. This relationship can still be effectively expressed through the Goethian idea of architecture as ‘frozen music’. It is nonetheless true that, either music or architecture, as vital forms of human experience, are subjected to transformations due to their expressive qualities as well as their constituent features. Architecture, far from being intended as fixed setting of our existence, is strongly influenced by the temporal dimension of the project and by the subsequent spatial expressions. The willingness to accept the change and the denial of a fixed form has lead the architectural project to become a process. Such change has determined an abiding crisis for the architectural project, from the construction of its objectives to the identification of the means of control and representation. Jazz represents the musical form that, more than other forms of art, absorbs and implements cognitive models wherein improvisation, an availability to change, and a management of the unexpected, represent its constituent features. The attention jazz has captured as a reference model for the construction and interpretation of processes, goes across different disciplines: from the ‘Organizational change theory’ (Management Studies) to the ‘Military Sciences’. The research is therefore intended to retrace the relationship between music and architecture exploring the various possibilities jazz offers to the construction of the architectural project.

I documenti depositati in UnissResearch sono protetti dalle leggi che regolano il diritto d'autore