![]() ![]() It was also a powerful tool for gauging the size, shape and character of the building. This was not simply to acquaint himself with the instrument. Bach would immediately gravitate to the organ in an unfamiliar church. Over subsequent centuries, composers became sophisticated sound designers, as orchestras evolved and organs became intrinsic to the building of churches. Secular works were crafted to make the most of large palaces and small chambers. Ecclesiastic works were written to fit the domes of basilicas in Florence and Venice. ![]() Music was adapted to these spaces, as ambitious composers created ever more complex works to take advantage of the shape, the materials and the size of a building. This was a time of simple vocal melodies that were designed to resonate the volume of large cathedrals, with the long reverberation times allowing the sounds to hang in the air with a reverential beauty. If the cave or chamber or cathedral has a pleasing reverberation or tone, our ears will want us to tune our sounds for pleasure.or drama.īut the era of consciously creating and commissioning music to highlight and celebrate particular buildings really came into being with medieval composers like Guillaume Dufay. And music has always been created to fit an environment. ![]() We instinctively adjust our voices to suit our context. Can a building stand in as an extension of a musical composition.and if the setting for the performance of a musical work can have an impact on our experience of the work, then why shouldn't we see some buildings as intrinsically musical?Spaces generally inform the sounds we make in them. ![]()
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