BUILDING SENSORY SOUND WORLDS AT THE INTERSECTION OF MUSIC AND ARCHITECTURE

Abstract

Furthering the foundational research of Iannis Xenakis at the intersection of music and architecture, this dissertation contributes a sensory approach to the spatiotemporal layering of sound (music) and space (architecture). This essay is organized into three paired case studies, translating the synesthetic relationship from the visual (spatial) realm to the sonic (temporal) realm. Each chapter explores a visual art piece that informs a subsequent original musical work, in three arenas of sound spaces: Chapter 1 is devoted to architectural sound space, analyzing James Turrell’s light installation Sky Space and its influence in the creation of durational sound installation/performance Of Matter and Mass, activating sacred architecture. Chapter 2 explores the psychological sound spaces of memory, dream, and culture space, analyzing the visual themes in Do Ho Suh’s memory houses and its time-based animation into multimedia song cycle The Houses We Carry Within. Chapter 3 introduces sculptural sound space, in the form of augmented instruments and expanded technologies, examining Ellen Fullman’s Long String Instrument, and its influence in informing spatial audio work SPKR SPRKL,for high-density wavefield synthesis array, and future research. This dissertation identifies and explores in situ the various forms of devices at play found in the sensory third spaces between the visual/sonic, sonic/spatial, and spatial/temporal senses which include synesthesia, entrainment, and liminal aesthetics of paradox, suspension, and sensory juxtaposition. This dissertation then demonstrates how these devices and layered aesthetics can be meaningfully applied within the context of music composition and sonic storytelling in durational, multimedia, and electronic forms. This essay offers a practitioner’s survey on ways traditional proscenium-based performances can be augmented into immersive and sensory experiences.