Os espaços para a música contemporânea / The spaces of musical performance
Juliano Veraldo da Costa Pita
IBICT - Instituto Brasileiro de Informação em Ciência e Tecnologia
DATA DE PUBLICAÇÃO
This paper proposes an investigation into the spaces of musical performance and its relationship with the music presented on these, with special focus on contemporary classical music. This proposal is justified from the verification of a dichotomy between the architectural design of these spaces, and the music that presented on them in a repertoire of mostly consolidated in the late nineteenth century. This dissociation is particularly interesting given that, until the advent of modern vanguards of the beginning of the twentieth century, music and performance spaces formed a group in line with your time. From this investigation, some examples of spaces facing the contemporary music and its unique characteristics were analyzed, and considerations about the current state of these, drawn. The approach chosen, however, was not the description and analysis from the architectural, technical or social point of view; it was decided by an investigation that relates the development of music itself and its relationship with the space where it is played as how to strengthen this link and identify the points of intersection between the two disciplines. To do so, the work began with some examples of recently built concert halls in the Brazilian context: The Sala São Paulo (1999) and the Auditório Ibirapuera (2005), followed with an investigation of the music commonly presented in these. From the verification of this music, it was sought to characterize the momentum of architectural auditorium, with regard to spatial organization and social setting of these. Two spaces were taken as example, the Palais Garnier (1875) in Paris and the Festspielhaus (1876) in Bayreuth, because they represent, each in its way, one facet of this type. Finally there was a comparison between the music presented in these spaces and contemporary music, which reinforces the dichotomy observed and preliminarily identifying the beginning of the twentieth century as the moment of transformation of the direct relationship between architecture and music. To prove this claim, was held a retrospective of where music had preeminent importance, and in parallel, we tried to address their own concepts of music and architecture, seeking to create elements for understanding the work of musicians and architects. These concepts are essential to understanding not only of these spaces, but also of general relations between different aspects of social life of his time, of crucial importance for understanding the dimension of rupture reported. Through this review, sometwhat descriptive and linear, reflections of the reasons for the changing of the relationship between architecture and music in Modernism, and the consequences of this fact to both disciplines were made. It was also discussed aspects of contemporary music and architecture in places where it was sought an integration. Finally, the conclusions sought, from interviews with professionals and specialized literature of both disciplines, to reflect on the future of this relationship and the role of the architect in producing spaces for contemporary music. It is noteworthy that the literature that addresses this relationship is extremely scarce; this work, therefore, adopted a more general profile and broad spec- trum, rather than a specific point on a specificity of this relationship, as the beginning of a attempt to fill this void of literature.
architecture arquitetura concert halls história da arquitetura history of architecture musicologia musicology relações entre música e arquitetura relationship between music and architecture salas de concerto