Architecture remains an integral topic to discuss when historical shifts in the time periods occur and the many forms of art begin to shift as well. This is especially present during the artistic shift from the medieval period to the Renaissance where proportions and symmetry are reappearing ideas originating from mainly Greek and Roman times. During the Renaissance period, architects such as Bartolommeo Bandinelli were known for the exceptionally designed domes in Florence, which were larger than ever previously encountered. While the exterior elements of Renaissance architecture were impressive by themselves, the interior elements were unique as well, particularly the acoustics of the structures. The acoustics of the cathedrals in Italy were designed to fit the type of music of this time. The Renaissance gave rise to the use of polyphony which is a multilayered faster type of music. Renaissance architecture and acoustics were considered a divine connection to the harmonious nature of the world by using proportions and symmetry leading to modern techniques of diffusing sound in concert halls and sound booths as well as design techniques used in the architecture and engineering fields today.
The Renaissance churches were designed with the idea of the utility of the churches at this time. Unlike most modern churches, Renaissance churches were not only used for daily services and monks monophonic chants, but the acoustics needed to account for the annual festivals and large gatherings of larger organizations. This required the use of the church for not only monophonic, but also polyphonic music. The architects of Renaissance churches designed the space for both needs. The decorations in the church became an integral part of the ...
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...of architectural acoustics for the modern age since the designs are computerized and studied currently.
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John Dowland (1563-1626) was a composer of Renaissance England and considered one of the most prolific and well-known composers of English lute song. A composer and accomplished lutenist, he is probably the most well traveled English composer of his time. Through his travels he was exposed to the musical elements of his Italian, French and German contemporaries. He developed his own musical language, in which he created a unique style for the lute song. As a composer, he focused on the development of melodic material and was able to elegantly blend words and music with a wide range of emotion and technique. For the purpose of this document we will focus on the influence of his Italian travels. John Dowland’s use of chromaticism in his lute songs as can be directly associated with such as “All ye whom love or fortune.” In these pieces, we can see the influence on this genre through his travels to Italy and encounters with such composers as Marenzio.
Harman, Alec, and Anthony Milner. Late Renaissance and Baroque Music. London: Barrie Books LTD., 1959. ML193.H37
Connor is concerned with how Sound Art is a vehicle for change in the gallery, in particular how sound can extend beyond the walls of the gallery to ventilate it with the sounds of what lies outside it, or to temporalise place. Connor discusses The Sonic Boom Exhibition held in London in 2000 which featured 23 sound artists who exhibited at The Hayward Gallery. The show featured an emphasis on sculptures or objects that produced sound. David Toop, the curator for the Sonic Boom Exhibition was faced with ‘a positively suburban problem of sound pollution’ says Connor. When one enters the exhibition one is immediately overwhelmed by a dense cloud of noise and sounds. How many sounding objects can one put into one space? David Toop defends his approach with the help of a w...
Brucker, Gene A. & Co. Renaissance Florence. Berkeley: University of California Press, 1969. Mandelbaum, Allen. A.
In this paper I'm focusing mainly on Renaissance art work, since that was the assignment, but I feel it's important to also mention the other important parts of the Renaissance, architecture, science, politics and religion.
James F. O'Gorman, Dennis E. McGrath. ABC of Architecture. Philadelphia: University of Pennsylvania Press, 1998. Document. October 2013.
Strozzi, Barbara. Cantate, ariete a una, doce, e tre voci, Opus 3. Ed. Gail Archer. In Recent Researches in the Music of the Baroque Era. vol. 83. Ed. Christoph Wolff. Madisono: A-R Editions, Inc., 1997.
Q: Use St. Peter’s Basilica and Donato Bramante’s Tempietto in Rome, in opposition to John Balthasar Neumann’s Pilgrimage Church of Vier(7) in Bamburg, Germany, to argue that a rational engagement with architecture is a more effective means to comprehend and understand architectural form. During the period of Renaissance, human’s thought and intelligence has reached its highest and its effect on the architectural form, it became clear and its engagement of rational aspect on the building. Mainly geometrical forms are the characteristics which can be identified. Not so long after the Renaissance period of Baroque architecture was introduced, rather than logic and reasoning they wanted to capture the emotional atmosphere by using the architectural elements such as light, height, crafted art, costly materials and so on as mentioned by(Scotti 2007, 5-10).
There are two pieces in our Renaissance Era musical feature this evening, the first by Pierre Phalèse called Passamezzo d'Italye - Reprise – Gaillarde. Phalèse began as a bookseller in 1545 and not long after he set up a publishing house. By 1575 he had around 189 music books. Much of his work was devoted to sacred music but there was a small amount of Flemish songs and instrumental works. Phalèse borrowed work from many composers and did not hesitate to include other composer’s music in his works. The sec...
In order to create innovative public architecture, considered to be the most civic, costly, time intensive and physical of the arts, the project holds a degree of risk, strife, and negotiation . Overcoming these tasks and creating worthy public architecture is a challenge designers try to accomplish, but are rarely successful. The people involved in a potential public building, can be larger than the building itself. Public architecture tries to please all, even the doubters and critics, but because of the all these factors, a building is closer to failing than succeeding.
In the Florence Cathedral, Florence, Italy, there is a cathedral church whose octagonal dome, built without the aid of scaffolding, was considered the greatest engineering feat of the early Renaissance. Dedicated to Santa Maria del Fiore, Our Lady of the Flower, it is also known as the Duomo, after the Italian word for cathedral. Created by many great Early Modern artists, this piece of architecture is a perfect example the Renaissance style. We can come to a better understanding of why this is so by exploring what the characteristics of the Renaissance “style”. To understand the properties of the Florence Cathedral that fit the Early Modern style, I will begin with a description and its history. The cathedral's architectural style, although greatly influenced by French Gothic elements remained distinctively Florentine, especially the geometric patterns of red, green, and white marble on the building's exterior. Construction of the cathedral began in 1294 on the site of a Christian church founded in the 6th or 7th century and continued until 1436. Several celebrated Italian architects were involved in the project, including Giotto, Arnolfo di Cambio, Andrea Orcagna, and, most notably, Filippo Brunelleschi, who was responsible for designing and building the dome. The cathedral's exterior is ornamented with sculpture and mosaics by Italian artists Donatello, Nanni di Banco, and Domenico Ghirlandaio, among others. The building's stained-glass windows are the work of the Italian architect and artist Lorenzo Ghiberti, and the interior is decorated with sculpture and fresco paintings by several Renaissance masters. Construction of the campanile (bell tower), situated to the right of the entrance to the Duomo, was begun by Giotto and completed according to his plans in 1359, after his death. Nearly 278 ft high, the campanile is embellished with red, green, and white marble panels of relief sculpture by Italian artists Andrea Pisano and Luca della Robbia, and niches with sculpted figures by Donatello and other masters. Facing the cathedral and campanile is a smaller, octagonal structure, the Baptistery of San Giovanni, noted for its gilt-bronze doors, elaborately worked in high relief by Andrea Pisano and Lorenzo Ghiberti. With that background information about the cathedral, one question comes to mind: what is it that makes the Renaissance style distinct? Renaissa...
Harr, James. Essays on Italian Poetry and Music in the Renassisance: 1350-1600. Berkeley: University of California Press, 1986.
For this task the brief was to design the construction, soundproofing and acoustic treatment of a recording studio complex within a series of set constraints. The complex had to include a control room, live room reception and bathroom, within an overall floor space of 15m x 15m. The main focus was to be on acoustic design with the use of scale drawings to make the studio clear and easy to understand. For this studio the idea was to design a space suitable for recording large ensemble groups such as orchestras and so the space was designed with this in mind when regarding the size shape and layout of the space.
There are 25 major specialties in engineering that are recognized by professional societies. In any one of those 25 specialties, the goal of the engineer is the same. The goal is to be able to come up with a cost effective design that aids people in the tasks they face each day. Whether it be the coffee machine in the morning or the roads and highways we travel, or even the cars we travel in, it was all an idea that started with an engineer. Someone engineered each idea to make it the best solution to a problem. Even though engineer’s goals are similar, there are many different things that engineers do within their selected field of engineering. This paper will focus on the architectural field of engineering.