Centro de experimentación musical

Víctor Díaz Ortega

Ver PFC completo

Throughout history we have seen how music, like the other arts, is influenced by the context.
The blues has its roots in the “spiritual songs” of African American workers in the late eighteenth and electronic music emerged thanks to the invention of the synthesizer in 1970. So the music styles were born thanks to a specific context, in this case a social and technological context.
The architectural context is very important. The spaces influence the musician when composing. Due to various acoustic phenomenons, the music does not sound the same inside different buildings.
African traditional music is very percussive and rhythmic, without harmony and simple melodies. On the other hand, in Europe music tended more toward melodies with longer notes and softer rhythms. While in Africa they played in open spaces, in Europe the music was played in great Gothic cathedrals where there was much reverberation, it sounds enriched and prolonged but the changes were limited. We can realise that there is a clear relationship between the space and the music played on it.

After this reflection, design intentions emerge:
If the spatial characteristics influence the music, then it has to be created spaces with the richest acoustic possible. Very different spaces where the music sounds completely different, thus promoting the variety of styles. When generating these spaces, the musician can experiment with all kind of styles and instruments in each space. Experimentation becomes a need to create music.
Moreover, the process to enter this state of “Dionysian inspiration” is unknown, it is probably something so personal that you can not create a situation common to everybody. But what can be done is a place that facilitates the search for references, create a brainstorming space. Encouraging social interaction and the exchange can generate a place of learning, where the musician is constantly influenced by the music played around.
We are what we hear, our tastes are created by our environment. So with more variety around, more personal and independent is the style of the musician.

- Encourage involvement and exchange of ideas between musicians
- Encourage musical experimentation.

To accomplish this, we work with four different acoustic phenomena: the reverberation, the echo, the resonance and the “random harmony”.
Resonance chambers are created from the study of the relationship between frequency and geometry. Allowing the sound exiting those chambers, harmonies will be randomly created. The people will walk through the building, listening to a mix of melodies totally different.
The building will have a perimeter of school program, but inside, an oniric world will take place. A world where the music is constantly transforming, changing and evolving.

Víctor Díaz Ortega
Este sitio web hace uso de cookies propias y de terceros para ofrecerte un mejor servicio.
Si continúa navegando está dando su consentimiento para la aceptación de las mencionadas cookies y la aceptación de nuestra política de cookies.