Page 283 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
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Forms of Musical Architecture
in Polish Contemporary Music
Katarzyna Szymańska-Stułka, Varšava/Warszawa
I Music and Architecture in the Ideological Perspective
would like to propose a kind of a perspective of music analysis coming
from the architectural background. I want to refer here to the sentence of
Le Corbusier from his Modulor where he introduced a new vision of mu-
sic and architecture in their close relations. As Le Corbusier stated architec-
ture is a kind of the time sequence art when music is the spacious one. Ludwik
Bielawski mentioned that according to Le Corbusier’s opinion the essence of
architecture itself is strictly connected with music1: „Music, as architecture its
time and space. Music and architecture are the questions of measure.”2 „Archi-
tektura jest oceniana oczami, które widzą, głową, która się obraca, nogami, któ-
re chodzą. Architektura nie jest fenomenem synchronicznym, lecz sukcesywnym,
jest stworzona z obrazów uzupełniających się nawzajem, następujących po sobie
w czasie i przestrzeni, podobnie jak muzyka.”3
Marta Leśniakowska describes the Le Corbusier’s vision of architecture
as being in accordance with its fundamental definition which is the play of
solids in space. Le Corbusier discerns how the architecture is able to create gi-
ant spacious axis shaping the landscape in which the building is presenting it-
self in front of the audience. Beyond all he understands architecture as “pure
creation of mind”. In the same time he distinguishes two basic elements of this
art, the architect’s hall marks, which are in his opinion profile and contour.4
1 Ludwik Bielawski, Strefowa teoria czasu i jej znaczenie dla antropologii muzycznej (Kraków: PWM,
1976), 194.
2 Le Corbusier, The Modulor. A Harmonious Measure to the Human Scale Universally Applicable to
Architecture and Mechanics (Cambridge, Mass.: Harvard University Press, 1954), 79.
3 Le Corbusier, op. cit., 72-73.
4 Marta Leśniakowska, „Oczy Le Corbusiera,” in Le Corbusier, W stronę architektury, trans. Tomasz
Swoboda (Warszawa: Centrum Architektury, 2012), 31-32.
forms of musical architecture in polish contemporary music
281
in Polish Contemporary Music
Katarzyna Szymańska-Stułka, Varšava/Warszawa
I Music and Architecture in the Ideological Perspective
would like to propose a kind of a perspective of music analysis coming
from the architectural background. I want to refer here to the sentence of
Le Corbusier from his Modulor where he introduced a new vision of mu-
sic and architecture in their close relations. As Le Corbusier stated architec-
ture is a kind of the time sequence art when music is the spacious one. Ludwik
Bielawski mentioned that according to Le Corbusier’s opinion the essence of
architecture itself is strictly connected with music1: „Music, as architecture its
time and space. Music and architecture are the questions of measure.”2 „Archi-
tektura jest oceniana oczami, które widzą, głową, która się obraca, nogami, któ-
re chodzą. Architektura nie jest fenomenem synchronicznym, lecz sukcesywnym,
jest stworzona z obrazów uzupełniających się nawzajem, następujących po sobie
w czasie i przestrzeni, podobnie jak muzyka.”3
Marta Leśniakowska describes the Le Corbusier’s vision of architecture
as being in accordance with its fundamental definition which is the play of
solids in space. Le Corbusier discerns how the architecture is able to create gi-
ant spacious axis shaping the landscape in which the building is presenting it-
self in front of the audience. Beyond all he understands architecture as “pure
creation of mind”. In the same time he distinguishes two basic elements of this
art, the architect’s hall marks, which are in his opinion profile and contour.4
1 Ludwik Bielawski, Strefowa teoria czasu i jej znaczenie dla antropologii muzycznej (Kraków: PWM,
1976), 194.
2 Le Corbusier, The Modulor. A Harmonious Measure to the Human Scale Universally Applicable to
Architecture and Mechanics (Cambridge, Mass.: Harvard University Press, 1954), 79.
3 Le Corbusier, op. cit., 72-73.
4 Marta Leśniakowska, „Oczy Le Corbusiera,” in Le Corbusier, W stronę architektury, trans. Tomasz
Swoboda (Warszawa: Centrum Architektury, 2012), 31-32.
forms of musical architecture in polish contemporary music
281
