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Musical Beginnings: Musings on Teaching with Music in the Fundamental Design Studio Portland State University PDXScholar Proceedings of the 18th National Conference on the Beginning Design Student School of Architecture 3-2002 Musical Beginnings: Musings on Teaching with Music in the Fundamental Design Studio John Maze University of Florida Follow this and additional works at: https://pdxscholar.library.pdx.edu/arch_design Part of the Architecture Commons, and the Art and Design Commons Let us know how access to this document benefits ou.y Recommended Citation Maze, John, "Musical Beginnings: Musings on Teaching with Music in the Fundamental Design Studio" (2002). Proceedings of the 18th National Conference on the Beginning Design Student. 20. https://pdxscholar.library.pdx.edu/arch_design/20 This Article is brought to you for free and open access. It has been accepted for inclusion in Proceedings of the 18th National Conference on the Beginning Design Student by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. 18th National Conference on the Beginning Design Student. Portland, Oregon . 2002 Ill Musical Beginnings: musings on teaching with music in the fundamental design studio John Maze University of Florida Introduction scope of architecture, we could better engage the students' minds and create young designers more prone to thinking The beginning design student, like any other. is confronted outside the box. with a world riddled with a multiplicity of physical, sociologi­ cal, and psychological conditions that can thwart efforts to As musical ed ucation has been proven scientifically t o improve objectify contextual design determinants. Given the com­ the cogn itive development of students in other disciplines, the plexity of the twenty-first century environment, student s potential for improving perceptual and conceptual abilities in should perhaps be given a non-building type of environment the creative arts is limitless. Looking to vernacular musical to hone their analytic abilities prior to taking on such a prolif­ forms, one can gain insight into the cultural structure of a eration of perceptual stimuli. Physical environments such as place perhaps more thoroughly than if one were to only con­ urban settings that typically make up the sites for early design sider the architectural vernacular. Parallels at the level of problems are simply too complex for students to first learn to structural member s, ornamentation, scale, color. texture, layer­ perceive their surroundings in an objective manner. Too many ing, narrative, and context can be directly drawn between preconceived notions of what constitute such environments music and architecture. Further understanding these overlaps cloud their ability to analyze such a place. Perhaps an alter­ w ill foster a more enlightened view of the human condition, native subject exists for students t o learn how to discern and and what it means to practice architecture today. 1 organize layers of information into an accurate set of percep­ tual understandings. Integration While architectural design remains a predominantly visual field The use of music in fundamental design studios is beneficial to of study, our perception of the world involves a myriad of introduce and encourage different ways of knowing the built other interconnecting sensory experiences. Tactility and tex­ and natural world. Perception of the rel ationships between ture can be inferred visually, as can conditions of moistness parts is a ski ll essential to the practice of either architecture and dryness. As influential in the design of the built environ­ or musicianship. In regard s to the perception of any given ment as they are, taste, sme ll , and sound are not easy to architectural problem, the practitioner must understand how graphically communicate. More often than not, the aural multiple layers of context (each highly complex) connect with experience of the world is left out of the design equation. programmatic, budgetary, code, zoning, and structural require­ Unlike the visual arts to w hich there is little resistance to the ments and come together to form a complete picture. use of aural perception in the conception of space, there is Similarly, a composer must be able to bring together the var­ can be skepticism regarding attempts to bridge between the ious instrument parts (roughly seventeen in a modern orches­ aural and visual in architecture. tra), musical genre, rai son d'etre, etc. to form a complete composition. The educator has a responsibility to embark with the student on a scholarly journey of investigation and discovery, while Starting with a beginning student's first design studio and into providing the guidance and encouragement to ask questions more advanced architectural studios, music has been integral and explore new ways of knowing the surrounding world. It is as a conduit between students' perceptual and cognitive critical that the student and educator together expand intel­ experiences prior to architecture school and the complexities lect, process, and intuition, and learn to hone perceptual tools of mastering as holistic a discipline as architecture. This peda­ by questioning givens, doubting constraints, and challenging gogy attempts to both expand upon the student's prior life assumptions. experiences and to demonstrate basic design and interpretive ski lls without the necessity to jump directly to buildings. It is As complex and holistic of a tradition that it is, the disci pline the fundamental understanding of formal relationships (as can of architecture can be made more accessible t o students if be found in music), connections, layering, hierarchies and not cl ientele through analogies drawn from more familiar sub­ space-time that one must start with in an architectural edu­ jects such as art, music, cinema etc. Every one has had some cation. Perhaps a non-building based curriculum such as this relationship with music in their lives, whether lullaby, adoles­ can introduce the tenants of architectural design and help cent love song, or piano lessons. If this medium for express­ design a highly effective methodology of perception and con­ ing and remembering ideas and feelings can be tapped to con­ ception without the aforementioned jump. vey both the intricac ies of materiality and the broad cultural Ill I Bth National Conference on the Beginning Design Student Portland. Oregon . 2002 In 1994, while co-teaching a beginning architectural design mostly dance music (reels, jigs, hornpipes, polkas, etc.), and the course with Max Underwood, I began experimenting with song tradition, which is mostly unaccompanied solo singing using music to introduce basic tenants of analysis and design. but has come to include the transposition of Sean nos or old This research has continued ever since, each time evolving and style singing to so lo instrumental tunes called "Airs". 5 The encompassing new methods of research and analysis so that functionality of dance music is somewhat obvious, serving to now after several years of experimenting with the cross-disci­ provide a musical basis for community gatherings in tradition­ plinary introduction to architecture, comparisons can be al Irish culture, the dance. The primary purposes of the song drawn between each strategy. There are four general con­ and air tradition are to tell stories, to educate, or to com­ textual analys is categories that can describe the evolution of memorate. Thus the "programmatic" requirements of each the work. Each category involves a simi lar sequence of type of music group is fairly clear; and can be further specified immersion, analysis, notation, and abstraction, but the specific within each category. Within the dance music genre alone, aim of the studies varies with each execution yielding different reels, which are the predominant type of tune, are dances for results. In all of the examples, there are some inevitable con­ couples, jigs are dances for individuals, polkas are Germanic sistencies due to the level of the design studio, and the some­ dances for couples, and hornpipes are technical showpieces what subjective nature of musical interpretation. However; for male solo dancers. enough difference li es in the musical genres, the types of The raison d'etre of many musical forms tells quite a bit about analysis, and the subsequent design projects to discuss the the cultural values of a people or area. What stories are body of work in definable categories. passed down from generation to generation, what tunes from Strategy One: Cultural Context what region are played, and what types of instruments are traditionally used demonstrate historically what economic, Traditional Irish music as it has been played for hundreds of political, and technological va lues exist at very specific places years is utilitarian music for the people and by the people.2 and times. Dance music prevalently brought people together Traditionally tunes were transferred from generation to gen­ to share political, socia l, and familial experiences, and inevitably eration by ear; shared and learned by playing them in groups those experiences made their way into the tunes (tune called "seisiuns."3 Thus, the identity of a specific tune's author names) and songs of the time. Young designers learn that was lost over the years, and the music was all owed to evolve meaning can be hidden in every aspect of any analysis, and grow each time it was changed. One of the primary whether it is site-related, programmatic, historical, or cultural. attractions to utilizing this particular genre of music is that it is Exposure to the subtle way in which cultural values shape the free of the whims and designs of any singular voice found in world is imperative in the education of those who will one most other musical forms such as classical composition. What day help create the physical environment. this means is that in essence the music can be understood WYSIWYG,5 it's inherent structure understood for just what Vernacular Musical Form it is without the necessity for comprehending a composer's Irish music is a melodic musical form with little harmony if grander intentions.
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