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Musical Space and Architectural Time: Open Scoring versus Linear Processes

Galia Hanoch-Roe
International Review of the Aesthetics and Sociology of Music
Vol. 34, No. 2 (Dec., 2003), pp. 145-160
Stable URL: http://www.jstor.org/stable/30032127
Page Count: 16
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Musical Space and Architectural Time: Open Scoring versus Linear Processes
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Abstract

The article focuses on certain musical and architectural works created during the second half of the twentieth century, which challenge the very categorizations of temporal versus spatial arts. In particular, it discusses the reversion of the linearity of the musical score into fluid urban design, and the transformation of the linear process of the musical score into a modular one, leading the performer to a process similar to that of 'performing' or comprehending an architectural work. Works of composers such as Ligeti, Stockhausen and Cage, whom resuscitate the frozen time into fluid architecture by use of »Open« and »Graphic« scores are discussed, as well as similar scoring techniques in other arts such as poetry, dance and urban design. The article continues with a review of the utilization of scores as a foundation for urban design in the work of architects Peter Cook and Lawrence Halperin. In Cook's Bloch City and Halperin's RSVP Cycles, the formal compositional scores accept upon themselves characteristics of space unfolded through use of time and the temporal becomes spatial. Finally, the article discusses the transformation of the role of the »performer«, be it the observer of a building, the resident of an urban environment, a dancer or a symphony orchestra, in these works. A transformation which lends him or her a new control over the events, and points out the far reaching consequences of their new role when concerning artistic processes in the realm of architecture and urban design in the community.

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