As the title suggests, David Buck’s recent publication concentrates on weaving sound into the sensory appreciation of landscape. Through conceptual and direct reference on musical notation, his work investigates landscape architecture’s inherent temporality and calls for refocusing this under-researched aspect provided by the model of notating time.
Being a landscape architect and educator, Buck’s work offers an innovative and contemporary approach to a wide range of landscape projects and as the founder of the “landscape architecture programme” at the University of East London, his design work in the UK and Japan has been widely published. During his PhD he focused on the investigation of alternatives for perspectival representations of space in landscape architecture through developing new notations from a synthesis with music, thus “A Musicology for Landscape” is evidently the latest in a succession of thriving works.
The book hereby addresses a difficulty within the architectural discourse, which is concerned with a lack of adequacy of the existing design tools to correctly explore the landscape’s inherited temporality. By seeking new forms of notation through the inclusion of musical notation, the book introduces three influential composers – Morton Feldman, György Ligeti and Michael Finnissy – presenting a critical evaluation of their work within music, as well as a means in which it might be used in design research. David Buck then juxtaposes musical scores with design representations by Kevin Appleyard, Bernard Tschumi and William Kent, until final examination through newly developed landscape architectural notations. Ultimately, bringing together musical composition and landscape architecture through notation, evokes a focused and sensitive exploration of temporality and sound in both fields.
A very interesting work about Musicking in the city by Katie Rochow. The study documents the way in which music making serves as a vehicle for the social production of place and the creation of an affective attachment to that … Continue reading →
In their interdisciplinary research project, carried out between 2012 and 2016 at CSIC, Institución y Mila Fontanals, the principal investigator Dr. Tess Knighton and her team explored the 16th century urban music culture in Barcelona. They analysed the comopolitan social … Continue reading →
The original music for Ruttmanns ‘Symphony of a metropolis’ was composed by Edmund Meisel and played live with a symphony orchestra. However, Ruttmanns semi-documentary portrait of Berlin remains as a strong inspiration for creating new soundtracks up until now. The … Continue reading →
In his documentary film ‘Berlin – Symphony of a Metropolis’ Walther Ruttmann (1887-1944) experiments with the perception of the city in motion in terms of a musical form: The symphony. With its montage technique and the dramaturgical structure this 60 … Continue reading →
Who is busking in Berlin and why? Mark Nowakowski provides a detailed portrait of the street music scene in Berlin and their actors. Besides the role of the artists and the matrix between them, their audience and the city, Mark … Continue reading →
The book sketches the interaction between music mediation, cultural policies, urban popular music and identityconstruction in today’s complex societies. Likewise, this study reveals how a global transcultural youth culture is emerging and developing under the influence of institutional structures in … Continue reading →
The UK’s first ever live music census – a ‘Springwatch’ for live music. The Census covers all genres and takes a broad definition of live music to include events featuring DJs. A nationwide online survey for musicians, venues, promoters and audiences is open and collecting data until 31 … Continue reading →
Music Cities Network is a new public/private network dedicated to improving communication and cooperation, sharing research and knowledge, exploring policy and advocacy, and networking for policy makers, city leaders and all other music city stakeholders. The network is aimed at making … Continue reading →
Ensemble Resonanz, an independent chamber orchestra situated in Hamburg, invented the program ‘Urban String’. Urban String is a series of concerts taking place in the orchestra´s own ‘classical underground club’ named Resonanzraum in St. Pauli. The program not only combines classical and popular elements, ‘Urban String’ is a good example for how the distinction of an urban music activity beyond traditional settings and conventions of the classical as well as the popular performance is transcending. A starting point for a new kind of urban music scene? More on ‘Urban String’ and Ensemble Resonanz