| Summary: | This thesis draws conceptually and directly on music notation in its investigation of the temporality of landscape architecture. It differs from other studies that refer to music in two critical ways: firstly rather than their references to Baroque, Classical or Romantic music, this investigation focuses on music notation from a 27 year period of musical innovation in the twentieth century; secondly in referring to music notation as a source for landscape architectural notations, I address their omission of sound, which in importing aspects of music notation into design, they curiously left behind. The thesis studies three music notations in fine detail: Projection I1 by Morton Feldman, from 1950, Lontano by Gyorgi Ligeti from, 1969, and Green Meadows by Michael Finnissy, from 1977. Each study examines the notation of a musical score and its specific approach to time, investigating whether the temporality of this music is similar to that of aspects of landscape time. Each is juxtaposed with design notations representations by First nameDonald Appleyard et al from The View from the Road, 1965, Bernard Tschumi from Manhattan Transcripts, 1994, and William Kent from Rousham garden, 1748, before examining four landscape spaces through the development of new landscape architecture notations. The research makes available to a wider design audience the works of three influential composers of the latter half of the twentieth century, presenting a critical evaluation of their work within music, as well as a means in which it might be used in landscape architectural research. The thesis also offers valuable insights into the methods used by landscape architects for the benefit of musicians, and by bringing together musical composition and landscape designarchitecture through notation, it affords a focused and sensitive exploration of temporality and sound in both fields.
|
|---|
