Frozen Music: Music and Architecture in Vitruvius’ De Architectura

Abstract

This paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musical instruments (X.12) and water-organs [hydrauli] constructed to execute all the different varieties of tuning (X.8). Section 3 reflects on Vitruvius’ use of analogies with a musical instrument, thesambuca, to explain his understanding of cosmic harmony and architectural form, and his possible sources (VI.1). Finally, Section 4 discusses Vitruvius’ ideas about the importance of a liberal arts education that includes study of music theory. The best architects, Vitruvius explains, can discover in music the secrets to forms they both encounter in nature and create themselves.

Music, Architecture, Proportion and the Renaissance Way of Thinking

“…For example, if physicians and musicians could compare the rhythmical beat of the pulse and its metrical movement, 'if there is a wound to be healed or a sick man to be saved from danger, the musician will not call, for the business will be appropriate to the physician' (De architectura I, 1; Morgan 1914, 5). It is significant that Vitruvius placed the more terrestrial Aristoxenus, who used his ears rather than his intellect as organs of judgement, before the 'divine' Pythagoras (Walden 2014). The reasons for this are acoustic: the musical ratio served primarily to establish the distance, determined according to the type of Greek tetrachord (enharmonic, chromatic or diatonic) of the echèia (ήχεĩα)bronze or copper resonators used to amplify the voice of actors (De architectura V, 5; Morgan 1914, 143-146).…”

The acoustic designer: Joining soundscape and architectural acoustics in architectural design education

“…10 This publication has been for many centuries the first and only handbook on architecture and architectural acoustics, fostering interest in the discipline. According to Walden, 11 Vitruvius was aware of the teachings of the father of medicine, Ippocrate . When planning new buildings and in the specific theatres, he advises that ‘a site as healthy as possible’ (p. 137) be selected.…”

The Chords of Arcadia: Re-designing Wellington's Circa Theatre through the application of harmonic proportion, and architectural serialism derived from Bartok.

“…Such that columns in temples should be designed by analogy with the various musical genera. How stone theatres can resonate like musical instruments (Walden, 2014). He acknowledges that music is key to understanding the machinery of architecture.…”

“…Vitruvius explaining how the music theory is vital, "the architect should know music to grasp harmonic and mathematical relations" (Walden, 2014). The integration of music theory into architecture displays an experimental approach to design that complements the motives of a Performing Arts Centre.…”