노테이션을 통한 사운드의 공간성 발현 연구

Abstract

This study is set against the backdrop that notations serve as a universal medium for materializing intangible in two art areas, and the graphic notations noted here have the potential for the spatiality of sound to be expressed into architectural space. The purpose of the study is to reflect the active principle of the performer in the process of composing music based on quantitative figures in graphic notations, to form a new structure, and to reveal that the method of structural interpretation and form of composition can be transferred to the role of architectural drawing. The spatial view of music is derived through the technique and structure of the composition of graphic notations, in which the performer's active intervention has become possible. To allow the performer to view the music from a subjective and diverse perspective, the composer provided the performer with an accidental or uncertain structure and material for the musical piece, through which the player could view the music either two-dimensional or three-dimensional. Unlike traditional notations, the structure of graphic notations allows the performer to see the music again pointlessly, and the spatial characteristics of notation, in which how the structure is recombined in a plane, and the music is reproduced in three dimensions, appear. When analyzing the structure of Bernard Tschumi, Steven Holl, Daniel Libeskind, and Iannis Xenakis reconstructed into a three-dimensional space using the features of the graphic notation is shown here, the spatiality of the music expressed in the notation of the music appears in the real three-dimensional space as diverse as structure, accidental form, and the three-dimensional relationship of the viewer. By looking at these features, we were able to confirm that the graphic notations of abstract music expressed in quantitative ways could serve as architectural drawing and that two different art fields could expand through common media and emerge as the spatiality of music.