Baigiamajame magistro darbe nagrinėjamas muzikos ir architekturos santykis muzikai atlikti skirtuose pastatuose. Apžvelgiama koncertų salių, eksperimentinių muzikos ir architektūros projektų, garso instaliacijų ir kitų muzikinių erdvių raida, išryškinant ir detalizuojant Šaltojo karo epochos pavyzdžius. Nagrinėjamas teorinis muzikos ir architektūros ryšys, šį ryšį atskleidžiantys projektai, kompozitorių ir architektų iškeltos muzikos įerdvinimo idėjos. Ivairių kartų kūrėju darbuose ryškus siekis transformuoti sustabarėjusį atlikėjo ir klausytojo santyki, šis siekis pasirenkamas ir muzikinės erdvės projekto išeities tašku. Variantinio projektavimo metodu kuriamas muzikos atlikimo centras, vienoje erdvėje apjungiantis skirtingas muzikos atlikimo ir klausymo vietas ir leidžiantis klausytojams individualiai ir naujai patirti muziką erdvėje. Darbą sudaro ivadas, analitinė ir praktinė-tiriamoji dalys, apibendrinimas ir išvados, šaltinių sąrašas, priedai. Darbo apimtis – 67 psl. teksto be priedų, 90 iliustr., 40 bibliografinių šaltinių. Atskirai pridedami darbo priedai. / The Master thesis deals with the relation between music and architecture in the buildings designed for music. Overview the development of concert halls, experimental music and architecture projects, sound installations and other musical spaces, highlighting and detailing the Cold War era examples. Analyse the theoretical relationship of music and architecture, projects revealing this relationship, musical enspacement ideas of composers. Clear ambition to transform a rigid relationship between the performer and the listener, this goal is selected as the starting point of the Musical Space project. Variant design method developed music performance centre, one space combining different music performance and listening locations and allowing an individual to listen and experience music in a space. The work consists of an introduction, analytical and practical parts, summary and conclusions, list of references and appendices. Scope of work - 67 p., 90 figures, 40 bibliographic sources, appendixes.

The thesis is aimed at the problem of the air distribution in buildings. The object of research is the concert hall. The thesis contains three different technical proposals and technical views of the microclimate concert hall. The microclimate’s solutions are focused on the air distribution in the hall. The part of the thesis is an experiment. The experiment continues on the one of the technical proposals. Its purpose is to determine the characteristics of air flowing from distribution element.

Detta examensarbete behandlar rumsakustik som en viktig del i skapandet av en arkitektur för framförande av musik, samt upplevelsen av ljud. Projektet bygger på en idé att skapa nya möjligheter att skapa och framföra musik för musiker, vars arbete ofta begränsas av lokalbrist eller av olika föreningars intresseområden. Idén har utvecklats till en hybrid mellan ett nytt musikmuseum och ”Musikplatsen” - en plats för skapande och framförande av musik med liten publik. Musikplatsen blir en del av det nya musikmuseets program för att skapa nya samarbeten och ekonomisk hållbarhet. Projektet är placerat mellan Gröndal och Lövholmen och knyter samman områdenas olika strukturer. Därför spelar detta projekt även en stadsbyggnadsmässig roll som kulturinstitution i en möjlig framtida exploatering av Lövholmens industriområde. I museidelen finns fokus på god utställningsmiljö för olika typer av utställningar i enlighet med övergripande akustiska och arkitektoniska strategier. I projektet finns även en fördjupning inom området rumsakustik vilket har resulterat i särskilt fokus på akustik i designen av byggnadens största rum, - en konsertsalong med 700 platser för akustisk musik. Designprocessen har framskridit på ett kontrollerat sätt via matematiska beräkningar för att nå djupare förståelse inom rumsakustikens komplexitet. / This diploma project investigates room acoustics as a crucial part in developing an architecture for music performance and the experience of sound. The origin of the project comes from an idea to facilitate the constrained work situation of local musicians in the Stockholm region. The idea has been developed into a hybrid between a new music museum and a place for music creation and performance. The project is situated at Lövholmen/Gröndal connecting two totally different areas together along the existing main street. Thus the project also plays a part in a possible future urban development of the industrial area of Lövholmen. The museum parts have focus on interior environment in terms of exhibition spaces for different content, haptic and acoustic experience. Within this project there has been a deep research on room acoustics that has resulted in special focus while designing the largest space, a concert hall for an audience of 700. The design process has proceeded in a controlled way along with mathematical calculations to create a final design on a controlled basis to gain deeper understanding of fundamental parts in the field of room acoustics.

The aim of this work is to research the relationships between abstract musical space and physical space, to explore the various possibilities of connecting sound, light and matter in space, their interaction and unfolding over time. The knowledge and outputs will later be applied in the design of a cultural object providing a visual and acoustic experience with an emphasis on human perception.

The building is located in the city Ostrava in Cerna louka, that is a city district very close to the center and river side, just in a middle of the ortogonal block build up area. The philharmonic is designed like a big block made of brass from which is rising the light glazed volume of the auditorium and where the volume of atrium is hidden in. This 2 volumes represent the future and past values of the city Ostrava. The volume of the auditorium is the only object in whole ortogonal area that is twisted. Due to this fact it gains uniqueness and dissimilarity. Thanks to that is becoming a new symbol of the city.

Entering this thesis was to design a building for the Brno Philharmonic. Brno Philharmonic is still housed in the Fellowship House, which for this purpose does not. Place for the design of the new building of the Brno Philharmonic Orchestra was chosen plot where the current parking lot, which is close to the Guildhall. In 1992 he founded the Association for the construction of a concert hall, which has since been seeking to build Janáček Cultural Centre. Concert hall with excellent acoustics, which is missing in Brno. The first attempt was in 1989, when it was announced architectural competition for a new building project was just prior to the commencement of construction works dropped. In 2003, the Statutory City of Brno announces an urban-architectural competition for the design of the building Janáček Cultural Centre, whose subject was the urban design of the entire area between the streets Besední, cheerful and Hotel International. Entering the competition was also the draft annex of the hotel International. The reasons for choosing this property was the strongest ties to the Meeting House., Position in the city center in a neighborhood with other major institutions, well-connected to public transport, the opportunity to realize the capacity underground parking. This year were started construction work on this place that has become a new building. The overall implementation takes place in two stages. In the first phase are carried out underground three underground floors used for parking. In the second phase confronts Janáček Cultural Centre. This competition for JKC winning studio M1. In the first round of the competition envisaged the demolition substation at the International Hotel and expanding the plot. In the second round it was only a plot parking spot without significant interference with the surrounding space. This version is valid to this day.

Topic of proposal is to complete block of houses on the edge of historical centre. The centre continues in Brno’s ring road. Blocks are characteristic of having features like: ledge, commercial ground floor, following street line, ridge of roof, frontage face with regular rhythm of windows and same height of ledges on each floor. All of this determines rules of completion of the block. Could concert hall be as significant in the organism of the city that it doesn't have to follow mentioned rules? Following of features appearing in surrounding could stand for negative perception of expression of concert hall. There has to be effort not to create just typical administrative building in which concert hall is built in.

The locality is situated on the Veselá street in the historic centre near to Besední dům – the main seat of the Brno Philharmonic Orchestra. The site adjacent to the unfinished housing estates was chosen in a competition authority in 2003 primarily thanks to the position next to Besední dům. I tried to create a variant solution which could offer insight into the issue. The aim was to design a functional, operationally and economically less demanding object where the hall has excellent acoustics for classical orchestral music with a capacity of about 1000 visitors.

In the world today, Concert Halls for Symphony Orchestra and Choir are generally â enclosed performance spacesâ that are completely cut-off from the outside: Whether itâ s a time of daylight or moonlight, rain or shine, summer or winter, spring or autumn, the environment within remains the same all the time. I asked the question: â What if a concert hall offers views outside?â To be more specific, the question is: â What if a concert hall offers views outside through the use of glass, along with other building materials, despite the fact that glass offers lower reflectivity and lower transmission loss for lower frequencies of sound, compared to certain other materials?â Hence the title: Interaction of Low Frequency Sound with Glass and other Building Materials in the Design of a Concert Hall for Symphony Orchestra and Choir. / Master of Architecture

A research in how sound-delay needs to be compensated as an orchestral percussionist. Sound delay occurs when sound needs to travel from one location to another. The ionger the distance, the longer it takes for sound to arrive. Sound delay can occur when percussionists play from their position on a concert stage. Their position is usually furthest back on the stage, the backrow of the orchestra ensemble. This means that percussionists usually has the largest distance from the audience, in most settings. Observing and recording my own performance practises, reading existing written works and interviewing experienced percussionists has been the foundation for this research. By playing on multiple stations consisting of different percussion instruments in varying distances from a fellow musician in a performance practice, I could systematically observe how bodily movement changed between the varying distances in order to be on time with the colleague. The results of this research shows the complexity of sound delay compensation, and has shown that the topic includes more factors than expected. The sounding nature of the percussion instruments has, in this research, been observed to play a big part in the compensation of sound delay. / <p>Program:</p><p>"Prim" - Áskell Másson </p><p>"Shin-Kansen" - Bruno Hartl</p><p>"She who sleeps with a small blanket" - Kevin Volans</p><p>"Meditations a deux" - Ida Fahl</p><p>"Mistral" - Daniel Berg</p><p>"Cruisin`through fire" - Jackson Riffle</p><p></p><p>Colleagues:</p><p>Johannes Carlsson, percussion</p><p>Alexandru Munteanu, percussion</p><p>Tiago Rocha, percussion</p><p></p><p>Text-file no. 1: Thesis</p><p>Audio-file no. 1: Interview with Joakim Anterot</p><p>Audio-file no. 2: Interview with Mikael Nilsson</p><p>Audio-file no. 3: Interview with Roger Carlsson</p><p>Audio-file no. 4: Even Hembre`s Master-exam concert at KMH, 28th of May 2024</p><p>Video-file no. 1: Part 1 of Arne Björk`s "Symfonisk Duett" first performance</p><p>Video-file no. 2: Part 2 of Arne Björk`s "Symfonisk Duett first performance</p><p>Video-file no. 3: Part 3 of Arne Björk`s "Symfonisk Duett" first performance</p><p></p>