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master's thesis
Arhitektura i glazba u razdoblju srednjeg vijeka
2022. urn:nbn:hr:162:530597
Despot, Karla
University of Zadar
Department of History of Art

Cite this document

Despot, K. (2022). Arhitektura i glazba u razdoblju srednjeg vijeka (Master's thesis). Zadar: University of Zadar. Retrieved from https://urn.nsk.hr/urn:nbn:hr:162:530597

Despot, Karla. "Arhitektura i glazba u razdoblju srednjeg vijeka." Master's thesis, University of Zadar, 2022. https://urn.nsk.hr/urn:nbn:hr:162:530597

Despot, Karla. "Arhitektura i glazba u razdoblju srednjeg vijeka." Master's thesis, University of Zadar, 2022. https://urn.nsk.hr/urn:nbn:hr:162:530597

Despot, K. (2022). 'Arhitektura i glazba u razdoblju srednjeg vijeka', Master's thesis, University of Zadar, accessed 07 May 2024, https://urn.nsk.hr/urn:nbn:hr:162:530597

Despot K. Arhitektura i glazba u razdoblju srednjeg vijeka [Master's thesis]. Zadar: University of Zadar; 2022 [cited 2024 May 07] Available at: https://urn.nsk.hr/urn:nbn:hr:162:530597

K. Despot, "Arhitektura i glazba u razdoblju srednjeg vijeka", Master's thesis, University of Zadar, Zadar, 2022. Available at: https://urn.nsk.hr/urn:nbn:hr:162:530597

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Metadata
TitleArhitektura i glazba u razdoblju srednjeg vijeka
Title (english)Architecture and Music in the Middle Ages
AuthorKarla Despot
MentorEmil Hilje (mentor)
Committee memberMeri Zornija (predsjednik povjerenstva)
Committee memberEmil Hilje (član povjerenstva)
Committee memberIvan Josipović (član povjerenstva)
GranterUniversity of Zadar
(Department of History of Art)
Zadar
Defense date and country2022-10-21, Croatia
Scientific / art field,
discipline and subdiscipline		HUMANISTIC SCIENCES
History of Art
Abstract
Tijekom razdoblja srednjeg vijeka arhitektura i glazba odražavale su međusoban utjecaj u mnogim aspektima. Tu činjenicu prvenstveno potvrđuje sustav harmonijskih proporcija na kojima se obadvije umjetnosti temelje, a koje počivaju na zakonima broja pitagorejske teorije. Navedena teorija bazirana je na muzičkom raciju kojeg čine omjeri intervala savršenih konsonanca: oktave (1:2), kvinte (2:3) i kvarte (3:4). Prostorna elevacija i odnos elemenata opatijskih crkava i katedrala višestruko dokazuju primjenu omjera muzičkih intervala u pogledu arhitektonskih proporcija. S druge strane, kameni muzički traktat u deambulatorumu Angelorumu opatijske crkve samostana Cluny otkriva kompleksnu glazbenu simboliku u kontekstu Boetijevog djela De institutione musica koji će izvršiti snažan utjecaj na srednjovjekovno poimanje harmonije i glazbenih proporcija. Sinergija glazbe i arhitekture očituje se i u njezinim akustičnim odlikama. Mnoge srednjovjekovne crkve u svojoj su unutrašnjosti otkrile ,,akustične posude’’ implementirane u zidove, svodove i apside čija je funkcija bila rezonancija ili apsorpcija određenih frekvencija. Nastale su po uzoru na akustični mehanizam brončanih echea kojeg Vitruvije opisuje u svom traktatu o arhitekturi De architectura libri decem, a koji je sadržavala svaka samostanska i katedralna knjižnica onog doba. Akustični efekti u srednjovjekovnim se crkvama postižu i zahvaljujući jeci koju stvaraju konkavni elementi i zaobljene prostorne površine poput svodova i apsida. Nalik instrumentu, crkva je u suglasju sa svojim akustičnim odlikama produžavala trajanje nota i obogaćivala zvuk monodije gregorijanskih korala.
Abstract (english)
In the medieval period of European history architecture and music resembled each other in many ways. In the first place we see it in the system of harmonic proportions which links architecture to music by means of Pythagorean theory. This theory is based on the musical ratios of the perfect intervals such as octave (1:2), perfect fifth (2:3) and perfect fourth (3:4). Space organisation and structure of the abbey churches and cathedrals shows alignment of musical ratios with architectural proportions. On the other hand, the musical treatise carved in stone in the deambulatorum Angelorum of Cluny reveals complexity of music symbolism in the context of Boethius De institutione musica which will have great impact on medieval understanding of harmony and musical proportions. Also, sinergy between music and architecture is visible in its acoustical aspects. Many churches in their interior revealed ,,acoustic pots’’ which were implemented into the walls, vaults and apses, and whose function was sometimes resonance, and sometimes absorption. They were established on the acoustical ideas of bronze echea by Vitruvius who explained this system in his architectural treatise De architectura libri decem which was common literature among medieval libraries. Acoustic qualities of medieval churches are also formed by their long reverberation due to concave and curved surfaces and elements such as vaults and apses, and are important part of their cultural heritage. They acted like instruments which prolonged duration of the notes and helped developing full sound of monophonic Gregorian chants.
Keywords
Keywords (english)
Languagecroatian
URN:NBNurn:nbn:hr:162:530597
Study programmeTitle: History of Art (Museum and Gallery Studies/Art-conservation studies); specializations in: Science, Art-conservation studies and Museum and Gallery Studies, Science (single major), Art-conservation studies and Museum and Gallery Studies (single major)
Course: Art-conservation studies and Museum and Gallery Studies
Study programme type: university
Study level: graduate
Academic / professional title: magistar/magistra povijesti umjetnosti (magistar/magistra povijesti umjetnosti)
Type of resourceText
File originBorn digital
Access conditionsOpen access
Terms of useLicence In copyright icon
Created on2023-06-05 09:07:23