ARCHITECTURE AND THE EXHIBITION OF SOUND

Abstract

The role of musical expression within society is one that has grown and continues to grow alongside the American populous. Since the emergence of the first American sound in the later 19th and early 20th century, the methods by which the public listens to music have changed. From the early method of strict live performance to the eventual invention of the personal music devices, an individual’s musical experience has gone numerous alterations. Society’s current explosion within the digital media age has shed light upon a new method of experiencing music. The Zeitgeist has become one that finds itself amongst the transportation of the invisible media. Of all the entertainment or artistic medias, music has evolved the fastest and stands as an example for all other medias to follow. It is this advancement in technology, within the musical field, that allows the architect the opportunity to alter all previous known methods of presenting musical exhibitions. The current musical media requires a unique method of exhibition that has never been attempted. Music requires an architecture that does not stifle the creativity of the artist are distract the meanings of musical pieces. Instead, music is in need for an architecture that does not confine the invisible digital music within a structure. Music requires an architecture that creates no boundaries and is connected from all regions of the country. Twelve locations are chosen to house museums of music and each are housed within a city that has had profound impacts upon the American music scene. The musical exhibition is not confined to each of these twelve. Each of the twelve is in a constant connection with each other, establishing a web of digital communication of music. While each institution will house recording studios and performance spaces they will be able to share their music through the digital media.