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dc.contributor.authorGillingham, Matthew
dc.date.accessioned2020-04-13T17:17:18Z
dc.date.available2020-04-13T17:17:18Z
dc.identifier.urihttp://hdl.handle.net/10222/78460
dc.description.abstractThis thesis aims to connect live music, people, and place in Halifax by approaching the live music venue as a process of gathering. This strategy builds upon Christopher Small’s concept of ‘Musicking’ by approaching the live music venue as an instrument. This approaches music as a process tangibly materializes through the physical experience of architecture. By drawing on Theodor Adorno’s theories on mass culture, and collective consumerism this architectural strategy responds to problematic behaviours curated by existing architectural acoustic strategies, concert architecture, and event of live music. This provides a theoretical position to architecturally respond to acoustic and sensory design directly through a human and musical perspective. Three interconnected public live music venues along the Halifax Waterfront are used to explore music as a process of gathering.en_US
dc.language.isoenen_US
dc.subjectMusic Venueen_US
dc.subjectArchitectureen_US
dc.subjectMusicen_US
dc.subjectConcerten_US
dc.subjectHalifaxen_US
dc.subjectHalifax Waterfronten_US
dc.subjectHalifax Boardwalken_US
dc.subjectPublic Spaceen_US
dc.subjectLive Musicen_US
dc.titleInstrumental Architecture: Investigating the Live Music Venue as a Process of Gathering along the Halifax Waterfronten_US
dc.date.defence2020-03-17
dc.contributor.departmentFaculty of Architectureen_US
dc.contributor.degreeMaster of Architectureen_US
dc.contributor.external-examinerJames Forrenen_US
dc.contributor.graduate-coordinatorSteve Parcellen_US
dc.contributor.thesis-readerSteve Parcellen_US
dc.contributor.thesis-supervisorCristina Verissimoen_US
dc.contributor.ethics-approvalNot Applicableen_US
dc.contributor.manuscriptsNot Applicableen_US
dc.contributor.copyright-releaseNot Applicableen_US
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