Music School Architecture

[Denisha Padley]

Themusic school is located close to Bressanone's historic centre and forms part of a larger redevelopment of the area, which includes the introduction of a two-level underground car park, a climbing wall, a municipal swimming pool and a public square.

"To mitigate the impact on the city skyline, the top floor is set back from the line of the external facades, obtaining an optical effect that dissolves the perception of the building," the architects explained.

The main volume is situated to the west of the plot, leaving space for a publicly accessible courtyard area on its eastern side. The wall enclosing the courtyard contains staircases, storage and a kiosk facing the adjacent square.

"One of the peculiarities of the project is the 'garden of music'," the studio added, "a finely decorated open-air room, inside the enclosure and yet outside the volume of the school, which dissolves the boundary between the inside and outside."

The exposed concrete surfaces were bush-hammered by hand to add texture. Some areas were left smooth to contrast with the rough surfaces, including the frames surrounding various openings and a pattern based on traditional decorations found across the city.

A large opening in the southern wall provides access to the courtyard, while an adjacent entrance leads into a public foyer. The ground floor also contains offices, a rehearsal room, classrooms and utility areas.

The bright and clearly navigable communal areas feature large apertures, lined with pale grey marble that visually connect the various spaces. Comfortable chairs and sound-absorbing curtains lend these areas the feeling of a relaxing lounge for public use.

Staircases and joinery are made from dark-stained oak that recalls the carpentry found in the historic city centre's buildings. The music rooms and auditorium are lined with stained-wood panelling that introduces texture and colour, as well as providing the required acoustic properties.

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Here at Tulane, any student can take classes in arts or architecture, audition for plays or ensembles, or take private lessons with an instructor without being a major or minor in that specific area. With this in mind, we welcome the chance to see your past creative work as a way of strengthening your application to the university. No audition or portfolio is required for admission to the university, but the inclusion of a portfolio can only help your application, never hurt it.

To carry weight in an admission decision, creative materials should be added to your application as soon as possible after your application is submitted; as no creative supplements are required for admission to the university, the admission committee will not wait to receive such materials before reviewing an application.

While students with an interest in any academic area are welcome to submit portfolios, there are specific parameters for students submitting portfolios in studio art, music, and architecture. For more information on these specific parameters, see below.

A portfolio is highly recommended for students interested in Architecture because it may strengthen an application. Please upload up to 10 pieces representing the breadth of your design experience, including a couple of examples of freehand drawing. Please do not send architectural drafting exercises as we prefer to see your creativity rather than your drafting skills. Other architectural exercises, such as perspective drawings or models, are welcome. Hard copy materials will not be accepted in any medium.

Students interested in submitting an optional music portfolio with their application should indicate a first or second major within one of the following concentrations: Jazz Studies, Music Composition, Music Performance (Instrumental), Music Performance (Vocal), and Musical Theatre.

Composition students should provide sheet music and/or recordings of two to four original pieces in any style. The pieces do not need to be complete; sketches, pieces in progress, and improvisations are all acceptable.

Piano students should prepare movements from three pieces in contrasting periods (Baroque, Classical, Romantic, or Modern), including at least one a major work. Other instrumentalists should prepare a major piece, such as a movement of a standard concerto, a shorter contrasting piece, and an tude. These pieces will only be considered if they are videotaped.

Vocal performance students should prepare three complete songs or arias (no cuts) in contrasting styles, including at least one in a foreign language. These pieces will only be considered if they are videotaped.

Musical theatre students should prepare three complete songs (no cuts) in contrasting styles, including at least one predating 1980. An art song or aria in English or a foreign language is acceptable. Students may also include an optional one-minute monologue. These pieces will only be considered if they are videotaped.

Please upload up to 10 pieces that showcase your interests, skills, and creative potential. Think of your portfolio as a gallery show you are curating. Be bold, experiment, take risks, and be inventive. If possible, build a thematic portfolio that includes multiple pieces sharing similar ideas and/or aesthetics. Use your portfolio to convey your willingness to experiment, explore, and think beyond technical skills. When compiling your portfolio, you may choose to concentrate on a single medium or demonstrate a breadth of media. Hard copy materials will not be accepted in any medium.

While a portfolio is not required for admission to Tulane, submitting one puts you in consideration for concentration-specific scholarships and awards. Tulane offers portfolio- and performance-based merit awards in the areas of Architecture, Music, and Studio Art. All scholarships require students to apply through an early application round (Early Decision I or II or Early Action), indicate a first or second major in their desired concentration, and upload a portfolio via their Green Wave Portal.

The design traditions that shaped New York City throughout the twentieth-century are reflected in the current Manhattan School of Music campus, which consists of four connected buildings: the three-story 1910 original building, a seven-story expansion dating to 1931, the 1969 pavilion, and the 2001 tower. Within these buildings, a vibrant community of artists and audiences learn and create together.

The 1910 building is a free revival of the Adam style, characterized by clarity, brightness, and unity of design. The roots of the Adam style in America date to colonial times, and the style predominates in the Morningside Heights neighborhood, particularly on the Columbia University campus.

When Manhattan School of Music took occupancy of the building in 1969, the hall was named Hubbard Recital Hall, in memory of philanthropist Helen Fahnestock Hubbard, an early supporter of the School, who provided its first modern auditorium in 1939.

Now known as Harriet and Gordon K. Greenfield Hall, the room was lovingly refurbished in 2002. The simplicity of the walls and French doors gives way to the much more ornate vaulted ceiling. This ceiling is extensively decorated with intricate cornice moldings, characterized by alternating corbels and rosettes. These motifs culminate on the balcony, where the arched doorways are capped with lintels featuring large corbels and lutes against a floral background. Similarly, the face of the balcony is decorated by floral wreathes and pairs of crossed horns and panpipes. These features make Greenfield easily the most pastoral room at Manhattan School of Music.

Other rooms of the main building include an antechamber adjacent to Greenfield Hall; the Grand Foyer, which once served as the main entranceway of the Institute; a stately, wood-paneled room with high ceilings. These imposing rooms face west on Claremont Avenue and receive natural light from large windows that look out onto Sakura Park.

In 1926, the Juilliard School of Music was created through a joining of the Institute of Musical Art and the Juilliard Graduate School, although they retained their distinct identities for 20 years before a complete merger in 1946.

In the meantime, Juilliard was in need of larger facilities and used some of the $13 million Augustus D. Juilliard endowment to build an addition to the north and east that wrapped around the Institute .

The auditorium and anterior space share many design characteristics of the iconic Midtown skyscraper. The lobby of the hall is lined with gray and tan marble with deep yellow and red veining. Overhead is an angular star-burst chandelier, and the hall entrance is flanked by two Art Deco metal cylinders with perforated brass accents.

The move from east to west was completed in record time, but renovations and upgrades (air conditioning!) ran long. Finally, in early 1970, the public could be welcomed. The inherited Art Deco auditorium would be dedicated on January 30 in memory of John C. Borden, former President of the MSM Board of Trustees.

This new building not only created a vertical campus for the school and expanded its usable space by 275,000-square feet, it dispelled the previous student-as-commuter nature of the School. A real community of artists was being created, literally living together through music.

The five-story base of the building reflects the predominantly residential neighborhood to the north, while the tower continues the high-rise development of the university and religious buildings south and east. The base of the building is limestone and granite, matching the original 1910 school buildings.

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