Introduction

Gardens and music are linked by similarities, such as their use of form, pattern, sequence, ideology, and most fundamentally of all, by the fact that they both express the personality of humanity and the cultures that we have developed. This study examines the development of music and gardens in Western culture in the time frame starting with the early Renaissance in Italy and ending with the middle of the Romantic period in England. While little has been written on the matter of comparing gardens to music, the idea is hardly new to the world. We compare the arts, sciences, and other disciplines to one another for the purpose of enriching our understanding of all the fields involved. The forms and ideologies of music, landscape gardens, and all the arts and sciences originate in their culture, the root of the human experience. This thesis poses the question: in what ways does comparing the histories of landscape gardens and formal music deepen our understanding of both disciplines?

In the literature review I examine and survey information that informs the period of history to be studied. Three successively deeper generations of the literature survey process are part of the research for this thesis. A preliminary survey of history literature delineates the time frame and geographical range of the history periods. A second survey delves deeper into both music and gardens, this time with a focus on each of the three time periods studied here. A third survey examines the time periods closely, cataloging and counting citations of examples of gardens and music typical of each time period.

After gathering the survey data from the literature research I compare and contrast the results. The results themselves are divided by time period. Each of these three time periods, the Renaissance, Baroque, and Romantic periods, focuses on a geographical area that is patticularly significant to its respective time frame (see Figure 1). For each of these period chapters I discuss the essence of the period using criteria such as how people view nature, what forms they prefer, and other key influences. A brief description of the essence of the period is followed by a more intensive discussion of the character first of gardens and then of music. The process of discussing the character of each discipline precedes the first level of analysis, comparing the character of gardens to that of music during that time.

In each period chapter a discussion and analysis of typical examples follows the initial comparisons of music and garden forms. The selections of gardens and music examples result from the third literature survey and with the assistance of history experts in the fields of music or gardens. For each period survey several examples seem typical in music as well as in garden history. To further illustrate the character of these periods, these chapters include appendices listing the most commonly exemplified music composers and gardens. Listing composers rather than pieces of music enables a broader view of the period. Wherever possible, I mention specific pieces of music of particular significance to period in these appendices.

Analysis of garden examples focuses upon the plans and experiences of the gardens during the times of their designers. I break down the concept of the garden into component factors for study, beginning with spatial context, symmetry, circulation, use of water, technology, scale, and symbolism or program features. Because the three examples have their own character, I add discussion of special factors and qualities as warranted.

The differences between the mediums of music and gardens are quite clear, based upon the differences in existing analysis of music and gardens. For the purpose of clarity, I limit my music analysis to factors that either may be related directly to those of gardens or factors that clarify the essence of the time period. The component factors examined in the music examples include context of typical piece performance, musical form, harmonic sequence, rhythmic sequence, instrumentation, length of piece, and use of symbolism or program features.

Many analysis factors for the music and gardens are readily comparable. One factor universal to music and gardens among all three historical periods is the aspect of historical, especially Classical, references. Each time period and its products rely upon the invention of its predecessors. Wherever possible I compare the examples in each period in terms of common and universal factors, as well as in terms of their fit into the definition of what is typical of each period. As there are special exceptions for individual examples within each of the period chapters, so are there special exceptions for the special characteristics of each of the time periods. Each period chapter ends with a comparison of the how well the music and gardens exemplify the essential character of the period.

Following the results and analysis of the three period chapters, the conclusions illustrate a broader issue underlying the question of this thesis. Now that the earlier results and, analysis illuminate the nature of each time period's music and gardens (and the nature of each period), what can be determined of the changes from period to period in each discipline? Looking at the spatial scale of the garden examples alone informs this query (see Figure 2). The final chapter of the thesis discusses the essence of the three periods in this larger scale of inquiry. It is followed by a final return to the examination of the ideologies and forms of music and gardens, and how they reflect the shifting personality of Western culture over the course of 500 years.

Both music and gardens express fundamental elements of the human experience. With the passage of time and the expansion of technology our world has grown smaller and the nature of the human experience has changed. This look to the past attempts to set a milestone we may look back upon in the future.