1. Basic principles
How man understands the stimuli he receives from the environment has two things: With his physical limitations and how the brain works. These two things determine how our design product will “act” whether it be architecture or music.
The main objective is to emphasize the importance of the perception of space and sound so that we do not drift into inanimate connections, between design and act. So, there will be some points that highlight the main issues that have been affected in the perception of music and architecture.

Optical
The spectrum through which we see or hear is not always stable. For example, other colors may be perceived as similar when viewed through a different context.
It is exacerbated that even what we see under “normal” conditions is not what it is but what the brain thinks it is. Especially when we cannot see the real colors of an object.
Observing the above picture, we see how important it is to look at things, beyond our own reality, so that we can draw proper conclusions.

Musical
It is worth mentioning, as a composer in music, not only the genre but also the style. Leonard Meyer defines the musical style as follows: “The musical style is more or less complex systems of sound relationships that are understood and used by some”. [Leonard B. Meyer, 1956, p.45]
For Meyer style is a set of expectations. Different styles are models through which the listener learns to have specific expectations for the style of the music. Also, different styles can be associated with the language genealogy. For example, he considers that Bach and Beethoven represent different styles belonging to the same family-style, while Mozart and Machaut belong to different styles.
As in architecture, so in music there are definitions with the words baroque, rococo, goth, romantic. The name expresses a time and comes from the name that marked this period. The philosophy of each period has gone into the face of every art, architecture and music.
Specifically, Baroque music clearly emphasizes the ornamentation of the basic body of music and, with the advent of the classical period, these decorations have begun to disappear. It is obvious that comparisons are direct between architectural-Baroque and musical-Baroque as is the case for other species.

II.2. Psychology of Gestalt