Cook strongly argues that “musical sequel” and “architectural sequel” have the same character: corresponding graphic elements, same expression elements, same editorial coloring. [Alessandra Capanna, 2009]
The dividing lines of the measures are represented as bridges. These separations define music and time in architecture and space. The notes are interpreted as towers. Indeed, in this piece, full of chords and trillions, the notes are the harmony of the piece. Unlike the horizontal movement of the melody, the tall buildings give the vertical tinge of harmony.
This fact has been very well expressed in this work where the towers, whose notes are so played, have a different shape than others: their cross section differs.

IV. Conclusion

The aim of this dissertation was to study the relationship between music and architecture with a more rational and realistic approach. The connection is initially through the study of the nature and structure of the music, as well as the ways of its transcription into an image. It examines the way in which music has been used as an inspiration or design by architects, but also the inverse, that is the transformation of the image and space into music.
Through this, some interesting conclusions were made both in terms of music and architecture and their relationship. The concept of music and the way it is structured became more understandable. From the note, we make the melody, after the song and finally the musical perception, which is understood by man as music. Frequencies control the note, the rules of composition control the musical piece, gestalt rules control how the listener perceives the final result.
“Dissemination” of techniques is an inevitable and desirable feature in the art. Music and visual perception, as well as sound and image, use the same rules and tools in their production process.
Architects who have tried to turn music into architecture have done it differently and based on different elements. These elements are related to the logic that man operates, while the rules of gestalt the ways in which man “wishes” to organize the visual and acoustic stimuli.
Xenakis, for example, borrows the logic and reflection of music and applies them to architecture. Peter Cook, transformed the image of a pentagram into an architectural display. Bainbridge and Libeskind saw the space as an ecumenical factor coming from both music and architecture. Generally, there has been a tendency for architects to use various elements of music as “instructions” that will “guide” them to the end result.
Clearly the study of music has been inspiration and has remained to the end, as a basic idea and a final result. The transfer of Bela Bartok’s music by Steven Holl was done by analyzing his parts in logical places like Fugue. Then these separable elements could be transferred to space and architectural elements. It continued with the r