The Ministry of Higher and Secondary Specialized Education of the Republic of Uzbekistan Kokand state pedagogical

I conceive that a true artist will reason substantially in this way; and that, at the culmination of his powers, he may realize this ideal. I believe that architectural ornament brought forth in this spirit is desirable, because beautiful and inspiring; that ornament brought forth in any other spirit is lacking in the higher possibilities.

That is to say, a building which is truly a work of art (and I consider none other) is in its nature, essence and physical being an emotional expression. This being so, and I feel deeply that it is so, it must have, almost literally, a life. It follows from this living principle that an ornamented structure should be characterized by this quality, namely, that the same emotional impulse shall flow throughout harmoniously into its varied forms of expression — of which, while the mass-composition is the more profound, the decorative ornamentation is the more intense. Yet must both spring from the same source of feeling.

I am aware that a decorated building, designed upon this principle, will require in its creator a high and sustained emotional tension, an organic singleness of idea and purpose maintained to the last. The completed work will tell of this; and if it be designed with sufficient depth of feeling and simplicity of mind, the more intense the heat in which it was conceived, the more serene and noble will it remain forever as a monument of man’s eloquence. It is this quality that characterizes the great monuments of the past. It is this certainly that opens a vista toward the future.

To my thinking, however, the mass-composition and the decorative system of a structure such as I have hinted at should be separable from each other only in theory and for purposes of analytical study. I believe, as I have said, that an excellent and beautiful building may be designed that shall bear no ornament whatever; but I believe just as firmly that a decorated structure, harmoniously conceived, well considered, cannot be stripped of its system of ornament without destroying its individuality.

It has been hitherto somewhat the fashion to speak of ornament, without perhaps too much levity of thought, as a thing to be put on or omitted, as the case might be. I hold to the contrary - that the presence or absence of ornament should, certainly in serious work, be determined at the very beginnings of the design. This is perhaps strenuous insistence, yet I justify and urge it on the ground that creative architecture is an art so fine that its power is manifest in rhythms of great subtlety, as much so indeed as those of musical art, its nearest relative.

If, therefore, our artistic rhythms - a result - are to be significant, our prior meditations - the cause - must be so. It matters then greatly what is the prior inclination of the mind, as much so indeed as it matters what is the inclination of a cannon when the shot is fired.

If we assume that our contemplated building need not be a work of living art, or at least a striving for it, that our civilization does not yet demand such, my plea is useless. I can proceed only on the supposition that our culture has progressed to the stage wherein an imitative or reminiscen art does not wholly satisfy, and that there exists an actual desire for spontaneous expression. I assume, too, that we are to begin, not by shutting our eyes and ears to the unspeakable past, but rather by opening our hearts, in enlightened sympathy and filial regard, to the voice of our times.

Nor do I consider this the place or the time to inquire if after all there is really such a thing as creative art — whether a final analysis does not reveal the great artist, not as creator, but rather as interpreter and prophet. When the time does come that the luxury of this inquiry becomes a momentous necessary, our architecture shall have neared its final development. It will suffice then to say that I conceive a work of fine art to be really this: a made thing, more or less attractive, regarding which the casual observer may see a part, but no observer all, that is in it.

It must be manifest that an ornamental design will be more beautiful if it seems a part of the surface or substance that receives it than if it looks “stuck on,” so to speak. A little observation will lead one to see that in the former case there exists a peculiar sympathy between the ornament and the structure, which is absent in the latter. Both structure and ornament obviously benefit by this sympathy; each enhancing the value of the other. And this, I take it, is the preparatory basis of what may be called an organic system of ornamentation.

The ornament, as a matter of fact, is applied in the sense of being cut in or cut on, or otherwise done: yet it should appear, when completed, as though by the outworking of some beneficent agency it had come forth from the very substance of the material and was there by the same right that a flower appears amid the leaves of its parent plant.

Here by this method we make a species of contact, and the spirit that animates the mass is free to flow into the ornament — they are no longer two things but one thing.

If now we bring ourselves to close and reflective observation, how evident it becomes that if we wish to insure an actual, a poetic unity, the ornament should appear, not as something receiving the spirit of the structure, but as a thing expressing that spirit by virtue of differential growth.

It follows then, by the logic of growth, that a certain kind of ornament should appear on a certain kind of structure, just as a certain kind of leaf must appear on a certain kind of tree. An elm leaf would not “look well” on a pine-tree — a pine needle seems more “in keeping.” So, an ornament or scheme of organic decoration befitting a structure composed on broad and massive lines would not be in sympathy with a delicate and dainty one. Nor should the ornamental systems of buildings of any various sorts be interchangeable as between these buildings. For buildings should possess an individuality as marked as that which exists among men, making them distinctly separable from each other, however strong the racial or family resemblance may be.

Everyone knows and feels how strongly individual is each man’s voice, but few pause to consider that a voice, though of another kind, speaks from every existing building. What is the character of these voices? Are they harsh or smooth, noble or ignoble? Is the speech they utter prose or poetry?

Mere difference in outward form does not constitute individuality. For this a harmonious inner character is necessary; and as we speak of human nature, we may by analogy apply a similar phrase to buildings.

A little study will enable one soon to discern and appreciate the more obvious individualities of buildings; further study, and comparison of impressions, will bring to view forms and qualities that were at first hidden; a deeper analysis will yield a host of new sensations, developed by the discovery of qualities hitherto unsuspected — we have found evidences of the gift of expression, and have felt the significance of it; the mental and emotional gratification caused by these discoveries leads on to deeper and deeper searching, until, in great works, we fully learn that what was obvious was least, and what was hidden, nearly all. Few works can stand the test of close, business-like analysis — they are soon emptied. But no analysis, however sympathetic, persistent or profound, can exhaust a truly great work of art. For the qualities that make it thus great are not mental only, but psychic, and therefore signify the highest expression and embodiment of individuality.

Now, if this spiritual and emotional quality is a noble attribute when it resides in the mass of a building, it must, when applied to a virile and synthetic scheme of ornamentation, raise this at once from the level of triviality to the heights of dramatic expression.

The possibilities of ornamentation, so considered, are marvelous; and before us open, as a vista, conceptions so rich, so varied, so poetic, so inexhaustible, that the mind pauses in its flight and life indeed seems but a span.

Reflect now the light of this conception full and free upon joint considerations of mass-composition, and how serious, how eloquent, how inspiring is the imagery, how noble the dramatic force that shall make sublime our future architecture.

America is the only land in the whole earth wherein a dream like this may be realized; for here alone tradition is without shackles, and the soul of man free to grow, to mature, to seek its own.

But for this we must turn again to Nature, and hearkening to her melodious voice, learn, as children learn, the accent of its rhythmic cadences. We must view the sunrise with ambition, the twilight wistfully; then, when our eyes have learned to see, we shall know how great is the simplicity of nature, that it brings forth in serenity such endless variation. We shall learn from this to consider man and his ways, to the end that we behold the unfolding of the soul in all its beauty, and know that the fragrance of a living art shall float again in the garden of our world.

2.2 Ornamental language is still concerned with the way of expression.
First published in The Engineering In architecture, ornamentation is used to decorate and give interest and character to a building.

Think of the last church or cathedral you visited, how much of the ornamentation was necessary for it to function as a church? Not much, but it’s there to give interest and impress you with its decoration.

In music, ornaments are used in much the same way. They’re not often essential to the melody of a piece but are used to “show off” and provide a different layer of musical complexity.

Types of ornaments

There are lots of different types of ornaments that you’re likely to see when reading and playing music.

In terms of music theory though there are few you’ll need to know about for your exam:

Turns

Mordents

Trills

Acciaccaturas

Appoggiaturas

Let’s start off by looking at turns.

Turns

The symbol for a turn ornament is a curled S shape turned on its side and it sits above a note on the stave.

Turn

There are two types of turn that we’re going to look at:

Regular turns

Inverted turns

Let’s start by looking at regular turns.

Regular turns

First up we have a regular turn. When you see this symbol it means that you should actually split the note into four different notes.

Regular turns

So if we had a crotchet turn we would play four semiquavers starting with the one above the main note, the main note, then the note below followed by the last note which is the main note again.

Inverted turns

Next, we’re going to look at another type of turn called the inverted turn. There are two ways to write an inverted turn. Both mean the same thing.

The way to write an inverted turn is just like a regular turn but with a line straight through the middle. The second way is to draw the turn upside down or ‘inverted’.

Inverted turns

Inverted turns start on the note below the main note, followed by the main note, then the note above, finishing on the original note again.

Mordents

Up next we have the mordent which is a short ornament that means you should quickly alternate between the main note and the note above or below.

You draw a mordent by using a short wavy line above a note like this:

A mordent

Like turns there are two types of mordent:

Mordents (or upper mordents)

Lower mordents

Let’s start by looking at an upper mordent.

Mordents (upper mordents)

An upper mordent is made up of three notes, starting on the main note, going up to the note above and then back to the main note again.

The first two notes are played very quickly and are usually demisemiquavers like so:

Mordents

Lower mordents

A lower mordent is almost exactly the same as an upper mordent but instead of alternating to the note above the main note they go down to the note below.

Lower mordents

Lower mordents have a line straight through the middle of the wavy line (like an inverted turn).

The way I remember the difference is that if it has a Line through it, it must be a Lower mordent.

To see mordents in action this video of Bach’s French suite Sara shows lots of upper and lower mordents being used.

Trills

A trill or ‘shake‘ symbol indicates that you should alternate between the given note (the principal note) and the note above it (the auxiliary note) quickly and repeatedly.

It’s like a mordent but you alternate a lot more times.

The symbol for a trill is to write the letters above a note:

A trill

When it comes to writing and playing trills there are a few rules to follow but they depend on the context of the music that you’re playing.

The general rules these days are that:

You should begin the trill on the principal note

You should end the trill on the principal note

But that wasn’t always the case, in music written before around 1800 it was the convention to begin a trill on the note above the principal note (which we’ll look at later).

Anyway, here’s an example of a trill on a crotchet and what you’d play now:

Because trills should always finish on the principal note it’s very common to add a triplet on the last notes.

As I mentioned earlier, nowadays trills should start on the principal note but, if the music was written before 1800 you’d likely start a trill on the note above like so:

Sometimes trills will end with a turn going to the note below the principal note but it depends on the context of the music you’re playing as that will often determine which conventions you follow.

There are so many pieces of amazing music using trills, but have a listen to this piece by Debussy which trills at the beginning extensively.

The acciaccatura

The acciaccatura is also known as a ‘grace note or crushed note‘ and is very common in lots of classical music.

It is written like this as a very small note with a line through its stem like so:

Acciaccaturas are to be played as quickly as possible before the main note they’re written in front of.

Essentially they’re played as a demisemiquaver which is subtracted from the original value of the note it’s written in front of.

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