**2.1. Elements of language**

The heuristics is determinative for any human activity which starts from imagination and approximation; it aims content and is omnipresent. In DEX (Romanian Explanatory Diction‐ ary), we decode this notion as "a part of science aiming to discover new facts" [2]. The sense thus decelated signifies "a novel idea in composition, a research theme originally designed differently than currently contemplated……an unconventional interpretive requirement" [3]. Thus, we try with modest initiative to build bridges, similarity tracks, to find areas in which architecture and music converge. "The artistic beauty penetrates and floods the entire structure

Proceedings of the International Conference on Interdisciplinary Studies (ICIS 2016) - Interdisciplinarity and Creativity

We shall see that this time too, in the paradise of Romanticism, ties between the two arts and sciences are woven. They are so different in expression, the architecture from the concrete, material towards the symbolic level and music on vibrational level, from weightlessness and

Both subjects operate with archetypes. Carl Jung, who has defined the archetype, enough so that we can stop thinking of our existence outside the patterns, suggests the following definition: "a matrix which influences human conduct, both in terms of ideas and those of moral, ethics and conduct in general" [4]. Artistic archetypes of music and architecture belong to "the universally unconscious dimension. Being sediment of the experiments of the species..." [5]. There lays the custodian of models, Jung outlining that the archetypes operate with symbols and suggesting that all archetypal markings are symbols. Thus, in the dimension of the two subjects, the symbols ever so present are projections of archetypes, with direct lineage

The convergence between the two fields, music and architecture, through structuralism and heuristics is explained by the very principles demonstrated in the evolution of this orientation

The esthetical categories decisive for this period would shape the thinking of the creators, effectively regulating the balance between the Gothic past, the Romantic present and modern future for Romanticism: humour with its nuances, satire, sarcasm, irony, tragedy, sublime,

Romanticism, an aesthetic of the end of eighteenth century and the entire nineteenth century, proved to be a custodian of several tendencies, values and renewals. The tumult of the French Revolution (1789) has triggered the voluntary effort of a nation, then through mimesis and of others, to free itself from any constraints. Liberté, Egalité, Fraternité was the impulse which drove a generation and others in the future, towards a new dimension of consciousness, of the power which needed to be removed. It was followed by independence wars of nations, which entailed the break-up of Feudal and the imminence of Capitalist relations. The undetermined potential of consciousness, accountable for the evolution of mankind "provides, at the same time, a pragmatic map of the obstacles which need to be overcome in order to reach the optimal

of the psyche with vitality—strengthening it" [3].

in the Knowledge Society

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evanescence towards the materialization level.

from the collective unconsciousness.

grotesque and fantastic.

of ideological, philosophical and artistic nature.

**2. Convergence between architecture and music**

In architecture, in the nineteenth century, there is an overlaying of tendencies, which meet and complete each other in their temporal rush to aesthetically settle the volumes: Romanticism and Neoclassicism. The tendencies are contemporary, they are both linked to the past but the manner in which they relate to it is much different. The Romanticism in architecture is more than a style; it is a human state of mind, a contemplative and nostalgic attitude which denies the Neoclassicism. It denies it because of the excessive canonization, since the creative spirit of a Romantic architect cannot obey a set of strict rules, him being at the same time a demiurge which imagines and constructs an entire universe. The artist, the Romantic architect, is the creative genius, who is guided by his own sensitivity and the created ambiance is addressed to the soul and human sensitivity, not the mind or reason. The beauty is not a wish, but rather the expressiveness and capability of a building, of a landscape or interior decoration to carry you to a different universe. The state of reverie, of contemplation, of escapism from the present is due to the social, economic and political context of the time (the demographic boom, industrialization), but also the much easier travelling in this period, which has allowed people to come in contact with civilizations and cultures of the past or long gone, with the role to ignite imagination or even nostalgia.

The period perhaps most focused upon by the Romantics is the Middle Ages, therefore we also encounter the term Neogothic architecture, being a source of inspiration for the ecclesiastical architecture, such as the façade of Church Santa Maria Novella or that of Church Santa Croce (1853–1863), both in Florence. Expressing the human individuality coincides with the will and deeds of nations in the Middle Age period, all the more reason to look upon those times with nostalgia.

The countries where Romanticism was widespread were England, which has left the English picturesque garden as legacy, Germany which turns towards its glorious past and the architectural and not only drive of Gothic and France which after the Revolution of 1790 was compelled to find solutions of restoration and conservation of monuments, the tragedy being the trigger of breaking new grounds with beneficial effects for what was to become the architectural heritage.

The Gothic is the undeniable source of inspiration in this period, both from ideological and structural and architectural point of view, but the nineteenth century signals an original building material which allows openings that seem to defy gravity and heights which aim to the sky: metal. Thus, the Trinity Church and Brooklyn Bridge, both in New York are designed and built which proves the drive of Romanticism, not only in Europe but also on other continents. In the south of Germany, in Bavaria, the Neuschwanstein, the castle of Ludwig II, was built and would serve as inspiration for the world of Disney's fairy tales. In England, the

Parliament (1839–1888) and Tower Bridge (1886–1894) were both built in Neo-gothic style and became some of the landmarks of London and the nation.

The technique would be the foundation of the architectural aesthetic ambiance. The reality of the end of eighteenth century shall be guarded by a novel repertoire, that of the mechanic, physics and mathematical inventics. The discoveries of Isaac Newton (1687), Robert Hook (1687) and James Watt (1782) are decisive. The cognitive transformation from the field of exact sciences shall support that from the field of arts, each following an alchemical track, worthy of the leap of an aesthetic orientation.

In music, the Romanticism signifies mind-blowing universe dominated by fantasy, imagina‐ tion, feelings, liberty, anxiety, national history, specific folklore, conflict and retreat towards mythical themes. The return to the distant past of the Middle Ages, at the expense and to the discrediting of the Classicism is a global approach in all arts. Musical languages, conditioned by the expressive implications and Romantic impulses, have responded to some social needs, themselves conditioned by the emancipation of thought, caused by the elevation of human consciousness. The early Romanticism, the first blossoming of national schools, Post-roman‐ ticism, are just as many dimensions generated by the thought of creators determined to alter the symmetry and formal balance of classical creations, of tonal functions which imprint a sound much too balanced, much too delicate for the passionate experience of the Romantic hero, of a predictable timbrality.

The melody, conspicuous in the first part of the orientation, is increasingly evanescent towards the Post-romanticism. The chromatic insertions would alter its recognized melodiousness, translating a dynamic melodic track, with interval leaps which bring about restlessness, disturbances and even anxieties generating sound intermittences into the level of conscious‐ ness. The harmony, in its expressiveness, through the increasingly atypical, indefinite succes‐ sions, opposable to Classicist rules, joins the characteristics of the melody, so conspicuous, clear and transparent in the past aesthetics.

Both of them combined would shape the vibrant Romantic sound images. The timbrality is the bold renewal of Romanticism, in the sense of its activation after a few centuries of instrumen‐ talism, in which composers have neglected this quality of sound. In Romanticism, melody, harmony and timbrality would be sustained, being integrated into the aesthetic and philo‐ sophical principles of the time.
