Dissertations / Theses on the topic 'Composition (Art)'
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Willgoss, Richard Adrian. "Creativity in Art Music Composition." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20586.
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This thesis investigates what it means to call art music composition creative. Research into the concept of creativity has taken place mostly in science-based disciplines and is reviewed for its relevance. Discussions on what may constitute the foundations of creativity in music are conducted. Musical creativity is not bounded by normativity, consistency, truth-boundedness, optimization or effability for its recognition and is largely aesthetic. Current research methods are mainly explanatory, objective and analytic, and necessarily fall short in understanding musical creativity. It thereby undermines the validity of these methods when used to justify one’s understanding. The undermining invariably takes place by disrupting logical and reasonable expectations. The significance of this research is that it attempts to find and describe essences of the subject matter, the effect of which actually disrupts grounds for finding essences in the first place. It no longer seeks to explain creativity in musical composition. This thesis argues that creativity in art music composition is better understood through philosophical phenomenology than through analysis, where evidence as experience and description naturally includes aesthetic considerations. What composers say is made potentially helpful to understand their musical creativity. They are approached using an interview technique where problem solving, truth-boundedness, optimization and reasonable causality are set aside as essential precepts. Responses are interpreted intuitively to reveal essences present. Trains of thought that reveal essential properties in interview content are intuited. They show that communication is a prominent essence to motivation for being creative. Perceptual attitudes and experiences are often provoked by disruption to sonic expectation. Creativity in art music composition then becomes a generic initial step in the way it communicates and inspires through playing with musical expectation.
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Haines, David Sean. "Osmologies : towards aroma composition." Phd thesis, Sydney College of the Arts, 2012. http://hdl.handle.net/2123/14423.
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Robinson, Chelseigh. "Music and Art: Exploring Cross-Pollination." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/115.
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As a music student who was always more attracted to the “academic” side of music rather than the performance side, I have come to hold a great respect for music history. This interest only grew when I got the opportunity to study music for a semester in Edinburgh, Scotland. Being surrounded by so much history, both musical and artistic, only fed my passion. I began to notice many similarities between the development of music and art both during lectures at the university and in my leisure time in galleries. I noticed that composers and visual artists in the same time period would hold similar beliefs or thoughts, therefore similarities could be found between the two art forms. Oftentimes, I would come across a composer whose compositional techniques were directly influenced by an artist and/or vice versa. I became interested in this type of cross-pollination in music and soon began to ask myself the question “Have the development of art and music always been influenced by each other? How many composers were inspired by art?” When it came time to begin my honors thesis, I decided to address this topic. So, I chose to explore this type of cross-pollination in music and, in conjunction with this research, create my own musical composition based on a work of visual art of my own choosing. Specifically, I wanted to look more carefully at the technique composers had used historically to connect their pieces of music with particular pieces of visual art. I therefore chose several art-influenced compositions to examine how the music expresses the art.
In the first chapter of my thesis, I discuss the problem of turning spatially existing art into a temporally existing composition and explore several compositions in which the composers chose to construct a musical narrative as an approach to this challenge. In the second chapter, I revisit the problem of turning art into music but instead explore a different set of compositions that overcome this issue using a ‘snapshot’ technique. In the third chapter, I take a look at ekprasis as a technique used to translate abstract art into music and focus on how one composition in particular expresses the artwork. The fourth chapter is a journal discussing the art I have chosen, the stages in my compositional process, and how I used what I learned from my research to create my own composition. I have included the score of my composition as the fifth chapter.
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Peterson, Megan L. "Telling Stories About Monsters Through Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/86.
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This study is about how the research of monsters and contemporary artists who create monster-related work can help create monsters from my own imagination using the process of synthesis. In it I discuss how the monsters I created in my artwork tell a story. I also talk about how this study can be used to relate art to other fields of study such as English and History, and the idea of Visual Culture.
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Forster, Lisa Elizabeth. "Searching /." Online version of thesis, 1987. http://hdl.handle.net/1850/8838.
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Groscost, Donald. "Music and art : an analogical approach /." Online version of thesis, 1987. http://hdl.handle.net/1850/10432.
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Wages, Mark A. "Pattern in composition of the visual arts." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115757.
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This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of the pattern movement. The writer identified an under-utilized method of depiction that is likely to be resurrected and developed. This research is artistically relevant in that it recognizes a compositional method that was prematurely abandoned and is worthy of re-exploration.Department of Art
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Yeilding, Donnie Cook. "Freshman composition instruction in Texas: the state of the art." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332693/.
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The purposes of this study were to determine freshman composition requirements, to describe organization of writing programs, to describe staffing of writing programs, to identify common textbooks and syllabi requirements, to describe course content and pedagogy, and to describe common goals and philosophies of Texas writing programs.
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Barré, Dominique. "L'organisation de la surface dans la photographie des années 1970 en France /." Paris : Université de Paris VIII-Saint-Denis, 1988. http://catalogue.bnf.fr/ark:/12148/cb358161638.
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Bumke, Helga. "Statuarische Gruppen in der frühen griechischen Kunst /." Berlin [u.a.] : de Gruyter, 2004. http://www.loc.gov/catdir/toc/fy0704/2005404149.html.
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Fagundes, Diego Macedo de. "AudioVisual collage : a computational framework for audiovisual composition and computational art." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22000/.
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This thesis proposes a novel system for audiovisual composition called AudioVisual Collage. It consists of a screen-based interactive system, which contains a series of algorithms responsible for automating the tasks of image segmentation, inpainting, virtual camera motion, 3D lighting, visual transitions and visual motion generated from data extracted from audio files. With the merging of theory and practice, this research project investigates new possibilities, new approaches, and alternative examples of what can be explored in the field of computational art so as to offer a computational framework embodying a set of conceptual principles for digital fine arts practice. The set of algorithms that constitute the AudioVisual Collage framework embody a collection of digital design techniques and artistic concepts created through an iterative, collaborative process with other artists, in which I acted as the sole computational practitioner. The two collaborative projects presented in this thesis, Surround Sounds and Interactive Art Gallery, are part of an on-going creation of case studies, which have allowed me to better understand a series of approaches and methods, leading to the design of a framework to successfully communicate and apply specific creative ideas. AudioVisual Collage is a framework that allows other artists and designers to create their own audiovisual aesthetic experiences, generating rich media outcomes constructed by software in real-time. That is, the system incorporates approaches from traditional media, such as sound recording and cinema, in order to generate new computational media based on a set of clear design principles. It also proposes an art vocabulary for audiovisual composition in the digital domain, which aims to deliver something unique in terms of the inherent potential of digital work that is not possessed by other media. AudioVisual Collage demonstrates an approach for manipulating the temporal structure and spatial organisation of visual elements so as to reflect their content, and also, a method for combining visual artworks and sound in the creation of algorithmic screen-based aesthetic experiences. Equally important, it is in itself a statement of what could be possibly developed in terms of algorithms for audiovisual composition in the filed of computational art.
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Won, Jaesun. "Sculptural jewelry in line composition /." Online version of thesis, 2008. http://hdl.handle.net/1850/6247.
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Solet, Francis. "Redéfinir le statut ontologique de l'art : art moderne, art postmoderne, art contemporain." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0345.
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Au sein d’un même espace muséal, qui est exclusivement dédié à l’art contemporain nous constatons la présence simultanée de formes traditionnelles d’art à côté d’installations. Il nous semble que ces œuvres d’art sont trop différentes pour être réunies sous la même appellation Art Contemporain. Dans cette étude nous analysons les présupposés philosophiques de la Modernité et de la Postmodernité, puis après avoir disqualifié la postmodernité, nous prenons l’Exposition à la Kunsthalle de Bern, en 1969, Quand les attitudes deviennent forme, comme date de naissance de l’art contemporain, et les œuvres qui y sont présentées comme la forme paradigmatique de l’art contemporain. La caractéristique essentielle des œuvres d’art contemporain,c’est qu’elles sont créées in situ et qu’elles peuvent être démontées et réinstallées. Ceci pose des problèmes de persistance d’identité dans le temps, à travers ces différents intervalles temporels. Nous analysons la théorie endurantiste des objets tridimensionnels et la théorie perdurantiste des objets quadridimensionnels. Nous adoptons comme principe méréologique de composition des parties temporelles, le principe installation réinstallation, qui permet de justifier la persistance d’une mêmeté de ces Œuvres d’art Contemporain au cours du tempsWithin the same museum space, which is exclusively dedicated to contemporary art, we find traditional forms of art beside installations. It seems to us that these works of art are too different to be labelled: Contemporary Art.In this study we analyze the philosophical assumptions of Modernity and Postmodernity and after having disqualified postmodernity, we claim that the Exhibition at the Kunsthalle in Bern, in 1969, When attitudes become form, is the birth date of art contemporary, and those works represent the paradigmatic form of contemporary art.The essential characteristic of contemporary art works (OAC) is that they are created in situ and can be dismantled and reinstalled. There is a problem of persistence of identity over time, during these different intervals of time. We analyze the endurantist theory of three-dimensional objects and the perdurantist theory of four-dimensional objects. We adopt the mereorological principle of composition of the temporal parts, the principle installation resettletment , which justify the persistence of a sameness of these contemporary art works through time
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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/802.
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Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.
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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." University of Sydney. Music, 2001. http://hdl.handle.net/2123/802.
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Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.
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Holmes, Douglas B. "Jn4.gesture an interactive composition for dance /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/holmes%5Fdouglas/index.htm.
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Kerr, Thorin. "Performing composition : developing a computer assisted composition system through live coding performance." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32175/1/Thorin_Kerr_Thesis.pdf.
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This thesis maps the author's journey from a music composition practice to a composition and performance practice. The work involves the development of a software library for the purpose of encapsulating compositional ideas in software, and realising these ideas in performance through a live coding computer music practice. The thesis examines what artistic practice emerges through live coding and software development, and does this permit a blurring between the activities of music composition and performance. The role that software design plays in affecting musical outcomes is considered to gain an insight into how software development contributes to artistic development. The relationship between music composition and performance is also examined to identify the means by which engaging in live coding and software development can bring these activities together. The thesis, situated within the discourse of practice led research, documents a journey which uses the experience of software development and performance as a means to guide the direction of the research. The journey serves as an experiment for the author in engaging an hitherto unfamiliar musical practice, and as a roadmap for others seeking to modify or broaden their artistic practice.
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Verschoor, Jenni. "Why do companies invest in art? The purpose and composition of art collections in the South African financial sector." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/59797.
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Companies around the world invest in art, be it through sponsorship activities or in the
establishment of corporate art collections. This study explores the primary reasons why
companies choose to invest in art collections, examining the South African financial
sector from the perspective of a developing country. It then assesses the possibility of
linking the purpose of an art collection with the type of art collected, to identify trends and
create guidelines for businesses and arts organisations respectively. Finally, it examines
the impact that leadership has on the implementation and continuity of an art collection
and how changes in leadership can have a direct impact on the focus and composition
of a collection.
The study employed exploratory research through the application of semi-structured, indepth
interviews with 13 individuals across 11 companies. These individuals
represented a variety of roles, internal and external to the organisation, ranging from the
chairperson to the Chief Executive Officer (CEO), to internal and external professional
curators. The insights obtained from these individuals were collated and analysed from
both a deductive and inductive perspective, to probe existing theories and generate new
ideas based on the information collected.
The findings of this study indicate that corporations within developing countries prioritise
the purpose and strategic intent of an art collection differently from companies in
developed markets. While it was not possible to determine definitive guidelines on how
the purpose of a collection impacts its composition, new insights were formulated on the
general focus of corporate collections on local, emerging artists, with high investment
potential. Finally, it was determined that for a collection to succeed and fulfil the strategic
aims of the company, it needs to have the active support of leadership and be built into
the fabric of the organisation.Mini Dissertation (MBA)--University of Pretoria, 2017.
ms2017
Gordon Institute of Business Science (GIBS)
MBA
Unrestricted
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Carinola, Vincent-Raphaël. "Composition et nouvelles technologies : vers des nouveaux agencements des catégories musicales." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSES036.
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L’évolution lexicale qui tend à remplacer les termes d’« écriture » ou de « composition » par celui de « création musicale » ou d’« art sonore », est un indice parmi d’autres des mutations profondes qui accompagnent l’activité du compositeur et de la difficulté à identifier nombre d’œuvres récentes comme émanant d’un processus d’écriture. Ces mutations sont évidemment corrélées à l’évolution des technologies au cours du dernier siècle, et surtout à celle de l’informatique et des outils numériques, évolution qui a fait éclater le lien de l’œuvre musicale aux catégories traditionnelles telles que la « partition », l’« instrument » ou l’« interprète », devenues ainsi parfois, à leur tour, l’indice d’une pensée musicale témoignant d’une époque révolue. Notre thèse soutient que l’existence de ces catégories demeure néanmoins fondamentale pour comprendre les enjeux de la composition, même dans les œuvres où elles semblent absentes. En effet, une des plus importantes conséquences des transformations induites par les nouvelles technologies est l’éclatement des catégories traditionnelles en une grande diversité d’objets techniques dont la mise en relation peut être assimilée à une écriture. Abordée du point de vue de l’évolution des technologies musicales, chaque œuvre apparaît alors comme un agencement, une nouvelle forme de « concrétisation », pour reprendre un terme du philosophe Gilbert Simondon, des fonctions musicales portées par des supports techniques, et c’est justement de la variété multiforme de ces agencements dont témoigne la création musicale contemporaineThe lexical evolution that tends to replace the terms "musical writing" or "composition" with that of “musical creation” or “sound art”, is an indication among others of the profound changes that the act of composition has faced, and of the difficulty of identifying many recent works as being created through a process of writing. These changes are obviously tied to evolutions in technology over the last century, especially pertaining to computing and digital tools – evolutions that have broken the link between musical work and traditional categories such as “score”, "instrument" or "performer", themselves sometimes seen to represent musical thought from a bygone era. Our thesis maintains however that the existence of these categories remains fundamental to understanding the concerns of composition, even in works where they seem to be absent. Indeed, one of the most important consequences of the transformations induced by new technologies is that traditional categories have been shattered into a multiplicity of technical objects whose interconnection can be considered as a form of writing. Discussed from the point of view of the evolution of musical technologies, each work appears as an “assemblage” (in the sense of “arrangement”), a new form of "concretization", to use Gilbert Simondon's term, of musical functions borne of technical means. Contemporary musical production bears witness to the immense variety of these assemblages
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Hellmuth, Daniel F. "Poetry and the art of building : Goethe's morphology as applied to architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/24077.
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McCunn, Meika. "Urban composition, the use of color and form inspired by art for architecture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ31619.pdf.
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Fitzgerald, Thomas A. "New music composition for live performance and interactive multimedia." Faculty of Creative Arts, 2004. http://ro.uow.edu.au/theses/284.
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The focus of this DCA thesis is the development of original creative audio and audio-visual work. Central to this is a study of the nature of interactivity and sonic relationships between electroacoustic and acoustic music, extended further by the application of sonic and visual interactivity. This written documentation accompanies the major part of the DCA submission, a folio of five original works. Its purpose is to clarify, document and contextualise the creation of these works and to illuminate the aesthetic underpinnings and compositional techniques that I have developed during the period 2000 � 2004. The structure of this documentation is in three parts which support the research methodology of reflective investigation. This process begins with an introductory overview (Chapter 1). This is extended in the second part, (Chapters 2�5), an observation of the effect of the culture, contemporary musical environments and related creative practice in my work. The third part, (Chapters 6�10), details the nature, and techniques utilized in the development of the new works. These developments have also embraced the combination of live projected interactive visual imagery with acoustic and electronic instrumentation. Finally, I have investigated the role of sonic spatialisation and texture as expressive and structural devices in music composition.
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Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.
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‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and improvised music as well as improvised dance in the performance. The performance took place in a former psychiatric hospital. In the outcomes and conclusion I present my expectations for the performance and describe how those where met. I also examine the role of cross-artistic collaboration in the project. I give examples of my own artistic development as well as my development as a project leader. I also reflect on the relevance of the project to the community. The outcomes are presented through my own reflections and through discussion where I point to literature concerning the differences and similarities between different art forms. The outcomes of the project include audience feedback from the performance. This is presented in the appendices. My conclusion shows that I was also able to create a rich and diverse performance by using simple (low-tech) methods. The performance was inspired by my experiences, interests and background. In my thesis I also show how creating and structuring the ‘Metsän väki’ performance can help me to develop as an artist doing cross-artistic collaboration.Professional Integration Project
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Magnus, Cristyn. "Evolutionary sound a non-symbolic approach to creating sonic art with genetic algorithms /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3396736.
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Thesis (Ph. D.)--University of California, San Diego, 2010.Title from 1st page of PDF file (viewed Mar. 9, 2010). Available via ProQuest Digital Dissertations. Vita. Includes 3 compact discs containing audio examples for the dissertation. Includes bibliographical references: P. 137-142.
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Janhsen, Angeli. "Perspektivregeln und Bildgestaltung bei Piero della Francesca /." München : W. Fink, 1990. http://catalogue.bnf.fr/ark:/12148/cb35531486f.
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Blom, Diana. "Minimal music roles and approaches of teachers engaging students with a contemporary art music through composing activities /." Connect to full text, 2001. http://hdl.handle.net/2123/802.
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Thesis (Ph. D.)--University of Sydney, 2002.Title from title screen (viewed Apr. 24, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Music, Faculty of Arts. Degree awarded 2002; thesis submitted 2001. Includes bibliography. Also available in print form.
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Chung, Fiona, and 鍾雅妍. "Music composition and creative writing: exploration and application of frames in music and word." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B40987863.
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Mathevet, Frédéric. "Faire la peau. . . : la musique au risque de la plasticité." Paris 1, 2006. http://www.theses.fr/2006PA010582.
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La plasticité est envisagée comme une pensée des mains, qu'il s'agit de men1aliser comme un mouvement simultané du corps et de r esprit : une gymnastique. Son lieu: le méta - atelier, espace de travail labile et mutable. Celui-ci ne privilégiant aucun matériau, accepte les son&, et donc pourquoi pas la musique en entier. Puis le processus compositionnel au risque de la plasticité change radicalement tous les niveaux substantiels de la musique. Le son est rendu à ses dimensions concrètes et ne se satisfait plus des catégorisations usuelles. Au contraire, c'est un son reconnecté au réel, c'est-à-dire à toutes les dimensions sensibles du milieu qui l'a vu naître qui est privilégié dans l'atelier du plasticien. En effet son objet sonore, fait signe: il bouleverse l'écoute réduite. Alors, il se dégage plusieurs possibilités compositionnelles pour le musicien plastique: une pratique musicale "in situ" qui se déduit de l'observation d'une circonstance, ou la construction d'une circonstance multi-sensible.
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Chung, Fiona. "Music composition and creative writing exploration and application of frames in music and word /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B40987863.
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Salazar, Camilo. "Clestrinye El carnaval del perdón : traditional rituals in intermedia composition /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9041.
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Thesis (M.M.)--University of North Texas, 2008.For live and fixed electronics, mixed ensemble, dancers and painters. Four or more musicians, preferably play flutes, saxophones, clarinets, recorders and/or Kamëntsállnga wind instruments; musicians also perform various percussion instruments. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 36-38).
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Barsky, Carol. "Images of Art: Katherine Mansfield's Use of Line, Color, and Composition in Her Short Stories." TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/893.
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Katherine Mansfield's short stories include numerous visual images, many of which contribute significantly to the stories' moods and themes. Her visual imagery has been linked with literary devices such as symbolism and irony. This study, however, emphasizes three major principles of the visual arts apparent in her imagery—line, color, and composition—that also play important roles in imbuing a substantial number of her images with possible meaning. The prominence and skillful handling of these artistic techniques suggest that she purposely wove them into her works to produce psychological effects that induce moods or support themes. As a result, Mansfield successfully merged verbal and visual languages to promote a greater sensitivity to her characters' perceptions and feelings. Mansfield's ability to see and creatively imitate reality as painters do, her friendship with painters (particularly Dorothy Brett), and other documented evidence of a fascination with the visual arts point to an apparent dependence on artistic techniques and theories that add an essential dimension to many of her stories. The most compelling evidence, however, exists within the many visual images themselves.
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De, Bruto Petro C. "ART-related body composition changes in adult women in a semi-rural South African context." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17445.
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Assignment (MPhil)--University of Stellenbosch, 2006.ENGLISH ABSTRACT: The aim of this study was to investigate practical methods of monitoring AIDS related wasting and lipodystrophy in a resource-poor clinical setting with HIV infected women as the population group of interest. Measurement of body composition changes using anthropometry is both cost- and time-efficient. Various different skinfolds were taken and two different equations (the equations of Pollock et al. (1975) and Durnin and Womersley (1974) for calculating body fat were used to determine the most promising method or methods of monitoring body composition changes in a clinical setting. Detailed anthropometric measurements were performed, as well as selected measurements for haematological parameters and quality of life (QoL) for a group of 8 participants on antiretroviral medication (ART group) and 6 participants who were not on treatment (TN group). New variables namely, intra-abdominal indicator (IAI) and a percent of ideal body mass to percent of ideal arm circumference ratio (%IBW:%IAC) were investigated as possible indicators of lipodystrophy. Although measurements were taken at various timepoints, three specific time-points were chosen for data-analysis for the ART group and two time points for the TN group. These three time-points were, baseline (on the day of recruitment for TN participants and within one month before the initiation of treatment for ART participants), short-term (2 to 12 weeks after treatment initiation or the baseline measurement or for the ART and the TN participants) and long-term (within one and a half year of treatment initiation for the ART group). ART and TN participants did not differ for many variables at baseline. The major differences between ART and TN were in measured and derived variables of the arm, especially percent of ideal arm circumference (%IAC) and upper arm fat area (UAFA), which were significantly lower in the ART group. CD4+ and QoL improved significantly for the ART participants from baseline to long-term. This was not associated with changes in muscle mass, but rather some fat mass variables. Participants on antiretroviral medication exhibited changes relating to abdominal obesity. It was concluded that antiretroviral therapy contributed greatly to the QoL of the participants and it probably aided in the recovery from wasting for at least one participant in this study. Measures of the arm can be used in a rural clinical setting to effectively monitor patients with regard to AIDS related wasting. The new variables IAI and %IBW:%IAC could be helpful in the monitoring of lipodystrophy and should be investigated in future research.
AFRIKAANSE OPSOMMING: Die doelwit van hierdie studie is om praktiese metodes te ondersoek om VIGS-verwante uittering en lipodistrofie te meet in ‘n plattelandse kliniese omgewing (waar hulpbronne dikwels beperk is) met MIV ge-infekteerde vroue as populasiegroep. Die gebruik van antropometrie om veranderinge in liggaamssamestelling te meet is beide koste- en tydeffektief. Verskeie velvoumetings is geneem en twee verskillende vergelykings (die vergelykings van Pollock et al. (1975) en Durnin en Womersley (1974)) is gebruik om liggaamsvetinhoud te bereken, met die doel om ‘n belowende metode te vind om veranderinge in liggaamssamestelling te meet in ‘n kliniese omgewing. Verskeie antropometriese metings is geneem, sowel as uitgesoekte hematologiese en lewenskwaliteitmetings (QoL) vir ‘n groep van agt deelnemers wat antiretrovirale medikasie ontvang het (ART groep) en ses deelnemers wat nie hierdie behandeling ontvang het nie (TN groep). Nuwe veranderlikes (binnebuikindikator (IAI) en die verhouding van persentasie van ideale liggaamsmassa tot persentasie van ideale armomtrek (%IBW:%IAC)) is ondersoek as moontlike aanwysers van lipodistrofie. Drie spesifieke tydpunte vir die ART groep en twee tydpunte vir die TN groep is gekies uit die verskeie tydpunte waarby metings geneem is, nl. basislyn (gedefinieer as die dag wat TN deelnemers in die studie opgeneem is en 0 tot 4 weke voor die begin van behandeling vir die ART deelnemers), korttermyn (2 tot 12 weke nadat behandeling begin is of na die basislyn meting) en lang-termyn (binne een en ‘n half jaar nadat behandeling begin is vir die ART groep). By die basislyn tydpunt het min van die ART en TN deelnemers se gemete veranderlikes verskil. Die ART en TN groepe het hoofsaaklik verskil ten opsigte van veranderlikes wat betrekking het op die arm, veral persentasie van ideale armomtrek (%IAC) en bo-arm vetarea (UAFA). Hierdie twee veranderlikes was beduidend laer in die ART groep as in die TN groep. CD4+ seltelling en lewenskwaliteit tellings het beduidend verbeter vir die ART deelnemers van die basislyn tot die lang-termyn tydpunt. Hierdie veranderinge is nie samehangend met veranderinge in spiermassa nie, maar eerder met sommige vetmassa veranderlikes. Deelnemers wat antiretrovirale medikasie ontvang het, het veranderinge getoon wat gedui het op ‘n verhoogde neerlegging van vet in die buikarea. Ten slotte is bevind dat antiretrovirale medikasie bygedra het tot die verbeterde lewenskwaliteit van die deelnemers en dat dit waarskynlik ook die omkeer van uittering van ten minste een deelnemer aangehelp het. Daar is ook bevind dat armverwante metinge gebruik kan word in die plattelandse kliniese omgewing om pasiënte suksesvol te monitor ten opsigte van VIGSverwante uittering. Die nuwe veranderlikes, IAI en %IBW:%IAC kan moontlik gebruik word om lipodistrofie-verwante veranderings te meet en die gebruik van hierdie veranderlikes behoort ondersoek te word in verdere navorsing.
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Zuccolo, Michelle University of Ballarat. "Space : contemplating the voids." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12735.
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This research project into the manipulation of spatial concepts by artists on the two-dimensional surface plane, has involved a selected study into cultural and aesthetic evolution from early civilization through to the present era. I have cast a line of inquiry into eastern, western and primitive art practices, observing the journey of chance accelerated by developments in technology. Traditionally artists utilized modes of spatial convention and techniques according to the specific cultural traditions of the time and place of their production. By contrast, contemporary artists know no such boundaries, and are able to select from a range of spatial options relevant both to current forms of expression and to a personal visual language. My own art practice has been enriched and extended, increasing my ability to challenge the notion of still life composition by reversing the traditional hierarchy of form and space through the application of a series of experiments brought about by extensive research into this spatial evolution. The research project has further assisted this development in my art practice by engaging me in a new level of understanding of the topic, informing my perceptions and increasing my ability to translate a combination of forms in space with heightened emotion and personal meaning.Master of Arts (Visual Arts)
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Mauney, Nancy Jewell. "An architecture of impressionism : an abstraction of the principles of impressionistic painting into a set of principles of impressionist architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23423.
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Hammer, Steven Reginald. "Writing (Dirty) New Media: Technorhetorical Opacity, Chimeras, and Dirty Ontology." Diss., North Dakota State University, 2014. https://hdl.handle.net/10365/27537.
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There is little doubt that emerging technologies are changing the way we act, interact, create, and consume. Yet despite increased access to these technologies, consumers of technology too seldom interrogate the politics, subjectivities, and limitations of these technologies and their interfaces. Instead, many consumers approach emerging technologies as objective tools to be consumed, and engage in creative processes uncritically. This disquisition, following the work of Hawisher, Selfe, and Selfe, seeks ways to approach the problem of a “rhetoric of technology” that uncritically praises new technologies by drawing on avant-garde art traditions and object-oriented ontology. I argue that, by following the philosophies and practices of glitch, dirty new media, zaum, dada, circuit-bending, and others, we might approach writing technologies with the intention of critically misusing, manipulating, and revealing to ourselves and audiences the materiality of the media and technologies in use. In combination with these avant-garde practices and philosophies, I draw from object-oriented ontology to argue that we, as new media composers, never simply write on or through our technologies, but that we write in collaboration with them, for they are active and agential coauthors even (and especially) despite their status as nonhuman. I argue for an model that not only levels the ontological playing field between humans and nonhumans, but also one that embraces irregularities and “glitches” as essential features of systems and the actors within those systems. Finally, I provide examples of how to perform these models and philosophies, which I call object-oriented art.
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Kell, Klaus. "Formuntersuchungen zu spät- und nachhellenistischen Gruppen /." Saarbrücken : Saarbrücker Druckerei und Verl, 1988. http://catalogue.bnf.fr/ark:/12148/cb355604008.
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Zuccolo, Michelle. "Space : Contemplating the voids." Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/31831.
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This research project into the manipulation of spatial concepts by artists on the two-dimensional surface plane, has involved a selected study into cultural and aesthetic evolution from early civilization through to the present era. I have cast a line of inquiry into eastern, western and primitive art practices, observing the journey of chance accelerated by developments in technology. Traditionally artists utilized modes of spatial convention and techniques according to the specific cultural traditions of the time and place of their production. By contrast, contemporary artists know no such boundaries, and are able to select from a range of spatial options relevant both to current forms of expression and to a personal visual language. My own art practice has been enriched and extended, increasing my ability to challenge the notion of still life composition by reversing the traditional hierarchy of form and space through the application of a series of experiments brought about by extensive research into this spatial evolution. The research project has further assisted this development in my art practice by engaging me in a new level of understanding of the topic, informing my perceptions and increasing my ability to translate a combination of forms in space with heightened emotion and personal meaning.Master of Arts (Visual Arts)
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Zuccolo, Michelle. "Space : contemplating the voids." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/16226.
Full textAbstract:
This research project into the manipulation of spatial concepts by artists on the two-dimensional surface plane, has involved a selected study into cultural and aesthetic evolution from early civilization through to the present era. I have cast a line of inquiry into eastern, western and primitive art practices, observing the journey of chance accelerated by developments in technology. Traditionally artists utilized modes of spatial convention and techniques according to the specific cultural traditions of the time and place of their production. By contrast, contemporary artists know no such boundaries, and are able to select from a range of spatial options relevant both to current forms of expression and to a personal visual language. My own art practice has been enriched and extended, increasing my ability to challenge the notion of still life composition by reversing the traditional hierarchy of form and space through the application of a series of experiments brought about by extensive research into this spatial evolution. The research project has further assisted this development in my art practice by engaging me in a new level of understanding of the topic, informing my perceptions and increasing my ability to translate a combination of forms in space with heightened emotion and personal meaning.Master of Arts (Visual Arts)
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Stiles, Mary. "The art of light : a reflection on a piece for orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq48230.pdf.
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Kreiss-Tomkins, David. "Use of Tlingit art and identity by non-Tlingit people in Sitka, Alaska." Thesis, University of Alaska Fairbanks, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558370.
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Tlingit culture, as with many Indigenous cultures that exist under colonial rule, is often described as being in danger of disappearing. Despite this, the appropriation of and subsequent use of cultural practices by non-Tlingit people, and especially white people, is a continuation of the process of colonization when it is enacted in a manner that is not critical of current and historical racism, capitalist pressures and colonial violence. This project addresses the topic through recorded conversations with seven Tlingit women in Sitka, Alaska in an attempt to place Tlingit cultural production and use in the broader contexts of Indigenous cultural sovereignty and resistance to US imperial power. While various types and extremes of cultural appropriation are examined and compared to theory examining privilege and oppression, this project does not delineate general rules for appropriate and inappropriate use of culture.
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Cummings, Cathleen Ann. "Composition and narrative in the Ayodhyakanda of the Jagat Singh Ramayana: a study of text and image in an Indian manuscript." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384524515.
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Mėgelaitytė, Eglė. "TEKSTILĖS KOMPOZICIJA „SPALVOTOJI FUGA“." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_111202-66729.
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Diplominio darbo autorius - Eglė Mėgelaitytė, aprašo baigiamąjį darbą pavadinimu – „Spalvotoji fuga“. Diplominio darbo tema – spalvotoji fuga – apibendrina dailės ir muzikos meno šakų siejimąsi tarpusavyje, darbo tikslas – išnagrinėjus šių meno šakų sąsajas, sukurti tekstilės kompoziciją, kurioje būtų vizualizuojama muzikos kūrinio forma.
Teorinė ir kūrybinė baigiamojo darbo dalys susideda iš keturių tarpusavyje susijusių dalių. Pirmoji darbo dalis yra apie meno šakų – muzikos ir dailės tarpusavio sąsajas ir vaidmenį mokymo procese. Čia apžvelgiama ir analizuojama dviejų meno šakų samprata ir reikšmė.
Antroje dalyje nagrinėjama anketinė apklausa pagrindinėje mokykloje, čia analizuojamas dailės ir muzikos meno šakų ugdymas ir mokinių požiūris į šias meno šakas. Pateikiama apklausos esmė ir metodika, apžvelgiami rezultatai ir išvados.
Trečioje dalyje pateikiama muzikos formų vizualios interpretacijos įvairių menininkų darbuose. Apžvelgiami autoriai ir jų darbai kurti muzikine tematika.
Ketvirtoje dalyje pateikiami kūrybinio darbo įgyvendinimo etapai – muzikos kūrinio formos – fugos idėjos formulavimas, kompozicijos eskizai, technologiniai pavyzdžiai, darbo įvykdymo ir tekstilės kompozicijos fotografijos.
Darbo pabaigoje pateikiamos apibendrintos analizuotos literatūros, apklausos mokykloje, muzikos formų vizualių interpretacijų įvairių menininkų darbuose ir kūrybinio darbo išvados.
Taip pat sukurta ir įvykdyta tekstilės kompozicija (140x230), atlikta klijavimo ir šibori... [toliau žr. visą tekstą]Thesis author – Egle Megelaityte, titled her work – “Colourful fugue”. Thesis colligates the visual art and music inter-connection with each other, aiming at creating of textile art composition visualizing musical piece after an examination of artistic ties between these two art forms. Thesis consists of four sections. The first part deals with ties, bonds and role in education between music and visual art. It analyses significance and cognition of these two branches of art. The second part examines the polled survey performed in high school. It analyzes education of music and fine arts of students as well as attitudes towards these disciplines. Provides questionnaire type and methodology; an overview of the results and conclusions. The third section presents various forms of visual interpretations of music in different works of fine art. This part looks into artists and their created visual art that was based on musical themes. The fourth part provides insight into milestones of the creative work realization – shaping the idea of musical form – the idea of fugue, composition sketches, examples of technology, photos of work in progress and finished artwork. Thesis conclusions are provided in the end, along with used literature, school surveys; examples of music form interpretations in various types of visual works of art. Designed and realized the textiles art composition (140x230), created using glue and shibori technology.
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Hignell-Tully, Daniel Alexander. "Scoring other : the social function of art-making." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68361/.
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To what degree is it possible to score an artistic event for which the impetus is a social, rather than aesthetic, effect - and indeed, to what degree are these effects separable? How, in short, can the composer or artist create a blueprint for a relational practice that is fundamentally concerned more with actions within the community than it is with any outcomes or objects presented to the community? This thesis seeks to explore the role of the Other through the composition of a set of participatory scores for social activity. Devised from the perspective of a composer and sound-artist, this practice-led research investigates three strands of social engagement: collaboration, interpretation, and intervention. These strands each revolve around the problems inherent to performing and scoring socially-engaged, site-specific sound works, as well as the reality of their dissemination in the public domain. Each of the methods employed not only feeds back into the score-making process, but also serves to critique existing methods and hierarchies within artistic participation, ultimately arguing for an open-ended and non-linear relationship between the act of sensing, and the (community-influenced) construction of the sensible. Exploring post-structural, ethical, and ontological notions of what it means to share and construct community with Other, this research examines the role of art as a creative movement between self-constructs that are at once individual and indivisible from the community. This work argues that such creativity extends not only to the realisation of artworks, but across the whole gamut of activity within the social event. By undertaking practice-based research into the role of Other within the event of an artwork, this thesis interrogates the socio-political hierarchies inherent to both the specific art-event, and the pre-existing community in which such events unfold. As such, the art-event points not only to the specific creative act of its making, but equally the latent creativity within the community in which the art is disseminated. The spectator, no less than the artist, defines the terms of the community by which such acts are made available to perception as an ontological reading that is not only sensed, but sensible.
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Olsson, Mica. "Visual composition in video games : Visual analyzation using eye-tracking." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64489.
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This thesis studies how classical fine art theory and visual structure can be applied to predict the viewers attention and use eye-tracking as a tool to gather results. Also if eye-tracking is applicable for testing game environments and how the artist can affect the player’s choices and actions. First it will go through classic art theory and visual structure principles such as image composition, working with color, line and shapes and contrasts between them. Based on the theory an experiment is made using several pictures and predict where the viewer would look and find interesting and gave the viewer a game environment to interact with and see how it also can be applied in interactive media. All data during these experiments is captured using an eye-tracker system which will register the viewer’s eye movement and placement on the monitor screen. Based on the experiment there is still a lot more to research in using eye-tracking for game analysis. Eye-tracking for still images worked very well and the result data was easy to follow and read, but in interactive environment it becomes more abstract and needs to be evaluated more how to best utilize eye-tracking there.Denna rapport undersöks hur man kan applicera teori från klassisk konst och visuell struktur till interaktiva spel-miljöer i realtid och kunna påverka en spelares val och handlingar. Först går den igenom teorin som används inom klassisk konst såsom komposition, arbeta med färger, linjer och former samt kontraster mellan dem. Baserat på teorin används olika bilder där teorin appliceras och förutspår vad tittaren ska kolla och finna intressant och vidare därifrån applicera samma metod men på interaktiv media. All data under dessa undersökningar kommer samlas in användandes av eye-tracking system vilket registrerar tittarens ögats rörelse och placering på en datorskärm. Baserat på resultaten finns det mycket mer att studera inom användning av eye-tracking för spelanalys. Eye-tracking för stillbilder fungerar väldigt bra med klar data att se och läsa, men för interaktiva miljöer blir det snabbt mer abstrakt och behöver utvärderas mer om hur Eye-tracking bäst kan användas där.
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Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.
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Brooks, Andrea Katherine. "The art of becoming : performance, temporality, and the composition of the filmic body in contemporary cinema." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54341.
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Film performances have long served as a point of contention in Film Studies. The elusive nature of the art form is often overlooked, and consequently approached via history, star studies, or in reducing a performance to the mise-en-scène. The aim of this thesis is to theoretically root film performances by deviating from classical performance analysis, and focusing on the abstract qualities that demarcate the practice of becoming other. To do this, I turn to the works of Gilles Deleuze (and Félix Guattari) when confronting the unique relationship between the actor’s frame and process to suggest that film performances are necessarily informed by the body and time. The film body is a doubled body, belonging to both actor and character. It serves as an aesthetic platform for the medium, and a technical substructure that maintains artistic cohesion. In investigating this interaction across cinema’s fractured temporality, we can address not only the implications of the film actor’s art, but art more generally.
In What is Philosophy? Deleuze and Guattari argue that “composition is the sole definition of art,” and “what is not composed is not a work of art” (1994 191). Not only are film performances composed for the sake of the medium, they are bound by their own compositional structure. This calls for a negotiation between the materiality of a physical body and the potentiality of a screen body that embodies otherness. In this project, I emphasize the film body’s ability to house and negotiate Deleuze and Guattari’s technical and aesthetic planes of composition. In doing this, the film body navigates the before and the after, the self and the other, and the interior and surface throughout the duration of a performance. With the increasingly popular wave of body-centered cinema emerging post-twentieth century, we can draw explicit parallels between the performative process and the physical conditioning endured prior to shooting – particularly in portrayals of pain, suffering, and emaciation. In navigating this compositional interplay, I seek to illustrate how the art of the actor is not so much dictated by the character she becomes, but rather, by the process of becoming.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Henry, Meghann. "DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2884.
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This thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre for Young Audience (TYA) companies: Patch Theatre Company based in Adelaide, Australia, Theatre Mala Scena based in Zagreb, Croatia, and the Coterie Theatre located in Kansas City, Missouri. In addition, I viewed productions by each the above companies which helped to uncover how the artists move theory into practice based on their personal theories on TYA, dramaturgy, and devising. Through this research I reveal how dramaturgy proves a key element in moving improvisations into performance texts, creating theatrical experiences that capture the imaginations of the very young.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Amatokwu, Buashie. "An Afrocentric Analysis of Hip Hop Musical Art Composition and production: Roles, Themes, Techniques, and Contexts." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/16261.
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African American StudiesPh.D.
This thesis investigates the roles, themes, techniques and contexts of composition in hip-hop. It seeks to explain how hip-hop artists view and define their work, while also taking into consideration the viewpoints of other participants in the marketing pool of hip-hop production and consumption. The conceptual plan on which the study is based is Afrocentric; coupled with Ethnographic method of data processing and interpretation. This method is comprised of personal interviews, participant observation, sonic analysis and the use of bibliographic entries and notes that allows for sense and meaning in text. Also used are documented data, which contain descriptions of hip-hop lyrics, interviews, opinions, journalistic notes, and scholarly reports as a means of evolving a cohesive sense of the message's intent, opinion, knowledge of its roles, themes, techniques, images, and contexts The study found that the issues and themes that dominate hip-hop include bondage impairment, concern over currently warped social values and trends, and challenges over oppressive cultural values and social institutions. The artists whose compositions and renderings were used for the purpose of this study not only demonstrated an ability to isolate and construct themes about issues, but were also familiar with the issues that reveal them as agents for the liberation of the minds of their Diaspora Africa peoples and communities. Their music and grassroots commentaries were found to be appropriately designed to persuade their targeted audience to greater awareness. They conveyed messages that encouraged positive attitude and behavioral change in respect to addressed themes that were, in the main, issues of disenfranchisement. They addressed negative, disapproving behaviors which the atmosphere of disenfranchisement has spurned, and were being expressed through the media of the hip-hop rap musicals. The study also highlights the connection between classical African musical expressions and postmodern Diaspora African musical innovations.
Temple University--Theses
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Celio-Scheurer, Marie-Eve. "Eugène Grasset (1845-1917), enseignant et théoricien : Edition critique des notes de cours et du traité inédit "Composition végétale"." Paris 4, 2004. http://www.theses.fr/2004PA040142.
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Notre thèse consiste d'une part en une étude sur Eugène Grasset (Lausanne, 1845-Sceaux 1917) comme enseigant et théoricien, d'autre part en une édition de ses notes de cours et du traité inédit intitulé "Composition végétale". Notre recherche a permis de mesurer, à la source même, l'importance des théories de Grasset dans l'évolution de l'éducation artistique et d'éclairer un art ainsi qu'une pensée féconds. Cet artiste décorateur enseigna la composition décorative à l'Ecole Guérin, à la rue Madame et à l'Académie de la Grande Chaumière et inaugura un cours sur l'histoire et le dessin de la lettre à l'Ecole Estienne. Son enseignement donna naissance à trois principaux ouvrages didactiques. En recherchant les origines des théories de Grasset et en évaluant leur réception, nous avons mis en évidence l'enracinement de la pensée de cet homme dans le XIX ème siècle ainsi que sa projection dans le XX ème siècle vers une conception de la forme pure perçue comme œuvre d'art. Nous avons montré que Grasset, de par sa production artistique et didactique, s'inscrit dans le débat entre art et industrie qui anima le XIX ème siècle et dans le mouvement Art nouveau auquel on le rattache communément. En examinant ses notes de cours, ses ouvrages théoriques et sa production artistique, nous avons démontré que l'enseignant, l'artiste et le théoricien ne faisaient qu'un. Cependant, le théoricien ouvrit la porte à des conceptions artistiques fort éloignées de la création de l'artiste. Cependant, si Grasset ne considéra pas les figures de son traité de 1905 comme des oeuvres en soi, il pressentit la richesse de la voie qu'il exploita et les découvertes qui restaient à faireOur research is about Eugène Grasset (Lausanne, 1845 - Paris 1917), a teacher and a theorician working in the pronciples of the Arts and Crafts movement. He became one of the pioneers of Art Nouveau in France where he was established from 1871, although he maintained close contacts with Switzerland and, more particulary, with Lausanne. Eugène Grasset did not confine himself to one only artistic medium (producing paintings, sculpture, furniture, ironwork, leaded glass windows, jewellery, illustrations, textiles, etc. ). He had success as an artist, a designer and a teacher. It is this last aspect which was the focus of our thesis. Grasset thaught in Parisian schools (Ecole Guérin, Académie de la grande Chaumière, rue Madame, Ecole Estienne). His teaching was then to lead him to publish two important works: "La Plante et ses applications ornementales" (1896) and "Méthode de composition ornementale" (1905). In the lecture otes we have discovered a third work which is unpublished: "Composition végétale" (1911-1912). The close study of Grasset's manuscrits was fundamental to understand his teching itself, but also to see the relation between artistic and didactic work