Thèses sur le sujet « Sound in art »
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Ouzounian, Gascia. « Sound art and spatial practices situating sound installation art since 1958 / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.
Texte intégralTitle from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
Davies, Shaun, of Western Sydney Nepean University et Faculty of Visual and Performing Arts. « Sound art and the annihilation of sound ». THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.
Texte intégralMaster of Arts (Hons)
Davies, Shaun. « Sound art and the annihilation of sound ». Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/402.
Texte intégralDavies, Shaun. « Sound art and the annihilation of sound / ». View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.141711/index.html.
Texte intégralPenrose, Joshua Adam. « Situating Sound ». The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282156333.
Texte intégralMilano, Omar. « It's a Wonderful Business : The Art of Production Sound ». Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.
Texte intégralTaylor, Jonathan Milo. « ImMApp : an immersive database of sound art ». Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5644/.
Texte intégralBehrendt, Frauke. « Mobile sound : media art in hybrid spaces ». Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.
Texte intégralGilmurray, Jonathan. « Ecology and environmentalism in contemporary sound art ». Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.
Texte intégralGenevro, Brad. « The art of recording the American wind band ». connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.
Texte intégralSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
Pigott, Jon. « Materials systems and autonomy in electromechanical sound art ». Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/11587/.
Texte intégralDe, Conti Diana <1987>. « Commistioni tra arte e suono : la Sound Art ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4488.
Texte intégralMcGinley, Robin. « Breaking the sound barrier : explorations in experimental sound, art, soundscape research and interactive systems ». Thesis, De Montfort University, 2009. http://hdl.handle.net/2086/2395.
Texte intégralCsinos, David M. « Light Art, Street Art, and the Art of Preaching : Sound-and-Light Shows as Public Proclamation ». Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72283.
Texte intégralWenrich, Richard Joseph. « Sound and fury ». Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2021.
Texte intégralApprich, Franziska-Maria. « Film-sound as art : a study of sound in cinema presented in theory and practice ». Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546002.
Texte intégralLabelle, Brandon. « Background noise : sound art and the resonance of place ». Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422279.
Texte intégralBhaugeerutty, Aruna Devi. « Sound art : discourses of definition on the contemporary artworld ». Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4092.
Texte intégralKarle, Ryan. « Leveraging Sound, Space and Visual Art in an Installation ». Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.
Texte intégralHart, Charles J. « Architecture of light and sound ». Thesis, This resource online, 1997. http://scholar.lib.vt.edu/theses/available/etd-09092008-063818/.
Texte intégralCranfield-Rose, James (Brady). « Writing about Six Sounds Works / ». Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.
Texte intégralGreenlee, Shawn E. « Erratic interpretation : Drawn sound in Augur ». View abstract/electronic edition ; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318388.
Texte intégralAdvisor : Todd Winkler. Includes supplementary digital materials: DVD 1. Audio -- DVD 2. Video. Special graduate studies are in computer music and new media. Includes bibliographical references (leaves 137-146).
Wang, Linlin. « The sounds on the Silk Road from Xi'an to Urumqi. Soundscape, recording and exposition of the sound ». Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672184.
Texte intégralLa finalidad de esta investigación es establecer un archivo sonoro de la Ruta de la Seda, en su recorrido en China, aplicando las directrices de la UNESCO, establecidas en la Convención para la Salvaguarda del Patrimonio Cultural Inmaterial, a partir de una metodología teorico-práctica de recogida de datos mediante grabaciones de campo y geolocalizadas mediante mapas sonoros. A lo largo de los 5 años de investigación, se ha podido constatar la transformación cultural de la zona de estudio debido a la irrupción de las nuevas tecnologías y la creciente industrialización, aspectos que constatan la necesidad de este tipo de investigaciones que hemos llevado a cabo, ya que los sonidos tradicionales del paisaje sonoro de la Ruta de la Seda están en vías de desaparición, por lo tanto es muy importante preservarlos para el futuro mediante la creación de un archivo sonoro.. En la investigación se han introducido elementos tecnológicos importantes, sobre todo en lo que hace referencia en la exposición de los sonidos del paisaje sonoro y en el diseño de un espacio expositivo interactivo especialmente diseñado para presentar estos sonidos y demás aspectos de la tradición cultural y artesana de la Ruta de la seda. Se ha partido de los estudios realizados por el investigador canadiense R. Murray-Schafer que se desarrollaron en la década de los años 70 del siglo pasado en la Universidad Simon Fraser de Canadá, y que han ido evolucionando hasta la actualidad por las aportaciones sucesivas de I. Westercamp y B. Truaux, que dieron como resultado el Word Sounscape Project, que es el origen del trabajo de investigación que hemos llevado a cabo. Toda la investigación se ha llevado a cabo en el mismo lugar de estudio de la Ruta de la Seda, en su tramo Chino. La gran mayoría de las grabaciones de campo y las imágenes fotográficas, así como las entrevistas y diseño expositivo han sido llevadas a cabo por la autora. Así mismo cabe remarcar que el estudio de las fuentes bibliográficas se han realizado en la mayoría de las veces a partir de libros y artículos redactados en el idioma mandarín, por lo que la accesibilidad a las fuentes primarias, hacen de esta tesis un trabajo de investigación muy importante.
Wynne, John Peter. « Hearing Voices : Sound Art Practice in a Cross-Cultural Context ». Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485559.
Texte intégralSpinks, Tansy. « Associating places : strategies for live, site specific, sound art performance ». Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8752/.
Texte intégralKoutsomichalis, Marinos G. « A hypermedia and project-based approach to music, sound and media art ». Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11432.
Texte intégralBeeston, Rob. « The intrigue of travelogue : sound and the social imagination ». Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250429.
Texte intégralMuir, Pete. « The art of the record producer ». Thesis, Queensland University of Technology, 1999.
Trouver le texte intégralMoraitis, Catherine. « The art of David Lean : a textual analysis of audio visual structure ». Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250344.
Texte intégralMetcalfe, Paul N. « Learning and teaching the art of sound design : An analysis into determining best practices ». Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/102704/8/Paul_Metcalfe_Thesis.pdf.
Texte intégralGillette, Amy Elizabeth. « Depicting the Sound of Silence : Angel-Musicians in Trecento Sacred Art ». Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/397051.
Texte intégralPh.D.
The effusion of music-making angels in medieval art stood in opposition to the fact that in Scripture, angels did not perform music, and to contemporaneous beliefs that they were both bodiless and silent. This rupture between signification and idiom suggests that angel-musicians were more than passive symbols of “concelebration,” the idea that angels and humans performed the liturgy in concert with one another. I propose a synthetic account of their meanings and functions, focusing on Trecento Tuscany as a place where diverse artistic modes and devotional practices blended and clashed. Because the medieval Church evolved images and rituals based on the notion that angelic ministry was exemplary for human practice, I have organized my chapters around four key precepts of angelology: the angels’ liminality, operations in the aesthetic realm, ideal enactment of the liturgy, and multiplicity. Considered in these terms, images of angel-musicians effected the presence of actual angels in order to entice human viewers into joining their liturgy mystically, an act of profound spiritual benefit. This contention is predicated on the beliefs that although angels were technically ineffable, they were also able to traverse the divide between heaven and earth. By mediating the sensible and suprasensible, the images achieved their goal by facilitating individual acts of contemplation; by aestheticizing the spiritual sweetness of angels’ song; by modeling the angels’ roles as co-worshippers, ministers, and celestial assistants; and by proliferating in all types of sacred art, in which they were forces of active engagement that helped to “angelize” people’s mental worlds and ritual behaviors.
Temple University--Theses
Williams, Carolyn. « Drawing from voice an exploration of sound in search of representational codes of the unseen : an exegesis submitted to Auckland University of Technology, Master of Arts (Art & ; Design), 2007 / ». AUT University, 2007. http://hdl.handle.net/10292/136.
Texte intégralRowe, Lois. « The address of spirituality in contemporary art ». Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/4198/.
Texte intégralHollerweger, F. « The revolution is hear ! : sound art, the everyday and aural awareness ». Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546359.
Texte intégralGenevro, Bradley James. « The Art of Recording the American Wind Band ». Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5276/.
Texte intégralHull, Aaron Coates. « Corroded memories ». Faculty of Creative Arts, 2009. http://ro.uow.edu.au/theses/3056.
Texte intégralGreedy, Paul Maxwell. « Listening to Objects : Sound as an Expression of Material Flux ». Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18133.
Texte intégralBérubé, Gabriel. « Expériences sensibles et design urbain, un projet de recherche création : les productions sonores ordinaires des usagers en espace collectif urbain, le cas des traces sonores de pas ». Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH025/document.
Texte intégralIn this thesis, we explore the heuristic value of a user's footstep sounds in the urban public space. This intention is originally one of a common interest in user sound productions, their productive and active aspects within the daily experience of the city. To achieve this, the concept of sound trace has been developed in order to better understand, categorize and characterize these special and ordinary sounds produced by the user. Often ignored, remaining unconscious to the user, footstep sound traces are part of the sounds he produces, but are not studied in the fields related to urban design. We thus want to learn more about the information content of footstep sound traces, and especially about the potential of action that we believe are related to them. In summary, we want to know what a footstep tells us through the sound traces it makes. We thus state the hypothesis that footstep sound traces carries key informations on its producer, the other users as well as the space, all this throughout the sound experience “in process”. To capture and question this specific aspect of the footstep sound traces, we built a unique methodology that questions the user in real-time on his sound experience. Research design and research project gave us the framework, and the flexibility to develop an innovative tool specifically designed for our problematic : the sound device. The device has been installed on three sites : a terrace and the front of the ENSAG, a footbridge near the studio of a collective of artists and a footbridge located in a city park of Nantes. Between immersion and observations, interviews and video work, in connection with the field of sound art, our research crosses sound, space, and practice dimensions. The analyses reveal the behavior, conduct, micro-movements, gestures, and attitudes made by the users. The results will be of interest in the fields of sound environment as well as architectural and urban design. Indeed, this research offers a better understanding of footstep sound traces roles in the composition of urban public spaces
Smuts, Lyn. « The visualization of sound : an investigation into the interplay of the senses in artmaking ». Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/905.
Texte intégralEernstman, Natalia. « Art as a source of learning for sustainable development : making meaning, multiple knowledges and navigating open-endedness ». Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9197/.
Texte intégralGarrelfs, Iris. « From inputs to outputs : an investigation of process in sound art practice ». Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8342/.
Texte intégralPINEL, D. J. « DE JOHN CAGE A JANET CARDIFF, A SOUND ART EM PERSPECTIVA HISTÓRICA ». Universidade Federal do Espírito Santo, 2016. http://repositorio.ufes.br/handle/10/8476.
Texte intégralEsta pesquisa discute sobre questões do embate entre o moderno e o contemporâneo, e tentará mostrar como o surgimento da instalação artística tornouse um gênero essencial para as realizações dos artistas que trabalharam o conceito da sound art. Nesse sentido, esta dissertação terá como recorte os movimentos que tiveram grande dimensão nas décadas de 1950 até 1970, como o minimalismo, a pop art, e particularmente, a música experimental. Portanto, nosso ponto de partida começa com o surgimento da instalação artística, passando pelos pioneiros da música experimental até chegar aos artistas contemporâneos que utilizam o som como linguagem. Tratamos sobretudo do caráter histórico e panorâmico, visando mostrar não apenas o processo de criação da sound art, mas o caminho no qual ela percorreu, sua repercussão e sua relevância para arte contemporânea. Palavras-chave: Música Experimental, Instalação, Arte contemporânea e sound art
Oldrini, Eleonora <1988>. « Sound Art per il Borgo di Castiglione Olona : un progetto di valorizzazione ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3860.
Texte intégralYuksel, Onur. « A Sound-Based Intervention for The Artistic Encounter ». Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-329941.
Texte intégralKonstupplevelsen, som en viktig bidragande faktor till den intellektuella upplevelsen, har studerats av många forskare och filosofer i syfte att demaskera och förstärka dess särskilda karaktärsdrag [9,16,21,22]. Ett sätt på vilket sofistikerade former av konstupplevelser har tolkats har varit genom “flow”; ett begrepp som betecknar en holistisk förnimmelse genom totalt engagemang, koncentration, inneboende njutning och handlings-medvetenhet [7]. Tidigare forskning hävdar att genom att se konstupplevelser som ett “flow” avslöjas dess strukturella karaktärsdrag och dynamik på ett tydligare sätt. Konstupplevelsen undersöks på detta sätt som en aktivitet upplevd genom “flow” [8]. Vidare har begreppet “flow” studerats i relation till musikalisk aktivitet och har ansetts ha starka kopplingar till musikens område [3,5]. Kunskapen är i nuläget begränsad kring hur musikaliskt ljud kan främja “flow” i relation till en konstupplevelse. Denna studie baseras på metoden forskning genom design och har som syfte att främja en förhöjd konstupplevelse, med andra ord att underlätta “flow” i det konstnärliga mötet. Studiens två huvudsakliga bidrag består i: (1) en presentation av designprocessen genom en explorativ förstudie på Moderna Museet i Stockholm, ett uppföljande ljudexperiment i ett konstnärligt sammanhang och (2) resultaten av en utvärdering gjord på Uppsala Konstmuseum med fokus på identifieringen av vilken effekt den designade ljudartefakten har på den individuella upplevelsen. Författaren hävdar att ljudartefakten kan bidra till att skapa en omslutande miljö, bidra till att initiera ett introspektivt tankesätt genom de interaktiva karaktärsdragen samt öka förutsättningarna för “flow” i märkbar omfattning. Slutligen har kritiska reflektioner över designprocessen inkluderats i det sista kapitlet i syfte att bidra till forskningen inom ljuddesign.
Szabo, Moira. « For the love of music : avenues of entry into the world of western art music / ». Thesis, Connect to this title online ; UW restricted, 2001. http://hdl.handle.net/1773/11342.
Texte intégralKlimas, Matthew L. « Argent Sound Recordings : Multimodal Storytelling ». VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/795.
Texte intégralMagnus, 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.
Texte intégralTitle 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.
Doyle, Kaitlin Cavanaugh. « EXQUISITE MIND, EUPHORIC KNOWING : SOUND, LANGUAGE, AND CONSCIOUSNESS IN EXPERIMENTAL MUSIC AND CONCEPTUAL ART AFTER 1960 ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case152293207480721.
Texte intégralSwinney, Warrick. « Practices of Listening : (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa ». Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30517.
Texte intégralMiller, Nolan W. « Athenian Acoustics : A Sonic Exploration ». Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.
Texte intégral