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Autore: Grafiati

Pubblicato: 26 luglio 2024

Ultima modifica: 27 luglio 2024

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1

Chen, Hui-Mei. "Les sources d’inspiration et les influences dans la musique de Yoshihisa Taïra". Paris 4, 2007. http://www.theses.fr/2007PA040085.

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Abstract (sommario):

Le style personnel et original du compositeur japonais Yoshihisa Taira (Tokyo 1937 - Paris 2005) montre un exemple parfait d’une fusion de deux cultures, orientale et occidentale. Après une présentation de l’histoire du développement de la composition musicale occidentale au Japon, du parcours personnel du compositeur et de quelques aspects caractéristiques de sa musique, nous étudierons plus profondément cette musique, verrons en quoi elle se différencie et en quoi elle est comparable à la musique d’autres compositeurs. C’est autour des sources d’inspirations et des influences observées dans la pensée et la musique de Y. Taira que nous tenterons de répondre à ces questions. À travers une analyse de détail centrée principalement sur trois des oeuvres les plus représentatives de ses trois époques créatrices, nous en examinerons les particularités et en soulignerons les sources musicales ou extra-musicales. Cette recherche a pour but de fournir quelques clés d’accès à cette musique afin d’en faciliter la compréhension et la réception
The original style of the Japanese composer Yoshihisa Taira (Tokyo 1937 - Paris 2005) demonstrates a perfect example of the fusion of two cultures - Eastern and Western. The present work is organized into three sections : the first examines the musical and personal background of Taira, both in Japan and in France, after a brief presentation of history context of the Western music composition in Japan ; the second is devoted to the exploration of the sources of inspiration and influences for this composer, both musical and extra-musical, after showing some characteristic elements of his musical language, trying to find where the original and personal style of this music came from. In the concluding section, three of Taira’s major works in different representative and creative periods will be analyzed. Specific and peculiar aspects of these works will be underlined while taking in account external musical sources as well as relevant extra-musical ones. This dissertation aims at shedding light on Taira’s style and thus contribute to its approach, understanding, and reception

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2

Tao, Yu. "La poétique de l'océan en musique contemporaine : de Debussy à nos jours". Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080015.

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Abstract (sommario):

Dans la création contemporaine, les musiciens s'inspirent parfois de l’océan dans leur pratique de la composition. Cette thèse a pour but d'observer leur façon de faire à travers l’analyse d'oeuvres dont le titre ou le sujet évoquent l'environnement océanique. Elle part de l’hypothèse que la poétique, c’est-À-Dire l’inspiration à partir de la mer, sert la poïétique, donc sert les manières de faire la musique, de l'écrire, sans pour autant servir nécessairement le rendu esthésique. Dans le chapitre I, l’analyse est basée sur des oeuvres de Claude Debussy, André Boucourechliev, Kaija Saahario et Yoshihisa Taira. Le chapitre II consacre une importante partie de son développement à l’étude des oeuvres de Tristan Murail inspirées de l'océan. Enfin, dans le chapitre III, deux des propres compositions de l'auteur sont analysées. Finalement, cette thèse révèle l'existence de cycles partant de l'esthésique, c'est à dire le ressenti devant la mer vers la poétique puis la poïétique et enfin l'esthésique, c'est à dire le ressenti du rendu musical. Par ailleurs, le travail d'analyse réalisé au cours de cette thèse a permis de mettre en valeur l'importance de la notion d'objet, c'est à dire une pensée de la composition orientée par la manipulation de l'objet musical. L'approche de Debussy, telle qu'interprétée par Barraqué, ouvre le siècle. Le modèle de la mer au sens des objets sur le plan dynamique est très cohérent avec la notion d'objet musical. Nous ne pouvons que constater cette présence et c'est en cela que la conclusion de la thèse est un peu ouverte. C'est avec cela que nous allons composer nos futures pièces. La thèse nous a servi finalement aussi à formaliser notre musique
In the genre of contemporary music, musicians sometimes take their inspiration from the ocean when addressing take their compositions. The goal of this thesis is to observe method of these composers by analyzing works which evoke the ocean's environment in their subject. This study claims that the poetic inspiration which is engendered by the ocean ends up by providing the poietics of the projects themselves, which is to say, ways of creating music, of writing it, without necessarily treating the aesthesic of the final product. In Chapter I the analysis is based on the works of Claude Debussy, André Boucourechliev, Kaija Saahario and Yoshihisa Taira. Chapter II consecrates a large part of its development to the study of works by Tristan Murail which are inspired by the ocean. Finally, in Chapter III, two of the compositions of the thesis' author are taken into analytical consideration. This thesis reveals the existence of cycles coming from the aesthesic, which then moves towards poietics and returns to aesthesic. It also needs to be taken into account that the analyses produced during the course of this study focus on the musical object itself. This is to say that the study is geared towards the manipulation of the musical object. Debussy's approach, as it is interpreted by Barraqué, serves as the overture of the century. The model of the sea as a dynamic objet coincides with the notion of the musical object. We can only propose this stated presence and this is why the conclusion of the thesis is somewhat open-Ended. Nonetheless, it is this point of departure which allows us to compose future works. It is thesis, in the end, that formalizes our music

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3

Tao, Yu. "La poétique de l'océan en musique contemporaine : de Debussy à nos jours". Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080015.

Testo completo

Abstract (sommario):

Dans la création contemporaine, les musiciens s'inspirent parfois de l’océan dans leur pratique de la composition. Cette thèse a pour but d'observer leur façon de faire à travers l’analyse d'oeuvres dont le titre ou le sujet évoquent l'environnement océanique. Elle part de l’hypothèse que la poétique, c’est-À-Dire l’inspiration à partir de la mer, sert la poïétique, donc sert les manières de faire la musique, de l'écrire, sans pour autant servir nécessairement le rendu esthésique. Dans le chapitre I, l’analyse est basée sur des oeuvres de Claude Debussy, André Boucourechliev, Kaija Saahario et Yoshihisa Taira. Le chapitre II consacre une importante partie de son développement à l’étude des oeuvres de Tristan Murail inspirées de l'océan. Enfin, dans le chapitre III, deux des propres compositions de l'auteur sont analysées. Finalement, cette thèse révèle l'existence de cycles partant de l'esthésique, c'est à dire le ressenti devant la mer vers la poétique puis la poïétique et enfin l'esthésique, c'est à dire le ressenti du rendu musical. Par ailleurs, le travail d'analyse réalisé au cours de cette thèse a permis de mettre en valeur l'importance de la notion d'objet, c'est à dire une pensée de la composition orientée par la manipulation de l'objet musical. L'approche de Debussy, telle qu'interprétée par Barraqué, ouvre le siècle. Le modèle de la mer au sens des objets sur le plan dynamique est très cohérent avec la notion d'objet musical. Nous ne pouvons que constater cette présence et c'est en cela que la conclusion de la thèse est un peu ouverte. C'est avec cela que nous allons composer nos futures pièces. La thèse nous a servi finalement aussi à formaliser notre musique
In the genre of contemporary music, musicians sometimes take their inspiration from the ocean when addressing take their compositions. The goal of this thesis is to observe method of these composers by analyzing works which evoke the ocean's environment in their subject. This study claims that the poetic inspiration which is engendered by the ocean ends up by providing the poietics of the projects themselves, which is to say, ways of creating music, of writing it, without necessarily treating the aesthesic of the final product. In Chapter I the analysis is based on the works of Claude Debussy, André Boucourechliev, Kaija Saahario and Yoshihisa Taira. Chapter II consecrates a large part of its development to the study of works by Tristan Murail which are inspired by the ocean. Finally, in Chapter III, two of the compositions of the thesis' author are taken into analytical consideration. This thesis reveals the existence of cycles coming from the aesthesic, which then moves towards poietics and returns to aesthesic. It also needs to be taken into account that the analyses produced during the course of this study focus on the musical object itself. This is to say that the study is geared towards the manipulation of the musical object. Debussy's approach, as it is interpreted by Barraqué, serves as the overture of the century. The model of the sea as a dynamic objet coincides with the notion of the musical object. We can only propose this stated presence and this is why the conclusion of the thesis is somewhat open-Ended. Nonetheless, it is this point of departure which allows us to compose future works. It is thesis, in the end, that formalizes our music

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4

Watanabe, Yukina. "Queer som doujinshi : En fallstudie av Yonezawa Yoshihiro Memorial Library". Thesis, Uppsala universitet, Institutionen för ABM, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323868.

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Abstract (sommario):

This thesis investigates how libraries can build a collection of doujinshi – Japanese fanzines – with a focus on the problematic connection between doujinshi, queer sexualities and pornography. Yonezawa Yoshihiro Memorial Library is one of the few libraries collecting and providing access to doujinshi, including those with extreme pornographic imagery. I conducted qualitative interviews with four library employees to study their views and attitudes towards collection, age regulations, shelving and classification of doujinshi. In addition, I apply queer theory to elucidate how sexual norms are reflected in the library's classification system. Findings show that informants consider the preservation of manga culture as the most important reason to collect doujinshi. Other functions of doujinshi, such as being a way for self-expression without social restrains, are also appreciated. Informants’ attitudes towards collecting and providing access to extreme pornographic doujinshi are not particularly negative, instead resisting censorship, but the fact that the library has extreme pornographic doujinshi is taken up as a reason for the library' s age limit. Moreover, I observe sexual norms surrounding women’s consumption of pornography and that women should link sex and love, and a lack of critical perspectives on such issues. Lastly, informants were open for changes of the library’s classification system for doujinshi, but showed reluctance toward user influence, such as social tagging. This is a two years master’s thesis in library and information science.

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5

Russell, Ginger Suzanne. ""Writing a Picture": Adolph Gottlieb's Rolling and Yoshihara Jiro's Red Circle on Black". VCU Scholars Compass, 1995. http://scholarscompass.vcu.edu/etd/3673.

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Calligraphy and calligraphic elements in abstract art demonstrate the differences between Japanese and American approaches to abstraction. An examination of the use of calligraphy in Japanese art can reveal how its historic tradition in Japan lends depth and meaning to an image, which is not effectively possible for American artists using the same forms. These differences descend from a Japanese writing system that developed as abstracted images in themselves. Though the Western tradition of Abstract Expressionism art sought to make the experience of painting purely visual without the aid of narrative, explanation, or text, both American and Japanese artists used calligraphic forms. In a word and image analysis, this thesis demonstrates how these calligraphic forms can reveal layers of meaning within their appropriate cultural context. Reconciling calligraphy with abstract art presents the conflict of East meeting West in a new form.

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6

Biserni, Diego <1989&gt. "Esplicitazione intersemiotica nella sottotitolazione interlinguistica del lungometraggio "Jāji no futari" di Nakamura Yoshihiro". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14248.

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Abstract (sommario):

Per ogni tipo di traduzione esistono dei vincoli con le quali il traduttore dovrà necessariamente confrontarsi nel suo lavoro di trasposizione del testo originale in lingua target. La sottotitolazione non fa eccezione, ma anzi, proprio in virtù della sua natura diasemiotica, questa modalità si rivela ricca di insidie per chiunque decida di adottarla come forma di traduzione. Tra le varie possibilità per il sottotitolatore di produrre una traduzione facilmente fruibile nel metatesto, si è scelto di andare ad analizzare la strategia della ‘esplicitazione’ nella sottotitolazione, ovvero quel procedimento innescato da un gap culturale tra il testo source e quello target, che risulterà dunque in un adattamento dell’originale al sistema culturale e linguistico del pubblico di arrivo. Si procederà poi all'analisi della così detta ‘esplicitazione intersemiotica’, la quale si occupa della lessicalizzazione di quegli elementi appartenenti alla sfera extralinguistica e paralinguistica e che necessitano di essere verbalizzati nel sottotitolo. Infine si passerà all’analisi pratica di alcuni passaggi del film "Jāji no futari" (Nakamura Yoshihiro, 2008) che si può sicuramente definire originale in virtù della sua realizzazione che si affida non tanto a dialoghi verbali, quanto ad un tessuto di stimoli iconici e giochi linguistici, e che proprio per questo motivo si confà particolarmente bene allo studio proposto nel qui presente lavoro.

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7

Nierhoff, Thomas [Verfasser], Sandra [Akademischer Betreuer] Hirche e Yoshihiko [Akademischer Betreuer] Nakamura. "Real-time Robotic Motion Control and Adaptation in Constrained Environments / Thomas Nierhoff. Betreuer: Sandra Hirche. Gutachter: Yoshihiko Nakamura ; Sandra Hirche". München : Universitätsbibliothek der TU München, 2015. http://d-nb.info/1091562202/34.

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8

Nesensohn, Manuel [Verfasser], Matthias [Akademischer Betreuer] Geißert, Jürgen [Akademischer Betreuer] Saal e Yoshihiro [Akademischer Betreuer] Shibata. "Lp-theory for a class of viscoelastic fluids with and without a free surface / Manuel Nesensohn. Betreuer: Matthias Geißert ; Jürgen Saal ; Yoshihiro Shibata". Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2012. http://d-nb.info/1106117247/34.

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9

Below, Lorenz von [Verfasser], Matthias [Akademischer Betreuer] Geißert, Matthias [Akademischer Betreuer] Hieber e Yoshihiro [Akademischer Betreuer] Shibata. "The Stokes and Navier-Stokes equations in layer domains with and without a free surface / Lorenz von Below. Betreuer: Matthias Geißert ; Matthias Hieber ; Yoshihiro Shibata". Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2014. http://d-nb.info/1110979495/34.

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10

Wilke, Mathias [Verfasser], Jan [Akademischer Betreuer] Prüß, Matthias [Akademischer Betreuer] Hieber e Yoshihiro [Akademischer Betreuer] Shibata. "Rayleigh-Taylor instability for the two-phase Navier-Stokes equations with surface tension in cylindrical domains / Mathias Wilke. Betreuer: Jan Prüß ; Matthias Hieber ; Yoshihiro Shibata". Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2013. http://d-nb.info/1046563467/34.

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11

Yokoyama, Yoshihiro [Verfasser], e Kurt [Akademischer Betreuer] Gärtner. "Studien zum Reimgebrauch und Stil Hartmanns von Aue im Etablierungsprozess der Literatursprache um 1200 am Beispiel der präteritalen Formen von komen / Yoshihiro Yokoyama ; Betreuer: Kurt Gärtner". Trier : Universität Trier, 2014. http://d-nb.info/1197700811/34.

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12

Nakayama, Yoshihiro [Verfasser], Hartmut [Akademischer Betreuer] Hellmer, Peter [Akademischer Betreuer] Lemke e Torsten [Akademischer Betreuer] Kanzow. "Analysis and modeling of the distribution of tracers of glacial melt in the Southern Ocean with focus on the Southeast Pacific sector / Yoshihiro Nakayama. Gutachter: Peter Lemke ; Torsten Kanzow. Betreuer: Hartmut Hellmer". Bremen : Staats- und Universitätsbibliothek Bremen, 2015. http://d-nb.info/1072303574/34.

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13

Hoye, Nathaniel. "Transitive and Intransitive Verbs in Ki Idioms". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157620/.

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The purpose of this thesis is to examine idiomatic structures with ki in the ki-wo [transitive verb] and ki-ga [intransitive verb] constructions. It is argued that for Japanese language learners, it is crucial to be able to understand and produce ki idioms, because they are frequently used in everyday speech. There are often misconceptions regarding ki in the West for those who are fans of Japanese culture due to the influence of martial arts and anime, which paint ki as a spiritual energy that can be controlled and developed. However, upon examining the above mentioned idiomatic structures with ki, it is clear that ki can be expressed as both controllable by the subject of ki (transitive), as well as a thing that acts of its own accord and is spontaneous (intransitive). This thesis somewhat corroborates the studies of W. M. Jacobson, Zoe Pei Sui Luk , and Yoshihiko Ikegami by arguing that intransitive constructions are often used in Japanese, and examining both transitive and intransitive expressions with ki is significant to understanding the meanings produced in ki expressions. It is hoped that analyzing 37 transitive and intransitive idiomatic structures with ki will help Japanese language learners not only understand the syntactic and semantic aspects of transitivity in the Japanese language, but also to help these L2 learners conceptualize the abstract noun ki, which can be defined in so many different ways in a dictionary.

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14

Fries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art". University of Sydney, 2008. http://hdl.handle.net/2123/5709.

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Master of Visual Arts
This Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.

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15

CHEN, TZU-PING, e 陳子平. "The Study of “Monodrame I” by Taïra Yoshihisa". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3269s3.

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碩士
國立高雄師範大學
音樂學系
104
Since the twentieth century, multiple percussion's solo pieces are too numerous to mention individually. One denomination of them works with “spatial notation” and “graphic notation”, which give the performers considerable space on interpretation and also adding more "improvisation" and "serendipity". Taïra Yoshihisa's（1937-2005）《 Monodrame I》 is one of these kinds of works. The purpose of this research is to identify that: how to interpret different elements on the basic of spatial notation and the author also hopes to have further information about Taïra Yoshihisa and the combination of the Eastern and the Western music he used.

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16

Chang, Kowei, e 張可薇. "The Analysis and Interpretation of Yoshihisa Taïra《ConvergenceⅠ》and Akira Miyoshi《Ripple》for Solo Marimba". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/kem5wx.

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碩士
國立臺灣藝術大學
音樂學系
101
The purpose of this thesis is study the compositions and performances of two Marimba pieces by, Convergence I composed by Yoshihisa Taïra, and Ripple by Akira Miyoshi, from different aspects. Convergence Iwas finished in 1975. In terms of compositional format, this piece is way beyond tradition techniques. For examples, Yoshihisa Taïra employed continuants to build the spatial atmosphere. Traditional rests were replaced by distinct fermatas as well. Furthermore, human voices were also applied as special sound effects. In contrast, Akira Miyoshi finished Ripple in 1999. He broke the traditional scoring constraints in this composition. For instances, none of any time signature was included. Different kinds of fermatas were substituted for traditional rests. In addition, many special symbolic notations were also employed.As described above, tradition rests were not used in these two Solo Marimbas.Instead, different kinds of fermatas were employed, which functioned as rests.Moreover, fermatas enabled the silence to express more vivid images and pictures with emotions. Besides, human voices were applied to both pieces,which is associated with the imagination of Japanese Noh. In addition to their free of traditional scoring constraints, either the utilization of human voices or the meanings of these two compositions were full of Japanese atmosphere.The unique compositional styles made them two of the most renowned pieces of marimba. This thesis consists of four chapters. Chapter one is the introduction, specifying the motivation, purpose, scope, and methodology of this research. Chapter two studies the background of Yoshihisa Taïra and the creation of Convergence I, followed by the analysis of this composition. Based on the analysis, the viewpoints of interpretation in performing this piece were presented. Chapter three elaborated the background of Akira Miyoshi and the creation of Ripple before analyzing and interpreting this composition. Chapter four is the conclusion.

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17

Ke, Rough-Ing, e 柯若櫻. "Rough-Ing Ke Percussion Recital（with a Supporting Paper: Eastern Zen and Bushido in《Convergence I 》by Yoshihisa Ta?ra）". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/40275720504150082348.

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Abstract (sommario):

碩士
國立交通大學
音樂研究所
94
Interpretations conveyed in this thesis are based on the musical work “Convergence I”, of which the composer is Yoshihisa Ta?ra. Through the musician’s life story and rational analysis, this thesis tries to explore the overtones of this piece from the concept of Eastern Zen and Bushido.“Convergence I” has active images, its alive silence reflects the composer’s comprehension of eastern aesthetics “nil ego”. The actual interpretation reveals the universe that came to image upon the mutual movements of her interior sensations, together with the enlightenment and experiences which the musician went through while taking part.

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