Дисертації з теми "Appropriated sound and style"
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Baker, Michael. "Rockumentary: style, performance, and sound in a documentary genre." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104569.
Повний текст джерелаRockumentary: Style, Performance, and Sound in a Documentary Genre est une étude approfondie d'un genre audio-visuel dédié à la représentation non-fictive de la musique rock et de ses idiomes. Née de l'explosive croissance de popularité de la musique rock dans les années 60, le rockumentaire évolue en bordure de l'historique plus large de la pratique documentaire, se trouvant parfois à la remodeler et parfois à démontrer les limites et le potentiel du genre. Le rockumentaire contribue à l'histoire du documentaire et de la musique populaire en général, ainsi qu'à celle de la culture et de la musique rock. Il se démarque par son style visuel, son innovation dans le domaine de la technologie sonore cinématographique et par les relations industrielles complexes qui ont favorisé son développement. En outre, le rockumentaire met en évidence les tractations entre la présence de prestations misent en scène et de vedettes dans le cadre de films et de vidéos de non-fiction. Le rockumentaire est un lieu où les angoisses liées au son et à l'image documentaire – un malaise qui traverse l'histoire du cinéma et qui a des implications précises dans le contexte du cinéma de non-fiction – sont particulièrement vives. Également, les questions conceptuelles et sociologiques qui entourent le cinéma en tant que médiation de l'expérience en direct par rapport à une entité fabriquée y sont cristalisées de manière des plus concrètes. Cette dissertation présente le rockumentaire comme un genre audio-visuel ayant à la fois une pertinence artistique et un attrait commercial qui remet en question le rôle du plaisir comme manière de différencier le corpus des autres genres de films et de vidéos de non-fiction. Avec l'aide de l'analyse textuelle, d'études de réception et de recherche documentée, cette dissertation est un apport dans le domaine des études cinématographiques, médiatiques ainsi que des études de la musique populaire, puisqu'elle jette les bases sur l'étude des représentations non-fictives de la musique populaire dans les nouveaux médias et les images contemporaines.
Bidgood, Lee. "Towards a Definition of the ‘Mash’ Approach to Bluegrass: Sound, Style, and Gesture." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3247.
Повний текст джерелаLapp-Szymanski, Jean-Paul. "Technology inna rub-a-dub style : technology and dub in the Jamaican sound system and recording studio." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98547.
Повний текст джерелаTaylor, Andrew James. "Aspects of style and technique in cello playing of the late nineteenth and the twentieth centuries : a study of selected written documents and sound recordings." Thesis, Lancaster University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250588.
Повний текст джерелаRydblom, Oskar. "Snap! Crack! Pop! : A corpus study of the meanings of three English onomatopoeia." Thesis, Linnaeus University, School of Language and Literature, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-7159.
Повний текст джерелаThe focus of this essay is on examining the meanings of the onomatopoeia (sound imitating words) snap, crack and pop. Previous studies on onomatopoeia and sound symbolism are used to define the terms and create a model for an alternative categorization of these meanings. This model is then applied in a corpus study, conducted on the COCA (Corpus Of Contemporary American English) and BYU-BNC (The British National Corpus) corpora, to find a way to more accurately describe the meanings and functions of these words. For this purpose the context in which snap, crack and pop are used is also addressed by observing how frequently they occur in formal and informal texts and which adjectives and adverbs frequently modify them. In the study it was discovered that these three words took on many different meanings that would be hard to list separately in a dictionary. These meanings did follow a pattern linked to the properties associated with the word. The study found snap, crack and pop to be informal words with a tendency to add emotion or effect to a statement. It is therefore concluded that sorting onomatopoeia by sound and non sound-related meaning and describing the informal characteristics of these words leads to a greater understanding of how they are used.
Keywords: Arbitrariness, crack, emotive, ideophones, mimetics, mimes, non-arbitrariness, onomatopoeia, phenomimes, phonomimes, pop, psychomimes, register, semantics, snap, sound symbolism and style.
Garst, John. "The Recorded Legacy of Enrico Caruso and its Influence on the Italian Vocal Tradition." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849763/.
Повний текст джерелаReis, Hugo Leonardo Castilhos dos. "Sobre a luz e o silêncio : o plano de longa duração e a dinâmica do som no cinema de Carlos Reygadas." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/5622.
Повний текст джерелаUniversidade Federal de Minas Gerais
This work aims to discuss the cinema of Carlos Reygadas, with the focuses on the importance of sound and its dynamics within the long duration take, a procedure that strongly characterizes the style of this director. Initially, excerpts from films Japón (2002), Battle in Heaven (2005) and Silent Light (2007) were analyzed to highlight the formation of a stylistic corpus and a predominantly contemplative and sensory conception of cinema. Then we elected Silent Light as a conductive thread of a broader analysis in relation to the main crop. Therefore, we had as main references studies by David Bordwell (2008) on traditional directors of the plan-sequence, as well as the categories and theoretical assumptions of Michel Chion (1994, 2009) on the uses of sound in cinema.
Esta dissertação tem por objetivo discutir o cinema de Carlos Reygadas, sob um recorte que se concentra especificamente na importância do som e de sua dinâmica no interior dos planos de longa duração, procedimento que caracteriza fortemente o estilo deste diretor. Inicialmente, trecho dos filmes Japón (2002), Batalha no Céu (2005) e Luz Silenciosa (2007) foram analisados para salientar a conformação de um corpus estilístico e de uma concepção de cinema de caráter predominantemente contemplativo e sensorial. Em seguida, elegemos Luz Silenciosa como o fio condutor de uma análise mais abrangente em relação ao principal recorte. Para tanto, tivemos como principais referências os estudos de David Bordwell (2008) sobre tradicionais diretores do plano-sequência, bem como as categorias e pressupostos teóricos de Michel Chion (1994; 2009) sobre usos do som no cinema.
Зємцова, Поліна Олексіївна, та Polina Ziemtsova. "Музична школа в сьогоденні". Thesis, Національний авіаційний університет, 2021. https://er.nau.edu.ua/handle/NAU/50935.
Повний текст джерелаЗначення музики в розвитку духовного світу особистості дитини, його пізнавальних та інтелектуальних здібностей важко переоцінити. Соціальна значущість проєкту в першу чергу це — проблема будь-якого малого міста, селища — віддаленість від культурних центрів. Найчастіше музична школа стає основною культурною установою академічної спрямованості населеного пункту, тому створення оптимальних умов для розвитку творчого потенціалу дітей стає тут найбільш актуальним. Дитяча музична школа ставить перед собою завдання виховання гармонійно розвиненої людини, формування естетичних смаків на кращих зразках класичної музики, залучення до музикального мистецтва. В дизайні інтер’єру використаний екостиль. Екостиль дозволяє створити простір затишним й комфортним, що буде слугувати місцем для відпочинку, відновлення сил та енергії. Поєднання нестандартних форм, натуральних матеріалів створюють унікальну красу закладу.
The importance of music in the development of the spiritual world of the child's personality, his cognitive and intellectual abilities is difficult to overestimate. The social significance of the project is first of all a problem of any small town, settlement - remoteness from cultural centers. Most often, the music school becomes the main cultural institution of the academic orientation of the settlement, so the creation of optimal conditions for the development of children's creative potential becomes most relevant here. Children's music school aims to educate a harmoniously developed person, the formation of aesthetic tastes on the best examples of classical music, involvement in the art of music. Eco-style is used in the interior design. Eco-style allows you to create a cozy and comfortable space that will serve as a place for rest, recovery and energy. The combination of non-standard forms, natural materials create a unique beauty of the institution.
Bonetti, Paul-Antoni. "Sound and style: a compositional exploration of appropriated source material: portfolio of compositions and exegesis." Thesis, 2015. http://hdl.handle.net/2440/97907.
Повний текст джерелаThesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2015
Hsieh, Cheng-Hsuan, and 謝承軒. "Reproducing the Viennese-Style Trumpet Sound by a RegularPiston Trumpet." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/50407814174692129849.
Повний текст джерела國立臺灣大學
電機工程學研究所
98
My research, thus far, consists of building two kinds of models of rigid-wall trumpets by the finite element method. My research demonstrates feasibility by solving the eigenfrequencies, the impulse response (or the transfer function) and the modulated input source that is supposed to be capable of reproducing a Viennese style trumpet sound via a regular piston trumpet. In addition, the objective of this research has been achieved to some extent such that future improvement is possible.
"Frank Martin’s Huit préludes pour le piano: A Representation of His Compositional Sound and Style." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.46296.
Повний текст джерелаDissertation/Thesis
Frank Martin, Prelude No. 1
Frank Martin, Prelude No. 2
Frank Martin, Prelude No. 3
Frank Martin, Prelude No. 4
Frank Martin, Prelude No. 5
Frank Martin, Prelude No. 6
Frank Martin, Prelude No. 7
Frank Martin, Prelude No. 8
Doctoral Dissertation Music 2017
Anoshkin, Yekaterina. "Impact of globalization on the national choral sound in post-Soviet Russia and its influence on choral music pedagogy." Thesis, 2018. https://hdl.handle.net/2144/32687.
Повний текст джерелаPAN, HSIU-CHEN, and 潘秀珍. "Minimalism in the Music of Philip Glass and an Original Composition《Sound of Rain》for Percussion Trio in Minimalistic Style." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/8f3nsp.
Повний текст джерела國立臺南大學
音樂學系碩士在職專班
107
In the 1960’s, the idea of Minimalism rose in the United States, which utilizes as less elements as possible in the art field. Music that features this technique is identified as 「Minimal Music」or「Repetitive Music」. This thesis studies the origin of Minimalism and Minimal Music, as well as the composers’ lives and works related to this style. They are La Monte Young(1935-), Terry Riley (1935-), Stephen Reich( 1936-), Philip Glass (1937-), and John Adams (1947-). The Minimalism in the music of Philip Glass is focused in this study, taking 《Music in Contrary Motion, 1969》 and 《Music in Similar Motion, 1969》as examples. The rhythmic and melodic motives, formal structures, repetition patterns are explored in detail. An original composition,《The Sound of Rain, 2018》that also uses minimalism is then provided. Some conclusions of this thesis include: 1. Minimalism is to express the purity of human mind deep inside. 2. Minimal Music seeks for objective art. 3.《Music in Contrary Motion, 1969》 and 《Music in Similar Motion, 1969》represent the iconic compositions of Minimalism. 4. Philip Glass perceives Minimal Music as endless repetitions in「Open Form」. 5. Philip Glass perceives composers and performers are both participating the process of creating a composition, not just the composers. 6. An original composition,《The Sound of Rain, 2018》in Minimalism is provided for future reference.. Keywords: Minimalism, Minimal Music, 《Music in Contrary Motion》,《Music in Similar Motion》, 《The Sound of Rain》
Cheng, Hsing-Yi Cindy. "Selected aspects of musical style in the performance of flute repertoire [sound recording] : a package of two CDs and exegesis." Thesis, 2005. http://hdl.handle.net/2440/70170.
Повний текст джерелаThesis (M.Mus.) -- University of Adelaide, Elder School of Music, 2005
Lin, Chung-yung, and 林中庸. "A Study on the Translation of Jason’s Speaking Style in Faulkner’s The Sound and the Fury from a Relevance-Theoretic Perspective." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/48011917019633863544.
Повний текст джерела國立高雄第一科技大學
應用英語系口筆譯碩士班
103
This study aims at examining the translation of the speaking style of Jason Compson in Faulkner’s The Sound and the Fury from the relevance-theoretic perspective. As Irena Kazula (1979) points out, the feature of Jason’s speaking style is characterized by his use of substandard vulgar English. This study therefore compares the translations of Li Den-shin and Lee Wen-jun, two translators across the Taiwan Strait, and offers a retranslation based on the important concepts of Relevance Theory. After the analysis, the following three research questions will be answered: (1) How is Jason’s speaking style and image rendered in Li Den-hsin’s translation? (2) What is Lee Wen-jun’s approach? (3) Which version offers better contextual effects and saves readers’ effort to achieve better relevance with the target text? The results show that when representing Jason’s swearword in Chinese, Li tends to adopt literal translation. Even though his method preserves the explicature to achieve interpretive resemblance, his translation cannot provide sufficient contextual effect for readers to feel the vulgarness and evilness of Jason. Same strategy is adopted in the translation of Jason’s pet phrase so it is incapable of shaping Jason’s insolent image. As for Lee, when translating swearword, he has adopted the strategy of omission so his translation cannot achieve interpretive resemblance. However, when translating Jason’s pet phrase, he is not confined by literal translation as Li does; instead, he offers many different ways of rendering to provide various contextual effects for readers to feel the arrogance of Jason. Gutt (2000) suggests that with Relevance Theory in mind, translators need to identify the original intended interpretation before embarking on the work of translation. When translating, translators need to determine informative intention. After translation and during the process of proofreading, the expectation of the audiences cannot be overlooked. My retranslation adheres to the principle of Relevance Theory, focusing on Jason’s use of swearword and platitudes. It is hoped that with better interpretive resemblance and more appropriate contextual effect, readers can learn more about the most vicious character Faulkner has ever written.
O'Shea, Helen F. "Foreign bodies in the river of sound : seeking identity and Irish traditional music." Thesis, 2005. https://vuir.vu.edu.au/1954/.
Повний текст джерелаBirkholc, Robert. "Subiektywizacja zapośredniczona jako forma reprezentacji doświadczeń bohaterów filmowych." Doctoral thesis, 2018. https://depotuw.ceon.pl/handle/item/2631.
Повний текст джерелаThe doctoral thesis concentrates on a type of film subjectivization, which the author calls mediated stylistic subjectivization. The work argues that there is a transmedial figure of representing a character’s experiences, which appears in literature as free indirect speech while, in film, as mediated subjectivization. The text distinguishes two determinants of this figure, which are sufficiently detailed to capture its function and general enough to find equivalents in various media. First, the subjectivization of message at the stylistic level, and, second, the interference of external and internal focalization. Through the analysis and interpretation of selected films, the author frames the narrative treatments analogous to free indirect speech and reveals how this figure serves to represent various areas of human experience. The first, theoretical part of the work abounds with literary and film examples. The first chapter discusses literary approaches to free indirect speech. Following Valentin Voloshinov and Paul Hernadi, the author assumes that free indirect speech simultaneously activates two perspectives: of the narrator and the protagonist. Contrary to its name, this technique represents not only the language but also the thoughts and impressions of the character. That is why the best tool to examine free indirect speech is focalization, which means the perspective from which the fictional universe or its fragment appears. The description of free indirect speech with focalization enables its capturing as a transmedial figure. The second chapter introduces the context of film. It presents the history of subjectivization in the cinema, presents the state of research, discusses the issue of narration and focalization, and critically analyzes previous proposals for film equivalents of free indirect speech. As the concept of “cinematic free indirect speech” originates from a metaphor and is inaccurate, the third chapter introduces a new category, that of mediated stylistic subjectivization. To distinguish this form of narration from other means of approximating the character’s perspective, the author distinguishes three types of internal focalization: narrativization, personalization, and subjectivization. The mediated subjectivization “marks” the characters’ perception of reality, at the stylistic level, with untypical camera angles, lighting, staging, colors, editing, or sound. “Mediation” indicates that this type of narration does not create an illusion of a direct access to the inner world of the character, but foregrounds that a “higher” instance of narration transmits the internal states of the character. In the case of mediated subjectivization, the internal and external perspective do not exist in parallel but overlap. The second part of the work consists of critical analyzes and interpretations of five films. Each of the films represents different character’s experiences. The author examines cinematographic representations of unconscious desires and obsessions in The Cremator by Juraj Herz, emotional processes and moods in The Conformist by Bernardo Bertolucci, social experience in The Dancing Hawk by Grzegorz Królikiewicz, culturally-conditioned perception of reality in Natural Born Killers by Oliver Stone, and bodily sensations in Requiem for a Dream by Darren Aronofsky. This particular choice of works shows that mediated subjectivization may serve to represent various experiences. The narration in each of the films captures the deeply subjective feelings of the characters while simultaneously enabling the viewer to keep a distance from them; for instance, by ironically exaggerating some features of the characters’ perception of the world. Such subjectivization allows for the presentation of internally divided (split) subjects with little control of themselves. The analyses and interpretations prove the existence of the transmedial textual figure, which does not directly reflect the character’s perspective but employs the interference of internal and external focalization. The author emphasizes the analogies between textual strategies in various media but remains concentrated on how the polysemiotic medium of film models and transforms this transmedial figure.