Дисертації з теми "Ornamentations"
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Heinrich, Barbara. "Body ornamentation /." Online version of thesis, 1990. http://hdl.handle.net/1850/10944.
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Parmenter, Dorina Miller. "Bookbinding with metal ornamentation." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027126.
Повний текст джерелаАнотація:
During the Middle Ages, books were rare and cherished art forms, individually hand-crafted and decorated both on the pages and on the covers. Monks transcribed religious documents and classical literature with beautiful calligraphy, bound the pages together, and illuminated the covers with leather, silver, gold, ivory, enamels, and jewels.The purpose of this creative project was to research the history of bookbinding and its metal ornamentation, focusing on Medieval treasure bindings, and to explore and execute the historical bookbinding and metalworking techniques which were studied. Four books were constructed using the flexible bookbinding method, covered with leather, and decorated with enamels, stones, etched brass, silver filigree, and constructed closures.Department of Art
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Pleasant, Elizabeth A. "Ornamentation, representation, and experimental drawing." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.
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Probert, Dominic. "Sammartinis Blockflöjtskonsert och ornamentationen under barocken." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2438.
Повний текст джерелаАнотація:
Sammartinis Blockflöjtskonsert F dur
Dominic Probert, blockflöjt
Karolina Weber Ekdahl, barockviolin
Sandra Marteleur, barockviolin
Anna Lamberti, barockviola
Stina Petersson, barockcello
Anna Paradiso Laurin, cembalo
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Tringali, Angela. "Juvenile Ornamentation: Its Evolution, Genetic Basis, and Variation Across Habitats." Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6372.
Повний текст джерелаАнотація:
Ornamental traits are considered honest advertisements of fitness, and their evolution is usually explained in terms of sexual selection. This explanation remains unsatisfactory in some instances, for example, juvenile birds whose plumage is molted prior to adulthood and breeding. I first evaluate whether juvenile plumage reflectance signals dominance status in the Federally Threatened Florida scrub-jay (Aphelocoma coerulescens) using a combination of observational and experimental methods. Then I estimate the heritability, non-genetic maternal and environmental effects, and strength of selection on juvenile plumage reflectance using archived feather samples and a pedigree constructed from historical nest records. Finally, I compare plumage reflectance and its use as a signal between a wildland and suburban population of scrub-jays. I conclude that plumage reflectance is a signal of dominance, and that social selection can also drive the evolution of sexually dimorphic traits. In this species, plumage reflectance is heritable and influenced by maternal effects, but environmental effects are inconsequential. Although this trait appears to have an important function, only mean brightness and female hue are associated with lifetime reproductive success. Plumage reflectance was more UV-shifted in the suburban birds, but there is no reason to believe that urbanization decreases the value of this plumage as a signal. However, these plumage differences may facilitate dispersal from suburban areas, contributing to the decline of suburban populations.Ph.D.
Doctorate
Biology
Sciences
Conservation Biology; Ecology and Organismal Biology Track
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Paterson, Cameron Wooten Cecil W. "Beauty's heartbeat ornamentation and sentence-length in Cicero's Ninth Philippic /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,2070.
Повний текст джерелаАнотація:
Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Feb. 17, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics." Discipline: Classics; Department/School: Classics.
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Jackson, Christopher Newlyn. "An Examination, Reinterpretation and Application of Selected Performance Practices in Four Motets of Luca Marenzio (1553-1599): Implications for a Modern Choral Performance Context." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1099%5F1%5Fm.pdf&type=application/pdf.
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Wetzel, Daniel Paul. "Parental investment and male ornamentation in the Eastern bluebird (Sialis sialis)." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/fall2006/daniel_p_wetzel/wetzel_daniel_p_200608_ms.pdf.
Повний текст джерелаАнотація:
Thesis (M.S.)--Georgia Southern University, 2006."A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Science" ETD. Includes bibliographical references (p. 31-34)
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Lee, Hee Sook. "The continuity of pre-Islamic motifs in Javanese mosque ornamentation, Indonesia." Thesis, Oxford Brookes University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491184.
Повний текст джерелаАнотація:
The main aim of this research is to assess the continuity and significance of HinduBuddhist design motifs in Islamic mosques in Java. This is done by investigating four pre-Islamic motifs in Javanese mosque ornamentation from the 15th century to the present day. The research starts 'with a belief that typicalJavanese ornaments were consistently used both in pre-Islamic Hindu-Buddhist temples and Islamic mosques in Indonesia. This phenomenon was a result of syncretic Javanese Islam, composed ofmystic animism, Hindu-Buddhism, and Islam, which differed from orthodox Islam in the Near East and Arab world. Among many ornaments, the most frequent four motifs are prehistoric tJ/mpaLr, HinduBuddhist kala-makaras, lotus buds, and scrolls, all 'Of which have symbolic connotations and are used to decorate sanctuaries. TJ/mpaLr signify the Cosmos Mountain where gods abode; kala-makaras protect temples where the gods are believed to reside; lotus buds denote life and creation; and scrolls imply the start oflife. For a comparison between temple and mosque ornamentation, 10 Hindu-Buddhist temples and 30 mosques were purposively selected, and a representative sample of each motifwas taken during the researcher's fieldwork. In addition, 20 Indonesian scholars were interviewed to identify the origins ofmotifs in Javanese mosques. In order to answer the research questions, the background, basic type ofindicator and its subdivisions, five further characteristics, and other elements and principles of design were' investigated. Four indicators were chosen to test each of the four motifs. TJ/!JJjJaLr were examined by line, kala-makaras by shape, lotus buds by form, and scrolls by rhythm. A few examples of each motif explained how they were analysed in two stages, by the presence of each characteristic, and by its modal value and total number. This assessment was based on an amalgamation of (1) the researcher's informed judgement, trained in art and design, (2) observations during the fieldwork, (3) elements and principles of design, according to literary sources, and (4) the respect to the Indonesian cultural heritage. The findings revealed continuity in the four motifs across the pre-Islamic and Islamic periods. The continuities appeared in lines, shapes, forms, and rhythms. Lotus buds and tJ/mpaLr showed significant continuities, while kala-makaras and scrolls changed in the transfer from temples to mosques. &la-makaras needed to conform with the hadith (sayings of Prophet Muhammad) which forbids depicting living figures in Islamic ornamentation; thus living images were rather abandoned and replaced by geometric shapes. Javanese scrolls in temples and mosques displayed the same characteristics ofrepetitive and continuous rhythms as the Islamic arabesque. Consequently, there arose a beautiful syncretism in the four motifs in ideas and forms. Hindu-Buddhist symbolism was mingled with Islamic aesthetics, whilst keeping local Indonesian characteristics. The symbolic connotations of the four motifs allowed them to continue, and their influence was dependent upon creativity oflocal genius in each epoch.
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Brostoff, Lynn Beth. "Coating strategies for the protection of outdoor bronze art and ornamentation." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2003. http://dare.uva.nl/document/86440.
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Owens, Susan K. "Crowns, coronets, and tiaras : a study of head ornamentation in metals." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1246464.
Повний текст джерелаАнотація:
Crowns, coronets and tiaras are rings or circles (full or partial), usually metallic, plain or decorated, worn on the head to show honor, authority or distinction. The primary objective of this creative project was to research the history of crowns, tiaras and coronets, the significance of design, materials used, as well as, tradition and ceremony of which these are a part. The secondary objective was to design and construct a series of crowns using traditional designs, as well as, upon the artist's interpretation of contemporary design. This body of work employed a variety of traditional metalsmithing techniques including: fabrication, forging and forming.Department of Art
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Cornetet, James. "The Intricacy of Ornament: A Theory of Responsive Ornamentation in Architecture." Cincinnati, Ohio : University of Cincinnati, 2006. http://rave.ohiolink.edu/etdc//view?acc_num=ucin1153768590.
Повний текст джерелаАнотація:
Thesis (Master of Architecture)--University of Cincinnati, 2006.Advisor: Gordon Simmons. Title from electronic thesis title page (viewed Dec. 26, 2009). Includes abstract. Includes bibliographical references.
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Chambers, Kateri. "The evolution of grace: tracing the development of petite graces ornamentation." Thesis, Boston University, 2008. https://hdl.handle.net/2144/30649.
Повний текст джерелаАнотація:
Thesis (D.M.A.)--Boston UniversityThis dissertation examines the evolution of French vocal ornamentation. Ornaments (agrements or petites graces) were often marked by composers with the use of a symbol instead of being fully notated. Prior to the codification of this stenographic system, the gestural shapes they would come to represent were used. The admixture of shorthand agrement signs and full notation for ornamental gestures was due in part to the unwritten tradition of improvisation, transition from Renaissance to Baroque musical styles, and the inchoate state of printing. This dissertation traces the development of the petite grace system: The primary focus is secular vocal music from 1570 to 1702. Particular attention is given to airs de cours, vaudevilles, airs and chansons for boire and danser, and the contrasting airs serieux. To provide a wider overview of contemporary ornamentation and performance practices in France, sacred and secular vocal music 1527-1594, compositions by related foreign composers 1528-1702, general music and vocal treatises 1603-1736, and instrumental treatises and front matter 1583-1720 are surveyed. This chronological examination of the nascent petites graces yields a cursory look over a wide range of material. The first precursor melodic shapes appear in France by 1528, descriptions appear in 1603, and the first signed agrements in 1615. This dissertation provides a compendium of material; pinpoints the emergence of signs, descriptions, and agrement musical appearances outside treatises; and summarizes the trends of each petite grace.
2019-05-01
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Chambers, Kateri. "The evolution of grace: tracing the development of petite graces ornamentation." Thesis, Boston University, 2014. https://hdl.handle.net/2144/12958.
Повний текст джерелаАнотація:
Dissertation (D.M.A.)--Boston University, 2014This dissertation examines the evolution of French vocal ornamentation. Ornaments (agrements or petites graces) were often marked by composers with the use of a symbol instead of being fully notated. Prior to the codification of this stenographic system, the gestural shapes they would come to represent were used. The admixture of shorthand agrement signs and full notation for ornamental gestures was due in part to the unwritten tradition of improvisation, transition from Renaissance to Baroque musical styles, and the inchoate state of printing. This dissertation traces the development of the petite grace system: The primary focus is secular vocal music from 1570 to 1702. Particular attention is given to airs de cours, vaudevilles, airs and chansons for boire and danser, and the contrasting airs serieux. To provide a wider overview of contemporary ornamentation and performance practices in France, sacred and secular vocal music 1527-1594, compositions by related foreign composers 1528-1702, general music and vocal treatises 1603-1736, and instrumental treatises and front matter 1583-1720 are surveyed. This chronological examination of the nascent petites graces yields a cursory look over a wide range of material. The first precursor melodic shapes appear in France by 1528, descriptions appear in 1603, and the first signed agrements in 1615. This dissertation provides a compendium of material; pinpoints the emergence of signs, descriptions, and agrement musical appearances outside treatises; and summarizes the trends of each petite grace.
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Langenbruch, Jana. "Konsten att utsmycka en melodi : att lära ut ornamentation inom tidig musik." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1686.
Повний текст джерелаАнотація:
Denna uppsats undersöker på vilka sätt fyra professionella blockflöjtister lärde sig att ornamentera inom tidig musik. Fokus ligger på deras utbildningsväg före högskolestudier. Det undersöks vilka olika metoder deras lärare använder sig av och på vilka sätt källstudier från 1500- till 1700-talet spelar en roll inom ramen för deras undervisning.
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McIntoch, Solveig Mary. "Gamaka and Alamkara : concepts of vocal ornamentation with reference to Bara Khayal." Thesis, City University London, 1993. http://openaccess.city.ac.uk/8265/.
Повний текст джерелаАнотація:
This research explores questions relating to ornamentation in North Indian classical vocal music with particular reference to ba1khayil. At a technical level it addresses the question, "What is 'ornamentation' in khayal.?" and subsequently approaches the question, "How does ornamentation transform simple melodic ideas into aesthetic experiences?" The study re-examines the possible origins and evolution of khayl as a context for subsequent examination and analysis of ornamentation in performance practice. The study examines the components of rga structure in two stages; Chapter II discusses the tripartite structure of ruti, svara and phrase with reference to the sastraic tradition as well as to twentieth century sources. The components are found to represent different levels of melodic activity. The discussion is continued in Chapter III where additional components of rga are introduced. 'Ornamentation' proves to be inadequate as a term to describe the many aspects of melodic movement which take place in performance. Consequently this term has to be redefined in the context of khayil and the problem of terminology addressed. The study shows the presence of an accumulative process whereby components of rãga, including gamaka and alaipkra, work at different levels. Their combination expands simple melodic ideas thus creating the melodic texture of performance. Transcription and analysis of a three-level demonstration of ãipa illustrates this process. Additional aspects of gamaka in relation to phrasal structures are subsequently discussed. The last two chapters expand the frame of reference for the discussion relating to amaka and alaqikira. Chapter VI relates the findings of the foregoing chapters to the musical context of lãpa while Chapter VII discusses gamaka within a wider cultural context.
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Musselman, Ryan William. "Effect of Ornamentation on the Emotion Response and Perception of Motion Graphics." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23265.
Повний текст джерелаАнотація:
This study explores the effect of ornamentation on the emotional response and perception of motion graphics. A series of motion graphics were created, eye tracked, and tested for changes in emotional responses and perceptions based on the amount of ornamentation in the design. This study collected both quantitative and qualitative data to gain a better understanding of the viewer\'s overall emotional responses and perceptions of each video. Eye tracking data was studied to validate focal points and areas of interest. The quantitative data was analyzed by looking for correlations and trends. The qualitative data was analyzed for trends and reoccurring ideas.This study found that the amount of ornamentation in logo animations has a direct effect on the viewer\'s emotional responses and perceptions. More ornamentation led to overall positive changes in the emotional responses and perceptions of the brand or message, however there can be a turning point where the ornamentation can cause a negative response from the viewer.
Master of Fine Arts
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Anderson, Dustin Robert. "Two-Dimensional Computer-Generated Ornamentation Using a User-Driven Global Planning Strategy." DigitalCommons@CalPoly, 2008. https://digitalcommons.calpoly.edu/theses/15.
Повний текст джерелаАнотація:
Hand drawn ornamentation, such as floral or geometric patterns, is a tedious and time consuming task that requires much skill and training in ornamental design principles and aesthetics. Ornamental drawings both historically and presently play critical roles in all things from art to architecture; however, little work has been done in exploring their algorithmic and interactive generation. The field of computer graphics offers many algorithmic possibilities for assisting an artist in creating two-dimensional ornamental art. When computers handle the repetition and overall structure of ornament, considerable savings in time and money can result. Today, the few existing computer algorithms used to generate 2D ornament have over-generalized and over-simplified the process of ornamentation, resulting in the substitution of limited amounts of generic and static "clip art" for once personalized artistic innovations.
Two possible approaches to computational ornamentation exist: interactive tools give artists instant feedback on their work while non-interactive programs can carry out complex and sometimes lengthy computations to produce mathematically precise ornamental compositions. Due to the importance of keeping an artist in the loop for the production of ornamentation, we present an application designed and implemented utilizing a user-driven global planning strategy, to help guide the generation of two-dimensional ornament. The system allows for the creation of beautiful organic ornamental 2D art which follows a user-defined curve. We present the application, the algorithmic approaches used, and the potential uses of this application.
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Lee, Terence. "Female ornamentation and intrasexual competition if the convict cichlid fish (Archocentrus Nigrofasciatus)." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1486384711&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Farrell, Jennifer Heather. "Ornament and the affections in the opera arias of George Frideric Handel." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2470.
Повний текст джерелаАнотація:
The performance of opera arias composed by George Frideric Handel in our modern day is complicated by the necessity of including improvised embellishments, which were a standard component of the eighteenth-century genre of opera seria. Furthermore, discussions concerning the concepts of historical authenticity and performance practice muddle the issue of preparing Handel's music for presentation. In recent years scholars have prepared ornamented versions of select Handel arias in consultation with eighteenth-century performance practice treatises and other contemporary materials that provide considerable insight into the purpose and execution of ornamentation in performances Handel himself oversaw. What remains relatively unexplored, however, is the relationship between eighteenth-century embellishments and the Baroque affections, or passions. The affections, or passions, were rationalized emotional states derived from the Greek and Latin doctrines of rhetoric and oratory which Baroque composers sought to evoke and express in their music. This study explores the correlation of Baroque affections with ornaments as a legitimate approach to the composition of embellishments for Handel's opera arias. The tradition of rhetoric, the conventions of late Baroque Italian opera seria as a form, and the practice of ornamentation as an integral part of these conventions are examined. The study also provides a survey of eighteenth-century literature concerning the relationship of the musical representation of affects and ornamentation. Lastly, a review of Handel's operatic career and of the plots of the Agrippina, Rinaldo and Rodelinda will provide a context for the preparation of "affective" ornamented versions of six arias from these operas. In closing, a brief discussion of the early music movement and of the debates surrounding the use of the term "authentic" in relation to historic performance practices will illuminate the relevance of the relationship between affect and ornament to twenty-first century performances.
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Anderson, Dustin Robert Wood Zoë Justine. "Two-dimensional computer-generated ornamentation using a user-driven global planning strategy : a thesis /." [San Luis Obispo, Calif. : California Polytechnic State University], 2008. http://digitalcommons.calpoly.edu/theses/15/.
Повний текст джерелаАнотація:
Thesis (M.S.)--California Polytechnic State University, 2008.Major professor: Zoë Wood, Ph.D. "Presented to the faculty of California Polytechnic State University, San Luis Obispo." "In partial fulfillment of the requirements for the degree [of] Master of Science in Computer Science." Submitted June 11, 2008. Includes bibliographical references (leaves 77-79). Also available online. Also available on microfiche (1 sheet).
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Ross, Gareth Edward. "Re-evaluating ornamentation in a piano performance of JS Bach's Goldberg Variations BWV 988." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/72849.
Повний текст джерелаАнотація:
This dissertation investigates the practical considerations of executing specific ornaments in a piano performance of JS Bach’s Goldberg Variations BWV 988. Research will be presented which highlights how an understanding of the composition’s large-scale structure has an effect on the tempo choices by the performer, ultimately influencing the rhythm of an ornament. Various scholars’ rules and approaches towards ornamentation in the keyboard music of JS Bach will be scrutinised and applied in music examples from the Goldberg Variations. In some instances these rules will be shown to be contradictory and ineffective. Thus, their use in a modern performance of the Goldberg Variations becomes redundant. An analysis of performing traditions from reputable Bach keyboardists will be discussed, where their approaches to ornaments in the Goldberg Variations will be compared with the academic perspectives previously presented. The present writer will conclude this dissertation by offering his own solutions to ornaments in the Goldberg Variations which take into account the research and evidence gathered in the preceding chapters. To further support his choices of ornamentation a live and unedited recording of his performance of the Goldberg Variations has been included as an appendix. He endeavours for this dissertation to give the performer greater individuality in his/her approach to ornamentation in the keyboard music of JS Bach.Mini Dissertation (MMus)--University of Pretoria, 2019.
Music
MMus (Performing Arts)
Unrestricted
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Venn, Andrea Faye. "Exactly What is That Worth to You: Gifting Ornamentation and Relationships in Shakespeare's Plays." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1541092559869203.
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Murray, Rosalind L. "The ecology and evolution of female-specific ornamentation in the dance flies (Diptera: Empidinae)." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22157.
Повний текст джерелаАнотація:
Elaborate morphological ornaments can evolve if they increase the reproductive success of the bearer during competition for mates. However, ornament evolution is incredibly rare in females, and the type and intensity of selection required to develop female-specific ornamentation is poorly understood. The main goals of my thesis are to clarify the relationship between the type and intensity of sexual selection that drives the evolution of female ornamentation, and investigate alternative hypotheses that might be limiting or contributing to the development of female ornaments. I investigated the ecology and evolution of female-specific ornaments within and between species of dance flies from the subfamily Empidinae (Diptera: Empididae). The dance flies display incredible mating system diversity including those with elaborate female-specific ornaments, lek-like mating swarms, aerial copulation and nuptial gift giving. To elucidate the form of sexual selection involved in female-ornament evolution, I experimentally investigated the role of sexual conflict in the evolution of multiple female- specific ornaments in the species Rhamphomyia longicauda. Through manipulative field experiments, I found that variation in the attractiveness of two ornaments displayed by females indicates that sexual conflict, causing a coevolutionary arms race, is an important force in the evolution of multiple extravagant female ornaments. Using R. longicauda again, I tested for a role of functional load-lifting constraints on the aerial mating ability of males who paired with females displaying multiple large ornaments. I found no evidence of functional constraints influencing the mating opportunities of elaborately ornate females, but instead discovered a relationship consistent with positive assortative mating for mass. Biased sex ratios are predicted to increase the intensity of sexual selection in a population, which in turn, is predicted to influence the evolution of ornamentation. I measured the incidence and prevalence of vertically transmitted symbiotic bacteria that has been observed to distort the sex ratio in other Dipteran hosts. While my survey revealed that symbionts occur at high incidence and variable prevalence across dance fly hosts, I found no effect of symbiont infection levels on population sex ratios, or female- specific ornament evolution. Further investigation into the relationship between sex ratios and female-ornament evolution using the comparative method revealed that the operational sex ratio (OSR) of a population did not predict continuous measures of female ornamentation across species. However, female-ornament evolution did predict male relative testis investment across species indicating that female ornaments likely indicate increased levels of polyandry. My thesis reveals that sexual selection theory developed to describe male-specific ornament evolution cannot readily be translated to apply to females. I show that male mate choice, rather than functional constraints or ecological associations with bacteria, is likely driving the evolution of female-specific ornaments. I also identify sexual conflict as an important selective force in the evolution of female-specific ornaments.
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Ko, Hsiang-Shang. "Analysis and synthesis of inductive families." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:2bc39bde-ce59-4a49-b499-3afdf174bbab.
Повний текст джерелаАнотація:
Based on a natural unification of logic and computation, Martin-Löf’s intuitionistic type theory can be regarded simultaneously as a computationally meaningful higher-order logic system and an expressively typed functional programming language, in which proofs and programs are treated as the same entities. Two modes of programming can then be distinguished: in externalism, we construct a program separately from its correctness proof with respect to a given specification, whereas in internalism, we encode the specification in a sophisticated type such that any program inhabiting the type also encodes a correctness proof, and we can use type information as a guidance on program construction. Internalism is particularly effective in the presence of inductive families, whose design can have a strong influence on program structure. Techniques and mechanisms for facilitating internalist programming are still lacking, however. This dissertation proposes that internalist programming can be facilitated by exploiting an interconnection between internalism and externalism, expressed as isomorphisms between inductive families into which data structure invariants are encoded and their simpler variants paired with predicates expressing those invariants. The interconnection has two directions: one analysing inductive families into simpler variants and predicates, and the other synthesising inductive families from simpler variants and specific predicates. They respectively give rise to two applications, one achieving a modular structure of internalist libraries, and the other bridging internalist programming with relational specifications and program derivation. The datatype-generic mechanisms supporting the applications are based on McBride’s ornaments. Theoretically, the key ornamental constructs — parallel composition of ornaments and relational algebraic ornamentation — are further characterised in terms of lightweight category theory. Most of the results are completely formalised in the Agda programming language.
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Trimble, Mark. "The Klezmer Influence in Paul Schoenfield’s Klezmer Rondos." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103401/.
Повний текст джерелаАнотація:
Paul Schoenfield’s Klezmer Rondos is a work for flute, male vocalist, and orchestra revised in 1994 according to the score given to me by the composer. A review of current research in klezmer heritage music is the starting point to place Klezmer Rondos in the context of art music infused with klezmer flavor. Klezmer music can be defined as the instrumental folk music of Eastern European Jews, however because of its adaptability and quality of assimilating other cultures within it, this heritage music is constantly in flux. By looking at the research in this field, I describe how the sound of klezmer music has evolved and how popular notions have been formed. The body of this research explores the main musical aspects of Klezmer Rondos that can be tied to the klezmer tradition: scales and thematic materials, improvisatory elements, ornamentation, and instrumentation. Klezmer Rondos moves beyond a simple arrangement of vernacular music for orchestra; it is a fusion of contemporary art music with the elements of klezmer style.
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Lloyd, Dylan Mikhail. "A Classical Clarinetists Guide to Klezmer Music." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1483709136936196.
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Milosevic, Milan. "Clarinet ornamentation techniques influenced by the traditional use of an historical instrument - the tárogató : [supplementary material]." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/53168.
Повний текст джерелаАнотація:
There is very little literature available related to traditional ornamentation performance conventions from Eastern Europe. This dissertation thus explores the ornamentation performed on the tárogató, a Hungarian historical instrument, as the inspiration for new ornaments to be used both in existing and new compositions for the tárogató and clarinet. As a result of research and study awards received from the University of British Columbia and the British Columbia Arts Council, I conducted fieldwork with Hungarian and neighbouring Romanian and Serbian folk performers in their natural performance environments. Throughout the twentieth century, such performers developed their own variety of music ornamentation and articulation methods on the tárogató related to several different cultural regions of current-day Hungary, Romania, and Serbia. In this dissertation, these traditional ornaments are used as an inspiration to create six new different ornamental models. They can be performed on either the clarinet or tárogató.
I begin by outlining the various interpretations of the most similar ornaments to my new models and the symbols used to depict them in related treatises used in Western Europe from the early seventeenth century until modern times. For the purpose of clarity and differentiation from the historical ornamental symbols most commonly used today, I designed a set of six new visual depictions of the ornaments, accompanied by a practical guide to the new side-key and finger-bounce fingerings and the resultant pitch measurements. I conclude with several compositional examples representing my suppositions on the most tasteful ornamental placements within the possible variety of musical contexts of traditional and contemporary origins. Such suppositions are not intended to change the texture or the original composers' suggestions on ornaments; rather, it is my wish to use them to underline and amplify the traditional style in which the piece is to be performed. Supplementary video material is available at: http://hdl.handle.net/2429/53100Arts, Faculty of
Music, School of
Graduate
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Andersson, Emelie. "Trattbägarkeramiken och dess ritualer : En studie av keramikhanteringen vid megalitgravar i Sydskandinavien under neolitikum." Thesis, University of Kalmar, University of Kalmar, University of Kalmar, University of Kalmar, School of Human Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-1019.
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This essay studies the funnel-beaker ceramic in connection with the megalith graves in South Scandinavia. In my work I have described the nature of ceramics and looked on the crockery types and ornamentation and then discussed the use of the material in a ritual perspective. In the first part I have focused on the critical aspects you have to think about when you do a study like this one. In the second part of this essay I have done a case study, with the ceramic material, in three passages graves in the area of Falbygden, Western Sweden and studied the ceramic material and the nature of it in South Scandinavia as well. Then in the third I discussed the potential use, there is two, of the ceramic material in general of South Scandinavia and looked at it in a ritual perspective.
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Pettersen, Hanne Hagen. "Gustav Klimt and Modern Portraiture." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1190.
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Frakes, Stephanie L. "Chopin's Cantabile in Context." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357332093.
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Alkandari, Fahad A. H. H. "Islamic ceramic ornamentation and process : proposals for a new aesthetic vocabulary in contemporary architectural embellishment within kuwait." Thesis, University of Central Lancashire, 2011. http://clok.uclan.ac.uk/2800/.
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Islamic architecture is arguably one of the greatest manifestations of Islamic visual culture. One of the defining aspects of the unique, aesthetic richness of traditional Islamic architecture has been the application of ceramic ornamentation or embellishment. There is a growing concern, however, that this legacy is being eroded. The diminishing identity of Islamic visual culture is particularly evident through current architectural developments occurring in the Arab states. The building revolution in the Gulf countries has dramatically increased momentum since the onset of the ‗oil economy‘, echoing the phenomena of globalization. This research project explores these concerns, discussing the erosion of Islamic ‗identity‘ within contemporary architecture in the Gulf States and in particularly Kuwait, as well as the ensuing decline in the use of ceramics as a defining embellishment material. The research compares the aesthetics of traditional and contemporary Islamic architectural design, whilst also examining the reasons behind this erosion in traditional design style. The diminishing identity of Islamic visual culture is investigated by combining studies in the fields of art, aesthetics, design, architecture, and the social sciences, in order to understand the nature of the research problem. A series of case-studies demonstrates how ceramics may be used to re-introduce a sense of Islamic identity within contemporary architecture. This offers design proposals, new materials and technical processes that acknowledge the rich traditions of Islamic Ceramics while also being appropriate for application within the context of contemporary Islamic architecture detailing; blending contemporary aesthetics and technical thinking with traditional Islamic design. The aim of the case-studies is to offer proposals for a new aesthetic vocabulary of architectural embellishment that is both appropriate to and innovative within, the context of contemporary Islamic architecture. This new aesthetic vocabulary III specifically blends contemporary design principals, new materials and technical processes, whilst acknowledging the rich traditions of Islamic ceramics. The PhD project, applies two types of research methodology: theoretical research and practice-based research. The former focused on social sciences and applied quantitative and qualitative research approaches, including surveys and interviews undertaken within Kuwait. The findings obtained from these surveys verified the emergence of a new cultural style of contemporary architecture and shaped the practice-based element of the project; proposals for ceramic embellishment that are contemporary, while still reflecting many recognizable aspects of traditional Islamic design. The new architectural style can be attributed to factors such as globalization, the adoption of international building styles, and a seeming unwillingness to incorporate traditional styles into new building design, all of which contribute to the currently weak identity of Arabic / Islamic ceramics within Kuwait. Despite of this, the survey revealed that Kuwaiti society maintains a strong relationship and affiliation with Islamic culture, although many seemed unaware of their own rich culture and its past legacy. The practice-based research involved two distinct phases. The first phase involved the development of a large number (172) of new glazes. The glazes were intended to reflect the palette of colours used over generations of Islamic Ceramic culture, while still being appropriate for integration within the contemporary Islamic architectural environment. The second phase of practice involved a series of case studies, embracing a wide range of contemporary architectural ceramic design processes (including 2 and 3 Dimensional geometrical patterns and interpretations of contemporary calligraphic design). The case studies utilised a number of modern technologies, such as 3D Solid modelling, CNC Rapid Prototyping and Laser-cutting, to prove that modern design and manufacturing technologies can be integrated within traditional ceramic processes. The aim being to both provide ceramic products that architects and designers can use to enhance the modern IV architectural environment of Kuwait and re-establish the creative status of ceramics.
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RODRIGUES, TAISA FIGUEIRA. "THE INDIGENOUS ICONOGRAHY THOUGH A DESIGN S POINT OF VIEW: THE KAYAP S BODY ORNAMENTATION - A CASE STUDY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9974@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOA cultura material indígena constitui um dos mais fortes ícones culturais de nosso país. Hoje a sua relevância torna-se mais evidente diante de um mundo globalizado e efêmero que, cada vez mais, busca em referências de tradições locais, âncoras simbólicas e originalidade estética. No campo do design, verificamos a recorrência de trabalhos baseados em fazeres regionais ou no artesanato de tradições locais. Essa dissertação, então, procura trazer uma reflexão sobre o relacionamento do design com a iconografia indígena em nosso país, abordando para tanto, as formas como se operam os cruzamentos entre o sistema estético hegemônico com sistemas estéticos ditos populares como o indígena, ou seja, as diferentes formas como cada um deles se apropria dos elementos estéticos do outro. Sob o ponto de vista do design, nos interessa investigar a apropriação que o design faz desta iconografia assim como a intervenção do designer junto a comunidades indígenas. Esta dissertação traz como estudo de caso a ornamentação corporal dos índios Kayapó. Entre os diferentes índios relativamente isolados que habitam hoje a região da Amazônia Legal, a ornamentação corporal dos índios Kayapó se destaca por sua relevante expressão estética, por sua beleza e refinamento. Assim como expressa de maneira muito formal e sintética a compreensão que estes índios possuem de sua cosmologia, estrutura social, da relação com a natureza e da construção da identidade e da alteridade.
The indigenous iconography is one of the most powerful cultural icons from our country. Its relevance becomes more and more evident within a globalized and ephemeral world, which searchs in local traditions symbolic references and original aesthetics. In the design field we notice the increasing presence of works based on regional motives and local traditional handicrafts. This dissertation proposes a reflexion about the relation between design and the indigenous iconography in our country, broaching the differents forms that the hegemonic aesthetic system encounter the popular ones, as the indigenous. In other words, the differents forms that each of them appropriates the aesthetics elements of the other. In the design s field we are interested in investigate the design s appropriation of the indigenous iconography as well as, the designer s intervention into indigenous communities. This dissertation brings as case study, the body ornamentation of Kayapó Indians. Among the different relatively isolated Indians, who inhabit the region of the Legal Amazon nowadays, the kayapó Indians detach themselves for their meaningful aesthetic expression, beauty and refinment. Their ornamentation reflects in a formal and very synthetic way the understanding of their cosmology, social structure, relationship with nature and the construction of identity.
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Antonioli, Luiz Fabio. "Percursos do ornamento." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-19012011-111832/.
Повний текст джерелаАнотація:
Partindo de um percurso pela cidade de São Paulo, a pesquisa identifica o ornamento de arquitetura. Tem o propósito de aprofundar a discussão a respeito da permanência do ornamento enquanto um dos elementos constitutivos da arquitetura e de contribuir para o aprofundamento e a ampliação das abordagens para a sua investigação. Através da discussão desenvolvida a partir de articulações de uma seleção de conceitos propostos, a pesquisa busca identificar como acontece o comparecimento do ornamento de arquitetura em diferentes circunstâncias de espaços e culturas. Assume como premissa que o significado associado ao objeto ornamental ultrapassa o âmbito da estética e impõe o conhecimento de outras abordagens, em articulação. Após o percurso pela cidade, outros percursos, agora conceituais, são desenvolvidos, no quais o objeto ornamental comparece de modos diferentes na história, no tempo, na sociedade e nos projetos de arquitetura. Este percurso não tem um ponto de chegada: visa a trazer elementos para subsidiar novas pesquisas.Starting from a journey through the city of São Paulo, the research identifies the architectural ornament. It aims at deepening the ongoing academic debate on the continuance of ornament as a constituent element of architecture and at helping intensify and broaden the approaches to its examination. Throughout the discussion, held out of the articulation of selected propounded concepts, the research tries to identify manners of presentation of the architectural ornament under different circumstances in space and culture. It is assumed that the meaning associated to the ornamental object exceeds the sole scope of aesthetics, and it demands knowledge from other subject areas in an articulated way. After that city journey, other ones - this time conceptual journeys - are taken, in which the ornamental object arises differently in history, time, society and the architectural designing. This path leads to no point of arrival: this inquiry intends to supply additional supportive elements for further research.
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Sturgis, Alexander J. "The liturgy and its relation to gothic cathedral design and ornamentation, in late twelfth and early thirteenth century France." Thesis, Courtauld Institute of Art (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321172.
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Globig, Aleksandra. "A New Method of Surface Ornamentation: Ludwig Hevesi's Malmosaik in Gustav Klimt's Faculty Paintings, Beethoven Frieze and Stoclet Frieze." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13317.
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The Austrian art critic Ludwig Hevesi wrote the article "Gustav Klimt und die Malmosaik" in August of 1907 after seeing two separate exhibitions with paintings by the Austrian artist Gustav Klimt. The first exhibition had three easel paintings and the second, three decorative ceiling paintings. Despite the obvious differences between the two types of paintings, Hevesi noted a stylistic continuity between them. He created the term, Malmosaik, applicable to both easel and decorative painting, in order to discuss this continuity in his written criticisms. This thesis examines the applicability of the Malmosaik in Klimt's Faculty Paintings, Beethoven Frieze and Stoclet Frieze, and its impact on traditional notions of medium purity in turn-of-the-century Vienna. The Malmosaik, as it developed in Klimt's work, is discussed here as an innovative, non-medium specific aesthetic unique to Vienna.
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Goforth, Stephen Tucker Pezel Johann Scheidt Samuel. "Baroque ornamentation practices applied to transcriptions for the modern brass quintet using selected compositions of Johann Pezel and Samuel Scheidt /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.
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Rydmell, Sara. "The honesty of the female sexual ornament in Gallus gallus." Thesis, Linköping University, Linköping University, Linköping University, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-57100.
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Olanders, Julia. "Betweenness." Thesis, Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6954.
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Betweenness is a project questioning the relation between us and what we surround us with. To reveal our assumptions around artifacts and by doing so create an conversation between us viewers/ users and the objects themselves. Who owns the dialogue: the object or the viewer? Taking a deeper dive into the symbols and languages of objects, the quiet voices they posses and the functions surfaces, the visualization circle around words such as visual function, ornamentation, material displacement and attraction. By trying to convey the objects “inner thoughts” and creating a dialogue it pushes our ideas of what is desirable, what is strange, what is useful or even beautiful. The trick is in the contrast between what we see and what we know, bordering into imaginary, creating voices for ambiguous objects.
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Raymond, Holly A. "Cultic Niches in the Nabataean Landscape: A Study in the Orientation, Facade Ornamentation, Sanctuary Organization, and Function of Nabataean Cultic Niches." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2334.pdf.
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La, Salle Marina J. "Beyond lip service : an analysis of labrets and their social context on the Pacific Northwest Coast of British Columbia." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1592.
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This thesis provides an analysis of the history and social context of the labret (lip plug) on the Northwest Coast of British Columbia over the last 5,000 years. Although labrets have typically been characterized as markers of ‘status’ with connotations of gender, the variability in observations made by early explorers and ethnographers suggests that this simplistic depiction belies a complexity in what aspect of social identity this form of personal communicated. Therefore, this research has sought to explore the relationship between labrets and social identity by conducting a comprehensive typological analysis by which to examine patterning in materiality through time and space. Although hindered by a lack of temporal data and contextual information on gender association, the results of this research demonstrate that there is geographical patterning at multiple scales—regional, sub-regional and even on the village or site level—which supports the hypothesis that the labret has been an exclusionary tradition conveying both individual and group social identity that varies through time and space in this region. The social meaning of labrets is further explored through research on contemporary labret use, which highlights a tension between individual expression and group acceptance that is expressed materially, contrasting the physical permanence of the labret and the mutability in social meaning conveyed. Finally, interviews with First Nations artists who include labrets in their art has shown that cultural identity both informs and is informed by a concept of shared heritage; thus, the labret is a symbol and expression of social identity that continues to hold significant meaning for the descendants of this heritage. Therefore, while simple correlations of the labret with ‘status’ and ‘gender’ are not wrong, nonetheless they betray the complexity of body ornamentation which, though manifested materially, is highly contextual. This research contributes to the ongoing anthropological discussion of materiality and identity, considering the ways that structured style is negotiated through practice, and asking whether this recursive, dynamic and dialectical relationship can be accessed archaeologically—a task that ultimately requires a commitment to reflexivity, multivocality, and critical examination of the research process itself.
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Graves, Margaret Susanna. "Worlds writ small : four studies on miniature architectural forms in the medieval Middle East." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5489.
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While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context. Those few authors that have dealt with this issue have focused overwhelmingly on two-dimensional architectural representations, largely ignoring the considerable body of portable objects from the medieval Middle East that imitate architecture through three-dimensional forms, whether in a mimetically coherent fashion or in a more elliptical or reconfigured manner. This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world. Through iconographic analysis of the relationships that such objects form with architecture, an understanding of both full-size architecture and its miniature incarnations in the medieval urban context is advanced within the thesis. To maximise the intellectual scope of the study whilst still enabling an in-depth treatment of the material, four discrete studies of different object groups are presented. All of these are thought to date from approximately 1000 to 1350 CE, and to come from the core Middle Eastern territories of Persia, Syria and Egypt. The first chapter examines the glazed ceramic ‘house models’ believed to originate in late or post-Seljuq Persia. The second discusses six-sided ceramic tables from the same milieu, and more numerous related tables produced in Syria during the same period. In the third chapter carved marble jar stands from Cairo, apparently produced from the twelfth century onwards, are analysed. The final chapter, on metalwork, broadens its approach to encompass two very different strains of production: inkwells from Khurasan and incense burners from the breadth of the Middle East. Because much of the thesis focuses on material that has been dramatically understudied, it performs the primary action of compiling examples of each of the object types under study. Though this information is presented as a catalogue vi sommaire, this component of the thesis is not regarded as an end in itself. The major tasks of the thesis are the identification of the architectural tropes that are being evoked within each object group, analysis of the manner in which those forms have been modified to suit the miniature context of the objects, and the location of meaning within such diminutive evocations of architectural form. Through comparisons with other objects, full-size architecture, two-dimensional representations of architecture and historical texts, the thesis moves discourse on this type of motif in Islamic art beyond the traditional and sometimes superficial discussion of ‘ornament’, re-setting architectural iconography within larger contexts of urbanisation and city culture of the medieval Islamic world.
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Ferreira, Naligi Fernanda. "O ornamento como reflexo de seu tempo: percurso através da história." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-13042016-010343/.
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Este trabalho buscou fazer recortes a partir de pesquisas bibliográficas em dados secundários históricos para elaborar uma linha cronológica da ornamentação, deste a pré-história até a década de 1990. Para atingir o objetivo especifico, foi necessário fazer recortes na história mundial, nas comunicações visuais, nas vestimentas e na ornamentação para que fosse possível elaborar as interfaces de todos os dados obtidos, saber como cada tópico influenciou no emprego de materiais, técnicas e também o uso dos ornamentos por parte de cada individuo. Os ornamentos caracterizam mundialmente os diferentes grupos e culturas e este é um relevante fator de estudo que pode ser muito abrangente em seus mais diversos aspectos. Sendo assim, sabe-se que a vestimenta, mais tarde vista como moda, estabelece uma relação entre pessoa e objeto; os indivíduos consomem a vestimenta pela necessidade da utilização da indumentária, podendo-se atribuir a ela uma diferenciação visual social. Paralelamente à vestimenta, há os ornamentos, detectados na vida do homem desde os primórdios, que atravessaram toda a história da humanidade até a sua chegada aos tempos atuais, na condição de serem requisitos tão necessários tanto quanto a própria vestimentaThe present article aimed to make cuts from library research in historical secondary data in order to elaborate a chronological line in ornamentation, since pre-history to the late 1990s. To achieve the specific purpose, it was necessary to make cuts in world history, in visual communications, clothing and adornment in order to make it possible to elaborate the interfaces of all obtained data, knowing how each topic influenced the use of materials, techniques and also use of ornaments by each individual. The ornaments worldwide characterize the different groups and cultures and this is a significant study factor that can be very broad in its various aspects. Thus, it is known that the garment later seen as fashionable, establishes a relationship between the person and the object; the individuals consume garment by the need for the use of clothing, and it may be attributed to it a social visual differentiation. In parallel to garment, there are the ornaments, detected in human life from the very beginning that have gone through the entire history of humanity until their arrival in the present times, in a condition to be requirements as necessary as the garment itself
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Tartaglia, Angela D. "Dressing Psychic Wounds: Clothing as Metaphor in Paule Marshall's Praisesong for the Widow and Leslie Marmon Silko's Ceremony." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/42.
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I investigate the function of dress as it relates to cultural retention in Paule Marshall's Praisesong for the Widow and Leslie Marmon Silko's Ceremony, drawing upon the work of fashion theorists Joanne Entwistle, Alison Lurie and Anne Hollander. My examination of the two novels is informed by several excellent scholarly works which hold that characters' well being is determined by the extent to which they connect with their folkloric roots, the central message in both Ceremony and Praisesong for the Widow. I build on this discourse by demonstrating that the novels' consistent attention to clothing is a device that situates characters psychologically in their spiritual journeys homeward, from fragmented self identity to incorporeal contentment. My investigation of the unique treatment of clothing and adornment as metaphor for the novels' crises finds that the images of dress in characters' internal and external worlds heightens the conflict and illustrates the resolution in both novels.
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Schull, Quentin. "Sexual selection, social selection and individual quality : underlying mechanisms and ultimate consequences of ornamentation in a monomorphic species, the King penguin (Aptenodytes patagonicus)." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAJ110/document.
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Depuis 157 ans et la publication originelle de la théorie de l’évolution par sélection naturelle de Charles Darwin, ce concept n’a cessé d’évoluer. Un principe fondamental suggère que des traits handicapants aient évolués dans la mesure où ils informent de manière honnête les congénères sur la qualité intrinsèque du porteur. Le manchot royal est un modèle exceptionnel permettant de tester la valeur sélective de ce signal dans un contexte sexuel et social (non-reproductif). Mes résultats suggèrent que l’apparition et le maintien de certains de ces traits au cours de l’évolution se sont opérés sous l’influence de la sélection sexuelle et d’un choix mutuel du partenaire, tandis que d’autre, non contraint par la condition fluctuante de l’individu, aurait évolué sous l’influence de la sélection sociale. Ce travail de recherche participe à la compréhension des mécanismes impliqués dans l’évolution de signaux coûteux, et à la nature des bénéfices ultimes que ces traits procurentDarwin’s seminal theory of evolution by means of natural selection, first published 157 years ago, has been in constant refinement ever since. The production and maintenance of extravagant ornaments is widely suggested to evolve by conspecific preference providing information on individual intrinsic quality in sexual contexts or on individual social quality in non-reproductive contexts. The king penguin is a monomorphic bird species and an outstanding model to study ornament evolution. My results show that those ornaments are partly condition-dependent, and reliable traits that may be used to assess the quality of a potential sexual partner, implying that their evolution and maintenance is partly determined by sexual selection. On the other hand, some traits remained condition-independent in their production, suggesting that the cost associated with their expression was deferred over time and the evolution of those ornaments likely shaped by non-sexual social selection
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Rubin, Joel Edward. "The art of the klezmer : improvisation and ornamentation in the commercial recordings of New York clarinettists Naftule Brandwein and Dave Tarras 1922-1929." Thesis, City University London, 2001. http://openaccess.city.ac.uk/8393/.
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This thesis is an investigation into the instrumental social music of the Eastern European Jewish immigrant community in New York during the early decades of the twentieth century. A professional tradition with roots in medieval Germany, klezmer music had developed in the Jewish communities of Eastern Europe during the course of several centuries and was brought to North America by immigrants beginning in the late nineteenth century. European klezmorim had formed a socio-economic group which fulfilled a ritual function within traditional Jewish society at weddings and other celebrations. like Yiddish culture in general, the Jewish instrumentalists adapted to the New York environment, creating a synthesis during the period 1880-1950which contained both Eastern European and American attributes. This study begins with the hypothesis that there is a unique style and repertoire created and interpreted by the klezmorim, of which key stylistic aspects can be identified. Utilising a three-prong approach - historical, ethnographic and musicological - it provides a focused study based on the recordings of the clarinettists Naftule Brandwein (1884-1963)and Dave Tarras (1895-1989) made during the years 1922-1929 and, at the same time, places their music within a larger socio-cultural context. Drawing on musical parallels to Harshav's theory of polylingualism in Yiddish, the study treats the various genres within the overall category of metric dance tunes as a single field, investigaqng key stylistic elements at the syntactical and improvisational leve1s. It focuses in particular on issues of modality, compositional process, improvisation and ornamentation. A dynamic approach to modality presents a new way of looking at oral musical traditions which contain elements of both modal systems and Western tonality. The study both confirms the importance of ornamentation as being crucial in defining style in oral traditions and suggests certain categories of ornaments may also serve a structural function. Building upon Nettl's concept of a "point of departure" upon which musicians base their improvisations, those of Brandwein and Tarras may be regarded as being based on a myriad of points of departure at every level of detail which, when aggregated, made up the performance. Finally, through investigating the interface between syntactical and improvisational elements, a new way of looking at improvisation is suggested - one which blurs the boundary between the compositional and the performative.
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Dauncey, Sarah. "The politics of fashion : perceptions of power in female clothing and ornamentation as reflected in the sixteenth-century Chinese novel Jin Ping Mei." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4584/.
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This thesis examines issues of female power and influence in sixteenth-century China focusing on how women and their roles were perceived in the changing social environment of the mid-late Ming dynasty. Using aspects of a New Historicist approach, information from contemporary literary and historical sources are analysed alongside each other. With its emphasis on the lives of women and preoccupation with the description of material objects, the late Ming novel Jin Ping Mei forms an important element in the thesis. China in the sixteenth century saw expanding urbanisation, the emergence of a new wealthy merchant class, increasing visibility of women and a questioning of traditional morality. Fashion consciousness, as one of the most conspicuous aspects of the new material culture, is a possible indicator of these trends. Traditional Western theories contend that fashion began in the particular context of Renaissance Europe. However, this study argues that a similar fashion awareness existed in China too, and was manifested in a competitive striving for social status, in this case specifically among women. In contrast to previous studies which downplayed the impact women had on defining traditional Chinese culture, this thesis demonstrates how women and their sartorial choices began to redefine the boundaries of material culture, influencing literati discourse which, in turn, re- influenced female behaviour.
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Iliopoulos, Antonios. "The prehistory of material signification : tracing the nature and emergence of early body ornamentation through a pragmatic and enactive theory of cognitive semiotics." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:0811d8f8-e885-4785-b7a6-681faaceca41.
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This thesis explores the nature and emergence of early body ornamentation, which has long been at the forefront of the debate on modern human origins. According to most prehistorians, ornamental shell beads are unequivocal proxies for behavioural and cognitive "modernity", for they are considered the arbitrary products of symbolically-capable brains. In my dissertation, I argue against the "symbolic" dictum of reducing material signification to linguistic terms, and attributing its creation to a representational mechanism. For one, the significative meaning of material culture is not entirely arbitrary, because concepts can be founded on physical properties and affordances. Moreover, material signification is not the epiphenomenal product of innate cognitive modules, for the mind is not a computational device that processes internal representations before externalising them through behaviour. I thus suggest that these theoretical fallacies about the nature and emergence of material signification can be overcome by combining a pragmatic semiotic approach with an enactive theory of cognition. Briefly put, a pragmatic semiotic theory describes the nature of material signification by recognising that significative concepts can be founded on physical qualities and relations, whereas an enactive theory of cognition accounts for the emergence of material signification by explaining how significative concepts are brought forth via the constitutive entwinement of mind and matter. Through the synergistic fusion of these theoretical tenets, the origins of early body ornamentation can be examined from a developmental perspective that treats the generation of significative meaning as the emergent product of material engagement. In its light, the preoccupation of most evolutionary archaeologists with the notion of "modernity" appears to be inherently problematic. It is therefore ultimately proposed that the dominant symbolic interpretation of material signification need be replaced with a pragmatic and enactive theory of cognitive semiotics that is suitably geared to trace the evolution of prehistoric material signs.
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Smith, Terry. "Plumage Ornamentation as an Indicator of Female Age and an Influence in Male Mate Choice in Protonotaria Citrea, the Prothonotary Warbler in Virginia." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1559.
Повний текст джерелаАнотація:
Flamboyant plumage and ornamentation is common and well-known in male birds; it serves as a sexual display to attract potential mates. While flamboyant plumage is less common and usually more subtle in female birds, it does occur in some species such as Dark-Eyed Juncos (Junco hyemalis) and Prothonotary Warblers (Protonotaria citrea). Prothonotary Warblers display relatively subtle sexual dimorphism. This study examines variations in tail spot patterns in Prothonotary Warblers and relates those variations to age in females. Females with fewer than six spots tend to be two years old or younger; females with six spots or more tend to be three years old or older. The tail spot numbers of mated pairs were also analyzed. Statistical analyses indicate that males mate with females with six tail spots more often than they mate with females with other numbers of tail spots. This suggests males prefer females who are at least three years old.
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Silverberg, Misoon Ghim. ""HE WAS DESPISED" IN WRITING AND PERFORMANCE: A STUDY OF VOCAL ORNAMENTATION IN ONE ARIA FROM HANDEL'S MESSIAH USING OBJECTIVE AND SUBJECTIVE LISTENING PRACTICE." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/87092.
Повний текст джерелаАнотація:
Music PerformanceD.M.A.
A two-fold analysis of the vocal ornamentation in Handel's aria, "He was despised" from Messiah, was conducted employing objective and subjective forms of listening practice associated with the analysis of recordings methodology. It is this author's hypothesis that prosody, born of the semiotic processes of rhythm, pitch and accent, and which is also reflective of the subjective understanding of the performer, will be present during the moment of an ornament--if it is present at all in any performance. Ornamentation is shown to be an entry into the world of subjectivity in Baroque vocal performance practice as well as a window into the oral tradition and the primacy of the singer's expressiveness that relates back to the Italian school to which Handel subscribed. The method of study in this monograph consists of examining scholarly writings, scores, notations and most importantly, applying listening practice to 38 different renditions of "He was despised," executed by female altos or by countertenors, under the direction of various conductors, dating from 1927 through 2006. The first of two listening practices is an analysis of recordings to identify and review the nature of the non-notated sung ornaments found in the recordings. The author develops a system of defining and categorizing the types and units of non-notated, aurally observed vocal ornaments executed in each performance. In the second phase of this study, the author incorporates a postmodern philosophical approach and notes her own subjective experiences during the analysis of recordings. This phase examines the idea that prosodic elements are associated with the subjective experience of emotional meaning, elucidation of text, and illumination of subtext in this aria from Handel's Messiah. Results include noteworthy findings about the interplay of the singer's subjectivity with ornamentation in affecting the listener's subjective reaction to the performance (e.g., narrator's viewpoint, beautifying versus emphasizing subtext). In conclusion, the author explores the relationship between a performer's prosodic and non-prosodic executions of ornamentation and proposes specific recommendations to singers who wish to execute ornamentation in a manner that is both historically informed as well as prosodically expressive of subtext.
Temple University--Theses