Дисертації з теми "Yoshihisa"
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Chen, Hui-Mei. "Les sources d’inspiration et les influences dans la musique de Yoshihisa Taïra." Paris 4, 2007. http://www.theses.fr/2007PA040085.
Повний текст джерелаThe original style of the Japanese composer Yoshihisa Taira (Tokyo 1937 - Paris 2005) demonstrates a perfect example of the fusion of two cultures - Eastern and Western. The present work is organized into three sections : the first examines the musical and personal background of Taira, both in Japan and in France, after a brief presentation of history context of the Western music composition in Japan ; the second is devoted to the exploration of the sources of inspiration and influences for this composer, both musical and extra-musical, after showing some characteristic elements of his musical language, trying to find where the original and personal style of this music came from. In the concluding section, three of Taira’s major works in different representative and creative periods will be analyzed. Specific and peculiar aspects of these works will be underlined while taking in account external musical sources as well as relevant extra-musical ones. This dissertation aims at shedding light on Taira’s style and thus contribute to its approach, understanding, and reception
Tao, Yu. "La poétique de l'océan en musique contemporaine : de Debussy à nos jours." Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080015.
Повний текст джерелаIn the genre of contemporary music, musicians sometimes take their inspiration from the ocean when addressing take their compositions. The goal of this thesis is to observe method of these composers by analyzing works which evoke the ocean's environment in their subject. This study claims that the poetic inspiration which is engendered by the ocean ends up by providing the poietics of the projects themselves, which is to say, ways of creating music, of writing it, without necessarily treating the aesthesic of the final product. In Chapter I the analysis is based on the works of Claude Debussy, André Boucourechliev, Kaija Saahario and Yoshihisa Taira. Chapter II consecrates a large part of its development to the study of works by Tristan Murail which are inspired by the ocean. Finally, in Chapter III, two of the compositions of the thesis' author are taken into analytical consideration. This thesis reveals the existence of cycles coming from the aesthesic, which then moves towards poietics and returns to aesthesic. It also needs to be taken into account that the analyses produced during the course of this study focus on the musical object itself. This is to say that the study is geared towards the manipulation of the musical object. Debussy's approach, as it is interpreted by Barraqué, serves as the overture of the century. The model of the sea as a dynamic objet coincides with the notion of the musical object. We can only propose this stated presence and this is why the conclusion of the thesis is somewhat open-Ended. Nonetheless, it is this point of departure which allows us to compose future works. It is thesis, in the end, that formalizes our music
Tao, Yu. "La poétique de l'océan en musique contemporaine : de Debussy à nos jours." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080015.
Повний текст джерелаIn the genre of contemporary music, musicians sometimes take their inspiration from the ocean when addressing take their compositions. The goal of this thesis is to observe method of these composers by analyzing works which evoke the ocean's environment in their subject. This study claims that the poetic inspiration which is engendered by the ocean ends up by providing the poietics of the projects themselves, which is to say, ways of creating music, of writing it, without necessarily treating the aesthesic of the final product. In Chapter I the analysis is based on the works of Claude Debussy, André Boucourechliev, Kaija Saahario and Yoshihisa Taira. Chapter II consecrates a large part of its development to the study of works by Tristan Murail which are inspired by the ocean. Finally, in Chapter III, two of the compositions of the thesis' author are taken into analytical consideration. This thesis reveals the existence of cycles coming from the aesthesic, which then moves towards poietics and returns to aesthesic. It also needs to be taken into account that the analyses produced during the course of this study focus on the musical object itself. This is to say that the study is geared towards the manipulation of the musical object. Debussy's approach, as it is interpreted by Barraqué, serves as the overture of the century. The model of the sea as a dynamic objet coincides with the notion of the musical object. We can only propose this stated presence and this is why the conclusion of the thesis is somewhat open-Ended. Nonetheless, it is this point of departure which allows us to compose future works. It is thesis, in the end, that formalizes our music
Watanabe, Yukina. "Queer som doujinshi : En fallstudie av Yonezawa Yoshihiro Memorial Library." Thesis, Uppsala universitet, Institutionen för ABM, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323868.
Повний текст джерелаRussell, Ginger Suzanne. ""Writing a Picture": Adolph Gottlieb's Rolling and Yoshihara Jiro's Red Circle on Black." VCU Scholars Compass, 1995. http://scholarscompass.vcu.edu/etd/3673.
Повний текст джерелаBiserni, Diego <1989>. "Esplicitazione intersemiotica nella sottotitolazione interlinguistica del lungometraggio "Jāji no futari" di Nakamura Yoshihiro." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14248.
Повний текст джерелаNierhoff, Thomas [Verfasser], Sandra [Akademischer Betreuer] Hirche, and Yoshihiko [Akademischer Betreuer] Nakamura. "Real-time Robotic Motion Control and Adaptation in Constrained Environments / Thomas Nierhoff. Betreuer: Sandra Hirche. Gutachter: Yoshihiko Nakamura ; Sandra Hirche." München : Universitätsbibliothek der TU München, 2015. http://d-nb.info/1091562202/34.
Повний текст джерелаNesensohn, Manuel [Verfasser], Matthias [Akademischer Betreuer] Geißert, Jürgen [Akademischer Betreuer] Saal, and Yoshihiro [Akademischer Betreuer] Shibata. "Lp-theory for a class of viscoelastic fluids with and without a free surface / Manuel Nesensohn. Betreuer: Matthias Geißert ; Jürgen Saal ; Yoshihiro Shibata." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2012. http://d-nb.info/1106117247/34.
Повний текст джерелаBelow, Lorenz von [Verfasser], Matthias [Akademischer Betreuer] Geißert, Matthias [Akademischer Betreuer] Hieber, and Yoshihiro [Akademischer Betreuer] Shibata. "The Stokes and Navier-Stokes equations in layer domains with and without a free surface / Lorenz von Below. Betreuer: Matthias Geißert ; Matthias Hieber ; Yoshihiro Shibata." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2014. http://d-nb.info/1110979495/34.
Повний текст джерелаWilke, Mathias [Verfasser], Jan [Akademischer Betreuer] Prüß, Matthias [Akademischer Betreuer] Hieber, and Yoshihiro [Akademischer Betreuer] Shibata. "Rayleigh-Taylor instability for the two-phase Navier-Stokes equations with surface tension in cylindrical domains / Mathias Wilke. Betreuer: Jan Prüß ; Matthias Hieber ; Yoshihiro Shibata." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2013. http://d-nb.info/1046563467/34.
Повний текст джерелаYokoyama, Yoshihiro [Verfasser], and Kurt [Akademischer Betreuer] Gärtner. "Studien zum Reimgebrauch und Stil Hartmanns von Aue im Etablierungsprozess der Literatursprache um 1200 am Beispiel der präteritalen Formen von komen / Yoshihiro Yokoyama ; Betreuer: Kurt Gärtner." Trier : Universität Trier, 2014. http://d-nb.info/1197700811/34.
Повний текст джерелаNakayama, Yoshihiro [Verfasser], Hartmut [Akademischer Betreuer] Hellmer, Peter [Akademischer Betreuer] Lemke, and Torsten [Akademischer Betreuer] Kanzow. "Analysis and modeling of the distribution of tracers of glacial melt in the Southern Ocean with focus on the Southeast Pacific sector / Yoshihiro Nakayama. Gutachter: Peter Lemke ; Torsten Kanzow. Betreuer: Hartmut Hellmer." Bremen : Staats- und Universitätsbibliothek Bremen, 2015. http://d-nb.info/1072303574/34.
Повний текст джерелаHoye, Nathaniel. "Transitive and Intransitive Verbs in Ki Idioms." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157620/.
Повний текст джерелаFries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.
Повний текст джерелаThis Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.
CHEN, TZU-PING, and 陳子平. "The Study of “Monodrame I” by Taïra Yoshihisa." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3269s3.
Повний текст джерела國立高雄師範大學
音樂學系
104
Since the twentieth century, multiple percussion's solo pieces are too numerous to mention individually. One denomination of them works with “spatial notation” and “graphic notation”, which give the performers considerable space on interpretation and also adding more "improvisation" and "serendipity". Taïra Yoshihisa's(1937-2005)《 Monodrame I》 is one of these kinds of works. The purpose of this research is to identify that: how to interpret different elements on the basic of spatial notation and the author also hopes to have further information about Taïra Yoshihisa and the combination of the Eastern and the Western music he used.
Chang, Kowei, and 張可薇. "The Analysis and Interpretation of Yoshihisa Taïra《ConvergenceⅠ》and Akira Miyoshi《Ripple》for Solo Marimba." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/kem5wx.
Повний текст джерела國立臺灣藝術大學
音樂學系
101
The purpose of this thesis is study the compositions and performances of two Marimba pieces by, Convergence I composed by Yoshihisa Taïra, and Ripple by Akira Miyoshi, from different aspects. Convergence Iwas finished in 1975. In terms of compositional format, this piece is way beyond tradition techniques. For examples, Yoshihisa Taïra employed continuants to build the spatial atmosphere. Traditional rests were replaced by distinct fermatas as well. Furthermore, human voices were also applied as special sound effects. In contrast, Akira Miyoshi finished Ripple in 1999. He broke the traditional scoring constraints in this composition. For instances, none of any time signature was included. Different kinds of fermatas were substituted for traditional rests. In addition, many special symbolic notations were also employed.As described above, tradition rests were not used in these two Solo Marimbas.Instead, different kinds of fermatas were employed, which functioned as rests.Moreover, fermatas enabled the silence to express more vivid images and pictures with emotions. Besides, human voices were applied to both pieces,which is associated with the imagination of Japanese Noh. In addition to their free of traditional scoring constraints, either the utilization of human voices or the meanings of these two compositions were full of Japanese atmosphere.The unique compositional styles made them two of the most renowned pieces of marimba. This thesis consists of four chapters. Chapter one is the introduction, specifying the motivation, purpose, scope, and methodology of this research. Chapter two studies the background of Yoshihisa Taïra and the creation of Convergence I, followed by the analysis of this composition. Based on the analysis, the viewpoints of interpretation in performing this piece were presented. Chapter three elaborated the background of Akira Miyoshi and the creation of Ripple before analyzing and interpreting this composition. Chapter four is the conclusion.
Ke, Rough-Ing, and 柯若櫻. "Rough-Ing Ke Percussion Recital(with a Supporting Paper: Eastern Zen and Bushido in《Convergence I 》by Yoshihisa Ta?ra)." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/40275720504150082348.
Повний текст джерела國立交通大學
音樂研究所
94
Interpretations conveyed in this thesis are based on the musical work “Convergence I”, of which the composer is Yoshihisa Ta?ra. Through the musician’s life story and rational analysis, this thesis tries to explore the overtones of this piece from the concept of Eastern Zen and Bushido.“Convergence I” has active images, its alive silence reflects the composer’s comprehension of eastern aesthetics “nil ego”. The actual interpretation reveals the universe that came to image upon the mutual movements of her interior sensations, together with the enlightenment and experiences which the musician went through while taking part.