Dissertations / Theses on the topic 'Album covers'

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
BOLSA NOTA 10
Capas de disco: modos de ler busca chaves de leitura para compreender a relação entre a música e a cultura visual no século XX e início do XXI. Ao deslocar o objeto de uma discoteca, seu espaço tradicional de fruição musical, e trazê-lo para o campo dos estudos culturais, uma infinidade de leituras se apresenta. As capas são uma forma de arte muito particular, analisá-las é fundamental para entender as diversas formas em que seus mecanismos operam. A música é, por sua vez, um instrumento importantíssimo para entender a cultura visual de forma mais ampla. Este trabalho se vale de ferramentas do campo da história da arte e de outros dispositivos analíticos interdisciplinares para explorar as imagens e sua potência. O argumento central da tese defende a ideia de que as capas contribuem para a construção de um sentido musical, enriquecendo o processo estético do fruidor. Os anos 1950 foram essenciais para firmar a capa como elemento primordial para o disco. Foi também a partir dos anos 1950 que artistas plásticos e fotógrafos penetraram no mercado das gravadoras, vendendo seus talentos e experimentando concepções visuais inovadoras em capas. Ou seja: a criatividade de alguns capistas abriu novos caminhos e permitiu explorar novas concepções para as artes de LP. Procura-se, assim, mostrar que as capas foram locus privilegiado e fértil de expressão para diversos fotógrafos e artistas plásticos consagrados se expressarem em escala industrial. Esta tese busca entender a capa para além da simples ilustração e compreendê-la não só como invólucro ou objeto de design, mas principalmente como objeto artístico, tão importante quanto o conteúdo. Estão em foco neste trabalho principalmente dois aspectos que se complementam. Por um lado, analisa-se a capa de disco como campo de experimentação artística, ou seja, um suporte de trabalho para inúmeros artistas plásticos e fotógrafos. Por outro, que não deixa de complementar esse mesmo campo, reflete-se sobre a capa como suporte para o retrato do sujeito, no sentido restrito de portrait, que subentende tecer laços com o gênero pictórico secular.
Album covers: ways of reading them aims to search for keys to interpret the relation between music and visual culture in the XXth century and the beginning of the XXIst. By displacing the object from a discotheque, its usual space of musical fruition, and bringing it to the cultural studies field, an infinity of possibilities come up. Covers are a very particular art form, analyzing them is central to understand the different forms in which their mechanisms operate. Music on the other hand, is a very important instrument to apprehend visual culture in a broader way. This work uses tools from the art history field and other interdisciplinary analytic devices to explore images and their strength. The central argument of this thesis asserts that album covers contribute to the construction of a musical meaning by enriching the esthetic process of the listener. The 1950s were essential to establish the album cover as primary element for the record. It was also in the 50s that visual artists and photographers penetrated the record company markets selling their talents and experimenting innovative visual layouts. In other words: the creativity of some cover artists opened new paths and enabled new conceptions for the album cover artwork. This work seeks to show that album covers were a notorious and fertile place of expression for photographers and visual artists to express themselves in a large scale. This thesis aims to understand the album cover beyond a simple illustration, and to grasp it not just as a packaging or design piece, but mainly as an artistic object, as important as the content itself. This work focuses on two aspects that complement themselves. On one hand, we analyze the record cover as a field of artistic experimentation, that is, a support for many visual artists and photographers to work on. On the other hand, that complements this same field, a reflection is made on the cover as a support for the portrait of the subject, in the restrict sense of the portrait, that aims to establish ties with the secular pictorial genre.

Könsstereotyper är något som finns i alla kulturer och påverkar både män ochkvinnor redan från barnsben. Inte minst musikindustrin kantas avkönsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Menmycket lite tycks vara skrivet om hur artister framställs på sina skivomslag medkönsstereotyper som utgångspunkt.Syftet med föreliggande studie var därför att analysera och jämföra skivomslagför kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, medvikt på vilka könsstereotyper som förekommer. Syftet var även att se om någonförändring har skett med tiden vad gäller utformningen av skivomslag samtundersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer ochgenrer.En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varjeår var för kvinnliga respektive manliga artister.Resultatet visade att en del av de könsstereotyper som är vanliga vidfotograferandet av män och kvinnor även förekom på skivomslag. Men på endel punkter frångick omslagen traditionella könsstereotyper. Resultatet visadeäven att förekomsten av stereotyper har förändrats en del under tioårsperioden.En del skillnader kunde också identifieras vid en jämförelse av amerikanska ochsvenska artister, samt vid en jämförelse av olika genrer.Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnaderi hur manliga och kvinnliga artister porträtteras på sina skivomslag. Menskivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andrasammanhang när män och kvinnor fotograferas.
Gender stereotypes exists in all cultures and affects both men and women froman early age. The music industry is not an exception and stereotypes can be seenand heard in everything from lyrics to music videos. However, very little seemsto be written about gender stereotypes on album covers.Therefore, the purpose of this study was to analyze and compare how albumcovers for female and male artists differ, with focus on gender stereotypes. Thepurpose was also to examine whether a change over time have occurred when itcomes to gender stereotypes present on album covers. Additionally, this studyexamined how gender stereotypes takes form in different cultures and genres.A visual analyze were made on 100 album covers. Half of them were releasedin 2006/2007 and the other half was released in 2016/2017. The number of maleand female artist were equally divided across the different years.The result showed that some of the gender stereotypes that normally occurwhen males and females are photographed, also occurred on album covers.Other gender stereotypes were uncommon on album covers. Some changescould be seen over the ten-year period. Moreover, the result showed somedifferences when comparing Swedish and American artists’ album covers, andwhen comparing different genres.The conclusions that could be drawn from the result was that there aredifferences in how male and female artists are portrayed on their album covers.However, album cover pictures differ to a certain extent from how males andfemales are photographed in other situations.

Könsstereotyper är något som finns i alla kulturer och påverkar både män och kvinnor redan från barnsben. Inte minst musikindustrin kantas av könsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Men mycket lite tycks vara skrivet om hur artister framställs på sina skivomslag med könsstereotyper som utgångspunkt. Syftet med föreliggande studie var därför att analysera och jämföra skivomslag för kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, med vikt på vilka könsstereotyper som förekommer. Syftet var även att se om någon förändring har skett med tiden vad gäller utformningen av skivomslag samt undersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer och genrer. En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna 2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varje år var för kvinnliga respektive manliga artister. Resultatet visade att en del av de könsstereotyper som är vanliga vid fotograferandet av män och kvinnor även förekom på skivomslag. Men på en del punkter frångick omslagen traditionella könsstereotyper. Resultatet visade även att förekomsten av stereotyper har förändrats en del under tioårsperioden. En del skillnader kunde också identifieras vid en jämförelse av amerikanska och svenska artister, samt vid en jämförelse av olika genrer. Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnader i hur manliga och kvinnliga artister porträtteras på sina skivomslag. Men skivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andra sammanhang när män och kvinnor fotograferas.
Gender stereotypes exists in all cultures and affects both men and women from an early age. The music industry is not an exception and stereotypes can be seen and heard in everything from lyrics to music videos. However, very little seems to be written about gender stereotypes on album covers. Therefore, the purpose of this study was to analyze and compare how album covers for female and male artists differ, with focus on gender stereotypes. The purpose was also to examine whether a change over time have occurred when it comes to gender stereotypes present on album covers. Additionally, this study examined how gender stereotypes takes form in different cultures and genres. A visual analyze were made on 100 album covers. Half of them were released in 2006/2007 and the other half was released in 2016/2017. The number of male and female artist were equally divided across the different years. The result showed that some of the gender stereotypes that normally occur when males and females are photographed, also occurred on album covers. Other gender stereotypes were uncommon on album covers. Some changes could be seen over the ten-year period. Moreover, the result showed some differences when comparing Swedish and American artists’ album covers, and when comparing different genres. The conclusions that could be drawn from the result was that there are differences in how male and female artists are portrayed on their album covers. However, album cover pictures differ to a certain extent from how males and females are photographed in other situations.

CAPES
A pesquisa buscou investigar o Tropicalismo (1967-1968) e analisar de que forma sua linguagem gráfica repercutiu nas capas de disco de 1969 a 1978, ou seja, nos dez anos seguintes ao término oficial do movimento. A dissertação procurou pensar nas características estéticas e culturais presentes nos projetos gráficos, considerando o contexto histórico desses anos, as propostas da canção tropicalista, tal como as influências entre as sonoridades e visualidades do período. Para isso, foram estudadas as capas de disco do Brasil da segunda metade dos anos de 1960, com ênfase na Tropicália. Foram selecionadas dez capas de discos do período posterior, com o intuito de estabelecer comparações e discutir as principais referências. Foi desenvolvida uma análise visual com base na semiótica peirceana - a partir da proposta de Martine de Joly (2006) - de capas de eixos fonográficos diversos de 1969 a 1978, apontando de que maneira construiu-se um diálogo entre o design tropicalista e as peças selecionadas. A partir disso, foi possível verificar que o Tropicalismo teve significativa importância para a criação e implantação de uma nova linguagem visual no design brasileiro e influenciou, em diferentes aspectos, o desenvolvimento de capas de disco da década posterior.
The research sought to investigate the Tropicalismo (1967-1968) and analyse how its graphic language reflected in the album covers from 1969 to 1978, in other words, in the ten years following the official end of the movement. The dissertation attempted to think about the esthetic and cultural characteristics present in graphic projects, considering the historical context of those years, the proposals of the Tropicália’s songs and the influences between sounds and visualities of period. Thus, the research was studied the album covers of Brazil in the second half of the 1960s, with an emphasis on Tropicália. Ten album covers of the period subsequent were selected, to compare and discuss the main references. It was developed a visual analysis based on Peircean semiotic - from the proposed of Martine Joly (2006) - of album covers of different phonograph axes from 1969 to 1978, pointing how was constructed a dialogue between Tropicalismo’s design and the selected pieces. From this, it was possible to verify that the Tropicalismo had significant importance for the creation and implementation of a new visual language in Brazilian design and influenced, in different aspects, the development of album covers in the next decade.

Orientadores: Edson do Prado Pfützenreuter, Anna Paula Silva Gouveia
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No fim do século XIX, o diálogo entre as artes visuais e a música abriu precedentes para que as artes aplicadas, ou comerciais, incentivassem o consumo do espetáculo musical. Paralelamente, com o desenvolvimento tecnológico da indústria fonográfica, a música passou a ser gravada e comercializada. A comercialização da música gravada, por sua vez, também foi beneficiada por um interesse de explorar-se uma conexão visual com o conteúdo da gravação. Em 1940, este interesse foi diretamente manifestado pelo designer gráfico norte-americano Alex Steinweiss, quando começou a projetar capas de álbuns de discos de 78rpm para a gravadora Columbia Records. Steinweiss não foi o primeiro artista comercial ou designer gráfico a projetar uma capa ilustrada para álbuns de discos de 78rpm mas, ao projetar capas, foi pioneiro na intenção de exercer uma correspondência semântica com o conteúdo musical dos discos. Esta tese tem como grande objetivo o resgate das principais condições históricas e culturais que ajudaram a caracterizar o trabalho de Steinweiss e que possibilitaram fosse ele incorporado com sucesso pela indústria fonográfica. Por meio do levantamento de tais condições e também do próprio método de projeto de Steinweiss, observou-se que seu sucesso proporcionou o estabelecimento de um paradigma, na medida em que as soluções propostas por ele foram, posteriormente, tomadas como modelo e substituíram as regras vigentes para o projeto gráfico das capas dos álbuns de discos
Abstract: By the end of the nineteenth century, the dialog between visual arts and music was a great influence on the applied arts, or commercial arts, in its own task of promoting the music spectacle. Meanwhile, with the technological development of the music industry, music started to be recorded and commercialized. The recorded music business, moved by its own interests, also explored a visual connection with the recorded musical content of their product. In 1940, the early work of the American graphic designer Alex Steinweiss was a consequence of this interest, as he started to design album covers for 78rpm records while working at Columbia Records. Steinweiss was not the first commercial artist or graphic designer to design illustrated album covers for 78rpm records, but he was the first one who expected to achieve semantic correspondence with the musical content of the record. The main goal of this thesis is to retrieve key historical and cultural conditions that influenced Steinweiss' work and allowed him to succeed as a graphic designer inside the recorded music business. By doing so, and by setting up aspects of Steinweiss' design methods, we have come to the conclusion that his success characterized a paradigm. The solutions he offered were taken as models and replaced the rules that determined how an album cover should be designed
Doutorado
Artes Visuais
Doutor em Artes

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Tropicalia emerged in late 1967 with the songs ―Alegria, Alegria‖ (Caetano Veloso) and ―Domingo no Parque‖ (Gilberto Gil). But it was in 1968 that the musical movement left his major works recorded. In that year were released records by Tom Zé, Os Mutantes, Caetano Veloso, Gilberto Gil and the collective record Tropicália ou panis et circensis. These albums represented a new moment in the Brazilian Music: opening the explicit cultural dialogues with other countries and with different artistic languages. Our work investigates how was, parallely, turned towards the Brazilian graphic design, from the analysis of the covers of these records, discussing the images with the songs. We started from Luiz Tatit s studies on song and the concept of cultural dialogue according to the Semiotics of Culture.
A Tropicália surgiu no final de 1967, com as canções ―Alegria, alegria‖ (Caetano Veloso) e ―Domingo no parque‖ (Gilberto Gil). Mas foi em 1968 que o movimento musical deixou registrado em disco suas principais obras. Naquele ano foram lançados os discos de Tom Zé, Mutantes, Caetano Veloso, Gilberto Gil e o disco coletivo Tropicália ou panis et circensis. Estes álbuns representaram um novo momento na canção brasileira: da abertura explícita aos diálogos culturais com outros países e com diversas linguagens artísticas. Nosso trabalho investiga como se deu, paralelamente, a virada de rumo no design gráfico brasileiro, a partir da análise das capas destes discos, dialogando as imagens com as canções. Partimos dos estudos de Luiz Tatit sobre canção e do conceito de diálogo cultural segundo a Semiótica da Cultura.

The vinyl album record cover was long one of the primary ways for bands and artists to expose themselves visually. During the 1950's, experimental design was seen particularly in jazz covers, while the early rock music had a more direct and commercial approach to cover design. As rock and popular cultures in the 1960's developed, the record package evolved as an artistic form of expression and visual representation of music. Expressions mainly associated with traditional art was absorbed by popular culture and has had a decisive effect on the current view of the record cover as an art form. In the 1970's, there was an increasing diversification of popular music and a more clear distinction between commercial mainstream music and alternative music, which is reflected in the album covers. During the 1980's, the music video played an important role in how music and the artists were presented visually. New formats as the audio cassette and CD took over the role of the LP on the disc market. During the 1990's when independent labels and artists reached a wider audience, several of their album releases were on vinyl formats. Internet and file sharing of music, has had a significant impact on the music industry in the 2000's and there is a decline in the sales of physical media such as CD's. As a consequence, opportunities for independent operators to spread their music has changed radically. At the same time there is an increasesed interest in the vinyl record as an alternative or a complement to digital music. This increased interest in vinyl albums has largely to do with the visual expression of the album cover in relation to CD's and digital files, as well as with the physical form of the LP and its characteristics as a collector's item.
LP-skivans omslag var länge ett av de primära sätten för band och artister att exponera sig visuellt. Experimentell design hos LP-omslag sågs under 1950-talet främst inom jazzmusiken, medan den tidiga rockmusiken hade ett mer direkt och kommersiellt uttryck. I takt med rockens och populärkulturens utveckling under 1960-talet skedde en utveckling av skivomslaget som konstnärligt uttrycksmedel och som visuell representation av musiken. Uttryck som främst setts i traditionella konstsammanhang togs upp av populärkulturen och har haft en avgörande effekt på dagens syn på skivomslaget som konstart. Under 1970-talet skedde en tydligare indelning i kommersiell ”mainstreammusik” och mer alternativ musik. Detta avspeglas också i omslagsdesignen. Under 1980-talet fick musikvideon en viktig roll för hur musik och band presenterades visuellt. Nya format som kassett och CD övertog LP-skivans roll på skivmarknaden. Under 1990-talet nådde alternativa, oberoende bolag och musiker en bredare publik och flera av dessa artister släppte album på vinyl. Internet och fildelning av musik har haft en omfattande inverkan på musikbranschen under 2000-talet och försäljningen av fysiska medier som CD minskar kraftigt. Möjligheterna för oberoende aktörer att nå ut med sin musik har förändrats radikalt. Samtidigt ökar återigen intresset för LP-skivan som alternativ eller komplement till digital musik. Det ökade intresset för LP-skivan har till stor del att göra med skivomslagets möjligheter till konstnärligt uttryck gentemot CD och digitala filer, samt med LP-formatets fysiska form och dess egenskaper som samlarobjekt.

O presente trabalho busca apresentar os primeiros cinco álbuns da cantora Vanusa como exemplos de composição da unidade álbum e a relação essencial entre visualidade, som e poesia que este apresenta enquanto produção artística. Para isso, propõe uma compreensão mais ampla da produção capista na cena da música popular brasileira identificada como para público jovem nos arredores e durante os anos 1960 no país – considerando Jovem Guarda, Tropicalismo e Bossa Nova como suas principais linhas.
This work seeks to presente the early five albums of the singer Vanusa as exemples of composition of the album unity and their essencial relation between visuality, sound and poetry that it presentes as artistic production. For that, proposes a wider comprehension about the capist production on the brazilian popular music scene identified as for Young public around the 1960’s – considering Jovem Guarda, Tropicalismo and Bossa Nova as their main lines.

Esta investigación tiene como objetivo principal determinar la influencia de la digitalización en el diseño de las portadas de álbumes y sencillos discográficos del rock peruano desde 2015 hasta 2019. Es por esto que se planteó como hipótesis que la digitalización no tiene una influencia directa con respecto a la creación del concepto y elección de elementos o técnicas para el desarrollo del diseño de carátulas discográficas. La presente investigación corresponde a la categoría de enfoque qualitativo, debido a que se centró en un análisis de contenido de un total de 20 portadas discográficas, diez de ellas pertenecientes al marco temporal delimitado y las otras diez fueron carátulas elaborabas antes de la fecha seleccionada. Además, se realizaron entrevistas a dos informantes claves para obtener más información que complemente los resultados alcanzados a partir de los análisis. Entre los principales resultados podemos encontrar que el diseño discográfico del rock peruano presenta un nivel de literalidad en sus diseños, tanto en la era digital como en los diseños que fueron elaborados previamente. También se logró evidenciar que hay una diferencia con los elementos indispensables en el diseño de discográfico realizado en la era digital en comparación con el anterior a este. Por último, se logró concluir que a pesar que la función original de vestir el empaque ya no es la más importante, el rol de la portada de un álbum sigue siendo relevante, ya que sirve como una herramienta publicitaria para dar a conocer la existencia de producción musical.
The main objective of this research is to determine the influence of digitalization on the design of album covers of peruvian rock bands from 2015 to 2019. This is why it was hypothesized that digitalization does not have a direct influence on the creation of the concept and choice of elements or techniques for the development of the design of album cover artwork. This research corresponds to the category of qualitative design, because it focused on a content analysis of a total of 20 record covers, ten of them belonging to the defined time frame and the other ten were covers that were made before the selected date. In addition, two key informants were interviewed to obtain more information to complement the results obtained from the analysis. Among the main results, we can find that the peruvian rock record cover artwork presents a level of literalness in their designs, both in the digital age and in the designs that were previously elaborated. It was also possible to show that there is a difference with the indispensable elements in the record design carried out in the digital age compared to the previous one. Finally, it was concluded that although the original function of dressing the packaging is no longer the most important, the role of an album cover is still relevant, as it serves as an advertising tool to publicize the existence of every music production.
Trabajo de investigación

För att ge insikt hur design för ett nytt rockalbum ska ske och ge information kring vad som bör finnas med på ett nytt omslag har denna studie utförts. Studien framförde information om att albumsgrafik var relevant. Först sades det att en nedåtgående trend gick att anta, eftersom den digitala musikbranschen tog över från den fysiska. Men det visade sig därefter vara precis lika stor försäljning på de fysiska albumen som de digitala. För att besvara målen i studien utfördes en visuell innehållsanalys och informationssökning på internet. Studiens syfte var att visuellt granska rockalbum från tre olika ursprungsländer, som var Sverige, Storbritannien och USA. Genom analysen kategoriserades designelement, teman och framtogs landstypiska albumomslag. Studien berörde även vem som styr designen av ett omslag samt ifall det kunde ses någon tongivande designer bland de album som ingick i analysen. I slutsatsen framgick det att Storbritannien och USA hade mycket lika grafiskt manér och att omslag från Sverige såg annorlunda ut. Det framgick även att banden styr utseendet på omslaget mer än designern, och från analysen framgick inte någon tongivande designer.
This study is supposed to shed light on the design process behind album covers in the genre rock and give information about what should be displayed on them. Herein it is presented information about how the graphics on a record cover was relevant and didn’t follow the otherwise assumed declining trend. To be able to answer the goals set for the study, a visual content analysis was done and complementary information was gathered via searches on the internet. The aim with the study was to visually analyze cover art in the genre rock from three different countries of origin, these were Sweden, Great Britain and USA. Via the visual content analysis, categories and themes were structured. There were also created three different album covers, one for each country of origin that were based on the information of what should typically exist on the cover. Herein it is shown that designs from Great Britain and USA are much alike, whereas Sweden has a different style. In the study there was presented who decides the design of a new album and also concludes that from the albums in this content analysis there cannot be proven any designer who sets the generic tone for others.

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This research deals with the formulation of a set of analytical techniques for evaluation of vinyl record covers of two of the most important periods of Brazilian music, Bossa Nova and Tropic?lia. The dissertation was motivated by the general idea that these movements are able to indicate the important role of music to the Brazilian society and the cultural profile of this nation, from 1958 to 1968. Larger stimulus, however, found specifically in: (i) the author's passion for these two musical styles; (ii) personal desire to add more academic work that al-ways current, i.e. graphical analysis to understand given time of a civilization; (iii) academic need to define procedures and analysis techniques for graphical vinyl record covers, long-playing ? based on industrial design techniques ? that went beyond a mere single, "liked", "cool", "cute". As specific objectives, it was defined: draw a panorama on the graphic-visual languages used by "capistas", i.e., those typographers, artists, graphic designers who designed and illustrated graphically this fascinating industrial product. Sought to contextualize the mus-ical style bossa-tropicalist and released and their productions for the covers of Bossa Nova and Tropic?lia, understanding the design of the image, from the adequacy in temporal context, demonstrating the importance of proper use of visual language in a record in terms of effects work that seeks to generate; social contribution and academically, various aspects of know-ledge. With that objective in mind, it was treated anterior and posterior aspects to customizing album covers ? as it was and as it became the relationship of production "capistas" with the concern on the use of the image. We seek to demonstrate the cultural and aesthetic mark left by these musical periods of the cover designs. We look for references, videos, websites, etc., in addition to data that substantiate this thesis through collaboration (via semi-structured in-terview: forms applied to a sample of twenty interviewees, including broadcasters, musicians, music teachers and music researchers in the city of Feira de Santana-BA); and graphical ana-lyses of the album covers designs from Bossa-nova e Tropica?lia; It was sought through me-thods of some theorists, a proprietary method and methods of research subjects, primarily dealing with aspects related to the project factors, types of designs, ideograms and linguistic techniques. We have specified how much the art of drawing and contemplate the disk cover suffered transformations, the advent of the LP to the Era of MP3, mentioning the losses and gains of LP cover designs, while the cultural representation of a time. And how this work may prove to contribute socially, academically and in didactic and knowledge linked to the thematic ordering here. We concluded this research in order to bring up the debate about the possible return of disk cover, and their designs, generating, especially in the music industry, the reflection on the design and making of same.
Esta pesquisa trata da formula??o de conjunto de t?cnicas anal?ticas para avalia??o das capas de discos de vinil de dois dos mais importantes per?odos da m?sica brasileira, a Bossa Nova e a Tropic?lia. A motiva??o deste trabalho origina-se da ideia geral de que estes movimentos s?o capazes de indicar o papel relevante da m?sica para a sociedade brasileira e o perfil cultural desta na??o, entre 1958 a 1968. Est?mulo maior, contudo, encontrou-se, especificamente, na: (i) paix?o da autora por esses dois estilos musicais; (ii) desejo pessoal de somar mais um trabalho acad?mico a essa sempre atual tem?tica, isto ?, an?lise gr?fica de discos para com-preens?o de dado tempo de uma civiliza??o; (iii) necessidade acad?mica de definir procedi-mentos e t?cnicas de an?lise gr?fica para capas de discos de vinil, elep?s ? fundamentadas no Desenho industrial ?,que fossem al?m de um mero simples, ?gostei?, ?legal?, ?bacana?. Co-mo objetivos espec?ficos, delimitamos: tra?ar um panorama referente ?s linguagens gr?fico-visuais usadas por ?capistas?, isto ?, aqueles tip?grafos, artistas, designers que projetaram, desenharam e ilustraram graficamente esse produto industrial fascinante. Procurou-se contex-tualizar os estilos musicais bossa-novista e tropicalista e suas respectivas produ??es para as capas de discos da Bossa Nova e da Tropic?lia, compreendendo a concep??o da imagem, a partir da adequa??o na contextualiza??o temporal, demonstrando a import?ncia do uso ade-quado da linguagem visual numa obra fonogr?fica em termos de efeitos que busca gerar; con-tribuir, social e academicamente, diversas vertentes do conhecimento. Para isto tratamos de aspectos anteriores e posteriores ? personaliza??o das capas de discos ? como era e como passou a ser a rela??o das produ??es capistas com a preocupa??o no uso da imagem. Procu-ramos demonstrar a marca cultural e est?tica deixadas por esses per?odos musicais via projetos capistas; buscamos refer?ncias bibliogr?ficas, videogr?ficas, websites, etc., al?m de dados que fundamentassem esta disserta??o, atrav?s da colabora??o (via entrevista semiestruturada: formul?rios aplicados a uma amostra de vinte entrevistados, dentre eles, radialistas, m?sicos, professores de m?sica e pesquisadores musicais, na cidade de Feira de Santana-BA) e an?lises gr?ficas dos desenhos das capas de discos, bossa-novistas e tropicalistas, atrav?s de m?todos de alguns te?ricos, um m?todo pr?prio e m?todos dos sujeitos da pesquisa, sobretudo tratando de aspectos referentes aos fatores projetuais, tipos de desenhos, ideogramas e t?cnicas lingu?s-ticas adequadas. Explicitamos o quanto a arte de desenhar e contemplar a capa de disco sofreu transforma??es, do surgimento do LP ? Era do MP3, mencionando as perdas e ganhos dos desenhos capistas, enquanto representa??o cultural de um tempo. E o quanto este trabalho pode vir a contribuir acad?mica e socialmente, na did?tica e ordena??o de conhecimentos li-gados ? tem?tica aqui posta. Conclu?mos esta pesquisa de modo a trazer ? tona o debate sobre a poss?vel volta da capa de disco, e de seus desenhos, gerando, sobretudo ? ind?stria fonogr?-fica, a reflex?o sobre a projeta??o e feitura da mesma.

Denna studie syftar att undersöka huruvida animation som visuellt komplement på Spotify väcker större engagemang emotionellt än ett statiskt skivomslag. Animerade filmer har tagits fram till sex olika låtar på albumet 99.9% av artisten Kaytranada. Detta har gjorts genom en förstudie i form av en enkät, samt research om de befintliga filmer som finns tillgängliga på Spotify i dagsläget. Efter detta har designarbetet utförts genom brainstorming, explorativt skissande och storyboards. För att utvärdera skapades en värderingsmatris med syfte att välja ut de mest engagerande idéerna, för att sedan fortsätta med digitalt skissande och slutligen animering. Efter detta värderades animationerna gentemot det statiska skivomslaget genom en kvalitativ enkät, såväl som två olika fokusgrupper. Resultatet visade att även om animationerna ansågs något repetitiva så ansåg en majoritet att de var mer engagerande emotionellt än ett statiskt skivomslag.

碩士
國立臺灣師範大學
美術學系在職進修碩士班
99
This creation and research is to explore the relationships among Mandarin typographic design in music album covers, material and texture of album covers, and music genre of the albums concerned, and to apply the analyzed design model to simulated underground band’s album covers. The literature review will focus on the evolution and features of the Mandarin font and typeface as well as the history of Taiwan’s underground music development. The development of Taiwan’s underground music may be divided into three periods: (1) Taiwan new music—the Crystal Records Period, (2) Independent creation—the Taiwan Color Music Period, and (3) the Band Generation Period, based on which the development of the album cover design is to be reviewed and analyzed. The typographic forms, the typographic expressions, and the music genres of the music albums as a whole may be classified into five types, including the simple and concise type, the steady and rigid type, the elegant and delicate type, the round and refined type, and the combination type. The forms of the fonts may be divided into four categories: the original, transformed, decoration, and interesting ones. The material texture may be categorized into soft texture, hard texture, and combined texture. Subsequent to the analysis of the forms of Mandarin fonts, the present creation and research innovates different visual styles in typographic design of music album covers for seven music genres commonly adopted by underground bands, including (1) JAZZ, (2) R&B, (3) COUNTRY/ FOLK, (4) PUNK, (5) LATIN, (6) ELECTRONIC, and (7) HIP HOP. Each of the music genres is expressed in a unique visual style and paired with a matching form of fonts and texture in order to achieve the appropriateness, identifiability, artistic sense, and uniqueness of the typographic design to the greatest extent and verify the designs that can best serve the aim of this creation and research. There is still much room for exploring the forms of Mandarin fonts in music album cover design. Not only graphic design but also the application of multimedia or the material of package offers great possibilities of innovative development. By exploring the typographic design in music album covers, the present creation and research is aimed at providing reference for the cover and package design of music albums in the future.

Commercial recordings - CDs, LPs - are familiar objects. However, discussion about them has often attempted to conceal the fact that, as communicating objects, recordings pose special problems due to the fact that they unite text, image, and sound in a material commodity. This thesis examines the role of the visual in the production, circulation and use of recordings. The album cover is the primary category of study, with an emphasis on its functioning in relation to the recording as a sonic and material commodity. The label ECM, a German company which has been producing recordings since 1969, provides the main focus in this analysis. The basis of this investigation lies in the questioning of the assumptions and categories that have historically guided the activity of cover design and the discourse about it. Traditionally, recordings have been understandably seen primarily as sound-carriers; their visual aspects, even when celebrated, are most often relegated to a peripheral status, despite the fact that in certain contexts the importance of the visual can overwhelm that of sound. The usual hierarchical opposition between these elements is here questioned through an examination of both the marketing of recordings and their circulation and use. ECM provides a pertinent case through which such questions can be elaborated. Its visual marketing strategies can be characterised in terms of a desire for difference. ECM's attempt to set itself apart has resulted in a "look" which rejects many conventions. It has also resulted in a complex, conceptual group of visual strategies. In its particular use of landscape photography, blank space, and gestural markings, ECM constructs ideas of space which relate to the potential for performativity and creativity. Through the combination of these strategies, the label deemphasises creative personality of the musical performer and emphasises the space occupied by the looker/listener. In doing this, it also questions the traditional boundaries between music and the visual. ECM's covers cause these categories to become indistinct and allow new conceptions of the recording as a material commodity to emerge. One effect of this is a construction of the apprehender's subjectivity that fails to fit within the marketplace's traditional categories. The thesis considers how the visual has been implicated in more concrete processes such as the negotiation of taste and practices of consumption and use. The niche that ECM attempts to carve out for itself is considered in relation to the tension in the marketplace between the desire for distinction and the recording as a massproduced commodity.

碩士
東吳大學
音樂學系
102
This paper makes an intensive study of the 13 music albums released by S.H.E from 2001 through 2012, specifically the 24 cover version songs, which were adopted from the originals to be newly arranged and added with Chinese lyrics. This paper explores the influence of these cover songs on Taiwan’s pop music. S.H.E has hit a huge success by singing cover version songs, which are not only diversified in styles but also provide an opportunity for the Taiwanese to appreciate various music cultures of foreign countries. This unique and inclusive nature enables S.H.E to absorb new things and inspires the pop music composers and lyricists in Taiwan to try innovative skills in music creation. Moreover, some original songs from S.H.E’s albums have been covered by foreign bands, which is evidence that Taiwan’s pop music can be exported, instead of the one-way import of other countries’ pop music in the past. In summation, S.H.E’s music albums not only make remarkable influence on the globalization of Taiwan’s pop music, but have contributed to the localization of Taiwan’s pop music.

碩士
國立雲林科技大學
視覺傳達設計系碩士班
100
Nowadays, the development of pop music is full of variety. In addition to the music itself, the album cover design, which uses the visual ways to convey ideas and reflects the social culture pulse, is also an element of a best-selling classical album. In this paper, we attempt to analyze the characteristics of the visual expression of the pop music album cover design in Taiwan. Moreover, we probe into the cultural meanings and social phenomenon that the themes of the music reveal through the course of its history. According to the book "200 best albums of popular music in Taiwan," which a total of 200 albums are appraised by more than 100 professionals, the study chose the albums published from 1975 to 2005 as the samples. At first, the analytic categories were constructed by the focus group and the samples were classified according to the manifestations. Content analysis was then used to code and assay the samples, and the features of the visual expression of the pop music album cover design works in Taiwan were gradually extracted. The relation between the expressive content and the context of the social environment was derived from the correlative explanation of researches. The results are as follows: 1. On the whole, in terms of the image expression, the visual body can be divided into six categories, among which was mainly expressed with the "figure"; as for the expression techniques, it was mostly presented with photography. The major expression of typography can be parted into six types, in which the Ming typeface style was the mainstream, followed by the art font. On the part of the color expression, it can be split into four categories, among which the cordial and warm tones were the favorite. In the case of the composition expression, the single iii picture had the largest proportion in the page segmentation; as to the layout, the title on the upper side was chosen as the main way of expression, which gave a sensation of safety and stability. 2. Through the evolution of the age, we found that in the image expression, portrait photography was mainly chosen as the expression from 1975 to 2005. The expression of typography showed the Ming typeface in 1980s. After the mid-1990s, the art font with personalized style became the most popular expression. Although in the color expression, warm tones have been mostly used, the disparity with other tones appears to have shrunk after abolishing martial law. As for the composition expression, the single picture mostly revealed in the page segmentation; the layout had more changes. The title on the upper side was the majority from the mid-1970s to the mid-1980s, while as the title on the left and the title on the right were in succession after abolishing martial law. After the mid-1990s, the title on the lower side became the main expression, which primarily took the visual body as demand.

碩士
明志科技大學
視覺傳達設計系碩士班
105
Music is an invisible untouchable art, the image with shapes, lines, colors and other visual elements, has a seemingly unbridgeable gap between the two, but in the art which, there are many visible examples of many music and video interrelated . In this study, music embodied, discusses graffiti art and underground music background and development of the concept of the association, and case studies of ways to resolve graffiti in underground music album cover design creation mode. Finally, the Formosan subterranean orchestra "Schrödinger cat" as an example, the practical application of graffiti art in the creation of the album cover, music and images to verify the feasibility of co-creation sense. Contemporary popular music in rock music has been an integral part of youth subculture were sounding rock music fit closely with the teenagers for social issues, art, emotion, and various emotions, a unique style of art in the form of , most direct and intense, varied rock song music composed the relationship between the various melodies quickly learn, the pass-through music shall be verified by a professional trained to proficiency in musical instruments, music theory in the form overturn the traditional rock in the form of performances with considerable masculine qualities, these qualities also influenced by rock music spawned image performance. This study suggests that, despite the recorded music market and record design is facing an unprecedented crisis, however, as long as timely grasp of consumer psychology, using a variety of artistic styles and means of expression, more carefully and more in line with the nature of the music do the apt design tailored and make a complete interpretation of the music content, in order to lead to consumer vision to reach the desire to buy, or is the music author lift proprietary image improvement, thereby, to the field of music and art or design workers, complementary good fit.

碩士
臺北市立大學
視覺藝術學系
107
Keywords: independent music, album cover design, illustration art, Kun-Chi Tsai Along with the time goes, the music market in Taiwan has gradually changed everywhere. Music promotion used to be found in TV or radio ad, but now is changing to the Internet platform. Audiences used to be a pop trend, but now are turning to niche taste. Although the music market environment change crash the mainstream music, independent music also has a chance to listen. Independent music is a new style of music which is known for unique viewpoints for explaining society and people’s daily life and experimental songs creating the different style compared with mainstream songs. Recently, independent music has a great proposition in the Chinese music market year by year because of these advantages including inexpensive cost, simple music structure and focusing on music creation. Independent music has a tremendous impact not only gives abundant style in the music market but also stimulates new commercial opportunities in different music festivals and themes in recent years. Along with music development, albums are not only for listening to music but collecting. Thus, album corporation starts taking album cover design seriously, expecting that preciously design can appeal consumer’s collection. To sum up, this thesis collects independent music album cover, found that independent music has a great proportion using illustration design. It can cumulate three reasons, first of all, independent music producers do not have exposures, and it may cause inefficient promotion in portrait photography. Secondly, illustration style can express its unrestrained experimental music style. Thirdly, illustration enables inexpensive budget compared to realistic photography in terms of visualization effect. Hence, this thesis uses Tsai’s seven albums as research targets to investigate the connection and appropriation between illustration and music. By using research survey approach and KJ approach, it has re-designed music performances which have large scales between album ingredient and visualization. Following is this thesis consolidate research purpose, 1. Clarify the development of independent music and illustration culture’s background by literature and former research. 2. Design the questionnaire by investigation analysis approach, in order to realize these seven albums cover design can whether correctly convey messages to audiences by using colors and visual elements and provides an example for the later designer. 3. Through re-design procedure and reviewing, it can restart using illustration style on album cover design, appealing young generations to know independent music.

碩士
輔仁大學
應用美術學系碩士班
106
Music is an art that can express human emotions. It is precisely because of this characteristic that music is widely used, making music an important industry. Since music often comes along with visual carriers, and even music itself is often with a visual sign, researcher is curious about the relationship between visual and music, so it is the main subject this study want to research. In our life, albums are the most intuitive music we associate with, and album covers need to convey the image and emotion of the music to the consumers, and to express the musical characteristics, in order to make a difference to other graphic designs. How to correctly represent the relationship between music and vision has become an important topic in the design of album covers, so researcher chooses to use album covers as a creative carrier. This study explores the essence of music through literature review, and finds the causes of picture coming from the music is due to the way of human perceptual processing messages. Through perspective of semiotics, which explains how visual images interpret music. The ways of image interpret music can be started from music scores, music images, shapes and colors. Through formal comparisons, it can be known that the formal principles of beauty can be applied to various art forms, find common points in form between hearing and vision. Then, analyze album covers’ constituent elements and forms of expression, from the historical context, that the expressions of vision and music will be different because of the trend of the times, so this study chooses to use abstract geometry style as design expression. With the "Focus Group”, this study combine group members’ opinions, analyze the feeling of music from composition, lines, shapes, colors, materials, and fonts, and integrates a set of musical visual symbol tables to become the basis for designing creations. Then finish 12 covers at Chapter 4. The exhibition was staged at the Song Shan Cultural and Creative Park, from July 7th to 18th, 2017. The exhibition was well received by many viewers; they like it and think it was an interesting and worthy topic.

碩士
國立臺灣師範大學
設計研究所
97
Abstract The phenomenon of “symmetry balance” is widespread in the universe, and it’s everywhere in our daily routine. In the aesthetics, sets of symmetry often please people with safe and cheer. It is also one of the most basic techniques of the designing principles. Just because symmetry lies in the life or images, people mostly turn out to neglect its importance and unique aesthetic feeling. However, nowadays people use image as the tool of their thought, take it as life, and even consider it as the stage of cognition subject. The study proceeds toward documentary collecting and analyzing, intends to assemble electronic music albums covers of indie music brands. Then pick and induce workings that created in picturing form, as well as study their composition and designation styles, and probe its meaning and techniques. Besides, the study will also develop a disc album cover that uses basic symmetry forms, integrates personal vocabulary, composes in electronic music, enrich symmetry with more expressions. The developed work is practiced for the first EP disc album cover of the indie band “The Girl and The Robots”.

碩士
輔仁大學
應用美術學系碩士班
96
The topic of this study is concerning the design of CD Cover on the Underground Music in Taiwan. Putting the Postmodern Art Style of new scale's idea into the creation, the main conception is the development of using the Postmodern Art Style on the Underground Music in Taiwan. From the references analyze and confer the form and feature of the Postmodern Art Style, especially on the argument and analysis of new scale. By concerning the evolvement of the CD Cover design on the Underground Music in Taiwan, realizing the development of the Underground Music in Taiwan, and understanding the style's changes and blind spots of the CD Cover of Underground Music in Taiwan. Furthermore, from applying Content Analysis to analyze the CD Cover designer Xiao Qing-Yang 's designing the CD cover of alternative music, from analyzing the CD cover design on the Underground Music in Taiwan over the years, and cooperating the interview with the CD Cover designer Xiao Qing-Yang 's -- knowing his creation conception as the assistance rule of designing, we will use the student underground music group"Mapi"as the real create study.