Relevant bibliographies by topics / Artistic composition

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Artistic composition'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Artistic composition"

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Welcz, H. "Composition in schizophrenic artistic expression." European Psychiatry 26, S2 (March 2011): 1529. http://dx.doi.org/10.1016/s0924-9338(11)73233-3.

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The issue of composition in the artistic creativity of people suffering from schizophrenia has not been widely taken up by the researchers dealing with schizophrenic artistic expression. Those who wrote about the problems of composition mostly referred to familiar authors with schizophrenic disorders in the context of the course of their disease. The article aims to approach the issue of expression's psychopathology specifically dealing with the analysis of one element of the artistic work. Schizophrenic disorders provoke troubles with process of the arrangement, selection and information integration characteristic to specific thinking disorders of the delusional type. It is particularly visible in the composition of drawings and paintings.Most often one can encounter compositional presentations that have an open configuration based on symmetry which is predominantly figurative in nature, with ornamentation and decorative background. In the literature available in the Clinic of Psychiatry at the Medical Academy and Neuropsychiatric Hospital in Lublin there also prevail open figurative compositions based on symmetry with richer or poorer ornamentation. The issue of the composition's specificity in schizophrenic artistic expression is hard to judge objectively as most of the available works are shallow, schematic, open and without any depth or chiaroscuro. Difficulties in analyzing the compositional rules that are prevalent among people with those disorders are connected with the lack of objective methods, which could be helpful in working on that artistic material.
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Adaskina, A. A. "Sense of Composition as Indicator of Artistic Imagination." Psychological-Educational Studies 9, no. 4 (2017): 51–64. http://dx.doi.org/10.17759/psyedu.2017090406.

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The aim of the research presented in this article is to study the role of the sense of composition in the structure of artistic imagination. Based on the analysis of different researches this article interprets the artistic imagination as an independent process aimed at creating an artistic image correlated with the material, anticipating genre, composition and stylistic features. This process includes such aspects as purpose, sense of material and sense of composition. The article presents the data of the first approbation of two methods which diagnose “sense of composition” (“Spot” and “Sheet of paper”). 33 students took part in the approbation (14 of them were students of the art faculty, 19 of them were a control group). As experts in the study participated 3 art сritics. The results of approbation of the methods of diagnostics of compositional thinking ("sense of composition") showed a significant connection between the compositional characteristics of the image and its expressiveness.
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Jumaev, Jasur. "The Importance Of The Subject "Art Photo Composition" In The Study Of Photo Art." American Journal of Social Science and Education Innovations 03, no. 03 (March 23, 2021): 84–88. http://dx.doi.org/10.37547/tajssei/volume03issue03-14.

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The article covers the basic concepts of artistic photo composition, the general purpose of the composition, the artist's use of visual and expressive means of this art, the use of specific methods and techniques of constructive construction.
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Moisiienko, Anatolii. "ARTISTIC SYNTHESIS IN CHESS SONNET." Слово і Час, no. 4 (August 3, 2021): 76–96. http://dx.doi.org/10.33608/0236-1477.2021.04.76-96.

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The article focuses on one of the visual types of syncretic poetry — chess poems. Years ago Anatolii Moisiіenko initiated the chess poetry genre in Ukrainian literature; in a number of critical papers, he presented the specifics of construction and functioning of such artistic structures, which are basically characterized by the symbiosis of proper poetry and chess composition. In this article, the author uses Viktor Kapusta’s books of poems “The Checkered Continent” and “Unguaranteed Migrations” to analyze the chess sonnets of the poet who added a new page to the history of Ukrainian visual literary art by proposing a peer-to-peer combination of a strictly structured literary form and a chess problem. The aim is to conceptualize the figurative and compositional relations within the sonnet structure itself, which relies on the artistic palette of the chess game, with its diversity of geometric abstractions, local mise-en-scénes of unpredictable theatrical performances played out on the chess-board by wooden pieces — or on the chessboard of readers’ imagination. Attention is drawn to the transformational peculiarities of the sonnet line, read in a palindromic and pantorhymic way. The pantorhyme is the versificational and compositional basis for the chess sonnet sequence “Castling. A Herbarium of Stars”, which is analyzed here with regard to the transposition of some characteristics to the realm of chess composition. A diagrammed chess problem becomes a specific chess component of a sonnet sequence, where, for example, the variants of the solution (Black’s defensive moves and White’s attacking responses) correspond to the poetic lines making up the fourteen sonnets whereas the problem’s threat, like a principal poem, concentrates all the mentioned chess movements in a single variant.
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Horvatovikj, Vesna. "REALISATION OF AESTHETIC-COGNITIVE FUNCTION OF THE READINGS IN MACEDONIAN LANGUAGE TEACHING FROM FIRST TO THIRD GRADE." International Journal of Cognitive Research in Science, Engineering and Education 3, no. 2 (December 20, 2015): 91–95. http://dx.doi.org/10.23947/2334-8496-2015-3-2-91-95.

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Literary-artistic compositions, first of all, have an aesthetic function but when the same are used in the teaching they as well fulfill the cognitive function. The best “angle of view” of one literary-artistic composition in the teaching is through the balanced relation of “dolce” and “utile”. The instructiveness of literary-artistic compositions in the teaching is not ultimate and should not be considered as a task that is to be performed. For the purpose of realization of these basic functions of literary-artistic compositions envisaged in the teaching, the main precondition is their appropriate selection pursuant to the age of the reading audience (the students).
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Oripova, Gulnoza Murodilovna, and Madinakhon Toyirjon Qizi Tolibova. "Composition Of Modern Uzbek Stories." American Journal of Social Science and Education Innovations 03, no. 03 (March 27, 2021): 245–49. http://dx.doi.org/10.37547/tajssei/volume03issue03-35.

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This article discusses the views on the genre of the story, the essence, functions and significance of its composition. The compositional features of contemporary Uzbek stories, the basic artistic functions in the organization of composition, elements of the composition of a work of art are analyzed on the basis of the stories of Shoyim Butaev.
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Shcholokova, Olha, Natalia Mozgalova, and Iryna Baranovska. "Interpretation of musical composition: a methodical aspect." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 151–58. http://dx.doi.org/10.24195/2617-6688-2019-3-21.

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The article presents the issue regarding activation of artistic and interpretative activities of the students majoring in musical specialties at higher pedagogical educational institutions. The artistic-interpretative activity is considered as a factor of students’ creative development, growth and self-realization. The method of categorical analysis of the issue “interpretation” facilitated the establishment of a number of its values which were considered and implemented in the step-by-step experimental methods of training future music teachers in interpreting musical works. The course and results of the ascertaining stage of the pedagogical experiment have been presented. Based on the hermeneutical and artistic-mental approaches, the experimental methods of training students in interpreting musical works have been elaborated and presented. A wide range of methods of instrumental learning, performing exercises and independent artistic-interpretative tasks that determine the hierarchy of stages (initial-establishing, content-oriented and technological, analytical-final) of the presented methodology has been considered. The effectiveness of the text-centric paradigm of teaching in the practice of instrumental training of the future music teachers basing on a complex use of individual teaching methods alongside with dialogical methods of performing immersion, palliative and facilitation has been proved. The introduction of the lecture course “Fundamentals of Musical Interpretation”, the use of a complex of methods (analytical, practical, creative) and various artistic and interpretative tasks contributed to the increase of the respondents’ motivational orientation and activity as well as the increase of their interest in the artistic and interpretative activities. The results of the research and experimental work on the implementation of the methodology of training future music teachers in interpreting musical works testify to its expediency and effectiveness. Keywords: hermeneutical approach, interpretation, musical work, artistic and interpretive activity, teachers of Music.
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Stojanovic, Milena, and Aleksandar Stojadinovic. "Instrumental composition as a stimulus for artistic expression." Godisnjak Pedagoskog fakulteta u Vranju, no. 7 (2016): 375–80. http://dx.doi.org/10.5937/gufv1607375s.

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Grigoryeva, V. B., S. I. Spodeniuk, and E. G. Poronik. "PROCESS OF TEACHING ARTISTIC COMPOSITION IN ARCHITECTURAL EDUCATION." Problems of theory and history of architecture of Ukraine, no. 19 (April 11, 2019): 320–26. http://dx.doi.org/10.31650/2519-4208-2019-19-320-326.

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Perperi, A. A., V. Brednyova, N. Yavorskaya, and A. M. Perperi. "PROCESS OF TEACHING ARTISTIC COMPOSITION IN ARCHITECTURAL EDUCATION." Problems of theory and history of architecture of Ukraine, no. 19 (April 11, 2019): 326–31. http://dx.doi.org/10.31650/2519-4208-2019-19-326-331.

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Dissertations / Theses on the topic "Artistic composition"

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Rusnak, Christina S. "161 Glass: Site Specific Music in an Artistic Context." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28472/.

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The composition 161 Glass is a 17-minute musical work with percussion, wind and brass instruments in which the intersection of mid-century architecture, and the art and culture of a dynamic city are inextricably linked. Through this paper, I explore the process of composing a musical work in relationship to the significance of site specific context. The paper begins by defining the concept of site specific art works; then reviews the discourse of the intersection of art, music and architecture. I then delve into the cultural and geographic context surrounding this project from the modern era through the present, and how those perspectives apply to the building and my piece. I reveal how the composition relates the musical ideas to the site. Finally, I describe the collaborative process between myself, the musicians and the Dallas Contemporary staff.
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Ng, Kah-Ming. "Figured bass accompaniment at the harpsichord in its social and artistic context." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249865.

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Garberich, Mark David. "The nature of inspiration in artistic creativity." Diss., Connect to online resource - MSU authorized users, 2008.

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Robinson, Stephanie L. Robinson Stephanie L. Shakespeare William. "Music for King Lear : electro-acoustic composition and collaboration for the theatre /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170251.

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Cofer, Matt Cliff. "Revising muses: Irrationality, creativity, and composition." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/789.

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Young, Toby. "The artistic self : identity and self-representation in Nicholas Maw's 'Life Studies' : portfolio of compositions and critical writing." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:92443395-2833-40dd-abae-6e3b859a5faa.

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In his article 'The Death of the Author', Roland Barthes posits that the intentions and identity of an author are irrelevant to the understanding of an artwork. Yet in his analysis of a text by Balzac, Barthes inadvertently demonstrates that there are basic thematic categories associated with an artist's identity, which are intrinsic to a work's interpretation. This thesis proposes that the author of an artwork functions as a semiotic curator, collating signifiers from within these external categories in order to reflect their understanding of the world. Taking as a case study Nicholas Maw's 1976 score Life Studies - a piece described by the composer as being based on his own life - this experiential understanding of identity and self is explored through the lens of David Hume's bundle theory, where the unified experience of self is created through the collection of a series of perceptions. This thesis hypothesises that there are five key categories of perception that constitute Maw's artistic self in Life Studies: simulacra, narrative, design, agency, and nostalgia. Methodologically, these five areas - or rhizomes - are presented through a tripartite study, in an attempt to combine the three distinct disciplines which the philosopher Gilles Deleuze believed approached a holistic understanding of reality: philosophy, analysis, and - in the accompanying portfolio - composition (creativity).
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Wirtz, Jason. "Poets on inventing revisioning invention theory, practice and pedagogy within rhetoric, composition, English education and creative writing /." Diss., Connect to online resource - MSU authorized users, 2008.

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Dingman, Toni SuzAnne. "Facilitating creativity through the discipline of craftsmanship within the writing process." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/770.

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Gavazza, Giuseppe. "La synthèse par modèle physique comme outil de formalisation musicale." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAS041.

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La synthèse pour par modèles physiques propose une approche à de la création musicale alternative à de celui celle plus habituelle du traitement du signal. En prenant en considération le phénomène musical comme un unicum émergeant de l'interaction entre le musicien et les instruments à sa disposition, on expérimente et donne corps phénoménologique et sensible aux actions créatrices.En ne considérant pas comme entités distinctes la matière sonore et la structure musicale, on oriente les potentialités de l'ordinateur et crée une dialectique originale et féconde entre le formel (structurel) et le perceptif (cognitif).Le champ d'action envisagé dans cette thèse concerne le développement, la formalisation et la catégorisation des modèles physiques réalisés à l’aide du formalisme CORDIS-ANIMA de structures - créées par modélisation physique - utiles pour la composition musicale, dans la perspective de mettre en évidence la fonction de formalisation musicale associée portée au par ce paradigme. de simulation par modèle physique CORDIS-ANIMA.Le point de départ est ma pratique personnelle de près de 20 années, en tant que compositeur, avec le logiciel de création sonore GENESIS du laboratoire ACROE-ICA. Cette pratique, à travers des travaux à la fois scientifiques (en modélisation) et artistiques (en composition musicale), m'a conduit à considérer cet environnement non pas comme un synthétiseur, mais comme un instrument " organique " permettant de créer une composition musicale complète couvrant les trois échelles de catégorisation usuelle de l'acoustique et de la musique : micro-formelle (le timbre, l'harmonie, l'orchestration), mezzo-formelle (le rythme, la mélodie et les séquences / structures harmoniques de premier niveau) et macro-formelle (la structure harmonique de niveau supérieur, le schéma formel de la composition complète).L'objectif ne consiste pas à proposer le cadre d'une "nouvelle musique" ou d'une nouvelle esthétique, mais à "bien tempérer" les instruments pour une nouvelle pratique de la création musicale explorant et exploitant au mieux les potentialités de l'ordinateur et des technologies numériques, aussi dans la direction d'un élargissement de la dialectique instrumentalité - écriture musicale vers une "supra instrumentalité" [Cadoz6] et vers des perspectives "post-scriptiques" de la création musicale [Cadoz7]
Physical model synthesis offers an approach to composition alternative to the more usual signal processing. Considering the musical phenomenon as a "unicum" emerging from the interaction between the musicians and their instruments the physical model synthesis realizes and gives phenomenological and sensitive corporeality to the creative actions. By conceiving not as separate entities sound material and musical structure directs the potentialities of the computer and creates an original and fruitful dialectic between the formal (structural) and perceptual (cognitive).The sphere of action for my PhD concerns the development, formalisation and categorisation of structural models – created by physical modelling – useful for musical composition in the perspective to highlight the musical formalisation function associated with the CORDIS-ANIMA physical model simulation paradigm.The starting point for this work is 20 years of personal use as a composer, of the GENESIS physical model musical creation software developed by the ACROE-ICA laboratory.This experience has led me, through works both scientific (modelling) and artistic (music composition), to consider this environment not as a synthesis tool, but as a complex instrument, which allows to create a complete musical composition covering all three usual categories of acoustics and music: micro-formal (the tone, harmony, orchestration), mezzo-formal (the rhythm, melody, and the basic sequences/harmonic structures) and macro-formal (the higher level harmonic structure, the formal outline of the entire composition).My goal is not to propose the framework of a new music or a new aesthetic, but develop "well-tempered" instruments for a new practice of music creativity that explores and accomplishes better the potentialities of computer and digital technology. This also leads in the direction of broadening the dialectic instrumentality - writing music to a "supra instrumentality" [Cadoz6] and to post-scriptic outlook on musical creation [Cadoz7]
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Berglund, Anna. "KMH Stories : Berättelser om människan bakom musikern." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2802.

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I projektet ville jag undersöka vilka personliga berättelser som finns hos musikerna vid KMH. Det vi pratar om när vi pratar om musiker är ofta utbildning, teknik och musikaliska förebilder. Men jag tror inte att det är vad musikerna själva vill kommunicera med sin musik. Under min kandidatutbildning på KMH upplevde jag att fokuset på hantverkskunnande överskuggade reflektion kring konstnärlig identitet. Jag ville i detta projekt resonera kring vad som skulle kunna hända om man reflekterade kring de båda lika mycket. Förutom att presentera en scen för de personliga berättelserna ville jag också undersöka andra tillvägagångssätt än de traditionella för både kompositionoch instudering av musik. Kompositionsprocessen har till stor del handlat om semantik som metod för komposition.
When talking about musicians we usually talk about education, technique and musical role models. But I don’t believe that that is what the musicians themselves want to communicate with their music. In this project I wanted to investigate the personal stories of the musicians at KMH. During my education at KMH I've experienced that the reflection about artistic identity was overshadowed by the focus on craftmanship. I wanted to discuss what might happen if one gave the two the same attention. Apart from presenting a scene for the personal stories I also wanted to investigate alternative ways for composing and studying music. An extensive part of the composition process has been about semantics as a method for composition.
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Books on the topic "Artistic composition"

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Fundamentals of photo composition. New York: Lark Photography Books, 2011.

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Mante, Harald. The photograph: Composition and color design. 2nd ed. Santa Barabara, CA: Rocky Nook, 2012.

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Mante, Harald. The photograph: Composition and color design. Santa Barbara, CA: Verlag Photographie/Rocky Nook, 2008.

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Bird, Jennifer Lynne. Choreographing creativity: Teaching as artistic and technical within the curriculum of composition. Lanham, MD: University Press of America, 2009.

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Choreographing creativity: Teaching as artistic and technical within the curriculum of composition. Lanham, MD: University Press of America, 2009.

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Storytellers: A photographer's guide to developing themes and creating stories with pictures. Berkeley, Calif: New Riders, 2012.

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Dolenc, Oskar. Kompozicija slike: Videti-graditi-fotografirati. Ljubljana: Image DTp, 2009.

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Smith, Bill. Designing a photograph: Visual techniques for making your photographs work. USA: Amphoto, 1985.

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Learning to see creatively. New York, NY: Amphoto, 1988.

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Busselle, Michael. Photographic assignments: The expert approach. Newton Abbot: David & Charles, 1992.

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Book chapters on the topic "Artistic composition"

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Gooch, Bruce, Erik Reinhard, Chris Moulding, and Peter Shirley. "Artistic Composition for Image Creation." In Eurographics, 83–88. Vienna: Springer Vienna, 2001. http://dx.doi.org/10.1007/978-3-7091-6242-2_8.

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Arce-Lopera, Carlos, Juan Salamanca, and Daniel Gomez. "An Elastic Interface for Artistic Composition and Performance." In Advances in Ergonomics in Design, 250–57. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60582-1_25.

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Crispin, Darla. "Artistic Research in/as Composition: Some Case Notes." In Patterns of Intuition, 317–27. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9561-6_14.

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Chen, Qian, and Gustavo Carneiro. "Artistic Image Analysis Using the Composition of Human Figures." In Computer Vision - ECCV 2014 Workshops, 117–32. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16178-5_8.

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Schneider, Uwe. "An object-oriented model for the hierarchical composition of letterforms in computer-aided typeface design." In Electronic Publishing, Artistic Imaging, and Digital Typography, 109–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053266.

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Diderot, Denis, and Jean S. D. Glaus. "Composition According to Diderot." In On Art and Artists: An Anthology of Diderot's Aesthetic Thought, 163–89. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-94-007-0062-8_12.

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Leedham, Christopher, and Martin Scheuregger. "The Purpose of the Written Element in Composition PhDs." In Researching and Writing on Contemporary Art and Artists, 65–90. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39233-8_4.

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Roels, Hans. "Cycles of Experimentation and the Creative Process of Music Composition." In Artistic Experimentation in Music, 231–40. Leuven University Press, 2014. http://dx.doi.org/10.2307/j.ctt14jxsmx.29.

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Fan, Xing. "Fresh yet Familiar: Music." In Staging Revolution. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455812.003.0008.

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Chapter 7 examines music in model jingju, the dimension that has been generally acknowledged as the most successful among these productions’ artistic aspects. The author approaches music in model jingju from four perspectives: (1) orchestra organization which features a Chinese-Western combined orchestra, realized through artistic experimentation in the use of instruments, orchestral composition, orchestral conducting, and playing techniques; (2) percussive music, the innovative adaptation of traditional percussive passages, and the creation of new percussive passages to accompany arias, movement, and combat; (3) instrumental music and its functions in building up theatricality; and (4) vocal-melodic music, its association with traditional modes and modal composition, traditional metrical types and metrical-type composition, and traditional melodic-phrases and melodic-passage composition. This chapter features a detailed analysis of the use of musical motifs and personal interviews with chief composers and instrumentalists.
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Johnson-Green, Elissa. "iAssess." In Creative Music Making at Your Fingertips, 126–44. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190078119.003.0010.

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For many music teachers, assessment of student work holds several challenges: How to employ a concrete grading system for an inherently subjective, artistic experience; how to organize and present content for PK-5 grade levels so that learning is both meaningful and assessable; and how to design a music curriculum that ultimately encourages a powerful connection to music long after students have left the classroom. To help teachers face these challenges, the chapter demonstrates a music composition–based curriculum in which students use an iPad and other technologies to assess themselves and demonstrate their musical thinking, their progress, and development of compositional skills through self-reflective discussions of their work. Four sections describe iAssessment: (1) the background, context, and description of the music composition curriculum; (2) the techniques used to combine technology with composition effectively; (3) a description and analysis of student work that demonstrates the development of their musical thinking; and (4) thoughts and conclusions.
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Conference papers on the topic "Artistic composition"

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Nefedova, A. O. "The conditions for the formation of an artistic image when working on a graphic composition." In SCIENCE OF RUSSIA: TARGETS AND GOALS. LJournal, 2019. http://dx.doi.org/10.18411/sr-10-10-2019-37.

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Amazonas, Mauro, Thais Castro, Rosiane De Freitas, and Bruno Gadelha. "Composing through Interaction: a framework for collaborative music composition based on human interaction on public spaces." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10421.

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Urban public art is a kind of art that is produced and demonstrated in public places, based on the function and connotation of the city itself exerts. As an essential artistic content in the contact of human life, the introduction of technology is a significant trend in public art, and with it, the interaction has become an increasingly relevant aspect of public art in the digital context. In this way, this work presents an environment for creating random collaborative music from interaction in public spaces using mobile technology. The result is a composition that goes towards to John Cage’s methods. However, in our case, all participants are composers and their interactions with space work as the component that brings randomness to composition. A case study was conducted with volunteer students divided into groups. Participants made use of two versions of Compomus - an app developed for immersive interaction with sound. One version encourages movement through the environment, while the other explores the spatiality of sound in a simulated public environment within the university. The interaction of the participants generated ten compositions, five from the first version and five compositions from the second version of the developed application. The sounds resulting from the interaction were made available to the public through a website.
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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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Flores Miranda, Margarita Beatriz. "Proposal for a systemic process: Managing the creative abilities of students pursuing the architectural studio at mexican universities." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3644.

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“Education´s goal is the ability to master life with self-creative forces, in order to achieve something good and beautiful.” Götze, C. (1898). Das kind als Künstler Projects at Mexican schools of architecture often focus on conventional issues of dimension and function; in a country with the largest number of students in the architectural discipline there is an existing disinterest in the appropriation of knowledge, exploration of complexity, and expression of ideas. Such a disinterest calls for the evolution of architectural education. This research proposes it is possible to manage the creative forces of individuals. A working model composed of distinct components will be generated to stimulate areas related to artistic development. In preparation, essential components of the model have been extracted by analysis from the Bauhaus Preliminary Course developed by Johannes Itten, considering its influence on sequential tutors as well as its moment of historic implementation (1918-1923). The objective is to transform Itten´s pedagogy by means of a systemic design process focusing on the development of creative skills. The first methodological approach has been extracted from three of Itten’s thematic fields, each structured by a set of common elements: principle, objective, common material, exercises, and phases (Fig. 1). The sets are related according to their role in the development of talent as a means to discern and reveal artistic character: - BEING UNDER CONSTRUCTION: A physical-soul-spiritual unity that incorporates artistic education through exercises for awakening the body and intellectual harmonization (Fig. 1a). - BALANCED COMPOSITION: Refinement of the senses through intuitive analysis of artistic structures and a critical drawing of reality (Fig. 1b). - CONTRAST: The art of objectivity through the study of opposites: feeling-thinking, intuition-intellect, expression-construction (Fig. 1c). A responsible party, acting as structural element, directs the capacities stimulated within the group and materialized by cohesive exercises, guiding students to define an authentic trajectory: - FAMILIARIZATION: Understanding the bases. - EXPERIMENTATION: Articulation of new configurations. - APPROPRIATION: Creation from the unknown. - OPERATION: Execution in real-time. - REDIRECTION: Return to the origin to adjust and resume. By asserting the student is the center of his or her unique working model the implementation of this method in architectural studios allows for the assignment of any creative exercise and is suitable for all levels of investigation.DOI: http://dx.doi.org/10.4995/IFDP.2016.3644
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Martínez Medina, Andrés. "Elogio del cuadrado: cuadrícula, cuadro, cuatro, cubo." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.837.

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Resumen: Un recorrido por la producción de Le Corbusier evidencia la insistente presencia del cuadrado como base de las composiciones en diversos campos (urbanismo, arquitectura, pintura, mobiliario…) y en diferentes formatos (en planta, alzado y sección, o como marco, módulo y cuadrícula). La presente comunicación realiza un análisis formal (gráfico y simbólico) de sus proyectos y obras, rastreando los modos en que se utiliza el cuadrado permaneciendo en el tiempo como una constante recurrente. Para ello se recorren cuatro áreas temáticas que descienden en escala y en dimensiones: 1) capitolios, 2) museos, 3) pabellones y 4) casas, estudiando una serie de ejemplos en cada área a partir de los planos de la Fundación Le Corbusier, generando discursos que reconstruyen un hilo del tiempo en la evolución de los procesos compositivos. De este modo, se desgrana el empleo del cuadrado, en correspondencia con las áreas de estudio, como: 1º) perímetro de la plaza pública donde insertar las arquitecturas representativas, 2º) marco o caja-fuerte donde encerrar los tesoros artísticos (o sagrados), 3º) volumen cúbico abierto y desmontable y 4º) caja definida por la retícula de la estructura. El cuadrado es siempre un medio y no un fin. Persiste un intento de sugerir algunos de los orígenes en su formación clasicista, sus viajes y sus pinturas. Abstract: A tour through the production of Le Corbusier shows the insistent presence of the square as a basis of compositions in various fields (urban planning, architecture, painting, furniture...) and in different formats (in floor, elevation and profile, or as a theme, module and grid). This communication makes a formal analysis (graphic and symbolic) of its projects and works tracing the different ways to use the square that remains as a recurring constant. We can do it through four thematic areas descending in scale and dimensions: 1) capitols, 2) museums, 3) pavilions and 4) houses, studying a series of examples in each area based on the drawings of the Foundation Le Corbusier, generating speeches that reconstruct a thread of the time in the evolution of the compositional process. In correspondence with the four themes of study, we can discovery the employment of the square as different instruments. First: the square as the perimeter of the public space where to insert the representative architectures. Second: as a frame or safety deposit box where to enclose treasures artistic (or Holy). Third: as a cubic volume open and detachable. Fourth: as box defined by the grid of the structure. The square is always a means and not an end. In addition, there is an attempt to suggest some of the origins in his classic formation, his travels and his paintings. Palabras clave: Le Corbusier, composición, cuadrícula, cuadrado, cuadro, cubo. Keywords: Le Corbusier, composition, reticle, square, frame, cube. DOI: http://dx.doi.org/10.4995/LC2015.2015.837
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Kulchenko, Yulia. "COMPOSITIONAL SPECIFICITY OF ARTISTIC TEXTS WITH SACRAL COMPONENTS." In Current Issues in Modern Linguistics and Humanities. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/09321-2019-346-356.

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Vandor, Adam, Marie Van Vollenhoven, Gerhard Weiss, and Gerasimos Spanakis. "Can We Detect Harmony in Artistic Compositions? A Machine Learning Approach." In 13th International Conference on Agents and Artificial Intelligence. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010244901870195.

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Ponce Gregorio, Pedro. "La forme du temps à Moscou." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.582.

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Resumen: Sería el 2 de septiembre de 1931, mediante carta privada remitida por un tal B. Breslow en calidad de Representante Comercial de la URSS en Francia, cuando Le Corbusier recibe la invitación a participar en el concurso del que sería para muchos el edificio esencial del país, el Palacio de los Soviets de Moscú. Un edificio que en consecuencia, además de encarnar la voluntad de las masas trabajadoras rusas, debía convertirse de manera análoga, allí donde ya se hallaba construida la catedral de El Salvador, en el monumento artístico-arquitectónico de la todavía maltrecha capital soviética. Este y no otro es el punto en el que la presente «forma del tiempo» se inscribe: en el continuo devenir que el proyecto desarrolla dentro del número 35 de la rue de Sèvres de París, a fin de desempolvar parte de aquel rastro creativo velado por la historia, esto es, desandar la línea de los Soviets. Abstract: It was around september the second, 1931, on a private letter dispatched by some B. Breslow acting as Comercial Representative of the URSS in France, when Le Corbusier received the invitation to participate in the contest of the one that would be for many the essential building of the country, the Palace of the Soviets in Moscow. A building that for that matter would not only enbodies russian´s working class will, but also should become in the same way, there where the El Salvador cathedral was built, the artistic-architectural monument of the still struggling soviet capital. This and not else is the point in which the actual "shape of the time" it is enrolled: on the developed by the project inside the number 35 of the rue de Sèvres in Paris, in order to dust off part of that creative trace veiled by history, this is, to walk back along the line of the Soviets. Palabras clave: Tiempo; composición; simbología; circulación; técnica; Palacio de los Soviets. Keywords: Time; composition; symbology; circulation; technique; Palace of the Soviets. DOI: http://dx.doi.org/10.4995/LC2015.2015.582
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Cao, Thi Hao. "Research on Tay Ethnic Minority Literature in Vietnam Under Cultural View." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-3.

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The Tay people are an ethnic minority of Vietnam. Tay literature has many unique facets with relevance to cultural identity. It plays an important part in the diversity and richness of Vietnamese literature. In this study, Tay literature in Vietnam is analyzed through a cultural perspective, by placing Tay literature in its development from its birth to the present, together with the formation of the ethnic group, and historical and cultural conditions, focusing on the typical customs of the Tay people in Vietnam. The researcher examines Tay literature through poems of Nôm Tày, through the works of some prominent authors, such as Vi Hong, Cao Duy Son, in the Cao Bang province of Vietnam. Cao Bang is home to many Tay ethnic people and many typical Tay authors. The research also locates individual contributions of those authors and their works in terms of artistic language use and cultural symbolic features of the Tay people. In terms of art language, the article isolates the unique use of Nôm Tay characters to compose stories which affect the traditional Tay luon, sli, and so forth, and hence the use of language that influences poetry and proverbs of Tay people in the story of Vi Hong, Cao Duy Son. Assuming a symbolic framework, the article examines the symbols of birds and flowers in Nôm Tay poetry and the composition of Vi Hong, Cao Duy Son, so to point out the uniqueness of the Tay identity. The above research issue is necessary to help us better appreciate the cultural values preserved in Tay literature, thereby, affirming the unique cultural identity of the Tay people and planning to preserve and develop these unique cultural features from which emerges the risk of falling into oblivion in modern social life in Vietnam. In addition, this is also a research direction that can be extended to Thai, Mong, Dao, etc, ethnic minorities in Vietnam.
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Qiu, Jingwen. "The Impact of the Artistic Style of the Buddhist frescoes on the Composition and Modeling in the Northern Dynasties to the Early Tang Dynasty -- Taking the No.169 Grotto of Bingling Temple, Dunhuang Grotto 275, Grotto 254, Grotto 285, Grotto 249, Grotto 321, Grotto 428, and Grotto 297 as Examples." In Proceedings of the 1st International Symposium on Innovation and Education, Law and Social Sciences (IELSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ielss-19.2019.64.

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Reports on the topic "Artistic composition"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Turner, Christine. Teaching figure drawing to adolescents within the context to [i.e. of] imaginative compositions, as a means of increasing artistic confidence and abilities. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3209.

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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