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Journal articles on the topic 'Artistic composition'
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1
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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Lind, Anders. "Large-scale music compositions and novel technology innovations – Summarizing the process of Voices of Umeå, an artistic research project." HumaNetten, no. 37 (December 22, 2016): 107. http://dx.doi.org/10.15626/hn.20163706.
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Voices of Umeå was a three-year interdisciplinary artistic research project initiated in 2012 by the author. The main aim with the project was to explore new artistic possibilities for composition and performance practices within the field of contemporary art music. More specifically, artistic possibilities, which arises when non-professional performers regardless musical backgrounds enables to participate in the composition and performance processes. The idea was to develop and explore new pedagogical methods to involve non-professional performers by using new technology and combining knowledge from the fields of artistic and educational practices. Different aspects of participatory art were embraced in the artistic processes aiming towards three compositions, including two concerts and one exhibition. An action research model in three steps –planning, action and analysis of results inspired the methodology, where the analysis and experiences of each cycle within the project were affecting the further cycles of the project.This article reports from selected parts of the process of the project and contributes with new knowledge to the fields of animated music notation and participatory art.
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Krafte, Diana, Andra Fernāte, and Viesturs Lāriņš. "THE COMPOSITIONAL AND MUSICAL COMPONENTS OF SPECIAL ARTISTRY IN RHYTHMIC GYMNASTICS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 183. http://dx.doi.org/10.17770/sie2019vol4.3933.
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Rhythmic gymnastics is an Olympic sport. Competitive composition in rhythmic gymnastics should not only meeting the requirements of the physical abilities, but being technically perfect and expressively performed by a gymnast as well. Describing the expressiveness of rhythmic gymnast’s performance, the term “special artistry” is used. Special artistry in rhythmic gymnastics means artistry of compositional content, artistry of rhythmic gymnast, shown by athlete during performance of competitional composition and gymnast’s artistic abilities, influencing aesthetical effect of composition performance. The evaluation of judges at competitions often has a subjective character that is why the actual task of research is to make the expert assessment more objective. Particular investigation in general focuses on possible solutions to make alternative judging. Thus special artistry generally is viewed in 4 components – technical, aesthetical, compositional and musical. This paper is focused only on compositional and musical components of special artistry, headlining creation, build and content of composition, its execution and compositional and musical skills of the gymnast. The aim of the research is to define and to classify competitional composition determining components criteria and exponents of special artistry in rhythmic gymnastics. To develop this research there was used the meta-analysis of scientific literature, using researches of the top rhythmic gymnastics, art and music specialists from one data base, with further creation of thematic typology of elements. In total there were screened 961 sources of which 107 qualified and 25 were chosen for further research. Investigating chosen data sources by the appropriated search terms, as a result 15 criteria and 104 exponents in compositional component, and 5 criteria and 4 exponents in musical component of special artistry in rhythmic gymnastics were determined and classified according to the selected structure of special artistry components in rhythmic gymnastics.
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Sveshnikov, Alexander V. "Actual problems of the composition of the artistic image." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 87–99. http://dx.doi.org/10.17816/vgik11287-99.
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This essay explores the general compositional features by opposing the common understanding of composition as an arrangement of the image on the sheet surface. An image is essentially a text that conveys information from the author to the viewer and has no meaning without them. The main premise is that a semantic compositional unit can be represented by the sequence conveyor image perceiver. It is shown that a pictorial text consists of separate elements with a certain structure (experiments of R. Pritchard). These elements, in turn, are closely interrelated with each other, and only in this connection can their artistic meaning be perceived. The perception of meaning is a temporal process, which is determined by the transition of gaze from one group of elements to another. In different contexts and with a different route of perception, the same group can carry different meanings. It is important that if the image does not carry any specific information for us it can nevertheless cause associations which mostly reflect our inner essence. In this case, the viewer can understand the original general meaning of the work very subjectively, despite all the efforts of the author to show a clear structure of the image.
In this regard, the compositional routes of the spectator's perception of pictorial elements can differ greatly from one another, depending on the viewer's internal presets, which Alfred L. Yarbus proved experimentally back in the 1960s. The essay briefly discusses some properties of pictorial signs and their impacts on the emotional sphere of a person.
Finally, several pedagogical conclusions are made, in particular that the ability of the student to penetrate into the symbolic artistic-semantic structure requires education and development of his personality. Without this, he will only glean the surface, the material aspect of the image. That is why an unprepared student is often fond of "illusionism", of copying. Only serious pedagogical work that requires knowledge of the fundamental principles of composite image construction helps to cope with this.
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Ashurbekova, Ilmira G. "THE FORMATION OF ARTISTIC AND COMPOSITIONAL THINKINGOF STUDENTS AT THE LESSONS OF COMPOSITION." Bulletin of the Moscow State Regional University (Pedagogics), no. 2 (2020): 39–46. http://dx.doi.org/10.18384/2310-7219-2020-2-39-46.
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Stratan-Artyshkova, Tetiana. "PSYCHOLOGICAL FOUNDATIONS OF COMPOSITION AND PERFOMANCE OF FUTURE TEACHER OF MUSIC." Aesthetics and Ethics of Pedagogical Action, no. 13 (March 9, 2016): 49–59. http://dx.doi.org/10.33989/2226-4051.2016.13.171538.
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The article characterizes the component structure of music and performance practice of a musical art would-be-teacher, determines the notion of “author’s ability” as a system-making cause of music and performance practice of a future teacher and professionally meaningful personal feature, which denotes the highest level of a personal artistic development, its core power, artistic intellection and emphasizes the meaningful of a would-be-teacher personality of a musician as continuity. The psychological analysis of music and performance process, its entire mechanisms states that the interrelation of the highest intellectual value and meaningful power of personality realizes in process of its activity, personal features are reviling, making current, developing, the artistic mind, emotionality, artistic vision, empathy, creativity, freedom, self-analysis is mastering, artistic and interpretational abilities are improving. The structure and functional analysis of entire components of music and performance work states that the involving of a music art would-be-teachers in their own mature work defines entirety, uniqueness of a future teacher personality, emphasizes that music and performance activity of musical art future teachers states on a higher level availability of complex integral personal professionally meaningful features, which reflect subjectivity of a future teacher, his ideology positions and value orientations, personal and professional focus, formation of a positive self-concept, ability to act, create, to be independent and responsible in action, it means, that the entity of music and performance work of a future professional consists not in absolutization of obtaining process of academic knowledge and learning artistic and interpretational abilities, but in focusing the content of this action on development personal and artistic features of a future teacher personality as a subject of action, his ability to be performative, original and unique in his own creativity.
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Park, Woon Ju, and Sang Chul Chong. "The Influence of Painting Composition on Human Perception." Seeing and Perceiving 25, no. 6 (2012): 521–43. http://dx.doi.org/10.1163/187847612x648783.
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Artists have long explored the way in which we see the world, and they have developed their own tools to portray their vision. The present study investigated whether the compositional information in paintings, an artistic device invented by artists, is utilized when people view paintings. In Experiment 1, we categorized paintings depending on their compositions through experts’ ratings. Using the stimuli from Experiment 1, Experiment 2 tested if the compositional information interferes with a target detection task. We found that the false alarms increased when the targets and distracters had the same composition compared to when they were different. Finally, Experiments 3A and 3B examined whether composition information influences the perceptual similarity of paintings. Through a multi-dimensional scaling analysis, we first showed that paintings with the same composition were proximately located in the mental space (Experiment 3A). Using this distance from the MDS analysis, we found that performance on the target detection task decreased as this distance became close (Experiment 3B). These results suggest that people make use of compositions in paintings, thus providing a possible link between artworks and the human visual system.
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Pleshivtsev, Alexander. "The property of manufacturability of the architectural system as a component of a single and holistic composite solution." E3S Web of Conferences 135 (2019): 03025. http://dx.doi.org/10.1051/e3sconf/201913503025.
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Purpose: Analysis of modern methods (theory) of composition as a priority motivation of artistic and creative thinking in the process of architectural activity. Study of the influence of the complex properties of manufacturability on the nature of the formation of composite solutions of architectural systems. Methods and materials: dialectical approach, generally accepted logical research methods (analysis, system approach, generalization) and their synthesis using relevant information materials.Results: the basic means, regularities and principles of composition that determine the features of the formation of architectural systems are established. The analysis of the action of the basic (canonical) law of architectural composition and the conditions for the formation of a holistic and unified compositional solutions. The conceptual apparatus of the category (complex property) of “manufacturability” as a subject feature of the features of manufacturing, transportation, construction and operation of the architectural system is given. The direct nature of the interaction of “canonical” types (functional, constructive, artistic and aesthetic) and technological components in the tectonic display of the properties of the architectural system is established.Conclusions: Manufacturability of architectural systems formation is an equivalent component (in relation to the constructive, functional and artistic-aesthetic components) of a single and integral compositional solution. Indicators of the complex properties of manufacturability largely determine the functional quality of architectural systems.
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Despot, Katerina, and Vaska Sandeva. "ELEMENTS OF PRINCIPLES INFLUENCING THE PARK COMPOSITION." International Conference on Technics, Technologies and Education, no. 1 (2018): 210–14. http://dx.doi.org/10.15547/ictte.2018.05.004.
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The composition occupies a central place in the system of concepts describing the visual image. It is related to the history and the aesthetic categories and to the commonality with the term "whole". In the theory of park art, term composition means - arrangement of individual plants or combined with dead materials so as to form a harmonious whole subordinate to the artistic idea. The main theoretical works in park art are closely related to the principles of the general theory of composition. In every art, the idea is expressed by an artistic image that is specific to the artificial form of aesthetic, concrete-sensory drawing of the action.
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Гончарук, Богдан Богданович. "Deesis of the iconostasis of The Trinity Cathedral of Holy Trinity-St. Sergius Lavra: composition, iconography and artistic features." Вестник церковного искусства и археологии, no. 1(1) (June 15, 2019): 48–75. http://dx.doi.org/10.31802/2658-5111-2019-1-48-74.
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В статье дан анализ состава, иконографии и художественных особенностей икон деисусного чина иконостаса Троицкого собора. Несмотря на уникальность ансамбля и выдающуюся художественную ценность, комплексного изучения иконостаса не предпринималось, а некоторые данные в существующих исследованиях требуют уточнения. В статье представлен краткий обзор формирования полнофигурного деисуса на Руси, его литургическое основание и эсхатологический контекст. Рассмотрен состав и иконография икон Троицкого деисуса в сравнении с предшествующими комплексами. Сделано предположение о причинах перемещения замыкающих икон деисуса: великомучеников Димитрия Солунского и Георгия относительно предыдущих комплексов. Особое внимание уделяется анализу художественного строя (композиция, колорит) каждой из икон чина. В статье выявлены закономерности некоторых художественных особенностей икон. Автором статьи выявляется прямая связь некоторых художественных и композиционных приёмов (жесты, элементы рисунка фигур, одежд, типология ликов) с ранним «рублёвским» творчеством: фресками Успенского собора Владимира 1408 г., «Звенигородским чином», иконой Св. Троицы. Прослеживается процесс художественной «режиссёрской» работы ведущих мастеров над композицией деисусного чина. This article analyzes the composition, iconography and artistic features of the icon in the Deesis row the iconostasis of the Holy Trinity Cathedral. Despite the uniqueness of the ensemble and the outstanding artistic value, the iconostasis has not been comprehensively studied, and some in details in the existing research of academics of Holy Trinity-St. Sergius Lavra: composition, iconography and artistic featuresrequire clarification, and sometimes correction. This article presents a brief overview of the formation of the full-length Deesis in Rus, its liturgical basis and eschatological context. This article deals with the composition and iconography of the icons of the Trinity Deesisrow in comparison with Deesis rows of former times. A theory is also suggested about the reasons for movingthe final icons of Deesis: the martyrs Demetrius Of Thessalonica and George (relative to previous complexes). Special attention is paid to the analysis of the artistic system (composition, colour) of each of the icons in the row. The article reveals patterns of some artistic features in the icons. In the course of analysis by the author revealed a direct link was revealed between some artistic and compositional techniques (gestures, elements of the drawing of figures, garments, typology of the faces), and the early “rublev’s” works: the frescoes of the Dormition Cathedral of Vladimir 1408., the Deesis of Zvenigorod, the icon of the Holy Trinity. The author traces the process of artistic “directive” work of the foremost masters on the composition of the Deesis row of the Holy Trinity Cathedral.
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Jovlievich, Qorjovov Bobur. "Composition, Artistic Harmony and Logical Solution in Karl Pavlovich Bryullov's "The Last Day of Pompey"." International Journal of Psychosocial Rehabilitation 24, no. 5 (May 25, 2020): 6458–67. http://dx.doi.org/10.37200/ijpr/v24i5/pr2020631.
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Lindroth, Scott. "Teaching Composition: Artistic Growth through Confrontation, Tact, Sympathy, and Honesty." Contemporary Music Review 31, no. 4 (August 2012): 297–304. http://dx.doi.org/10.1080/07494467.2012.725816.
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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.
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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.
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Palymbetov, Kamalbay. "PARALLELISM USE IN DASTAN "KOBLAN"(On the example of the Karakalpak version)." INTERNATIONAL JOURNAL OF WORD ART 6, no. 3 (June 30, 2020): 220–26. http://dx.doi.org/10.26739/2181-9297-2020-6-30.
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The article studies the use of the parallelism method of one of the artistic means in the composition and plot content of the Karakalpak folk dastan “Koblan”. The place and role of parallelisms in enhancing the poetic artistry of the dastan has been scientifically proven. Examples are given from thematic-psychological, rhythmic-syntactic, lexical-morphological, into national types of parallelisms, which are one of the stylistic figures, their role in ensuring the artistry of the dastan is noted.
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Krafte, Diana, Viesturs Lāriņš, and Andra Fernāte. "THE STYLES OF SPECIAL ARTISTRY IN RHYTHMIC GYMNASTICS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 379–91. http://dx.doi.org/10.17770/sie2021vol4.6303.
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Rhythmic gymnastics is a high achievement sport that requires athletes to demonstrate maximal abilities of the human body control while performing imaginative and meaningful compositions. With increasing of the technical complexity of the competitive compositions and striving for high results, less attention is paid to performance aesthetics. But at the same technical level during the competition, a decisive role in the gymnasts' performance is given to aesthetics. Patterns in the choice of composition content and gymnasts’ appearance and emotional similarities during performance allow concluding that there is a certain style, which can be defined as a special artistry style in rhythmic gymnastics. The aim of the research is to develop theoretical model of special artistry in rhythmic gymnastics, setting the tasks to determine, classify, structure, describe with determined artistic criteria and visualize with artistical images the special artistry styles. To develop the model the method of scientific and special literature analysis, audiovisual source analysis and modeling method were used. The model is mainly relying on C.G. Jung's theory of human perception of the world through universal symbols and the primary archetypes of the collective unconscious. Since mainly women participate in rhythmic gymnastics, the determination of the special artistry styles was based on the women archetypes of Ancient Greece goddesses according to the psychoanalyst prof. J.S. Bolen. To illustrate the styles more than 400 audiovisual materials were researched. As a result, the theoretical special artistry 32–style model in rhythmic gymnastics with two matrices of opposite style expressions consisting of 16 images each was created.
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Skorobogatova, O. "ARTISTIC EMBROIDERY AS A FACTOR OF INTERDISCIPLINARY RELATIONS BETWEEN THE DESIGN AND ARTISTIC MODELING OF CLOTHING." EurasianUnionScientists 1, no. 11(80) (December 14, 2020): 31–36. http://dx.doi.org/10.31618/esu.2413-9335.2020.1.80.1091.
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This article discusses the main aspects of intersubject relations of the subject "Modeling and artistic design of clothing" with special disciplines of professional training of bachelors in the field of artistic embroidery – such as" Performing skills in artistic embroidery"," Improving skills in artistic embroidery"," Technology and materials science"," Technical drawing"," General composition"," Design"," Academic painting"," Decorative painting"," Academic drawing"," Decorative drawing","color Science and coloristics". Attention is drawn to the fact that the work programs of academic subjects based on interdisciplinary connections affect the development of independence, conscious activity, and cognitive interests of students.
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Panchenko, V. I. "METAPHOR AND MYTH AS ELEMENTS OF ARTISTIC-LANGUAGE." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 20–26. http://dx.doi.org/10.17721/ucs.2019.2(5).04.
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The article is devoted to analysis of the artistic culturestructure. Artistic culture has developed its main structural elements that provide a certain logic of artistic thinking and artistic creativity and which are the basis of any work of art. These structural elements – rhythm, intonation, metaphor, myth (as a way of action organizing, as a prototype of composition), archetypes and archetypal symbols – are the main artistic means that "work" in all types of art, while defining the specifics (due to their dominance) of the each one of them.
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Soric, Maroje, Marjeta Misigoj-Durakovic, and Zeljko Pedisic. "Dietary Intake and Body Composition of Prepubescent Female Aesthetic Athletes." International Journal of Sport Nutrition and Exercise Metabolism 18, no. 3 (June 2008): 343–54. http://dx.doi.org/10.1123/ijsnem.18.3.343.
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The purpose of this study was to assess dietary intake and body composition of prepubescent girls competing in 3 aesthetic sports (artistic and rhythmic gymnastics and ballet). Because physiological demands of ballet training are similar to those in other aesthetic sports, ballet dancers were, for the purpose of this study, regarded as athletes. The sample consisted of 39 athletes (median age, 11 years, range 9–13) and 15 controls (median age, 11 years, range 10–12). Dietary intake was assessed using a quantitative food frequency questionnaire, and body composition, by means of anthropometry. There was no significant difference in total energy intake between groups, but there was a significant difference in energy substrate distribution. Artistic gymnasts reported significantly higher carbohydrate and lower fat contribution to total energy (57% ± 6% and 29% ± 5%, respectively) than rhythmic gymnasts (48% ± 6% and 36% ± 5%), ballet dancers (51% ± 4% and 34% ± 3%), or controls (51% ± 5% and 34% ± 4%). Relative to body weight, artistic gymnasts reported higher intake of carbohydrates (9.1 ± 4.2 g/kg) than rhythmic gymnasts (5.6 ± 3.1 g/kg), ballet dancers (6.6 ± 2.5 g/kg), or controls (5.4 ± 1.9 g/kg). Artistic gymnasts also had the lowest body-fat percentage among the groups. In all the groups mean reported daily intakes of most nutrients were higher than the current daily recommended intakes. The exceptions were dietary fiber and calcium. The proportion of athletes with an inadequate reported intake was highest for phosphorus (33%), followed by vitamin A and niacin (18%) and zinc (13%).
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Vasylieva, Larysa. "Semantic of the form in rock-music: art-pedagogical aspect (on example of hardand-heavy)." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 42–47. http://dx.doi.org/10.33310/2518-7813-2019-66-3-42-47.
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Purpose of Article - description of the semantic features of the hard-and-heavy musical composition in artistic and pedagogical aspects - the following tasks are specifically applied: individual perspectives of the study of semantics in rock music; need an organization theme), describe the structure and semantic model of hard and heavy compositions. Methodology relies on an integrated approach with the use of system-structural, functional and comparative methods, which allows to explore the characteristics of musical composition's semantics in hardand-heavy at the intonational-thematic, genre, compositional levels. Scientific novelty consists in describing the models of the structural and semantic organization of hard-and-heavy compositions on the basis of a study of the processes of shaping, thematic and structural organization. Hard-and-heavy uses various types of forms - from simple to complex, mirror-symmetric, open, alternative, which are based on one of the three types of thematic organization: monoriff, polyriff, spiral. Structural models of hard-and-heavy musical forms emerge based on the interaction of genre features of vocal and instrumental music. Each structural model corresponds to a generalized semantic model with a specific range of values. The guiding lines for semantic interpretation are representations of typical forms. The semantic model of a typical hardand-heavy composition has several particular models that play the role of a meaningful scenario, define the functional and dynamic profile of the piece, and create the semantic field of this form. Semantic analysis of the rock-piece`s form, as a component of the operational level of artistic and pedagogical analysis, provides an awareness of the joint action of the means of musical expression in their interconnection and conditionality of content. It reveals the structural features of a piece of music, facilitating the process of perception and providing active influence of musical images on the listeners
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Kolimechkov, Stefan, Iliya Yanev, Iliya Kiuchukov, Lubomir Petrov, Albena Alexandrova, Dilyana Zaykova, and Emil Stoimenov. "NUTRITIONAL STATUS AND BODY COMPOSITION OF YOUNG ARTISTIC GYMNASTS FROM BULGARIA." Journal of Applied Sports Sciences 1, July (July 20, 2019): 39–52. http://dx.doi.org/10.37393/jass.2019.01.4.
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Shipilov, Andrew V., Henrich Greve, and JungYun Han. "Separating Effects of Educational Credentials From Cohort Composition on Artistic Achievement." Academy of Management Proceedings 2018, no. 1 (August 2018): 10962. http://dx.doi.org/10.5465/ambpp.2018.10962abstract.
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Fan, Yuan-Yi. "Algorithmic Spatialization Using Object-Based Audio and Indoor Positioning System." Leonardo Music Journal 29 (December 2019): 25–30. http://dx.doi.org/10.1162/lmj_a_01058.
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The author presents a novel compositional framework to guide designing interplay between moving listeners and sound objects in space. Demonstrated by a case study of interactive octophonic installation, the presented framework offers new ways to articulate and analyze artistic interplay using real-world location context as a spatial composition canvas.
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Zellabdin oğlu Nağısoylu, Möhsün. "YENİ AŞKARLANMIŞ “DƏDƏ QORQUD” ƏLYAZMASI: EPOSUN YENİ BİR VARİANTI." SCIENTIFIC WORK 51, no. 02 (February 28, 2020): 4–10. http://dx.doi.org/10.36719/aem/2007-2020/51/4-10.
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Eralin, K. "Artistic Dimension of the Image of Abay in the Visual Arts." Turkology 6, no. 104 (December 15, 2020): 136–49. http://dx.doi.org/10.47526/2020/2664-3162.024.
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The article defines the concept of "image", "artistic image", "portrait", "artistic dimension" in visual art. It indicates the artistic activity of masters of graphics, painting, sculpture, applied art to create an artistic image of the great poet of the Kazakh people. The author concretizes the units of artistic measurement of the image of the poet of the great steppe in the visual arts in the dimension: idea, composition, color, and technique of execution. The methods of artistic measurement in the works of graphic artist Abilkhan Kasteev, Yevgeny Sidorkin, painter Nagimbek Nurmukhammedov, and sculpture of Khakimzhan Nauryzbayev are determined. The model, program and method of artistic measurement of the poet's image are characterized. The results of an experimental study on the study of the image of Abay in visual art are analyzed. It offers methodological recommendations for studying the artistic image of the great poet Abay as a means of artistic education and aesthetic education of the younger generation.
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Eralin, K. "Artistic Dimension of the Image of Abay in the Visual Arts." Turkology 6, no. 104 (December 15, 2020): 136–49. http://dx.doi.org/10.47526/2020/2664-3162.024.
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The article defines the concept of "image", "artistic image", "portrait", "artistic dimension" in visual art. It indicates the artistic activity of masters of graphics, painting, sculpture, applied art to create an artistic image of the great poet of the Kazakh people. The author concretizes the units of artistic measurement of the image of the poet of the great steppe in the visual arts in the dimension: idea, composition, color, and technique of execution. The methods of artistic measurement in the works of graphic artist Abilkhan Kasteev, Yevgeny Sidorkin, painter Nagimbek Nurmukhammedov, and sculpture of Khakimzhan Nauryzbayev are determined. The model, program and method of artistic measurement of the poet's image are characterized. The results of an experimental study on the study of the image of Abay in visual art are analyzed. It offers methodological recommendations for studying the artistic image of the great poet Abay as a means of artistic education and aesthetic education of the younger generation.
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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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Kashyrtsev, Ruslan. "The composer’s interpretation: the dialectic of inner and outer factors." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 193–217. http://dx.doi.org/10.34064/khnum2-21.13.
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Background. Consideration of a composer interpretation is an important sphere for investigation in the Ukrainian musicology. In this article, attention focuses on the interaction of a composer’s artistic individuality (the inner factor) and objective prerequisites of creation a musical piece (the outer factor) in the process of a composer interpretation. Their dialectical interaction is showed on the designed models-scenarios, which display typical situations a composer may encounter in his/ her work. Special attention is paid to differentiation of procedures of the actual composition art and the composer interpretation. The conventional view on the composer interpretation anticipates “the intermediation” between already existing primary source of musical and non-musical origin. In this concept the interpretation plays a significant role in a creation of compositions in “the genre of musical transcription” (Borisenko, 2005; Khutorska, 2009; Moskalenko, 2012). However, the nature of this phenomenon prove itself to be much more complicated and elusive as it’s clear from the studies dedicated to certain personalities (Drach, 2002; Kopytsia, 2018) or the process of composer’s art in general (Mukha, 1979; Schnittke, 1982; Shapovalova, 2008; Varnava, 2017; Chubak, 2017). The objective of the present study is to clarify the dialectical interaction of inner and outer factors of the composer interpretation. The conception of this article is built on the base of such methods as analysis, systematization and structuring, the method of modeling . Research results. The artistic idea itself is an abstract, somewhat blurred image of a future composition. This idea receives its “embodiment” in the text as “a translation from foreign language of the original, which remains intangible” (Schnittke, 1982: 105). The necessity of such “a translation” means that process of musical interpretation is involved not only for the reworking of any artistic piece written by another author, but for the own artistic conception built. However, terms of the composer’s interpretation and the composer’s art are not identical. Composer’s art includes 1) a production of structural musical elements and 2) their synthesis into organized system. The process of interpretation is involved on every stage of composer’s work as a mean of comprehension (understanding, analysis, reflection) of 1) an artistically-imaginative potential, 2) a meaningfulness and 3) an appropriateness to given artistic task of those musical text which the composer produces and synthesizes. The last one ensures a modeling (a setting of certain borders for artistic intent, “a designing”) – a reviewing of plans, a comparison of real and anticipated results etc. The process of interpretation transpires as a dialectical interaction between the composer’s artistic individuality (inner factor) and the objective prerequisites for creation of musical piece (outer factor). The first one has certain parameters, which could be classified as: – professional parameters (the musical individuality): 1) “the power of imagination” (capability to generate ideas and give musical embodiment to them), 2) “musical abilities”, 3) “knowledge and skills” (theoretical, practical and scientific), 4) “the experience” (of musical performance, listening of own / other authors’ compositions), 5) “tools and means” (methods and approaches to work); – non-professional parameters (the personal-artistic individuality): 6) “the motivation” (as a feature of the personality), 7) “the emotionality” (perception and empathy), 8) “the intelligence” (watchfulness, circle of interests); 9) “the outlook” (general attitude to life), 10) “the health” (physical and mental). The objective prerequisites for creation of musical piece (the outer factor) consists of two main components: – the artistic task is appearing due to the need for the musical piece to be made, and it could be 1) given from a third person / a group of people (customer) or 2) initiated by a composer himself / herself (“self-ordering”). – objective circumstances – working conditions, organizational issues, distracting and stressing factors which could influence on the artistic task, speed up or slow down the work, or even pose a threat for a piece creation. A comprehensive coverage of all combinations of objective circumstances is hardly possible within one article (it seems to be more effective to consider this in certain cases). Thus, it’s reasonable to pay the attention to the artistic task, which depends from the customer type and could be classified. And it’s possible to create models of typical scenarios of interaction between the composer and the customer. 1) Scenario no. 1: “own idea – own musical piece”. The composer initiates his / her own project, generates and embody idea. An important feature is that the composer sets the artistic task to himself / herself in case of “self-ordering”, which means that a composer needs to evaluate the work done as from “outside”. This is a significant manifestation of the composer’s interpretation in this situation. Another specific feature is in a strong willing to make a composition as an action of self-expression – he / her become “possessed” with this artistic project which remains in the consciousness as an “unfinished business” must be done. Moreover, a probable risk of failure or / and public disregard does not stop the composer. 1) Scenario no. 2: “given direction from outside – idea – composition”. In this situation the role of the customer (-s) appears, but the artistic task set by him / her / them does not restrain the composer within strict borders. According to “the given direction”, the artist is free to choose stylistics, genre, musical means of expression etc. And this type of customer (he /she might be a performer, a music fan, a festival director or a participant etc.) is interested in creation and performance of this musical piece. So, this sort of the artistic task gives a freedom for selfexpression with partners’ support. Obviously, the project’s success depends from its reliability and objective circumstances. But, the artistic cooperation becomes a valuable experience for the composer and also gains popularity, thus could offer new opportunities for the further career development. 3) Scenario no. 3: “idea of the project author – composer’s interpretation – musical piece”. The composer cooperates with the type of customer who has own idea and own view of artistic task completed. This kind of situation is seemingly common for various commercial projects – music for movies, videogames, theatre shows (an initiative of a theatre), dance music, background music etc. The interaction in the sphere of symphony orchestra music could be also built on these principles. The customer is focused on commercial and / or public success and additional risks are highly unwanted. The composer’s work gains an interesting particularity, because the interaction “composer – customer” becomes more active. In such a case, a collision between artistic interests seems inevitable, because, from the one side, there is the artistic individuality as the inner factor of the composer’s interpretation, and from other side – the objective (for the composer) prerequisites for creation of musical piece, which, at some points, depend on the customer as a source of artistic initiative, thus artistic task and some part of objective circumstances. 4) Scenario no. 4: “teacher – student”. This variant of interaction could contain features of all the scenarios modeled before. An interesting particularity of this situation is that the teacher acts in a role of the customer, who, at the same time, is interested in success of student’s musical project. The teacher will model such artistic tasks which could raise the level of the student as a composer – develop parameters of his artistic individuality (moreover, not only the professional, but the non-professional too). The conflict of artistic interests is possible to appear in described scenarios (in case of self-ordering – the inner conflict). This would lead to significant change of musical projects or even failure. However, this promising topic is better to be investigated in further studies. Conclusions. The comprehension of the interpretational component in composer’s art allows to approach not only to comprehension of single artist’s personality principles of development, but to understanding the process of creation of a musical composition in general. Every written piece is a unique example with its own history of creation and later existence. Though not all of compositions gain public approval, every act of the true artistic self-expression is valuable for the author and raises him / her on a new level as a professional and a person. Because, “the process of author thinking” involves the whole spectrum of person’s experience and is “a way of self-fulfillment of a person who cognizes the world” (Shapovalova, 2008: 9)
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Sigman, Alexander, and Nicolas Misdariis. "alarm/will/sound: Sound design, modelling, perception and composition cross-currents." Organised Sound 24, no. 1 (April 2019): 54–70. http://dx.doi.org/10.1017/s1355771819000062.
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An ongoing international arts-research-industry collaborative project focusing on the design and implementation of innovative car alarm systems, alarm/will/sound has a firm theoretical basis in theories of sound perception and classification of Pierre Schaeffer and the acousmatic tradition. In turn, the timbre perception, modelling and design components of this project have had a significant influence on a range of fixed media, electroacoustic and media installation works realised in parallel to the experimental research. An examination of the multiple points of contact and cross-influence between auditory warning research and artistic practice forms the backbone of this article, with an eye towards continued development in both the research and the artistic domains of the project.
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Stepanova, M. A. ""THE STARRY WIND OF CASSIOPEIA" BY VICTOR ULYANICH: EXPERIENCE IN ANALYSING COMPUTER AND AUDIOVISUAL COMPOSITIONS." Arts education and science 1, no. 1 (2021): 50–58. http://dx.doi.org/10.36871/hon.202101006.
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The article regards two versions of the work "The Starry Wind of Cassiopeia" by composer Viktor Ulyanich. The first is an eponymous composition, written in 1990 on a UPIC musical computer in the Paris studio of Iannis Xenakis, the second is an audiovisual work "Cassiopeia", which was the result of creative collaboration between Viktor Ulyanich and the artist Olga Kumeger. Compositions are presented as fundamentally synesthetic phenomena, since in both cases the graphical and musical components are inextricably linked. In the first case, timbres are synthesized through the lines; in the second, they participate in the formation of a new artistic unit. The stage of pre-composition work is a very important phase in the creative process for Viktor Ulyanich. This is the period of ideas defining the formation of the artistic image and the organization of the musical fabric. Here, such an idea was the recognizable w-shaped arrangement of the five brightest stars in the constellation of Cassiopeia. It became the basis of the work's dramaturgy, its dynamic and register plan, and was reflected in the color-graphic matrix and graphic timbre-themed elements, thereby determining the fractal nature of the computer composition.
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Wang, Xiaohui, Jingyan Qin, and Yujiao Gao. "Artistic Coloring: Color Transfer from Painting." International Journal of Pattern Recognition and Artificial Intelligence 30, no. 07 (May 25, 2016): 1654005. http://dx.doi.org/10.1142/s0218001416540057.
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Color transfer is to alter an image’s color composition by reference to the color characteristics of another image. In this paper, we build a system called artistic coloring that realizes automatic color transfer from famous paintings. It properly extracts the wonderful color characteristics of famous paintings and applies them to color transfer. Specially, we investigate the traditional color theme extraction methods and find their deficiencies. Based on this, we quantify the processing of human painting to find the main colors in the color palette and propose an artistic balanced color theme extraction algorithm aimed specially at paintings. In the experiments, a user study is carried out to evaluate the artistic balanced extraction method. Our proposed method achieves the highest score 3.98 in a 5-point evaluation, which is 41% higher than traditional methods at most. We have successfully tested the artistic coloring system on lots of images with different painting styles. The results are natural and have the similar color characteristics with their corresponding reference paintings.
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Lloyd, James. "Composition, Comparison, and Concept." Greek and Roman Musical Studies 8, no. 2 (August 14, 2020): 323–37. http://dx.doi.org/10.1163/22129758-bja10010.
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Abstract While recent discussions of music archaeology have emphasised the importance of context for the study of the art and archaeology of ancient music, there has not been much theoretical engagement with the objects themselves. This paper takes recent arguments concerning two objects identified as strobiloi to propose an object-based framework for the study of ancient art and archaeology in relation to ancient music. Contexts are not infallible. Being mindful of composition, comparisons, and concepts (the three core elements of the proposed framework), I argue that there is, as yet, no certain artistic or archaeological evidence for interpreting objects identified as strobiloi as musical devices, and that the Asteas Phrynis vase cannot be used as a reliable source for organological detail.
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Jvania, Nino, and Tamar Zhvania. "Introducing Artistic Research to Georgia." European Journal of Behavioral Sciences 2, no. 4 (September 3, 2020): 31–37. http://dx.doi.org/10.33422/ejbs.v2i4.411.
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Artistic research researches the creative process resulting into an art work. It shares the aim of any scientific research, contributing to accumulation of knowledge in a given field, though it frees a researcher from excessive formalities (such as obligatory research outcomes stated in a written form – this function could be taken over by a piece of art), building the knowledge upon the practice. The notion of artistic research is a relatively new one. However, it has already been implemented at the academic level in several countries. Artistic research has never been conducted in the Republic of Georgia. Though, Tbilisi State Conservatoire offers to performers and composers’ special doctoral programs that give doctoral students opportunities to examine issues related to performance and composition practice, based on theoretical and practical knowledge. The dissertations written in the framework of the programs to some extent relate to artistic research, though, they differ from artistic research in various aspects. The paper aims to reveal similarities and differences between those research forms and to present a research project Development of Artistic Research Methodology on the Example of Exploration of the Piano of the 21st Century and its Future Perspectives. The project aims to enrich the given doctoral programs with elements of artistic research and later to contribute to implementation of artistic research on the academic level in Georgia. This experience could be taken into consideration by other countries that are on the way of implementing artistic research in their educational systems.
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Ştefănescu, Mircea. "9. The Importance of the Drawing in the Artistic Creation Process." Review of Artistic Education 14, no. 1 (March 2, 2017): 200–206. http://dx.doi.org/10.1515/rae-2017-0025.
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Abstract In this academic paper I want to highlight the importance of the drawing and its purpose in the visual artist's creative effort which is in full artistic activity. I will illustrate what I have said previously with the drawings by artists such as Dürer Alfred, Alberto Giacometti, Henri de Toulouse-Lautrec, Andeea Paladio and others artists who have created numerous drawings to study, or as the remarkable artworks. So, during the artistic process the sculptors, the painters or the architects draw to study, to remember or to clarify their own ideas. Many drawings are straightforward, with a single-purpose and spontaneous, but often are an intuitive response to an experience or an idea which must be necessarily put on paper. These studies are often the means by which the artists develop passages which is meant to be incorporated in a detailed and complex art composition.
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Broadhurst, Clive. "An Artistic Interpretation of Sety I's War Reliefs." Journal of Egyptian Archaeology 75, no. 1 (August 1989): 229–34. http://dx.doi.org/10.1177/030751338907500122.
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In this investigation of the war reliefs on the northern exterior wall of the Hypostyle Hall at Karnak the artistic data are used as primary sources, with consideration given to the composition of the scenes and the layout of the registers. It is concluded that the reliefs on the eastern side of the doorway record three separate campaigns and that the registers read in ascending order. On the opposite side, where again three distinct campaigns are shown, the order is also upward.
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Albornoz, Alejandro. "Acousmatic-Creationism: A creative method for acousmatic music inspired by Chilean poet Vicente Huidobro’s aesthetic theories." Organised Sound 25, no. 3 (November 30, 2020): 333–43. http://dx.doi.org/10.1017/s1355771820000291.
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This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This particular creative strategy balances rationality and intuition within acousmatic composition and places poetry as a driving force in the use of voice, merging artistic practice and theory in a recursive action.
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Bezrukov, Andrey Nikolaevich. "Metacriticism of an artistic writing style: Venedikt Yerofeyev on Vladimir Mayakovsky." Филология: научные исследования, no. 10 (October 2020): 65–74. http://dx.doi.org/10.7256/2454-0749.2020.10.32003.
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Venedikt Yerofeyev is a remarkable and complex figure in Russian literature of the second half of the XX century. He is one of the first to expresses a different perspective on the realities of life and propose a new type of assessment of being. The object of this research is the introductory composition of Venedikt Yerofeyev written in 1961, at the time of joining Vladimir State Pedagogical Institute. The main subject of the analysis is the objectification of V. Yerofeyev’s metacritical assessment of “All Right!” Research methodology is at the edge of conceptual evaluation of the text, hermeneutical interpretation of the composition, structural and comparative approaches. The basis of receptive criticism, which in the author’s opinion was taken by Venedikt Yerofeyev as the principle of interpretation of Mayakovsky’s poetic construct, unites the outlines circle of methods. The novelty and relevance of this work consists in the fact that Yerofeyev’s introductory composition has not been previously examined and commented upon in of a number of scientific sources. Yerofeyev’s writing has a clearly humanistic and philological connotation. The author creates the text by a unique research pattern: from the emotionally sensible focus of experiences of Vladimir Mayakovsky to verification of the positions of synthesis of personal and social order in the poem “All Right!” Metacricisim of Mayakovsky's style and artistic manner in the composition of Venedikt Yerofeyev is given not only from the perspective of point estimation of text of the futurist poet, but also from the standpoint of intensive reduction of the potentially inherent meaning.
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Borisenko, T. S. "Compositional and production competence of the head of the choreographic team." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 117–24. http://dx.doi.org/10.30725/2619-0303-2020-3-117-117-124.
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The professional competence of the head of the choreographic collective is a single complex of interdependent and inextricably linked individual types of competencies, each of which requires a meaningful approach to the process of their formation, formation and development. The presented results of the analysis of modern research in the fi eld of improving the professional training of future leaders of the choreographic collective for professional pedagogical activity prove that the implementation of the ideas of a competencybased approach in modern choreographic education is the standard of high-quality training of a specialist whose main goal is the formation of professional competent leader of the choreographic team. The artistic and creative competence of the leader of the choreographic collective is an important component of his holistic professional competence, which is characterized by the totality of the former special competencies and the qualities of his personality necessary for solving professional and creative tasks. The study of the specifics of artistic and creative activity, the stages of the work of the baletmeister on the creation and formulation of the dance composition is among the objectives of the study. According to the results of the study, revealing the multifacetedness of the creative processes of creating a choreographic work «from concept to implementation» and characterized by insuffi cient development of the artistic and creative competence of the head of the choreographic collective, the main compositional and production competencies were identified: actual signifi cant structural components and essential characteristics are disclosed. It is concluded that the field of learning to create a dance composition and its staging has been studied a little, and the formation of compositional and production competencies is one of the main tasks facing teachers of special disciplines of universities of culture and art. The presented research results within the framework of this article are intended to use the relevant data as for the professional pedagogical work of the teaching staff : determining the principles for the formation of structural components; identifi cation and implementation of the necessary pedagogical conditions; development of criteria and indicators for diagnosing the formation of compositional and stagesetting competencies, as well as for educational activities of students – future specialists in the process of creating compositions and staging the dance.
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Grigoryeva, V. B., S. I. Spodeniuk, and E. G. Poronik. "METHODOLOGY FOR DETERMINING MATURITY OF COMPOSITIONAL SKILLS IN ARCHITECTURE STUDENTS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 306–12. http://dx.doi.org/10.31650/2519-4208-2020-20-306-312.
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n methodological literature an architect’s culture of depiction is artificially divided into two components: artistic component and design component. However, contemporary studies pay not enough attention to development of compositional thinking in students as an important factor for uniting the above components. Compositional thinking manifests itself in compositional activity, which is a specific quality of cognitive activity in art. Compositional activity involves both intellectual (acts of thinking) and practical (acts of depiction) acts. Systemic approach to development of acts of thinking and practical acts in students during drawing classes shapes up a necessary level of compositional activity for solution of artistic and design tasks in their future occupation. The paper contains an analysis of certain features of development of compositional skills in architecture students at the final stage of depiction skills training. Based on outcomes of the first stage of the summative assessment, we have identified criteria of compositional skills and three levels of maturity of such skills in architecture students, as a result of the suggested methodology. The following criteria of compositional skills have been identified based on results of analysis of academic assignments completed by students and structure of compositional thinking, namely: perception and figurative image of life (space), structural organization of the concept, use of appropriate depiction tools of composition. Three levels of maturity of compositional skills in the 4thyear students have been identified based on those criteria: high, medium and low. High level was characterized by artistic vision of life and future composition, constant apperception (perception, recognition), emotionalresponsiveness, in-depth knowledge of key theoretical and practical compositional patterns, adequate use of depiction tools. Grades “excellent” and “good” (9.6%). Medium level of maturity of compositional skills manifested itself in unsteady apperception, indifferent attitude to the task, uncertainty when selecting compositional techniques and tools, use of templates. Grade “satisfactory” (66.1%). Low level was characterized by total lack of interest to the task, ignorance concerning elementary patterns for creation of composition, apathy and helplessness. Grade “unsatisfactory” (24.3%). Conclusions and Future Scope of Research.Study of curriculum-based and methodological materials for institutions of higher architectural education, questionnaire surveyand completion of exercises by students revealed a gap between theoretical knowledge and practical compositional activity, in the process of which no attention was paid to acquisition of a consistent system of scientific knowledge and to development of flexible professional skills and abilities in students. At the first stage of the summative assessment we have also identified dependence between systemic development of the students’ mental actions and the overall process of development of compositional activity. Development of mental actions of various kinds determines nature and level of compositional thinking, which in its turn provides for professional training of students and is characterized by independence, originality, associativity, visualization, observation skills, visual memory and imagination. In the course of the assessment we have identified criteria and levels of maturity of compositional skills in the 4thyear architecture students. Based on summarized data, we have identified reasons for insufficient level of maturity of compositional thinking skills in architecture students. Among key reasons one should mention focus of artistic courses taught in an institute of architecture and art on practical activity only, total absence of lectures in the theory of composition, drawing, painting in the curriculum for architecture students, lack of scientific approach to development of compositional skills. We believe that directions for research of this problem include identification of teaching environment and creation of a didactic model for development of compositional skills in architecture students, development of a system of theoretical knowledge and graphic exercises to learn tools for depiction of space in a plane.
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Solovei, Oles. "FEATURES OF THE BOOK GRAPHICS OF NIKOLAI STOROZHENKO OF THE 1958–1970S." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 142–48. http://dx.doi.org/10.33838/naoma.28.2019.142-148.
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The article considers specific features of the book graphic arts of Mykola Storozhenko of the 1958– 1970s, and also investigates and analyzes the stylistic and compositional features of individual works in the context of evolution of his own artist’s style. At the current time, the subject of the book graphic arts of Mykola Storozhenko remains understudied in Ukrainian art, and the problem of the artist’s creativity in the period of the 1958–1970s has not been practically investigated. Mykola Storozhenko’s book graphic arts, like his monumental works, make a significant contribution to Ukrainian art, and therefore require deep and well-grounded study. By using the method of comparative, formalistic and compositional analysis of the works of Mykola Storozhenko’s book graphic arts of the 1958–1970s, the article reveals the approach of the artist to the form and sculpturesque means of visual and graphic arts as the factors of the experimental space. On the example of illustrative series of works of the certain period it is shown that all means of artistic expression are directed by the artist to create a coherent, emotional and metaphoric space. The issues of visual perception, aesthetic influence and artistic self-sufficiency of each individual illustration were put by the master in a number of priorities, at the level of issue of whole book design.The article emphasizes that Mykola Storozhenko directed the search for new technologies and techniques ofwork in traditional and rarely used graphic arts techniques to create an original, expressive in style of publication, with maximum compliance with the content and contemporary art form.The author considered Mykola Storozhenko’s book graphic arts of the 1958–1970s in the broader art historical context of the stylistic landmarks of his age and issues of his own self-identification.As a result of the study, the author of the article proves that all the means of artistic expression, stylistic and compositional features of each of the stages of Mykola Storozhenko’s creativity in the field of book graphic arts of the 1958–1970s are organic components of the process of evolution of the artist’s own style.All materials of this analytical study are quite important in theoretical and practical application directly in the creative process: to improve the curriculum of composition, as well as an auxiliary methodological material for students of creative specialties and student — art experts.
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Yahyabala qızı Bağıyeva, Nubar. "Carpet compositions by carpet artist Mammadhuseyn Huseynov." ANCIENT LAND 03, no. 04 (June 30, 2021): 15–18. http://dx.doi.org/10.36719/2706-6185/03/15-18.
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The artist has created valuable works of art that attract the attention of the most beautiful traditions of the pre-existing artistic heritage with a choice of different themes and styles. He created expressive images that characterize the environment in which any subject is reflected, and tried to make room for elements of national motives. This is an indication of his rich artistic imagination and delicate taste. The carpets created by the carpet artist are distinguished by the fact that the ornaments are very complex and very versatile. The ornament of these carpets will remain the object of research for a long time, because its artistic-schematic aesthetic, spiritual and emotional content is an inexhaustible treasure. The carpet patterns created by the carpet artist attract the audience's attention at first sight. The carpets he authored are always met with interest, love and appreciation. Keywords: Mammadhuseyn Huseynov, fine art, carpet art, composition, ornament
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Marčenoka, Marina. "Formation of the Artistic Image in the Music Perception Process." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 467. http://dx.doi.org/10.17770/sie2013vol1.578.
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Musical art, which clears vast possibilities for cognition of the man’s internal world, develops feelings of empathy and tolerance, facilitates the creative comprehension of personal, moral and aesthetical values of micro and macro social media. Musical art, while reflecting the reality by means of the artistic image, the system of musical expression means, has its own specificity in development of universal values. This specificity consists in development of personality’s aesthetical and moral needs and in recovery of the spiritual culture; and only music with high spiritual contents is able to achieve it. Aim of the paper is to define the content and succession of formation of students’ artistic image of a musical composition in the process of music perception. Methods of the research are: theoretical analysis of psychological, pedagogical and musical literature about approaches to the problem of formation of the image in the music perception process. Results of the research: the essence and content of the artistic image of a musical composition and succession of its development in the musical education process were defined.