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Yeung, Hin-Kei. "Chen Yi and Her Choral Music: A Study of the Composer's Ideal of Fusing Chinese Music and Modern Western Choral Traditions." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Dec2006/Restricted/yeung_hin-kei/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 22, 2003, Apr. 27, 2003, Oct. 7, 2004, and Oct. 16, 2006. Includes bibliographical references (p. 89-90).
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Monroe, J. Carlton IV. "A Conductor's Guide to the Choral Works of Chen Yi." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1250544823.
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Li, Xiaole. "Chen Yi's piano music Chinese aesthetics and Western models /." Thesis, University of Hawaii at Manoa, 2003. http://proquest.umi.com/pqdweb?index=1&did=764745631&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233346924&clientId=23440.
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Melfi, Cheryl Ann. "An investigation of selected works by Chen Yi." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/290161.
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The purpose of this study is to examine Monologue (Impressions on The True Story of Ah Q and Feng, two works by the composer Chen Yi (b. 1953) with regard to four important elements in her music. These elements are eclecticism in pitch materials, numerically-based rhythmic and formal constructions, original approach to timbre, and original approach to texture. Chapter one consists of a brief biography of the composer, including a description of the compositional movement known as the New Wave. Chapter two summarizes several analytical approaches to Chen's music, with special attention to the method developed by Xin Guo, and her analysis of Chen's Woodwind Quintet. The analytical method of this study, which is similar to Guo's method, is then explained. Chapter three consists of an analysis of Monologue (Impressions on The True Story of Ah Q (1993) for solo clarinet. Chapter four consists of an analysis of Feng (1998) for wind quintet. In chapter five, these two works are compared to each other and to Woodwind Quintet (1987).
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Li, Songwen. "East meets West, nationalistic elements in selected piano solo works of Chen Yi." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20012/li%5Fsongwen/index.htm.
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Tung, Kwok-leung Augustus. "A study of the relationships between Chen Jitang and the Nanking Government, 1929-1936 Chen Jitang yu Nanjing zheng fu guan xi yan jiu, yi jiu er jiu zhi yi jiu san liu /." Click to view the E-thesis via HKUTO, 1991. http://sunzi.lib.hku.hk/hkuto/record/B31950085.
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Monroe, J. Carlton. "A conductor's guide to the choral works of Chen Yi." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1250544823.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisor: Earl Rivers. Title from electronic thesis title page (viewed Jan. 14, 2010). Includes abstract. Keywords: Chen Yi. Includes bibliographical references.
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Chan, Man-ting. "A study of the aesthetic features of Chen Zhifan's prose Chen Zhifan san wen yi shu te se yan jiu /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42926415.
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Stulman, Timothy A. "A Cultural Analysis of Chen Yi's Si Ji (Four Seasons) For Orchestra." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276884003.
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Shaw, Chih-Suei. "Discourses of identity in contemporary East Asian music : Chen Yi, Unsuk Chin and Karen Tanaka." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ba190cc6-08ee-407d-a507-b4d2c23e619a.
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Discourses of identity in East Asian new music are often limited to tracing ethnographic materials or conceptual influences from the composers' cultures of origin. Existing analytical approaches tend to look for the musical features that are emblematic of the cultures in question, and to map relationships between the contemporary and traditional musical aspects. Composers who resist employing their native traditions as musical tropes, however, problematise discussions of their identity and are consequently overlooked in studies of identity politics. This thesis therefore examines questions of identity through a focus on three contemporary composers who, in diverse ways, challenge and complicate essentialising expressions of East Asian identity: Chinese composer Chen Yi (1953-), Korean composer Unsuk Chin (1961-) and Japanese composer Karen Tanaka (1961-). All of them came to Europe or the United States to hone their skills in the mid-1980s and have since developed their musical careers in the Western world. They have been selected for examination due to their radically different reactions to the East-meets-West question; namely, Chen Yi's embracing of cultural fusion; Unsuk Chin's reaction against cultural fusion; and Karen Tanaka's lack of interest in cultural fusion. To demonstrate this variation, this thesis analyses the works of these composers, their personal viewpoints and the critical reception of their works. Beyond discussing conventional notions of identity and difference, this dissertation explores the ways in which these composers complicate their perceived dissimilarity by embracing a 'universal music' ideal. Chapter One explores Chen Yi's musical identity as defined by her idea of 'cultural translation' and her musical goal of enhancing intercultural communication; where Chen Yi affirms cultural fusion, her work contributes to the traditional idea of 'East-meets-West'. Chapter Two examines an alternative approach in the case of Unsuk Chin, who consciously avoids the practice of cultural hybridity by locating her work squarely within the Western tradition. Chapters Three examines the works of two Japanese composers - Toru Takemitsu and Karen Tanaka - who focus their attention not on cultural fusion but on natural themes. The first section of Chapter Three presents Toru Takemitsu's Japanese-based philosophy of the co-creative bond between nature and humanity, which serves as a foil for Karen Tanaka's evolving, observational relationship with the natural world. To conclude, I compare the identity choices and the musical representations in the three case studies of Chen Yi, Unsuk Chin and Karen Tanaka. By gaining a better understanding of each composer's music, this thesis aims to provide a more expansive discourse of identity formation in contemporary East Asian art music, and to offer a critical rethinking of what counts as an 'Asian perspective' in this field.
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Hui, Yuk-lun. "Chen Duxiu's (1879-1942) view of christianity in the May Fourth Period Wu si qi jian Chen Duxiu (yi ba qi jiu zhi yi jiu si er) dui Jidu jiao de kan fa/." Click to view the E-thesis via HKUTO, 1991. http://sunzi.lib.hku.hk/hkuto/record/B31949915.
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Chen, Yi [Verfasser]. "Tunable decoupling and matching concepts for compact mobile terminal antennas / Yi Chen." Hannover : Technische Informationsbibliothek (TIB), 2018. http://d-nb.info/1169959342/34.
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Chen, Li-yi [Verfasser]. "The Political Participation of Taiwan's Labor : Public Perception and Legitimation / Li-yi Chen." Tübingen : Universitätsbibliothek Tübingen, 2021. http://d-nb.info/1235399052/34.
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Teng, Chi-Chuan. "\"Xianshi,\" the Viola Concerto by Yi Chen : general analysis and issues of performance interpretation /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978856.
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Galu, Ioana. "The Solo Violin Works of Samuel Adler, Chen Yi, and Shulamit Ran: A Performer's Perspective." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1337712284.
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Chen, Yi-chun [Verfasser], and Bertram [Akademischer Betreuer] Gerber. "Experimental access to the content of an olfactory memory trace in larval Drosophila / Yi-chun Chen. Betreuer: Bertram Gerber." Würzburg : Universitätsbibliothek der Universität Würzburg, 2013. http://d-nb.info/1044237066/34.
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Chen, Yi [Verfasser]. "Mapping the local and brain-wide network effects by optogenetic activation with an MRI-guided robotic arm / Yi Chen." Tübingen : Universitätsbibliothek Tübingen, 2020. http://d-nb.info/1214640044/34.
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Bao, Shumei. "Qing mo Menggu wang gong yu Man Han da chen xin zheng chou Meng zou yi dui bi yan jiu." [Huhehaote shi] : Nei Menggu da xue, 2004. http://anulib.anu.edu.au/anuonly/ebooks/chinese_thesis_029.pdf.
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Thesis (Ma (Specialized History)) -- Nei Menggu da xue Menggu xue xue yuan, China, 2004.Title from title page. Abstract also in English. Includes bibliography. Zhi dao jiao shi: Bailadugeqi. 880-02
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Chen, Yi-Yang [Verfasser], and Ulrich [Akademischer Betreuer] Dührsen. "Acute myeloid leukemia-induced remodeling of the human bone marrow niche predicts clinical outcome / Yi-Yang Chen ; Betreuer: Ulrich Dührsen." Duisburg, 2021. http://d-nb.info/1236540026/34.
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Chen, Yi-Jen [Verfasser], and Robin [Akademischer Betreuer] Santra. "Light-induced ultrafast tunneling dynamics of a many-electron system : from weak to strong fields / Yi-Jen Chen ; Betreuer: Robin Santra." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2019. http://d-nb.info/1193177995/34.
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Chen, Han-Yi [Verfasser], Ulrich [Akademischer Betreuer] [Gutachter] Stimming, and Madhavi [Gutachter] Srinivasan. "Investigation of Polyoxometalates and Nanostructured Carbon Materials as Electrode Materials for Energy Storage Applications / Han-Yi Chen ; Gutachter: Ulrich Stimming, Madhavi Srinivasan ; Betreuer: Ulrich Stimming." München : Universitätsbibliothek der TU München, 2016. http://d-nb.info/1124154787/34.
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Billock, Rebecca. "Selected intermediate piano pieces by seven women of the twentieth century : Marion Bauer, Germaine Tailleferre, Ruth Crawford Seeger, Sofia Gubaidulina, Emma Lou Diemer, Chen Yi, and Karen Tanaka /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11367.
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Ess, Hans van. "Von Ch'eng I zu Chu Hsi : die Lehre vom Rechten Weg in der Überlieferung der Familie Hu /." Wiesbaden : Harrassowitz Verl, 2003. http://catalogue.bnf.fr/ark:/12148/cb399100727.
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Fairbank, Anthony Bruce. "Ssu-ma I (179-251) : Wei statesman and Chin founder, an historiographical inquiry /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/10499.
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Thesis (Ph. D.)--University of Washington, 1994.Vita. "The second part of the dissertation, consisting of two chapters, constitutes a translation and study of Chin shu 1, the 'Annals of Emperor Hsuan.'"--Abstract, 1. [2]. Includes bibliographical references (leaves [421]-432).
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He, Xiang. "Selected works for violin and piano by Chen Yi Western influences on the development of her compositional style /." 2010. http://proquest.umi.com/pqdweb?did=1998622011&sid=2&Fmt=2&clientId=14215&RQT=309&VName=PQD.
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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2010.Title from title screen (site viewed July 8, 2010). PDF text: vi, 76 p. : ill., music ; 19 Mb. UMI publication number: AAT 3397140 . Includes bibliographical references. Also available in microfilm and microfiche formats.
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Huang, Yu-fen, and 黃玉芬. "The Research on Chen Yi." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/11429053308564661057.
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碩士國立中央大學
歷史研究所碩士在職專班
95
Chen Yi was one of the grand ten marshals of Chinese Communists. Due to his profound knowledge in Chinese literature, he got his character as a Poet of the Marshal. Not long after the Chinese Communists had established the People’s Republic of China, Chen Yi became the Minister of Foreign Affairs. Therefore, he had another national wide laureate—Diplomatist of the Marshal. Originally, Chen Yi planed to engage in literature and art creation. But at the age of twenty, he got the qualification to study abroad at public expense in France. It made him get a lot of chances to know about Marxism and Socialism, and so on. When he was forced to break off his school and be sent back under escort to China, he soon became a member of Chinese Communists in 1923. Soon after Chen Yi joined the Chinese Communists, he experienced a lot of battles with national troops. These experiences made him cultivate his uniquely revolutionary personality of courage and will. Thus, he was charged with grand responsibilities by Mao Ze-dong and Zhou En-lai during the process of establishing the People’s Republic of China. During the Land Revolution, Chen Yi guarded their revolutionary base and stayed in the south to have extremely hard hit-and-run attack for 3 years. During the war against Japanese militarism, Chen Yi led the New Forth Troops to push forward the front-line around the south of the Yangtze River. Afterward, he continuously led the armed force and the civilian population to go on the conflicts of anti-sweep and anti-surrender. After the Chinese civil war begun, Chen Yi, Deng Xiao-ping and Liu Bo-cheng led their troops to win the battle in the Huai River area. Chen Yi was the first mayor of Shanghai after the People’s Republic of China had been established. He reformed the old city and restored the economy and created a splendid record. In 1954, Chen Yi was transferred to Beijing to bore the vice premier. In 1955, he was awarded one of the grand ten marshals of the People’s Republic of China and then bore the Minister of Foreign Affairs and kept company with Zhou En-lai to visit some Asian and African countries to develop their international diplomacy. After the Cultural Revolution had begun, the authorities were not fond of Chen Yi’s speech and ideas, but he was not frightened. He warded off a lot of conflicts instead. In 1969, he was still elected to be a central commissioner and be arranged under Mao Ze-dong and Zhou En-lai’s will to join the research of the international conditions. Chen Yi suggested open up the frozen diplomatic relationship between the Untied States and China. On the 6th January 1972, Chen Yi died of cancer in Beijing. When his funeral was held on the 10th Jan , Mao Ze-dong appeared suddenly. In the music of lament, Mao was in tears and said to Chen Yi’s wife: ”He was both a good man and a good comrade.” Mao’s exceptional act not only conveyed their friendship of battle companion but also the best praise for Chen Yi’s whole life.
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Chen, Yi-hsiu, and 陳宜秀. "Chen Yi Hsiu Cello Recital Program Notes." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/29259884708394771173.
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碩士國立屏東教育大學
音樂學系
100
This thesis consists of two parts: The program notes of the “Violoncello Solo Recital”and the“Violoncello Graduate Recital”written and performed by the researcher. The program of the Violoncello Solo Recital includes: Johann Sebastian Bach《Suite for Solo Cello No.5, in c minor, BWV1011》、Giovanni Battista Sammartini《Cello Sonata in G major for Cello and Piano》、Cesar Franck《Sonata in A major》. The program of the Violoncello Graduate Recital includes : Johann Sebastian Bach《Sonata for Viola da Gamba and Harpsichord No.2, in D major, BWV1028》、Ludwig van Beethoven《7 Variationen on “Bei Mannern, welche fuhlen” from Mozart’s Die Zauberflote in E flat major, WoO.46》、Robert Schumann《Fantasy Pieces, op.73》、Gabriel Faure《Elegie in C minor op.24》、Robert Schumann《Adagio and Allegro》
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CHEN, YI-JU, and 陳亦如. "Chen Yi-Ju's Tattoo Art Creation Study." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/m2gq8z.
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碩士國立屏東大學
視覺藝術學系碩士班
106
This study aimed to sharing the experience of tattoo apprenticeship by author, interviewing tattoo artists with good reputations. These tattoo artists thought that the artist’s techniques and enthusiasm to tattoo are important, but the more significant thing is the tattoo shop is legal or not. The study used literature review for revealing the evolution of tattoo style and regional difference. This study also used statistical analysis for the communicative value of tattoos. Total 699 participants answered the questionnaire about their value of tattoos. The study also used case study method, including interviewing different tattoo artists and different individuals’ attitude about tattoo. Author used 12 creations to display different tattoo style, fusing ancient classical art and modern art. Let viewers have profound experience and new perspective to tattoo art. Due to there are many stereotypes associated with tattoos, the goal of this study is hoping people can enjoy and appreciate tattoo art with less stereotypes, and promoting tattoo art.
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Chen, Yi-An, and 陳怡安. "Nunca Olvida Yi-An Chen Vocal Recital." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/m66tyu.
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碩士臺北市立大學
音樂學系
106
Nunca Olvida Yi-An Chen Vocal Recital consists of three sets of songs. Totally, it includes 19 art songs from our country and foreign, and an aria from opera. The songs of the concert are selected from the romanticism composer: Vincenzo Bellini, Johannes Brahms and Amy Beach, the 20th century composer: Joaquín Turina, Gerald Finzi, Chinese fork songs, and Taiwanese composer Tyzen Hsiao and Kuei-ju Lin. The concert is consist of, not only ballad and legends, but also conveyed the meaning of love and description about nature, which enrich the concert with a high variety. With this practical experience, I would work more on skills and intensive interpretation of the music in practical singing, and also enrich my knowledge of vocal music, in order to bring a diverse song feast to the audience.
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ZHENG, DANLUN, and 鄭丹倫. "A study on Chen Shiyuan’s Yi Theory." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/g35hn8.
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Chen, Yi-Ling, and 陳怡伶. "Yi-Ling Chen Master Degree Piano Recital." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/07589507309270844773.
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碩士國立新竹教育大學
音樂學系碩士班
98
1. F. Mendelssohn: Piano Sonata in B-flat Major, Op.106 2. C. Debussy: Four Selections from Etudes 3. A. Copland: Passacaglia 4. S. Rachmaninoff: Piano Sonata No.2 in B-flat Minor, Op.36
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Guo, Xin Mathes James Robert Chen Yi. "Chinese musical language interpreted by Western idioms Fusion process in the instrumental works by Chen Yi /." Diss., 2002. http://etd.lib.fsu.edu/theses/available/etd-03132003-171652/.
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Thesis (Ph. D.) -- Florida State University, 2003.Advisor: James Mathes, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-19-03) Document formatted into pages; contains 288 pages. Includes biographical sketch. Includes bibliographical references.
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Li, Ming-Yang, and 李茗洋. "February 28 Incident、Cheng-Po Chen And Artists of Chia-Yi." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/31340814379902416267.
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碩士國立臺北教育大學
台灣文化研究所
99
This study investigates the Taiwanese artists after February 28 Incident, including the first generation of Taiwanese western painter, Cheng-Po Chen and four painters - Yu-Shan Lin, Tian-Sheng Pu, Sin-Lu Liu and Wen Ou Yang, who are familiar with Chen. To conduct the research, the study adopts Literature Analysis, Document Analysis, Historical Comparative Analysis and Socio-artistic Analysis. This research first explores the development of Taiwanese art. In the Japanese ruled period, the generation of fine arts movement expanded to Chia-Yi, which had been called “Painting City”. This study further investigates the background of Cheng-Po Chen and his transition of mindset during the Japanese ruled and postwar period, including the Chinese identity and what he went through in the February 28 Incident. Chen’ execution by shooting did not negatively influence Yu-Shan Lin and Tian-Sheng Pu and they continued their relationship with KMT government. However, Chen’s death severely impacted Sin-Lu Liu and Wen Ou Yang. Liu quit painting and abandoned his career as an artist; meanwhile, Ou Yang had been imprisoned for twelve years since 1950. As a result of personalities, characteristics of works and economic reasons, Yu-Shan Lin and Tian-Sheng Pu were not influenced by Chen’s death and continued their creations for the government. Wen Ou Yang was imprisoned as a result of his participation in February 28 Incident. However, during his life in prison, he still positively affected Taiwanese artist circle and Sin-Lu Liu still dedicated himself to the development of art in Chia-Yi. Even though the four artists had different reactions and attitudes toward Chen’s execution and February 28 Incident, they still exerted their social influences as artists, continued their artistic creations and enormously contributed to artist education and promotion. Key word：February 28 Incident, Politics and Art, Cheng-Po Chen ,Yu-Shan Lin, Tian-Sheng Pu, Sin-Lu Liu, Wen Ou Yang,
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"Recurrence as identity in Chen Yi's music." 2007. http://library.cuhk.edu.hk/record=b5893241.
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Wong, Hoi yan.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 149-159).
Abstracts in English and Chinese.
Abstract --- p.ii
Abstract (Chinese Translation) --- p.iii
Acknowledgements --- p.iv
Chapter Chapter 1 --- Background --- p.1
Chapter 1.1 --- Chen Yi and Her Music --- p.1
Chapter 1.2 --- Western Music in China --- p.5
Chapter 1.3 --- Institutionalization of Music Education in China --- p.7
Chapter 1.4 --- Key Figures in Music Education --- p.10
Chapter Chapter 2 --- Literature Review and Scope of Study --- p.13
Chapter 2.1 --- Literature Review --- p.13
Chapter 2.2 --- Objective and Scope of Study --- p.19
Chapter Chapter 3 --- Recurring Themes in Chen's Music --- p.21
Chapter 3.1 --- Baban --- p.22
Chapter 3.2 --- 12-tone Row --- p.33
Chapter 3.3 --- Chen Yi Theme --- p.41
Chapter 3.4 --- Scale X --- p.43
Chapter Chapter 4 --- Analyses --- p.48
Chapter 4.1 --- Piano Concerto and Ba Ban (solo piano) --- p.48
Chapter 4.2 --- Sparkle --- p.84
Chapter 4.3 --- Golden Flute --- p.91
Chapter 4.4 --- SiJi (Four Seasons) --- p.108
Chapter Chapter 5 --- Conclusion --- p.118
Appendix A The Interview with Chen Yi --- p.123
Appendix B An Analysis of Monologue --- p.135
Appendix C List of Chen Yi's Works --- p.137
Selected Bibliography --- p.149
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Chun, Chan，Yi —., and 陳怡君. "Mirror Picture Theory —Chen，Yi - Jun Creation Exposition." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/06271972847528650750.
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碩士長榮大學
視覺藝術學系碩士班
94
Abstract Mirror Picture Theory —Chen，Yi - Jun Creation Exposition For the creation exposition of the thesis “Mirror Picture Theory”, I set up my personal creative concept on the theoretical layer and life experience, permeate practice-layer picture to reveal its intention. I understand aesthetics skeleton depending on branches of groves of academe, theoretically probe into the meaning which works try to express, in order to get the validity of creative representation. By means of manner、collage、simulacres、Montage, etc. through camera lens, I piece my self-consciousness and ideas together when figuring out the sense of photographing to metaphor、symbolize the bizarre and motley side of life, expose the cheating and deliberately mystifying idolum between ideas and reality. My starting point of creation is: the picture atmosphere produced by alienation deterioration. Chapter 1 Introduction: My motivation is the needless-to-think-about contents brought by mechanically civilized invasion, the gut of “ Jiao Wei Meal” popular at some time in media news, the broken situations suffered by intentional inducement by different thoughts and reading fashions, the unilateral ideas existing between picture and reality. My purpose is to convey self-awareness and ideas by creation and consistent thinking, attempt to present rigid、artificial heterogeneity spirit, explore the potential consciousness of my soul activity by self-questioning、self-understanding in the course of artistic creation. Chapter 2 Theory Base and Literature Probe Point out the skeleton of groves of academe、the history of fine arts、the relevant historical materials of aesthetics, explain the evolvement of this creative research in artistic history, illustrate that a new painting style started in the middle of 16th century in Europe, which was called “Mannerism”, later changed into double meaning, and discourse upon the above-mentioned topics, Montage: scientific and practical photography, take image as material to process, become the medium in accordance with modern artistic creation. In virtual condition created under computer technology, whether image framer should follow traditional mode as creating approach. The cheating and deliberately mystifying feeling and realized sense of wrongly placed image: putting and placing strategy of self-alienation, understanding 、realizing from cheating and deliberately mystifying reading makes the chaos clear 、the truth unsealed, taking myself into the creative field in answer to the disorder of the age. Chapter 3 Creative Concept and Academic Theory Base Look at such terms as: presentation and recurrence, alienation or alteration, real me? Nonego? The originally “virtual and suppositive ” picture creation has the nature of idolum、suspension cheating and deliberately mystifying. Liberate the mode of “mother image”, but reflecting emotion and idolum mirror as soul is accessory to the body, to peculate、copy、 wrongly locate、 put together the existed image produce satire、metaphor due to such manners, which become the thought background and the core of this creation. Chapter 4 Creation Practice of “ Mirror Picture Theory ” Through development, photography has such works as makeup self-taking to create body imago since it was invented in 1839. For example, Cahun makeup to take picture and photo montage, deeply influenced by Da Daist and surrealists, gestate plentiful and substantial makeup culture to attack logos and reality with disguised image, rebel traditional dissidents, leave future generations more apocalypse. Through creative practice process I cut in from this skeleton, present in cheating and deliberately mystifying attitude, heterogeneity body, hippie style, delay for the growth of aesthetics in different tastes. Chapter 5 Conclusion: In the course of research, the creative concept and the practical works influence each other, I narrate the meaning and practice in exploring personal creative concept. I unfold my attitude towards actual life through creative works, reflect on the corresponding relation between body and environmental space, and expound the thought and concept that I want to express. By summarizing this research and thinking about the future creative direction, integrating what have been explained in above chapters, I have reached valuable conclusions based on theory and creative process, which are simply stated as below: 1.Profoundly experienced life significance through philosophical theory exploration. 2.Change the original meaning to pursue new image searching.
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"The Complete Solo Piano Works of Chen Yi: A Recording, Analysis, and Interpretation." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15884.
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abstract: This dissertation focuses on seven solo piano works written by contemporary Chinese-American composer Chen Yi. It is presented in the form of a recording project, with a written analysis of each recorded composition. The seven recorded pieces are Variations on "Awariguli", Duo Ye, Guessing, Two Chinese bagatelles: Yu Diao and Small Beijing Gong, Ba Ban, Singing in the Mountain, and Ji-Dong-Nuo. They were written between 1978 and 2005, presenting a wide range of Chen Yi's compositional style. The written portion consists of five chapters. After the introductory chapter, a sketch of Chen Yi's life is presented in Chapter Two. This chapter specifically uncovers Chen Yi's deep roots of Chinese traditional and folk music through her experiences during the Cultural Revolution. Chapter Three analyzes each of the seven pieces. Through formal structure realization, motivic analysis, and folk music implication, the author discovers the blend of Chinese and Western cultures throughout Chen Yi's music. Chapter Four discusses the performance aspect of these compositions through the author's recording experience. In this chapter, the author provides background information as well as suggestions on specific performance practice. The last chapter summarizes the entire dissertation.Dissertation/Thesis
Variations on "Awariguli"
Duo Ye
Guessing
Two Chinese Bagatelles: Yu Diao
Two Chinese Bagatelles: Small Beijing Gong
Ba Ban
Singing in the Mountain
Ji-Dong-Nuo
D.M.A. Music 2012
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CHEN, SIOU-YI, and 陳綉怡. "Ruminate on Texture-Creation Descriptions by Chen,Siou-Yi." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ms2m2n.
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碩士大葉大學
設計暨藝術學院碩士班
104
Creativity sometimes comes from discovering trivial things in our daily life, discover the value of each thing, will bring it a meaning. There were moments which I had much contact to fruits and vegetables in my younger time. "Ruminate on Texture" is a series of metalcraft works which are transformed by my memories of fruits and vegetables in my younger time. By applying and experimenting techniques of non-ferrous metals, I explored my subtle memories of certain fruits and vegetables. Recalling their unique appearance, delicate texture and unforgettable taste, I was inspired to create these tactile objects as icons for my memories.
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CHEN, YI-AN, and 陳怡安. "REVITALIZATION－The Printmaking Creative Discourse of Yi An Chen." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/r233h3.
Full textAbstract:
碩士國立臺灣藝術大學
美術學系版畫藝術碩士班
107
This thesis is titled “Revitalization” and aims to explore the “Being” of my own agriculture. I usually do some agricultural activities, but this does not mean that I understand it and do not need to explore it. Therefore, I decided to study this topic and explore the ways to “be myself.” My creation mainly focuses on the relationship with agriculture. Through the field observation and sketching to evoke the inner image of myself. Also, by making my own works to understand, analyze and clarify my true thoughts. First of all, in theory, analyzing the character of agricultural products, crops and farmers, and to explore their “Being” based on Martin Heidegger's《 Being and Time》. Then, to explain my understanding with my personal artwork. As for the creation, I begin with a “sketch” and then paint some intuitive lines to highlight my emotional changes, and then use “coper etching” as a medium to create. Studying the above ways of creation helps me to understand and analyze the meaning of my works. The contents of the works are mainly divided into three categories: “Rotten Fruits,” “Reproduction of Crops” and “Labor Moments.” In the process of creation, I create with my own mind and intuition, so that the appearance of the work is between representational and abstract, which brings infinite imagination. In the medium of creation, “printmaking” is the main one. Its “indirect” and “trace imprint” respectively imply my own interaction with agriculture. In addition, the emotions generated in the interaction are expressed in the creative process, and the works are presented in a staged state. It turns out that the influence of agriculture on myself is just like the printmaking which is irreversible because in the process of plate making, the destruction on the plate will never return to the original state. Also, the emotions and experiences generated in my heart cannot return to the original point. It can be seen that the experience, emotions and memories given to me by agriculture have been deeply imprinted on my heart, but there are always new emotions and new memories. As a result, I choose to have the works present in different ways, creating new possibilities.
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CHEN, YI-JU, and 陳依汝. "Chen, Yi-Ju Master Degree Recital and Graduation Concert." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/erq53b.
Full textAbstract:
碩士國立臺北藝術大學
管絃與擊樂研究所
107
Otmar Nussio(1902~1990): Variations on an Arietta by Pergolesi I. Arietta:Moderato VI.Rapsodia:Moderato con fiere II. Scherzetto:Allegretto VII.Elegia:Andante III.Tamburino:Presto VIII.Barbaresca:Allegro feroce IV.Lamento:Andante IX.Stornello:Allegretto V.Ostinato:Molto Moderato X.Danza:Presto Victor Bruns(1904~1996): Concerto No.4 for bassoon and Orchestra,Op. 83 Moderato- Allegro non troppo Andante tranquillo Allegro giocoso Johann Wenzel Kalliwoda(1801~1866): Morceau de Salon , Op. 230 Albert Franz Doppler(1821~1883):Fantaisie Pastorale Hongroise (transcribed by Masahito Tanaka) Quartet for Bassoon and String Trio op.46 no.1 ……………………………………F.Krommer(1759~1831) I. Allegro III. Menuetto II. Andante IV. Rondo Sonata for Bassoon and Piano ……………..A.Etler (1913~1973) I. Moderately slow III. Slow II. Fast IV.Fast Concerto for Bassoon and Chamber Orchestra ……Henri Tomasi (1901-1971) I. Andante et Allegro : Fantasque II. Serenade Nocturne : Andantino III. Final-Saltarelle : Giocoso Bassoon Concerto for bassoon and orchestra ...........Nino Rota (1911~1979) I. Toccata : Allegretto vivace II. Recitativo : Lento III. Andantino—Variaz. I-VI
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Chen, Yi-Ying, and 陳怡穎. "Admire the Skyline-Creation Descriptions by Chen Yi-Ying." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/5q9762.
Full textAbstract:
碩士大葉大學
造形藝術學系碩士班
107
My own growth is like a teeming, tropical city. The impression of a window view is one that is bounded by the buildings around it. The unkempt, overlapping buildings create an unyielding outline in the city sky. When light enters the eyes, it creates shapes, dimensions, and colors within the brain, leaving an impression in the memories. The migrating skyline, transitioning outlines, and the vibrant changing colors create a visage for the city that is interwoven and layered in all kinds of colors, unceasingly appearing in the heart and mind. The radiance of like reflects thoughts and memories, creating an unwavering web, that captures our most intricate emotions, which inspired the《Admire the Skyline》series. Construct with metal, and delicately handling the texture of the surface, the impressions of the mundanity of every day are transcended, into the form of jewelry, a reflection of the window view in my mind. Enamel and metal create the scenery in my heart, letting the scene, space, and colors flow within the palm of my hand. The〈Edge〉series originates from the angle of view I have from the interior, using a false perspective to recreate the scenery from outside. 〈Projection〉uses steady metal hooks and lines to replicate the misalignment of the cityscape, shuttling through my hand. 〈My Window〉borrows the properties of enamel to create the unique ceramic surfaces of Taiwanese architecture, and by segmenting the metal with perspective lines, the depth of the impression of the window view is expressed.
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Pei-yi, Chen, and 陳珮怡. "Painting˙Adornment˙TechniqueEssays on Chen pei-yi Painting Work." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/78927811797185998929.
Full textAbstract:
碩士東海大學
美術學系
99
This discourse would be started with the works completed in 2009, during this period of time I focus on the “unisex teens,” with portraits and creates a series of works centered on the topic “pets.” And these are the scope I would like to discuss about. I couldn’t help myself to collect those handsome boys whose faces were as fine as porcelain dolls with tender temperament. In the beginning of creating this series, I once desired to capture those teasing and ambiguity expressions occasionally as well as the gestures filled with laziness and lust. Besides, I also wanted to figure out the ways of choosing and portraying these kinds of unisex images which were androgynous or even lack of sexuality. However, I couldn’t be simply satisfied by the process of catching the feature of the model during the continuing production process. I started to put some flowers and feathers on the young; disassemble those flowers and birds in a tender and beautiful way; then patched those fragments like some delicate clothes. Only by dressing up for them, my desires could be comforted and my lately creation could also be completed. In The first chapter of the text will illustrate my creating motivation, researching methods and materials, and researching content and range. The second chapter discusses how to face the deficiency of desire and how to deal with it under the influence of contemporary consuming culture. The third chapter explains the diverting and pasting technique of the mark with flowers and birds and the projecting on fetishism in the self creation, with the “objectification” viewpoint which is from Jean Baudrillard, a French sociologist and philosopher in the early 20th century, and the postmodern theories, then will explain the selection of the form of classical portraits and how the personal umbrageous qualities being presented in the pictures. Chapter Four is the analysis of works, centered on “Little Pet”、”Feather Hat”、”Fairy”, and will talk about the process of making, painting elements, Asian Gouache , techniques, and ideas, etc. In Charter Five, there I will acclaim my observations and feedbacks during the process of completing my works of this year, and discuss the potential and the directions of my works aftermath.
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Yung-Chung, Cheng, and 鄭雍鐘. "A Study of the Glue Paintings by Chen Shou-Yi." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/32809059419040121953.
Full textAbstract:
碩士國立屏東師範學院
視覺藝術教育學系
93
A Study of the Glue Paintings by Chen Shou-Yi ABSTRACT Glue painting is one kind of drawing use rubber and color, most early appeared in the dynasty of Chun-ciou Jhan-guo and Si-han’s painting on silk. It achieved high achievement in the dynasty of Tang and Song, and then gradually declines. Afterwards xie-yi shuei-mo painting has taken the place of it in the Chinese painting world. Meanwhile spread to Japan in the Da-hua revolution time, and became the quintessence of Japanese culture, later follow Japanese rule spread to Taiwan. It achieved the second peak when Chen Jin, Lin Yu-Shan, Guo Syue-Hu been named "the three early youths of Taiwan art exhibition ". Now Taiwan's glue painting after postwar has been through repeatedly "struggle the legitimate traditional Chinese painting" attack, greatly puts the extraordinary splendor once again, until now was achieving the revival the highest tide, the researcher thought this time is precisely the glue painting development third peak. Because the glue painting had more than 100 years history in Taiwan, also continually have many new hands to join it. Now was the recognition most has the development potential the category after the oil painting and the shuei-mo painting. Today realizes in the global localization that surges upward, establishes the native place artistic style already is the urgent important matter. On the other hand as a result of local glue painting history material insufficiency, down to promotes in the correlation research is unable smoothly, enables the establishment to have the count for much which the system the glue painting history material work changes. Therefore, the study acts according to the Taiwan art history in the local glue painting artist domain data insufficiency. This study object is Chen Shou-Yi come from South Taiwan. He is a genre painter to study glue painting independently. Discussing his biography experience, the artistic style, the creation idea as well as the artistic achievement and the contribution. Through the systematic explanation, the analysis, the appraisal and the appreciation, establishes objective and the detailed glue painting historical data. The study's research goal, research technique and conclusion are as follows: Ⅰ. The Research Goal 1. To discuss Chen Shou-Yi’s creation background by ways of records and interviews. 2. To discuss Chen Shou-Yi's artistic thought and the idea of his glue painting creation. 3. To establish Chen Shou-Yi's glue painting art by stages, penetrates to his creation scientific theory or principle analysis and the understanding. 4. To study the artistic achievement of Chen Shou-Yi, anticipated could bring contributes for the Taiwan local glue painting history's development. Ⅱ. The Way of Study The object of this study is Chen Shou-Yi's glue painting art, the research method are historical methodology, artistic sociology methodology, style modeling analytic method as well as interview and so on. Ⅲ. The Research Conclusion 1. Chen Shou-Yi's glue painting was based on "traditional color painting”; regardless of the line or the color all have same place. 2. Chen Shou-Yi's personality and the literature cultivation were inspired from his father Chen Yu-Fong. His artistic thought care about art and society's interaction, to care for making individual temperament, to uphold nature. In Art creates emphasizes to construct the form principle and the artistic psychology application. 3. Chen Shou-Yi receives his father and cousin Cai Cao-Ru's edification, values the sketch ability and the sketch creation idea raise and the discussion specially. 4. He thought the artistic reform ultimately must sum up above the traditional foundation, to oppose idolatry and imitates with accepts the modern art. Only has solidly this, can innovate. 5. His creation idea may divide into the sketch and copy real righteousness, the colored drawing on pottery and the sketch fusion, as well as ultimate Shuei Mo and the glue painting. From the basic technique raise, to the creation ability raise, and even intermediary material exchanging with technique mixing with the research, proceeds in an orderly way but the overhead construction to leave his solid art idea and the development advancement. 6. Chen Shou-Yi's drawing style from the content and the technique transformation might divide into the time of colored drawing on pottery copy (1956 to 1970), the time of local collects folk songs (1970 to 1985), and the time of foreign land character and style (1985 to) and so on three phases. From traditional colored drawing on pottery style to local nature practical style, down to the foreign land color description, the unceasing promotion creation content depth, and the research, the attempt writing technique, the composition, spread the color and the level breakthrough, then the creation writes up individual style and the introspection artistic form. 7. He promotes the local sketch, the breakthrough tradition pattern and the external environment limit, under the West modern art idea impact and innovation, still persisted oneself, the pursue was remarkable, strives the drawing quality and the content method, be worth successor to study and to imitate.
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CHEN, YI-PING, and 陳羿萍. "Chen, Yi-Ping Piano Recital Program Introduction,Analysis and Interpretation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/vatg77.
Full textAbstract:
碩士國立屏東大學
音樂學系碩士班
105
This thesis consists of two parts: (1) the program notes of the“SoloRecital”written by the researcher (2) the program notes of the“PerformanceRecital”written by the researcher. The program of the Solo Recital includes:〈D.Scarlatti《Piano sonata in C Major, k. 159》、《Piano sonata in E Major, k. 380》〉、〈L. v. Beethoven《Sonata in D Major, Opus 10, No. 3》〉、〈C. Debussy《Prelude, Book I, No. 2, Voiles》、《Prelude, Book I, No. 8, La fille aux cheveux de lin》、《Prelude, Book II, No. 5, Bruyères》〉、〈F. Poulenc 《Three Novelettes》〉、〈F.Chopin《Ballade No.3》〉。 The program of the Performance Recital includes: 〈Mozart《Magic Flute, overture》, for two piano four hands〉,〈C.Debussy《Petite Suite》, for piano four hands〉,〈Brahms《Hungarian Dances No. 1、2、3、5》, for piano four hands〉,〈C. Saint-Saëns《Le carnaval des animaux》, for piano four hands〉.
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Wei-Yi, Chen, and 陳偉儀. "“Shimmer” Chen Wei-Yi an Paper Art to Create Discuss." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/7r7zp5.
Full textAbstract:
碩士崑山科技大學
視覺傳達設計研究所
107
A pure white paper does not contain any words, but it can use all kinds of skills of paper carving to show what is seen and heard on a thin piece of paper, so that the viewer can enter the imagination space or experience course of the creator by watching. This creation combines the electronic experience of oneself with the traditional paper carving technique, trying to convey to the viewer from the glimmering light, his own fairy tale or imaginary space, hoping to create new thinking or modeling creation from "paper" and "light".
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CHEN, YI-LIN, and 陳宜琳. "Chen, Yi-Lin Piano Recital Program Introduction,Analysis and Interpretation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/70708236439824869714.
Full textAbstract:
碩士國立屏東大學
音樂學系碩士班
105
This thesis consists of two recital program notes. The two recital are a Solo Recital for piano music and a Performance Recital for chamber music. The Programs are listed as following: 1. The Solo Recital E. Grieg：Sonata Opus7 F. Chopin：Ballade Opus38 L.v. Beethoven：Polonaise Opus89 F. Poulenc：Melancolie F. Lizst：Legende Nr.2 (St. Francis of Paola Walking On The Waves) 2. The Performance Recital E. Grieg：Piano Concerto in A minor Opus16 C. Franck：Sonata in A major For Violin and Piano
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Yi-Shan, Chen, and 陳一杉. "The Naked Drawing ─The Art Works of Chen Yi- Shan." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/7r3j5s.
Full textAbstract:
碩士大葉大學
設計暨藝術學院碩士在職專班
100
ABSTRACT This paper takes nude as the topic of creation; discuss the evolution of ideas and shapes in nude painting, capture the essence within it. By using the nude art as topic of creation, coupled with psychological aspects of subjective thinking as the foundation and direction of an individual’s work. For the matter of creation idea, pain the realistic scenery, through time, space, encounter of soul, display a multi-dimensional of the beauty within nude art, in order to pass the reality, goodness and beauty of humanity. The Literature foundation of this artistic creation, including the aesthetics of nude art. Idealized, humanize, reclining of the beauty of shape within nude art. Combined the above related articles of nude art for creation form, and unifies in the history of art association of naked art for the creation idea, analyze and integrate it into the works to compose the aestheticism of the nude art form. The style of the work, its contents and the methods to realize it. It breaks into three types: the “Nostalgia creation type”, the “Blooming of Lotus creation type" and the “Ode of Youth creation type". It then discusses about form of beauty in nude art. On these 3 types of creations, 24 piece of works make a brief introduction. It also includes the though and feeling in the process of creation. Key Words: nude art, form, idealistic, humanize, reclining
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Lee, Hsin-Chueh, and 李昕珏. "The Interpretation and Analyses of Percussion Concerto by Chen Yi." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/s4ndwg.
Full text
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陳怡汶. "Fill in the Blank- Metal Arts by Yi-Wen Chen." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/hk8v2a.
Full textAbstract:
碩士國立臺南藝術大學
應用藝術研究所
105
This written report details my experience creating with enamel during my time as a student in the Jewelry and Metal Arts Studio at the Graduate Institute of Applied Arts. Through my work I sought to capture imagination and construct space using metal and enamel. I also attempted to analyze my own creative state of mind and explored the process by which I projected rational and emotional abstract ideas onto the pieces I created. This paper is divided into three chapters. The first chapter focuses on containers, detailing how the work reflects my own desire to capture and dress up certain feelings and images in my mind, using artistic creation as a response to the unexpected aura of life. The second chapter lists three artists who focused on natural flora as a theme and created with repeated units. After that, I explain transformation in the shape of duplicate patterns through the creative process, while discussing the main structure, internal space and negative space of the works, thereby extending the dimension of creative space. The third chapter details the coming together of an image series of works, inspired by daily life objects and habits. Indeed, by tracing this back to my own life experience and the background in which I grew up, I was also able to analyze the limitations of my creativity and emotional world.
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Liu, Yi-Chen, and 劉怡辰. "Liu, Yi-Chen Piano Recital Program Intrduction, Analysis and Interpretation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/15349667061507783091.
Full textAbstract:
碩士國立屏東教育大學
音樂學系碩士班
101
This thesis consists of three parts：1.the program notes of the Solo Recital. 2. the program notes of the Performance Recital written. 3. the conference paper. The program notes of the Solo Recital includes：J. S. Bach: Toccata in g minor, BWB 915、Beethoven: Piano Sonata in E^b Major 0p. 81a、Maurice Ravel: Le Tombeau de Couperin. The program notes of the Performance Recital include：Mozart；Piano Concerto in C major, K.467、Antoni Dvorak：Piano for Four Hands, op.59. The object of study in this paper is Forlan from Le tombeau de Couperin composed by Maurice Ravel. This paper consists of five chapters: a preface, an introduction to the composer's life and works, the creation background of“Le tombeau de Couperin”, to probe into the composing techniques and music styles of Forlane , a review of the stylistic features of the work with a study of interpretation in performance.
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"Liu Yintong’s Duet for Cello and Piano “Memorial II”." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53774.
Full textAbstract:
abstract: In an interview with the composer Liu Yintong, she shared her thoughts regarding
her inspiration to compose the duet Memorial II. Liu studied under Chen Yi, who is a leading female contemporary composer. She has won many honors and awards worldwide, in addition to performing with major symphonies and musicians, including Yo-Yo Ma, Evelyn Glennie, the Cleveland Orchestra, the British Broadcasting Company (BBC), and Los Angeles Philharmonic. Chen Yi’s Percussion Concerto combines Eastern and Western music styles and also includes Chinese poetry, and elements of Beijing opera. Similarly, Liu uses Chinese poetry and elements of Hebei opera in Memorial II. This document and recording of Memorial II will examine the musical integration of Liu’s educational and cultural experience into her composition. In addition this document will examine Hebei opera styles of singing, imitated in the cello and piano.Dissertation/Thesis
Doctoral Dissertation Music 2019