Academic literature on the topic 'Cover albums'
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Journal articles on the topic "Cover albums"
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SUKMARAGA, AYYUB ANSHARI. "TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD." Serat Rupa Journal of Design 1, no. 1 (2018): 171. http://dx.doi.org/10.28932/srjd.v1i1.448.
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For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis
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Gusans, Ingars. "DESIGN OF LATVIAN METAL MUSIC ALBUM COVERS IN 2019." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 661. http://dx.doi.org/10.17770/sie2020vol5.5054.
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Latvian metal music has a small but stable place on the map of the metal music world. Each year several music albums of this genre are issued in Latvia. With the decrease in demand for physical data storage devices, brochures and well designed back covers are no longer popular; however the only remaining album cover has gained even more importance – the image, photograph, picture that represents the musical material and acts either as a reflection of the content or as an element for attracting attention and is published on the Internet as well as in printed press as a concrete symbol of the album. The research aim is to describe the design of Latvian metal music album covers in 2019 in the visual context of the albums issued in the world. The research was conducted using the comparative method, looking for the local and global, the typical and different in the visualisation of album covers on the basis of not only theoretical literature but also the many years of experience of the author as a musician and a collector of music records. In general, the visual look of album covers issued in Latvia is typical for heavy metal music and fits in with the visual design of metal band albums in the rest of the world. However, there have been attempts to include eye-catching accents using national or pseudo-national elements or colours.
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Putri, Citra Kemala. "The Influence Of Popular Culture On The Visual Music Album Cover." ArtComm : Jurnal Komunikasi dan Desain 3, no. 1 (2020): 98–113. http://dx.doi.org/10.37278/artcomm.v3i1.285.
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Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musicians from different time periods as samples to compare the similarities or friction caused by various art developments as their response toward happening trends. This study uses qualitative method. This study of various visual images was considering the aesthetic idioms of postmodernism, including Pastiche, Parody, Kitsch, Camp and Schizophrenia, as well as the concepts of several art movements, such as Pop Art and Lowbrow Art. The final result of this study reveal that several music albums using the Pop Art and Lowbrow Art style contained postmodern aesthetic idioms. Each album cover can contain one or several aesthetic idioms simultaneously.
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Vajda, Peter, Ivan Ivanov, Jong-Seok Lee, and Touradj Ebrahimi. "Epitomize Your Photos." International Journal of Computer Games Technology 2011 (2011): 1–11. http://dx.doi.org/10.1155/2011/706893.
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With the rapid growth of digital photography, sharing of photos with friends and family has become very popular. When people share their photos, they usually organize them into albums according to events or places. To tell the story of some important events in one’s life, it is desirable to have an efficient summarization tool which can help people to receive a quick overview of an album containing large number of photos. In this paper, we present and analyze an approach for photo album summarization through a novel social game “Epitome” as a Facebook application. This social game can collect research data, and, at the same time, it provides a collage or a cover photo of the user’s photo album, while the user enjoys playing the game. The proof of concept of the proposed method is demonstrated through a set of experiments on several photo albums. As a benchmark comparison to this game, we perform automatic visual analysis considering several state-of-the-art features. We also evaluate the usability of the game by making use of a questionnaire on several subjects who played the “Epitome” game. Furthermore, we address privacy issues concerning shared photos in Facebook applications.
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De la Iglesia, Martin. "I'M ALWAYS TOUCHED BY YOUR PRESENCE, DEAR: BLONDIE ALBUM COVERS AND THE CONCEPT OF PRESENCE." Revista Europeia de Estudos Artisticos 4, no. 2 (2013): 59–95. http://dx.doi.org/10.37334/eras.v4i2.58.
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Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers
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Isnandar, Atang Riyan, and Wantoro Wantoro. "Analisis Tipografi pada Logotype Band Forgotten." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 02 (2016): 121–36. http://dx.doi.org/10.33633/andharupa.v2i02.1180.
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Abstrak Forgotten merupakan band asal kota Bandung yang beraliran death metal. Band ini telah memiliki beberapa album yang cukup sukses. Salah satu faktor yang turut berperan penting dalam album-album Forgotten adalah desain sampul album. Sampul album merupakan identitas dan pesan dari musik yang dibawakan oleh Forgotten. Dalam sampul album, terdapat salah satu elemen visual yaitu Tipografi. Salah satu peran tipografi dalam sampul album Forgotten adalah sebagai logotype dari band. Yang menarik, dari lima album yang telah dirilis Forgotten yaitu “Future Syndrome” (1997), “Obsesi Mati” (2000), “Tuhan Telah Mati” (2001), “Tiga Angka Enam” (2003) dan “Laras Perlaya” (2011) adalah tampilan logotype band yang selalu berbeda. Perubahan logotype Forgotten disebabkan oleh beberapa faktor seperti adanya perubahan selera, transformasi musik dan pergantian personil yang dialami oleh band Forgotten. Perubahan ini berakibat pada munculnya kesan visual yang berbeda-beda dari masing-masing logotype di setiap sampul albumnya. Apalagi logotype band dengan genre death metal memiliki kecendrungan yang unik, dekoratif, bahkan sulit untuk dibaca. Oleh karena itu untuk mengetahui kesan visual yang dimunculkan oleh setiap logotype akan dilakukan penelitian dengan pendekatan tipografi. Tujuan dari penelitian ini adalah selain untuk mengetahui perubahan logotype dari kelima sampul album yang telah dirilis oleh Forgotten juga ingin mengetahui kesan visual terhadap tipografi terkait dengan prinsip kejelasan (legibility), keterbacaan (readability) dan kemampuannya untuk dilihat pada jarak tertentu (visibility). Kata Kunci: Sampul Album, Tipografi, Logotype, Forgotten Abstract Forgotten is a band from Bandung, the death metal genre. The band has had some fairly successful album. One of important factor in albums Forgotten is the album cover design. The album cover are the identity and the message of the music performed by the Forgotten. In the cover of the album, there is one visual element called Typography. One role of typography in Forgotten album cover is a logotype of the band. Interestingly, there is change of logotype in five albums that have been released Forgotten namely "Future Syndrome" (1997), "Obsession Dead" (2000), "God is Dead" (2001), "Three Figures Six" (2003) and "Laras Perlaya" ( 2011). Forgotten logotype changes caused by several factors such as the changing tastes, music and transformation experienced by the personnel changes the band Forgotten. These changes resulted in the emergence of the visual impression different from each logotype in all the album artwork. Moreover logotype band with death metal genre has a tendency of unique, decorative, even difficult to read. Therefore, to determine the visual impression that is raised by each logotype will do research with the approach of typography. The purpose of this study was to assess changes in addition to the logotype of the fifth album cover that has been released by Forgotten also want to know the visual impression of the typography related to the principle of clarity (legibility), legibility (readability) and its ability to be seen at a certain distance (visibility).Keywords: Album Cover, Tipography, Logotype, Forgotten
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Juszczyk, Andrzej. "Synchroniczne alter ego. Podwojenie i alternatywność w twórczości Neurosis i Tribes of Neurot." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 62–71. http://dx.doi.org/10.24917/20837275.10.3.5.
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Synchronous alter-ego. Doubling and alternative in the work of Neurosis and Tribes of Neurot This paper concerns at ”doubleness” in work of Neurosis and Tribes of Neurot. The activity of both groups seems to be simultaneous: the same artists in the both bands, the same names of their albums, the same trakclists, similar cover designs suggest to treat it not as different ventures but as a significant dual artistic project. Parallel between simultaneous albums of Neurosis and Tribe of Neurot makes an impression of disturbing presence of unclear alterego in their music.
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Castelnuovo Biraben, Natalia. "Visualizing Development. A visual narrative in photo albums." Revista de Antropologia Visual 2, no. 29 (2021): 1–15. http://dx.doi.org/10.47725/rav.029.06.
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Development Projects and programs have frequently appeal to images and in particular to photography in diverse textual registers and virtual spaces: technical reports, illustrating NGOs websites, passbooks and report cover, brochures for donors, among other things. If in some of this registers images appear subsidized to a main text, in other they occupy a prominent place in development narrations. It was this aspect precisely that called my attention to examine a photographic corpus arranged in albums that register the implementation process of a development program intended for indigenous people in northern Argentina: to find out in its pages a development visual narrative. The photo albums under analysis were produced during the implementation of “Componente de Attention a la Población Indígena” between 1999 and 2005. The photographic images appear with all their creative potential and load with an interpretation about the development world. They invite us to reflect upon the marginal place of photography in the development field.
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Weir, Christine. "Rev. John Burton frames the Fiji Methodist Mission, 1924." Journal of New Zealand & Pacific Studies 8, no. 2 (2020): 171–91. http://dx.doi.org/10.1386/nzps_00036_1.
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In his role as General Secretary of the Australasian Methodist Missionary Society in the 1920s and 1930s, Reverend John W. Burton travelled each winter to one of the ‘mission fields’ in the South Pacific to inspect the mission’s activities, and to encourage and advise. Accompanying him was his camera; Burton had long been an enthusiastic photographer. Following his 1924 visit to Fiji he created two albums of his photographs, one illustrating the indigenous Fijian mission, the other the Indian mission. This article focuses on the ‘social biography’ of the photographs, and examines Burton’s choice and balance of subjects in each album, which cover educational and other mission activities, village and town scenes, landscapes and individual and group portraits. It also considers the placement and message in context of many of the individual photographs when they were later reproduced to illustrate stories in the mission magazine, Missionary Review, of which Burton was the Editor.
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Bestley, Russ. "The Top of the Poppers sing and play punk." Punk & Post Punk 8, no. 3 (2019): 399–421. http://dx.doi.org/10.1386/punk_00006_1.
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By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk and the concomitant shift towards ‘new-wave’ styles led to a degree of UK chart success for a number of groups. The inclusion of punk and new-wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the long-standing budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new-wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologized ‘outsider status’. From their saccharine cover images, harking back to the pin-ups of the 1950s, to the awkwardly dated language of sleeve notes and the notion that the diversity of contemporary ‘pop’ is not tarnished by subcultural differences, these albums reflect a fascinating period in punk’s acceptance, maturity and, perhaps, reluctant commodification.
Dissertations / Theses on the topic "Cover albums"
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Tim, Anna. "Visual weight the importance of cover art in vinyl albums." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-93059.
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The vinyl album record cover was long one of the primary ways for bands and artists to expose themselves visually. During the 1950's, experimental design was seen particularly in jazz covers, while the early rock music had a more direct and commercial approach to cover design. As rock and popular cultures in the 1960's developed, the record package evolved as an artistic form of expression and visual representation of music. Expressions mainly associated with traditional art was absorbed by popular culture and has had a decisive effect on the current view of the record cover as an art form. In the 1970's, there was an increasing diversification of popular music and a more clear distinction between commercial mainstream music and alternative music, which is reflected in the album covers. During the 1980's, the music video played an important role in how music and the artists were presented visually. New formats as the audio cassette and CD took over the role of the LP on the disc market. During the 1990's when independent labels and artists reached a wider audience, several of their album releases were on vinyl formats. Internet and file sharing of music, has had a significant impact on the music industry in the 2000's and there is a decline in the sales of physical media such as CD's. As a consequence, opportunities for independent operators to spread their music has changed radically. At the same time there is an increasesed interest in the vinyl record as an alternative or a complement to digital music. This increased interest in vinyl albums has largely to do with the visual expression of the album cover in relation to CD's and digital files, as well as with the physical form of the LP and its characteristics as a collector's item.<br>LP-skivans omslag var länge ett av de primära sätten för band och artister att exponera sig visuellt. Experimentell design hos LP-omslag sågs under 1950-talet främst inom jazzmusiken, medan den tidiga rockmusiken hade ett mer direkt och kommersiellt uttryck. I takt med rockens och populärkulturens utveckling under 1960-talet skedde en utveckling av skivomslaget som konstnärligt uttrycksmedel och som visuell representation av musiken. Uttryck som främst setts i traditionella konstsammanhang togs upp av populärkulturen och har haft en avgörande effekt på dagens syn på skivomslaget som konstart. Under 1970-talet skedde en tydligare indelning i kommersiell ”mainstreammusik” och mer alternativ musik. Detta avspeglas också i omslagsdesignen. Under 1980-talet fick musikvideon en viktig roll för hur musik och band presenterades visuellt. Nya format som kassett och CD övertog LP-skivans roll på skivmarknaden. Under 1990-talet nådde alternativa, oberoende bolag och musiker en bredare publik och flera av dessa artister släppte album på vinyl. Internet och fildelning av musik har haft en omfattande inverkan på musikbranschen under 2000-talet och försäljningen av fysiska medier som CD minskar kraftigt. Möjligheterna för oberoende aktörer att nå ut med sin musik har förändrats radikalt. Samtidigt ökar återigen intresset för LP-skivan som alternativ eller komplement till digital musik. Det ökade intresset för LP-skivan har till stor del att göra med skivomslagets möjligheter till konstnärligt uttryck gentemot CD och digitala filer, samt med LP-formatets fysiska form och dess egenskaper som samlarobjekt.
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Santana, Valeria Nanci de Macedo. "O desenho de capas de discos bossa-novistas e tropicalistas: indica??o da cultura brasileira num tempo (1958-1968)." Universidade Estadual de Feira de Santana, 2013. http://localhost:8080/tede/handle/tede/256.
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Previous issue date: 2013-04-22<br>This research deals with the formulation of a set of analytical techniques for evaluation of vinyl record covers of two of the most important periods of Brazilian music, Bossa Nova and Tropic?lia. The dissertation was motivated by the general idea that these movements are able to indicate the important role of music to the Brazilian society and the cultural profile of this nation, from 1958 to 1968. Larger stimulus, however, found specifically in: (i) the author's passion for these two musical styles; (ii) personal desire to add more academic work that al-ways current, i.e. graphical analysis to understand given time of a civilization; (iii) academic need to define procedures and analysis techniques for graphical vinyl record covers, long-playing ? based on industrial design techniques ? that went beyond a mere single, "liked", "cool", "cute". As specific objectives, it was defined: draw a panorama on the graphic-visual languages used by "capistas", i.e., those typographers, artists, graphic designers who designed and illustrated graphically this fascinating industrial product. Sought to contextualize the mus-ical style bossa-tropicalist and released and their productions for the covers of Bossa Nova and Tropic?lia, understanding the design of the image, from the adequacy in temporal context, demonstrating the importance of proper use of visual language in a record in terms of effects work that seeks to generate; social contribution and academically, various aspects of know-ledge. With that objective in mind, it was treated anterior and posterior aspects to customizing album covers ? as it was and as it became the relationship of production "capistas" with the concern on the use of the image. We seek to demonstrate the cultural and aesthetic mark left by these musical periods of the cover designs. We look for references, videos, websites, etc., in addition to data that substantiate this thesis through collaboration (via semi-structured in-terview: forms applied to a sample of twenty interviewees, including broadcasters, musicians, music teachers and music researchers in the city of Feira de Santana-BA); and graphical ana-lyses of the album covers designs from Bossa-nova e Tropica?lia; It was sought through me-thods of some theorists, a proprietary method and methods of research subjects, primarily dealing with aspects related to the project factors, types of designs, ideograms and linguistic techniques. We have specified how much the art of drawing and contemplate the disk cover suffered transformations, the advent of the LP to the Era of MP3, mentioning the losses and gains of LP cover designs, while the cultural representation of a time. And how this work may prove to contribute socially, academically and in didactic and knowledge linked to the thematic ordering here. We concluded this research in order to bring up the debate about the possible return of disk cover, and their designs, generating, especially in the music industry, the reflection on the design and making of same.<br>Esta pesquisa trata da formula??o de conjunto de t?cnicas anal?ticas para avalia??o das capas de discos de vinil de dois dos mais importantes per?odos da m?sica brasileira, a Bossa Nova e a Tropic?lia. A motiva??o deste trabalho origina-se da ideia geral de que estes movimentos s?o capazes de indicar o papel relevante da m?sica para a sociedade brasileira e o perfil cultural desta na??o, entre 1958 a 1968. Est?mulo maior, contudo, encontrou-se, especificamente, na: (i) paix?o da autora por esses dois estilos musicais; (ii) desejo pessoal de somar mais um trabalho acad?mico a essa sempre atual tem?tica, isto ?, an?lise gr?fica de discos para com-preens?o de dado tempo de uma civiliza??o; (iii) necessidade acad?mica de definir procedi-mentos e t?cnicas de an?lise gr?fica para capas de discos de vinil, elep?s ? fundamentadas no Desenho industrial ?,que fossem al?m de um mero simples, ?gostei?, ?legal?, ?bacana?. Co-mo objetivos espec?ficos, delimitamos: tra?ar um panorama referente ?s linguagens gr?fico-visuais usadas por ?capistas?, isto ?, aqueles tip?grafos, artistas, designers que projetaram, desenharam e ilustraram graficamente esse produto industrial fascinante. Procurou-se contex-tualizar os estilos musicais bossa-novista e tropicalista e suas respectivas produ??es para as capas de discos da Bossa Nova e da Tropic?lia, compreendendo a concep??o da imagem, a partir da adequa??o na contextualiza??o temporal, demonstrando a import?ncia do uso ade-quado da linguagem visual numa obra fonogr?fica em termos de efeitos que busca gerar; con-tribuir, social e academicamente, diversas vertentes do conhecimento. Para isto tratamos de aspectos anteriores e posteriores ? personaliza??o das capas de discos ? como era e como passou a ser a rela??o das produ??es capistas com a preocupa??o no uso da imagem. Procu-ramos demonstrar a marca cultural e est?tica deixadas por esses per?odos musicais via projetos capistas; buscamos refer?ncias bibliogr?ficas, videogr?ficas, websites, etc., al?m de dados que fundamentassem esta disserta??o, atrav?s da colabora??o (via entrevista semiestruturada: formul?rios aplicados a uma amostra de vinte entrevistados, dentre eles, radialistas, m?sicos, professores de m?sica e pesquisadores musicais, na cidade de Feira de Santana-BA) e an?lises gr?ficas dos desenhos das capas de discos, bossa-novistas e tropicalistas, atrav?s de m?todos de alguns te?ricos, um m?todo pr?prio e m?todos dos sujeitos da pesquisa, sobretudo tratando de aspectos referentes aos fatores projetuais, tipos de desenhos, ideogramas e t?cnicas lingu?s-ticas adequadas. Explicitamos o quanto a arte de desenhar e contemplar a capa de disco sofreu transforma??es, do surgimento do LP ? Era do MP3, mencionando as perdas e ganhos dos desenhos capistas, enquanto representa??o cultural de um tempo. E o quanto este trabalho pode vir a contribuir acad?mica e socialmente, na did?tica e ordena??o de conhecimentos li-gados ? tem?tica aqui posta. Conclu?mos esta pesquisa de modo a trazer ? tona o debate sobre a poss?vel volta da capa de disco, e de seus desenhos, gerando, sobretudo ? ind?stria fonogr?-fica, a reflex?o sobre a projeta??o e feitura da mesma.
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BARAT, AICHA AGOUMI DE FIGUEIREDO. "ALBUM COVERS: WAYS OF READING THEM." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35282@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>BOLSA NOTA 10<br>Capas de disco: modos de ler busca chaves de leitura para compreender a relação entre a música e a cultura visual no século XX e início do XXI. Ao deslocar o objeto de uma discoteca, seu espaço tradicional de fruição musical, e trazê-lo para o campo dos estudos culturais, uma infinidade de leituras se apresenta. As capas são uma forma de arte muito particular, analisá-las é fundamental para entender as diversas formas em que seus mecanismos operam. A música é, por sua vez, um instrumento importantíssimo para entender a cultura visual de forma mais ampla. Este trabalho se vale de ferramentas do campo da história da arte e de outros dispositivos analíticos interdisciplinares para explorar as imagens e sua potência. O argumento central da tese defende a ideia de que as capas contribuem para a construção de um sentido musical, enriquecendo o processo estético do fruidor. Os anos 1950 foram essenciais para firmar a capa
como elemento primordial para o disco. Foi também a partir dos anos 1950 que artistas plásticos e fotógrafos penetraram no mercado das gravadoras, vendendo seus talentos e experimentando concepções visuais inovadoras em capas. Ou seja: a criatividade de alguns capistas abriu novos caminhos e permitiu explorar novas concepções para as artes de LP. Procura-se, assim, mostrar que as capas foram locus privilegiado e fértil de expressão para diversos fotógrafos e artistas plásticos consagrados se expressarem em escala industrial. Esta tese busca entender a capa para além da simples ilustração e compreendê-la não só como invólucro ou objeto de design, mas principalmente como objeto artístico, tão importante quanto o
conteúdo. Estão em foco neste trabalho principalmente dois aspectos que se complementam. Por um lado, analisa-se a capa de disco como campo de experimentação artística, ou seja, um suporte de trabalho para inúmeros artistas plásticos e fotógrafos. Por outro, que não deixa de complementar esse mesmo campo, reflete-se sobre a capa como suporte para o retrato do sujeito, no sentido restrito de portrait, que subentende tecer laços com o gênero pictórico secular.<br>Album covers: ways of reading them aims to search for keys to interpret the relation between music and visual culture in the XXth century and the beginning of the XXIst. By displacing the object from a discotheque, its usual space of musical fruition, and bringing it to the cultural studies field, an infinity of
possibilities come up. Covers are a very particular art form, analyzing them is central to understand the different forms in which their mechanisms operate. Music on the other hand, is a very important instrument to apprehend visual culture in a broader way. This work uses tools from the art history field and other
interdisciplinary analytic devices to explore images and their strength. The central argument of this thesis asserts that album covers contribute to the construction of a musical meaning by enriching the esthetic process of the listener. The 1950s were essential to establish the album cover as primary element for the record. It was also in the 50s that visual artists and photographers penetrated the record company markets selling their talents and experimenting innovative visual layouts. In other words: the creativity of some cover artists opened new paths and enabled new conceptions for the album cover artwork. This work seeks to show that album covers were a notorious and fertile place of expression for photographers and visual artists to express themselves in a large scale. This thesis aims to understand the album cover beyond a simple illustration, and to grasp it not just as a packaging or design piece, but mainly as an artistic object, as important as the content itself. This work focuses on two aspects that complement themselves. On one hand, we analyze the record cover as a field of artistic experimentation, that is, a support for many visual artists and photographers to work on. On the other hand, that complements this same field, a reflection is made on the cover as a support for the portrait of the subject, in the restrict sense of the portrait, that aims to establish ties with the secular pictorial genre.
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Jackson, Stephanie. "Music Cover Design in the Digital Age." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin156327401366013.
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McGuire, Meghan S. "Covering Music: Tracing the Semiotics of Beatles'Album Covers Through the Cultural Circuit." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1112552888.
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McGuire, Meghan. "Covering music : tracing the semiotics of Beatles album covers through the cultural circuit." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1112552888.
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Pereira, Filipe Conde. "Cinca vezes Vanusa : expressões em capas de álbuns musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/173813.
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O presente trabalho busca apresentar os primeiros cinco álbuns da cantora Vanusa como exemplos de composição da unidade álbum e a relação essencial entre visualidade, som e poesia que este apresenta enquanto produção artística. Para isso, propõe uma compreensão mais ampla da produção capista na cena da música popular brasileira identificada como para público jovem nos arredores e durante os anos 1960 no país – considerando Jovem Guarda, Tropicalismo e Bossa Nova como suas principais linhas.<br>This work seeks to presente the early five albums of the singer Vanusa as exemples of composition of the album unity and their essencial relation between visuality, sound and poetry that it presentes as artistic production. For that, proposes a wider comprehension about the capist production on the brazilian popular music scene identified as for Young public around the 1960’s – considering Jovem Guarda, Tropicalismo and Bossa Nova as their main lines.
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Nyström, Elin. "Könsstereotyper imusikbranschen : En analys av skivomslag." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28102.
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Könsstereotyper är något som finns i alla kulturer och påverkar både män ochkvinnor redan från barnsben. Inte minst musikindustrin kantas avkönsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Menmycket lite tycks vara skrivet om hur artister framställs på sina skivomslag medkönsstereotyper som utgångspunkt.Syftet med föreliggande studie var därför att analysera och jämföra skivomslagför kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, medvikt på vilka könsstereotyper som förekommer. Syftet var även att se om någonförändring har skett med tiden vad gäller utformningen av skivomslag samtundersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer ochgenrer.En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varjeår var för kvinnliga respektive manliga artister.Resultatet visade att en del av de könsstereotyper som är vanliga vidfotograferandet av män och kvinnor även förekom på skivomslag. Men på endel punkter frångick omslagen traditionella könsstereotyper. Resultatet visadeäven att förekomsten av stereotyper har förändrats en del under tioårsperioden.En del skillnader kunde också identifieras vid en jämförelse av amerikanska ochsvenska artister, samt vid en jämförelse av olika genrer.Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnaderi hur manliga och kvinnliga artister porträtteras på sina skivomslag. Menskivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andrasammanhang när män och kvinnor fotograferas.<br>Gender stereotypes exists in all cultures and affects both men and women froman early age. The music industry is not an exception and stereotypes can be seenand heard in everything from lyrics to music videos. However, very little seemsto be written about gender stereotypes on album covers.Therefore, the purpose of this study was to analyze and compare how albumcovers for female and male artists differ, with focus on gender stereotypes. Thepurpose was also to examine whether a change over time have occurred when itcomes to gender stereotypes present on album covers. Additionally, this studyexamined how gender stereotypes takes form in different cultures and genres.A visual analyze were made on 100 album covers. Half of them were releasedin 2006/2007 and the other half was released in 2016/2017. The number of maleand female artist were equally divided across the different years.The result showed that some of the gender stereotypes that normally occurwhen males and females are photographed, also occurred on album covers.Other gender stereotypes were uncommon on album covers. Some changescould be seen over the ten-year period. Moreover, the result showed somedifferences when comparing Swedish and American artists’ album covers, andwhen comparing different genres.The conclusions that could be drawn from the result was that there aredifferences in how male and female artists are portrayed on their album covers.However, album cover pictures differ to a certain extent from how males andfemales are photographed in other situations.
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La, Rosa Cuya Gabriela Verónica. "Influencia de la digitalización en el diseño de las portadas discográficas del rock peruano desde 2015 hasta 2019." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653057.
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Esta investigación tiene como objetivo principal determinar la influencia de la digitalización en el diseño de las portadas de álbumes y sencillos discográficos del rock peruano desde 2015 hasta 2019. Es por esto que se planteó como hipótesis que la digitalización no tiene una influencia directa con respecto a la creación del concepto y elección de elementos o técnicas para el desarrollo del diseño de carátulas discográficas.
La presente investigación corresponde a la categoría de enfoque qualitativo, debido a que se centró en un análisis de contenido de un total de 20 portadas discográficas, diez de ellas pertenecientes al marco temporal delimitado y las otras diez fueron carátulas elaborabas antes de la fecha seleccionada. Además, se realizaron entrevistas a dos informantes claves para obtener más información que complemente los resultados alcanzados a partir de los análisis.
Entre los principales resultados podemos encontrar que el diseño discográfico del rock peruano presenta un nivel de literalidad en sus diseños, tanto en la era digital como en los diseños que fueron elaborados previamente. También se logró evidenciar que hay una diferencia con los elementos indispensables en el diseño de discográfico realizado en la era digital en comparación con el anterior a este.
Por último, se logró concluir que a pesar que la función original de vestir el empaque ya no es la más importante, el rol de la portada de un álbum sigue siendo relevante, ya que sirve como una herramienta publicitaria para dar a conocer la existencia de producción musical.<br>The main objective of this research is to determine the influence of digitalization on the design of album covers of peruvian rock bands from 2015 to 2019. This is why it was hypothesized that digitalization does not have a direct influence on the creation of the concept and choice of elements or techniques for the development of the design of album cover artwork.
This research corresponds to the category of qualitative design, because it focused on a content analysis of a total of 20 record covers, ten of them belonging to the defined time frame and the other ten were covers that were made before the selected date. In addition, two key informants were interviewed to obtain more information to complement the results obtained from the analysis.
Among the main results, we can find that the peruvian rock record cover artwork presents a level of literalness in their designs, both in the digital age and in the designs that were previously elaborated. It was also possible to show that there is a difference with the indispensable elements in the record design carried out in the digital age compared to the previous one.
Finally, it was concluded that although the original function of dressing the packaging is no longer the most important, the role of an album cover is still relevant, as it serves as an advertising tool to publicize the existence of every music production.<br>Trabajo de investigación
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Ekedahl, Andreas. "Rockalbumets grafik : Återkommande designelement och landstypiska utseenden – en visuell innehållsanalys." Thesis, Högskolan Dalarna, Grafisk teknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-22680.
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För att ge insikt hur design för ett nytt rockalbum ska ske och ge information kring vad som bör finnas med på ett nytt omslag har denna studie utförts. Studien framförde information om att albumsgrafik var relevant. Först sades det att en nedåtgående trend gick att anta, eftersom den digitala musikbranschen tog över från den fysiska. Men det visade sig därefter vara precis lika stor försäljning på de fysiska albumen som de digitala. För att besvara målen i studien utfördes en visuell innehållsanalys och informationssökning på internet. Studiens syfte var att visuellt granska rockalbum från tre olika ursprungsländer, som var Sverige, Storbritannien och USA. Genom analysen kategoriserades designelement, teman och framtogs landstypiska albumomslag. Studien berörde även vem som styr designen av ett omslag samt ifall det kunde ses någon tongivande designer bland de album som ingick i analysen. I slutsatsen framgick det att Storbritannien och USA hade mycket lika grafiskt manér och att omslag från Sverige såg annorlunda ut. Det framgick även att banden styr utseendet på omslaget mer än designern, och från analysen framgick inte någon tongivande designer.<br>This study is supposed to shed light on the design process behind album covers in the genre rock and give information about what should be displayed on them. Herein it is presented information about how the graphics on a record cover was relevant and didn’t follow the otherwise assumed declining trend. To be able to answer the goals set for the study, a visual content analysis was done and complementary information was gathered via searches on the internet. The aim with the study was to visually analyze cover art in the genre rock from three different countries of origin, these were Sweden, Great Britain and USA. Via the visual content analysis, categories and themes were structured. There were also created three different album covers, one for each country of origin that were based on the information of what should typically exist on the cover. Herein it is shown that designs from Great Britain and USA are much alike, whereas Sweden has a different style. In the study there was presented who decides the design of a new album and also concludes that from the albums in this content analysis there cannot be proven any designer who sets the generic tone for others.
Books on the topic "Cover albums"
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LaPlantz, Shereen. Cover to cover: Creative techniques for making beautiful books, journals & albums. Lark Books, 1995.
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LaPlantz, Shereen. Cover to cover: Creative techniques for making beautiful books, journals & albums. Lark Books, 2000.
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Cover to cover: Creative techniques for making beautiful books, journals & albums. Lark Books, 2000.
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Sherry, James. Heavy metal thunder: Kick-ass cover art from kick-ass albums. Chronicle Books, 2006.
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Thorgerson, Storm, Roger Dean, and Dominy Hamilton. Album cover album. Edition Olms, 2008.
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Spencer, Drate, ed. 45 RPM: A visual history of the seven-inch record. Princeton Architectural Press, 2002.
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Jütka, Salavetz, ed. Five hundred 45s: A graphic history of the seven-inch record. Collins Design, 2010.
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Mukōda, Naoki. Jazzical moods: Artwork of excellent jazz labels. Bijutsu Shuppan-Sha, 1993., 1993.
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Shaughnessy, Adrian. Sampler: Contemporary music graphics. Edited by House Julian and Intro (Firm : London, England). Laurence King Publishing, 1999.
Find full textBook chapters on the topic "Cover albums"
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Morrow, Guy. "Album Cover Design." In Music Business Research. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48114-8_3.
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Schedl, Markus, Peter Knees, Tim Pohle, and Gerhard Widmer. "Towards Automatic Retrieval of Album Covers." In Lecture Notes in Computer Science. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11735106_58.
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Winje, Geir. "CHAPTER 5 The Visual Dylan: Religious Art, Social Semiotics and Album Covers." In A God of Time and Space. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.74.ch5.
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The essay explores the cover art on 24 studio albums released by Bob Dylan since his debut in 1962, each one with a photo of the artist on the front cover. The photos are read chronologically in accordance with a social semiotic understanding. Any text, including such elements as names, album titles, song titles and motifs, but also formal means, e.g. compositions and geometric patterns underlying the compositions, are understood as meaningful utterances in their own right, not only as illustrations for other texts. The essay also maps out some parallels between the idol as a mediated person belonging to modernity and as a premodern religious concept. A not surprising finding is that parts of early Christian icon art are continued in modern photographic portraits. However, I have not found anything indicating that traces of early religious art are more prominent on Bob Dylan’s albums than on other albums.
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"ALBUM COVER." In Encyclopedia of Recorded Sound. Routledge, 2004. http://dx.doi.org/10.4324/9780203484272-17.
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"Are JPEGs the New Album Covers?" In Culture Is Not Always Popular. The MIT Press, 2019. http://dx.doi.org/10.7551/mitpress/11955.003.0020.
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Vestergaard, Vitus. "Medieval Media Transformations and Metal Album Covers." In Medievalism and Metal Music Studies: Throwing Down the Gauntlet. Emerald Publishing Limited, 2019. http://dx.doi.org/10.1108/978-1-78756-395-720191004.
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Çalışkan, Özgür. "Imagery of hair and identity in album covers." In Feminist Interrogations of Women’s Head Hair. Routledge, 2018. http://dx.doi.org/10.4324/9780429505430-13.
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Kilinç, Uğur. "Vitalizing Ancient Cultures Mythological Storytelling in Metal Music." In Advances in Public Policy and Administration. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7661-7.ch042.
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This chapter is focused on the relationship between ancient narratives “music” and “mythology.” Technological developments and changes in social structure caused the occurrence of different music genres over time. “Metal music” is one of these genres. In the present day, it is possible to observe that there is a tendency to mythology in sub-genres of metal music. This tendency is observed in lyrics, album artworks, videos, and gig performances of some bands. In this chapter, metal music is examined based on its root, content, and technical features, primarily. Afterwards, mythology, content of mythology, and cultural and social functions of mythology are discussed. In the praxis of this study, the cover of the album Twilight of the Thunder God (2008) of the Swedish metal band Amon Amarth is analyzed by semiological analysis.
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Mee, Nicholas. "The Ultimate Heavy Metal Space Rock." In The Cosmic Mystery Tour. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831860.003.0016.
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Pulsars were discovered by Jocelyn Bell during her PhD research in 1967. Tommy Gold suggested these radio signals are generated by rapidly spinning neutron stars and was proved correct when a pulsar was identified in the Crab Nebula, which is the remnant of a supernova seen in 1054. The original signal detected by Bell has become a cultural icon since being used as the cover art for an album by rock band Joy Division.
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Wielanek, StanisŁaw. "Party na Nalewkach." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0039.
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This chapter explores Stanisław Wielanek's recording of Yiddish-tinged 'oldies' Party na Nalewkach (A Party in Nalewki Street). Released on vinyl in 1980 and later available on cassette, until recently the album was hard to find in either format. Whatever the reason for its disappearance, Wielanek's album has now reappeared on CD with a new cover and title, and with five new selections added to the earlier version's sixteen. Aficionados of Jewish popular song will find a veritable lost continent of fascinating repertoire attractively arranged and performed by Wielanek and his band, Kapela Warszawska. Something of an archaeologist and troubadour, Wielanek first discovered the genre of szmonces as an ardent collector of musical folklore from Warsaw. The encounter was inevitable, since, as Wielanek says, Jewish songwriters dominated the field of popular music in Poland between the wars.
Conference papers on the topic "Cover albums"
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Dorochowicz, Aleksandra, and Bozena Kostek. "Relationship between album cover design and music genres." In 2019 Signal Processing: Algorithms, Architectures, Arrangements, and Applications (SPA). IEEE, 2019. http://dx.doi.org/10.23919/spa.2019.8936738.
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Dieb, Eduardo A. "ALBUM COVERS: DISCOVERING BRAZILIAN LIFE UNDER MILITARY DICTATORSHIP." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-029.
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Margolin, Victor. "American Jazz Album Covers in the 1950s and 1960s." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0024.
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NOVAES DE REZENDE, Andre. "Firebird: Alex Steinweiss’ 78rpm album covers and the letterpress printing process." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-076.
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Ibrahim, Salziana, Raja Iskandar Raja Halid, and Tengku Fauzan Tengku Anuar. "Design Changes Of The Search Group Album Covers From 1985 To 1990." In Proceedings of the 3rd International Conference on Creative Media, Design and Technology (REKA 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/reka-18.2018.61.
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Mashtykov, Kirill, and Elvira Dedova. "GEOECOLOGICAL ASSESSMENT OF PASTURE PHYTOCENOSES IN THE DESERT ZONE OF THE REPUBLIC OF KALMYKIA." In Land Degradation and Desertification: Problems of Sustainable Land Management and Adaptation. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1676.978-5-317-06490-7/62-65.
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Based on long-term monitoring, the geoecological assessment of pasture phytocenoses in the desert zone of the Republic of Kalmykia under the influence of anthropogenic and climatic factors is given. It is established that excessive pasture load leads to degradation processes of vegetation and soil cover: a wide spread of explerents ( Eragrostis minor, Amaranthus albus ), depletion of the floral composition by 2 times, a decrease in productivity and feed value of pastures, an increase in the area of flown Sands.
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Khusainova, I. A. "THE ROLE OF THE IMAGE OF A MAN-FISH ON THE COVER OF THE ALBUM «ICHTHYOLOGY» OF THE BAND «AQUARIUM»." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-134.
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