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Dissertations / Theses on the topic 'Musical album'
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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.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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Zevallos, García Hugo André. "El impacto de la teatralidad dentro de los conciertos de música popular contemporánea de género rock psicodélico, glam y progresivo (1970 – 2019)." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653208.
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El término teatralidad es una de las palabras más utilizadas dentro del mundo espectáculo. Sin embargo, existe cierta confusión o ambigüedad a la hora de separar la utilización de este recurso dentro de distintas ramas artísticas. Así pues, si no es bien generalizado, es desatendido por el común artista musical; como consecuencia se ha desestimado el impacto que se puede ocasionar en el espectador, a partir de la mera corporalidad de los participantes de una puesta en escena. Por estos motivos, se ha contenido dentro del presente documento el uso y la transformación de este recurso dentro de la segunda mitad del siglo XX, de manera que se ha investigado la adopción de esta técnica por múltiples artistas a lo largo de las décadas; con el fin de poder esclarecer términos afines y dar a conocer uno de los avances artísticos musicales más elaborados dentro de nuestra coetaneidad. La teatralidad en la música es el resultado de una visión literaria dentro de la misma, por la cual se expanden los modos de composición, producción y ejecución. Así pues, esta viene a ser la introducción de nuevas formas en la lírica y en la narrativa. Se plasman personajes ficticios en la búsqueda de representar dramáticamente un nuevo espectáculo musical; el sonido, el material visual del escenario y la performance de sus componentes físicos son ahora herramientas en pos de consolidar un nuevo conjunto visual y sonoro, compartido entre artista y espectador.The term theatricality is one of the most used words in show business. However, there is some confusion or ambiguity when it comes to separating the use of this resource within different artistic branches. Thus, if it is not well generalized, it is neglected by the common musical artist; as a consequence, the impact that can be caused on the viewer, from the mere corporality of the participants of a staging, has been dismissed. For these reasons, the use and transformation of this resource within the second half of the twentieth century has been contained in this document, so that the adoption of this technique by multiple artists over the decades has been investigated; in order to clarify related terms and publicize one of the most elaborate musical artistic advances within our contemporary age. Theatricality in music is the result of a literary vision, through which the modes of composition, production and execution are expanded. Thus, this comes to be the introduction of new forms in the lyric and in the narrative. Fictional characters are depicted in the quest to dramatically represent a new musical show; the sound, the visual material of the stage and the performance of its physical components are now tools in order to consolidate a new visual and sound set, shared between artist and spectator.
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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.The main objective of this research is to determine the influence of digitalization on the design of album covers of peruvian rock bands from 2015 to 2019. This is why it was hypothesized that digitalization does not have a direct influence on the creation of the concept and choice of elements or techniques for the development of the design of album cover artwork. This research corresponds to the category of qualitative design, because it focused on a content analysis of a total of 20 record covers, ten of them belonging to the defined time frame and the other ten were covers that were made before the selected date. In addition, two key informants were interviewed to obtain more information to complement the results obtained from the analysis. Among the main results, we can find that the peruvian rock record cover artwork presents a level of literalness in their designs, both in the digital age and in the designs that were previously elaborated. It was also possible to show that there is a difference with the indispensable elements in the record design carried out in the digital age compared to the previous one. Finally, it was concluded that although the original function of dressing the packaging is no longer the most important, the role of an album cover is still relevant, as it serves as an advertising tool to publicize the existence of every music production.
Trabajo de investigación
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Bowen, Mary Elizabeth. "Family Album." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/td/909.
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Pare, Joelle. "Bagage excédentaire suivi de, Album narratif, album conceptuel." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27899.
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Comme les poèmes forment des recueils, les chansons se rassemblent en albums, desquels se dégage parfois une unité. Dans les albums conceptuels se tissent des liens thématiques entre les chansons. La première partie de ma thèse en création littéraire, Bagage excédentaire, renferme une vingtaine de textes de chanson qui constituent un album conceptuel narratif qui raconte un deuil et un voyage.
La deuxième partie, Album narratif, album conceptuel, met en relief les notions théoriques liées aux aspects narratifs et thématiques de l'album conceptuel. Les temps, les thèmes, les lieux et les personnages du récit sont étudiés, de même que la structure de la diégèse et l'ordre des chansons dans deux albums, Le voyage de Paul Piché et Deflaboxe de Daniel Bélanger. J'y effectue également un retour sur Bagage excédentaire.
En somme, ma thèse offre une vue d'ensemble des caractéristiques littéraires des textes qui composent les albums conceptuels.
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Wärn, Morgan. "Ett Live-Album." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2440.
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Brummel, Daniel Gorciak. ""Odalisque"| The story of an album." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10245672.
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The album Odalisque by the indie rock band Sanglorians is the culmination of many years of deep personal, artistic, and technical work. Many aspects of the composition, arrangement, performance, and recording of the project album were widely influenced by the methodologies espoused within the Master of Music program in Commercial Music Composition and Arranging at California State University, Los Angeles. This project report explores these methodologies of commercial music composition as they were applied to each song during the songwriting, arranging, and production processes. Approached as a scholarly personal narrative manuscript, each song's genesis is sourced, and its meaning examined in proper creative context within the whole.
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Eriksson, Matilda. "Medvetenhet och röda trådar : Om att skapa ett konceptuellt album." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74030.
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I denna uppsats undersöks hur ett konceptuellt album skrivs samt produceras med analyser av tre existerande konceptuella album i pop/indiepoprock genre som underlag. I arbetet utforskas hur specifika konceptuella parametrar så som text, struktur samt sound kan appliceras på det egna musikskapandet samt hur det påverkar arbetsprocessen. Det undersöks vilka svårigheter som uppkommer med att arbeta efter specifika konceptuella parametrar samt hur väl låtarna fungerar både i och utanför det konceptuella upplägget. Resultatet blir sju egenskriva låtar till ett konceptuellt album och i diskussionen analyseras konceptualitet som begrepp.
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Olson, Ted. ""Love’s 'Forever Changes': An Essentially Timeless Album Fifty Years On" and "Love’s 'Forever Changes': The Original Album Track-by-Track"." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1152.
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Augspurger, Christine Anne. "Transience: An Album-Length Recording for Solo Percussion and Electronics." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/4802.
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Olson, Ted. "The Folk Box: A Forgotten, Yet Unforgettable Album from The Folk Era." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1213.
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In December 1999, a website popular among music fans, mudcat.org, featured a thread that encouraged speculation about “The Essential Folk Recordings.” Thread participants—including prominent promoters of folk music—agreed upon the lasting importance of three collections: Harry Smith’s Anthology of American Folk Music, Alan Lomax’s field recordings, and Ralph Peer’s 1927 Bristol Sessions. Also mentioned by some participants were a few recent compilations, as well as certain albums from major folk and blues musicians. Many participants lamented the dearth of reissued folk music on compact disc from the back-catalog of Elektra Records, a company renowned for its contributions to the genre during the urban folk music revival. And one Elektra release, The Folk Box, received particular praise from a number of people fortunate enough to have heard it.
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Agan, Mai. "MaiGroup - You : From composing the music to album release tour." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2375.
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Grill, Cajsa. "Att förverkliga sitt eget sound." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3448.
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Syftet med detta projekt är att beskriva den process det innebär att hitta och förverkliga mitt eget sound som låtskrivare, producent och artist. Jag ska göra ett album med 11 spår, och texterna ska vara på svenska. Efter att jag skrivit fem av låtarna valde jag projektnamnet ”Singel” eftersom låtarna handlar om kärlek, och är skrivna under tidsperioder då jag har varit singel. Jag har valt att dela in begreppet sound i olika delar, som melodispråk, textens innerbörd, produktionens olika beståndsdelar, instrumentering, val av mjukvaror, samt vilken musik man inspireras av och vanligtvis lyssnar på. Jag började med att skriva texterna, och sedan producerade jag i de flesta fallen parallelt med att jag skrev melodierna. Mina texter är ganska raka och tydliga, jag gillar att beskriva händelser och personers sätt att vara och agera i olika situationer och relationer. Melodierna innehåller ofta språng, och ibland oväntade toner. Demoproduktionerna blev elektroniska, och bestod av synthar och trumsamplingar, det vill säga inga organiska instrument förekommer. Jag bjöd in en jury på fyra personer för att få feedback, och då föreslog en av dem att jag skulle anlita musiker och få in riktiga instrument i produktionerna. Detta ledde till att gitarr och trummor spelades in, vilket var en väldigt stor förbättring. Kombinationen av det elektroniska och det organiska skapade den balans som jag sökte. Efter studioinspelningen var det lättare för mig att höra vad som behövde läggas till för att fullborda produktionerna. Nu när alla låtar och produktioner är klara, skulle jag säga att min genre är svensk indiepop, med influenser från Veronica Maggio och Hanna Järver.
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Williams, Jeffrey C. "Love and Loss: A Contemporary Song Cycle." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1588778516530969.
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Clark, Adam. "“Modern Marvels:” A Pedagogical Guide to Lowell Liebermann’s Album for the Young, Op. 43." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212086531.
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Olson, Ted. "Recording Review of Nilsson, The RCA Albums Collection." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1166.
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Du, Preez Liska. "Effects of selected modes of digital distribution on music consumerism, with reference to the album format." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1427.
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In this digital age many listeners of music now purchase albums from online digital music stores instead of buying a physical album from the record store. This has created a concern with many regarding the future of the album as a physical medium. This study investigates the impact of the possible death of the album on certain listening habits, the activity of record collecting, the creation of large-scale musical works, music consumerism, and its implications for the creative process on music as art and sound-recording quality. Three realisations have led to the problem statement. Firstly, the album might not have a future in the digital age. Secondly, downloadable songs might not be able to recreate an album experience. The third realisation is that the possible death of the album could create new, exciting challenges to artists as they strive to create art. This study is exploratory in nature - and no hypothesis was generated. The research necessitates qualitative, exploratory, descriptive and contextual approaches. Furthermore, the investigation has led to the collection of mostly new data, constituting a “primary data design” through the implementation of qualitative listening experiments and a focus group, using full-time NMMU students between 18 and 25 years of age. It is herein argued that digital distribution might possibly have an effect on the perception of the album format and might possibly still be a relevant listening experience, valued by young people. Singles and albums are collectable; and good albums are considered artistic and comparable to the large-scale musical works of the past. If the concept of an album does not die out, then high fidelity formats should be able to re-invent the album experience. Listening experiences other than the album experience do exist, and they could generate new ways for artists to create musical art.
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Mott, Ryan. "Music in motion : the synthesis of album design and motion graphics for downloadable music /." Online version of thesis, 2009. http://hdl.handle.net/1850/10942.
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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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Dauterive, Jessica A. "Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing an Identity of South Louisiana, 1960s-1970s." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2138.
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In South Louisiana in the late 1950s, Ville Platte native Floyd Soileau joined a network of independent recording companies across the United States that provided an opportunity for local entrepreneurs and artists to profit from the global music industry. This paper analyzes the album covers of Floyd Soileau’s Cajun recording label, Swallow Records, during the 1960s-1970s. This period overlaps with a movement to subvert a negative regional identity among Louisiana Cajuns that is often referred to as the Cajun revival. Through a consideration of album covers as objects of business strategy and creative expression, as well as oral histories with individuals who worked with Swallow Records, this paper argues that Floyd Soileau shaped the perception of Cajun music and people through the channels of the global music industry. On the album covers of Swallow Records, Floyd Soileau marketed a Cajun identity that was rural, white, masculine, and French-speaking, and became an accidental facilitator of the social and political goals of leaders in the Cajun revival.
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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.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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Hutten, Rebekah. ""You Spun Gold Out of This Hard Life": Feminist Worldmaking Practices in the Transmedia Storyworld of Beyoncé's Lemonade." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38194.
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This thesis examines the ways in which Beyoncé Knowles-Carter’s 2016 album Lemonade works as a culturally significant text in the realm of popular media. Situated within Black feminist theoretical concepts of freedom practices and Black Feminist Love Politics, the thesis argues that Lemonade mobilizes stylistic and strategic intertextual references to develop a transmedia storyworld within a paradigm of resistance to, and healing from, white supremacist histories. Such intertextual information exists within the musical, lyrical, visual, poetic, and transmedia domains of Lemonade. The transmedia extensions include interviews, live performances, speeches, social media posts, and photoshoots. Combined with theories from Black feminist thought of freedom practices—which include talking back (bell hooks 1989), dark sousveillance (Simone Browne 2015), and interruptions to whiteness (DiAngelo 2011)— and Black Feminist Love Politics (Jennifer Nash 2013), the intertextual data present in Lemonade can be analyzed using methodologies from the field of popular musicology (intertextuality and mediality).
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Nyström, Elin. "Könsstereotyper i musikbranschen: En analys av skivomslag." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28500.
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Könsstereotyper är något som finns i alla kulturer och påverkar både män och kvinnor redan från barnsben. Inte minst musikindustrin kantas av könsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Men mycket lite tycks vara skrivet om hur artister framställs på sina skivomslag med könsstereotyper som utgångspunkt. Syftet med föreliggande studie var därför att analysera och jämföra skivomslag för kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, med vikt på vilka könsstereotyper som förekommer. Syftet var även att se om någon förändring har skett med tiden vad gäller utformningen av skivomslag samt undersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer och genrer. En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna 2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varje år var för kvinnliga respektive manliga artister. Resultatet visade att en del av de könsstereotyper som är vanliga vid fotograferandet av män och kvinnor även förekom på skivomslag. Men på en del punkter frångick omslagen traditionella könsstereotyper. Resultatet visade även att förekomsten av stereotyper har förändrats en del under tioårsperioden. En del skillnader kunde också identifieras vid en jämförelse av amerikanska och svenska artister, samt vid en jämförelse av olika genrer. Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnader i hur manliga och kvinnliga artister porträtteras på sina skivomslag. Men skivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andra sammanhang när män och kvinnor fotograferas.Gender stereotypes exists in all cultures and affects both men and women from an early age. The music industry is not an exception and stereotypes can be seen and heard in everything from lyrics to music videos. However, very little seems to be written about gender stereotypes on album covers. Therefore, the purpose of this study was to analyze and compare how album covers for female and male artists differ, with focus on gender stereotypes. The purpose was also to examine whether a change over time have occurred when it comes to gender stereotypes present on album covers. Additionally, this study examined how gender stereotypes takes form in different cultures and genres. A visual analyze were made on 100 album covers. Half of them were released in 2006/2007 and the other half was released in 2016/2017. The number of male and female artist were equally divided across the different years. The result showed that some of the gender stereotypes that normally occur when males and females are photographed, also occurred on album covers. Other gender stereotypes were uncommon on album covers. Some changes could be seen over the ten-year period. Moreover, the result showed some differences when comparing Swedish and American artists’ album covers, and when comparing different genres. The conclusions that could be drawn from the result was that there are differences in how male and female artists are portrayed on their album covers. However, album cover pictures differ to a certain extent from how males and females are photographed in other situations.
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XU, DONG. "THEMES OF CHILDHOOD: A STUDY OF ROBERT SCHUMANN'S PIANO MUSIC FOR CHILDREN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1154535932.
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Olson, Ted. "Carroll Best and the White Oak String Band: Old-Time Bluegrass From The Great Smoky Mountains." Digital Commons @ East Tennessee State University, 2014. https://www.amzn.com/B00OAVOIEO.
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[Compilation CD featuring 1950s-era field recordings]
Recently recovered recordings of Haywood County, N.C., musicians made nearly 60 years ago – which an Appalachian music expert describes as “the missing link between old-time string music and bluegrass” – are once again seeing the light of day and finding a new audience thanks to Great Smoky Mountains Association.
Four years after the release of their Grammy-nominated “Old-Time Smoky Mountain Music,” GSMA producers follow up now with “Carroll Best and the White Oak String Band: Old-time Bluegrass from the Great Smoky Mountains, 1956 and 1959.” The new collection features more than 30 tracks, including such old-time favorites as “Tennessee Wagoner,” “Arkansas Traveler,” “Old Joe Clark,” “Soldier’s Joy,” as well as such modern tunes as “Banjo Boogie” and “Smoky Mountain Melody.”https://dc.etsu.edu/etsu_books/1169/thumbnail.jpg
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Rezende, André Novaes de. "No caminho das pedras brancas : Alex Steinweiss e o processo de fundamentação de um paradigma para o projeto de capas de discos." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284383.
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Orientadores: Edson do Prado Pfützenreuter, Anna Paula Silva GouveiaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No fim do século XIX, o diálogo entre as artes visuais e a música abriu precedentes para que as artes aplicadas, ou comerciais, incentivassem o consumo do espetáculo musical. Paralelamente, com o desenvolvimento tecnológico da indústria fonográfica, a música passou a ser gravada e comercializada. A comercialização da música gravada, por sua vez, também foi beneficiada por um interesse de explorar-se uma conexão visual com o conteúdo da gravação. Em 1940, este interesse foi diretamente manifestado pelo designer gráfico norte-americano Alex Steinweiss, quando começou a projetar capas de álbuns de discos de 78rpm para a gravadora Columbia Records. Steinweiss não foi o primeiro artista comercial ou designer gráfico a projetar uma capa ilustrada para álbuns de discos de 78rpm mas, ao projetar capas, foi pioneiro na intenção de exercer uma correspondência semântica com o conteúdo musical dos discos. Esta tese tem como grande objetivo o resgate das principais condições históricas e culturais que ajudaram a caracterizar o trabalho de Steinweiss e que possibilitaram fosse ele incorporado com sucesso pela indústria fonográfica. Por meio do levantamento de tais condições e também do próprio método de projeto de Steinweiss, observou-se que seu sucesso proporcionou o estabelecimento de um paradigma, na medida em que as soluções propostas por ele foram, posteriormente, tomadas como modelo e substituíram as regras vigentes para o projeto gráfico das capas dos álbuns de discos
Abstract: By the end of the nineteenth century, the dialog between visual arts and music was a great influence on the applied arts, or commercial arts, in its own task of promoting the music spectacle. Meanwhile, with the technological development of the music industry, music started to be recorded and commercialized. The recorded music business, moved by its own interests, also explored a visual connection with the recorded musical content of their product. In 1940, the early work of the American graphic designer Alex Steinweiss was a consequence of this interest, as he started to design album covers for 78rpm records while working at Columbia Records. Steinweiss was not the first commercial artist or graphic designer to design illustrated album covers for 78rpm records, but he was the first one who expected to achieve semantic correspondence with the musical content of the record. The main goal of this thesis is to retrieve key historical and cultural conditions that influenced Steinweiss' work and allowed him to succeed as a graphic designer inside the recorded music business. By doing so, and by setting up aspects of Steinweiss' design methods, we have come to the conclusion that his success characterized a paradigm. The solutions he offered were taken as models and replaced the rules that determined how an album cover should be designed
Doutorado
Artes Visuais
Doutor em Artes
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Basso, Danyllo Ferreira Leite. "Semiótica e Bakhtin. Transcendência imanente: álbum de cancão e sujeito encarnado." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-30112017-143740/.
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O trabalho que aqui se enuncia debruçou-se sobre um álbum de canção. O exame se ancorou em dois arcabouços teóricos: o da Semiótica francesa, e seus desdobramentos tensivos, e o do Círculo de Bakhtin. A hipótese que firmou este trabalho é a de que o álbum de canção enquanto compilação compõe um todo de sentido. Ao selecionar as canções e as fotografias para compô-lo, a enunciação faz com que cada elemento funcione (pensa-se nas funções de Hjelmslev, 2003) e faça o todo significar na parte. A totalidade aponta para cada parte no momento em que cada membro pulsa a totalidade. O trabalho não atentou apenas às canções, mas também lançou luz à imagem/fotografia que inaugura o encarte do álbum de canção, para o que foram bem-vindos os postulados da Semiótica Visual. Dessa totalidade de enunciados emerge o estilo. Uma vez no âmbito do estilo, o trabalho acolheu o pensamento de Bakhtin quando o teórico elucida sua teoria sobre os gêneros discursivos. Alavancou-se, de igual modo, o pensamento de Discini, no momento em que a teórica firma parceria entre a Semiótica e Bakhtin para pensar o Homen encarnado nos textos, que é o estilo. A presente pesquisa, então, examinou o álbum enquanto gênero discursivo, ao articular uma temática (aquilo de que se diz) e uma composição (na maneira em que se diz), ambas fundadoras, e fundadas, do/pelo estilo (um modo póprio e recorrente de dizer da maneira pela qual se diz). Da recorrência do dizer se depreende uma recorrência no modo de ser: o modo de se fazer presente. O estilo é o homem, segundo Buffon. O estilo é duas pessoas, de acordo com Bakhtin. Para se refletir acerca dos homens encarnados nos textos, o trabalho se radicou na noção de estrutura aberta, recuperada nos trabalhos de Discini (2015). A partir daí, concebeu-se o estilo como imanente e diferencial. Imanente se ancora na língua como estrutura, e por isso, fechada. Diferencial se inaugura na transcendência: a abertura da estrutura. O caráter imanente instaurou uma análise que se baseou no formal, de onde se referenciou a semiótica enquanto teoria e método imanentes. O teor transcendente só foi integrado a partir do formal, quando a pesquisa se beneficiou do pensamento de Bakhtin. Concebeu-se neste estudo, a partir da noção de estrutura aberta, a transcendência como imanente, para o que se convocou o conceito de signo ideológico, cunhado em Bakhtin (1992). O álbum a que se refere é o Setevidas (2014), da cantora e compositora Pitty. Da totalidade dos enunciados de Pitty, emergiu seu estilo como modo recorrente de dizer, que remete a seu modo de ser. Esse modo de ser é sua imagem discursiva: seu éthos. Dos rastros do enunciado à enunciação. Do actante do enunciado ao ator da enunciação. Do ator ao enunciatário. O estilo é Pitty. O estilo é Pitty e seu enunciatário. O estilo é Pitty e o mundo percebido. O trabalho examinou da imanência à transcendência, pela aparência, no âmbito de uma estilística discursiva.The research here presented dealt with a music album. The analysis was based on two different theoretical fields: the French Semiotics and its tensive unfoldings, and the Bakhtin Circle. The hypothesis formulated for this research is that the music album, as a compilation, is trespassed by a meaningful unit. In selecting the songs and the pictures in order to design it, the enunciation makes that each element functions (according to Hjelmslev, 2003) and makes the whole signify in its part. The totality points out to each part at the same time that each member connects to the totality. The research did not only pay attention to the songs, but also highlighted the picture featured in the album, to which were handful the statements of the visual semiotics. From this totality of enunciates emerges style. Once in the aim of style, the research made use of the Bakthinian theory about discursive genres. Equally important, the thought of Discini, at the moment in which the theoretician makes a link between Semiotics and Bakhtinian studies to think the Men incarnated in the texts, which means style. The current research, thus, examined the album as a discursive genre, while articulating a theme (that what is said about) and a composition (the way is said what is said), both founding and founded by and through style (a unique and recurring way of saying the way it is said). From the recurrence of the saying one can apprehend a recurrence in the way of being: the way of making oneself present. Style is the man, according to Buffon. Style is two people, according to Bakhtin. In order to reflect about the men incarnated in the texts, this work was based on the concept of an open structure, recovered in the written work of Discini (2015). From there, we conceptualized style as immanent and differential. Immanent is present in the language as a structure, therefore, closed. Differential is created in the transcendence: the opening of the structure. The immanent characteristic made the analysis become more concerned with the formal, from which Semiotics was referred to as immanent theory and method. The transcendental tone was only possible through the formal, when the research benefited from the Bakhtinian thought. It was conceived in this study, from the notion of open structure, the transcendence as immanent, to what was recalled the concept of ideological sign, coined in Bakhtin (1992). The album to which the research refers is called Setevidas (2014), by the singer and composer Pitty. Out of the totality of the enunciates by Pitty, emerged her style as a recurring way of saying, which reiterates her way of being. Such a way of being is her discursive image: her éthos. From the sources of the enunciate to the moment of the enunciation. From the actor to the interlocutor. The style is Pitty. The style is Pitty plus its interlocutor. The style is also Pitty and the world perceived. The research was made with its analysis going from the immanence to transcendence, through appearance, on a discursive stylistic bias.
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Eriksson, Linnea Viola. "Den animerade musikupplevelsen - en studie om animation som visuellt komplement på Spotify." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-160514.
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Denna studie syftar att undersöka huruvida animation som visuellt komplement på Spotify väcker större engagemang emotionellt än ett statiskt skivomslag. Animerade filmer har tagits fram till sex olika låtar på albumet 99.9% av artisten Kaytranada. Detta har gjorts genom en förstudie i form av en enkät, samt research om de befintliga filmer som finns tillgängliga på Spotify i dagsläget. Efter detta har designarbetet utförts genom brainstorming, explorativt skissande och storyboards. För att utvärdera skapades en värderingsmatris med syfte att välja ut de mest engagerande idéerna, för att sedan fortsätta med digitalt skissande och slutligen animering. Efter detta värderades animationerna gentemot det statiska skivomslaget genom en kvalitativ enkät, såväl som två olika fokusgrupper. Resultatet visade att även om animationerna ansågs något repetitiva så ansåg en majoritet att de var mer engagerande emotionellt än ett statiskt skivomslag.
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Labská, Julie. "Vliv technologií na hudební průmysl z hlediska distribuce hudby." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-162616.
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Diploma thesis deals with the influence of technologies on the music industry in terms of music distribution. In the first part the two major issues are discussed for deeper understanding of the topic. The change of perception and creation of music over certain period of time and the development of technologies related to music in historical context. Following chapters are mainly focused on current technologies, digitalization and the internet, and global turnovers which have had impact on distribution of music as a consequence of technological spread. In addition to this, the issue of legal aspects related to sharing and downloading music via internet is described. The strategies have been created and adopted by the music industry representatives as a response to the situation of increasing intensity of infringing copyright law by unauthorized sharing and decreasing number of physical media sales. The goal of these strategies has been aimed at support expansion of online music services and raising of public copyright awareness. The work analyses and assesses above mentioned strategies and estimates the possible future development of music industry. Assumptions are created on the basis of historical background and current situation. The partial objective is to evaluate whether the sales of physical media have future as a main source of income for music industry or not.
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Salerno, Stephanie. "True Loves, Dark Nights: Queer Performativity and Grieving Through Music in the Work of Rufus Wainwright." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1476645017261653.
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Wiss, Erik, and Andrée Theander. "Från färdiginspelat låtmaterial till mastrings-ideal, digitala distributionsavtal, ersättning från en radiokanal, pressade CD-skivor i kartongfodral och en budget med god vinstmarginal." Thesis, University of Skövde, School of Humanities and Informatics, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-1122.
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Syftet med det examensarbete som genomförts har varit att kartlägga processen för att på egen hand lansera sin musik i form av ett fullängdsalbum tillgängligt att köpas både i form av digitala nedladdningar och som traditionell CD-skiva.
I arbetet har vi bekantat oss med viktiga aspekter angående distributionsavtal, upphovsrätt, marknadsföring, design, foto, logotyper, texter och koder man bör känna till. En stor del av arbetet har även ägnats åt att förklara och utreda den sista delen i ljudbearbetningen - mastring. Dessutom har vi satsat på marknadsförning och exponering på Internet samt olika betalningslösningar som möjliggör skivans försäljning.
För att erhålla de nödvändiga delarna i arbetsprocessen har kontakt upprättats med bland andra: IFPI, Grammotex, N©B och Dicentia.
I rapporten får vi följa den progressiva rockgruppen Cap Outrun och deras väg till målet i form av en fallstudie.
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Ye, Shin-Mei, and 葉欣媚. "Exploring Popular Musical Culture of Tsai-hua Wang’s Album 《Song of Bobee》." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/04952947251676693100.
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碩士國立高雄師範大學
台灣歷史文化及語言研究所
101
This research explores the localization of Taiwanese music in the process of globalization. Starting from the music perspective, it is aimed to find out the presentation of glocalization in the living text and to discuss re-contextualization of pop music.I found from the culture of song reinterpretation, Taiwanese music is on the track of glocalization for song production. To explain the concept of features in music glocalization, the research studies one of the representative popular music album in Taiwan,《Songs of Bobee》 by Wang Tsai-hua. Based on the theory of glocalization, re-contextualization, active audience and literature review of song reinterpretation culture in Taiwan, the study analyzes and compares the lyrics, tunes, language use, music video and basic data from the original singer. Additionally, design and demonstration of the album, promotion approach and social reaction from public media are used as factors for external analysis to understand the internal features. The research specifically studies one of the songs in the album, 〈Bobee〉as the major contextualization and further finds out the glocalization in Taiwanese music for the existing proof of the creation of new music genre in Taiwanese culture now.
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Letts, Marianne Tatom. ""How to disappear completely": Radiohead and the resistant concept album." Thesis, 2005. http://hdl.handle.net/2152/2261.
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"Patterns and Soundscapes: An Album in Five Movements for Alto Saxophone, Bass Clarinet, String Quartet, Solo Viola, Two Drum Sets, and Electronics." Master's thesis, 2020. http://hdl.handle.net/2286/R.I.57305.
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abstract: Patterns and Soundscapes explores the concept album format, popularized in the late 1960s and into modern times by artists such as the Who, Pink Floyd, and Frank Zappa. Specifically, I sought to adapt this format as a compositional process aimed towards the completion of a large-scale work that can be presented in album format and live performance. Further influenced by the concept album, I sought to create pieces consisting of similar musical techniques, motivic ideas, and harmonic language, so that each piece could be performed on its own or be combined as a multi-movement work.
I began writing this work in the spring of 2019, with “Colored Red Currents” for string quartet and “Conspiracy Wall” for two drum sets. After realizing that both pieces had a similar sound and style, I began to consider how they could function within an album format, and how they could also work together to form a large-scale musical work. I then decided that each subsequent piece, in addition to being composed of similar musical ideas, would be written in a manner that allowed for seamless transitions between the end of one and the beginning of another, and would also introduce the instrumentation making up the full ensemble in the last movement.
This work begins with the sparkling and rapid string quartet, “Colored Red Currents,” then moves to the energetic and groove based “Conspiracy Wall” for two drum sets, the meditative “Interlude” for solo viola and electronics, and the quick and mechanical “Beat Frequency” for alto saxophone, bass clarinet, and electronics. The work ends with “ALL IN,” where the full ensemble is finally formed, and all of the patterns and soundscapes come together to form a bombastic and wild finale.Dissertation/Thesis
Masters Thesis Composition 2020
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Jhuang, Ming-hao, and 莊名豪. "A Study of Taiwanese Nursery Rhyme’s Melodic Context Analysis:A Case of Golden Melody Award Winning Best Musical Album for Children." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/92507042325707414447.
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碩士國立嘉義大學
幼兒教育學系研究所
98
This study was dedicated to comparing and contrasting between the melodic features of traditional and modern Taiwanese nursery rhymes, with a purpose to better understand them. Based on research questions, the research instruments included four dimensions: lyrics and scores, tonal texture, melodic intervals, and melodic types. To examine each musical element’s applicability as singing material for children aged 4 to 6, two of the best children’s musical albums nominated for Golden Melody Awards were chosen as the material: Where Is Spring and Red Dragonfly and Firefly. The ten musical pieces in total were described by qualitative analyses and the results were quantified through frequency distribution, various ratios and percentages. The study yielded the following results. (I) Lyrics and scores: Phrases and lyric sentences were identical in number. Fifty percent of the lyric sentences were presented within 1 to 2 measures, while 60 percent of the melody’s length ranged from 8 to 16 measures. The frequency of a single word’s rote value presented with and was 10 percent, as that of a melody note is 20 percent. Both applied one word to multiple notes. Ninety percent of the rhythm patterns were duple meter or quadruple meter. (II) Tonal texture: The pentatonic scale was applied as the structural and functional scale in fifty percent of the melodies. Distinct and corresponding tonality took up 20 percent. As for the range, neither the highest pitch nor the lowest fell between d1to a1. Twenty percent of the phrases had intervals smaller than a third. Thirty percent of the modal scales precluded the forth and the seventh note. (III) Melodic intervals: Droning (repeat on a certain note) was applied to all melodies. Forty percent of the music pieces managed without consecutive sixteenth notes. All melodic intervals excluded the framework which involved merely stepwise or narrow leap intervals; in contrast, wide leaps above fourth intervals were adopted. Ninety percent of the music pieces did not apply accidental signs. None of the melodic intervals completely adopted a descending minor third. Major scales dominated 90 percent of the music pieces. (Ⅳ) Melodic types: Twenty percent of phrases could be divided into more or less than two motives of minor phrases two measures in length. None of them were laid out with two-four time phrases consisted of four measures. Ten percent of the musical pieces were ditties which initiated and ended in four measures. It was 50 percent when presented by the five-scale motivation quotient. Finally, research results and suggestion were provided as reference for parents, music instructors, songwriters, or future researchers.
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Pires, Benjamin Larpent. "Ben’artivist – maskofanark." Master's thesis, 2020. http://hdl.handle.net/10400.14/34510.
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Com este relatório pretendo descrever o desenvolvimento do álbum “Mask Of Anark”,uma obra da qual sou o autor e compositor de todos os temas. Esta produção musical desenvolveu-se em quatro fases de construção determinantes: composição instrumental, composição lírica, gravação e mistura. O processo de construção é descrito neste relatório desde a criação de um instrumental, gravação até à fase final de mistura. Este álbum oferece uma grande diversidade de estilos musicais centrados no hip-hop português. As mensagens do álbum estão focadas no declínio da sociedade atual, alertando para um sistema que nos torna reféns, que escraviza, que leva ao colapso da sociedade e à falta de empatia social. Uma vida melancólica que nos leva à loucura. Este álbum é um manifesto antis sistema, onde se misturam as raízes do hip-hop aos mais variados géneros de eletrónica como o dubstep, o trap, o drill criando-se, assim, uma identidade própria com a fusão de vários estilos musicais.The following report refers to the development of the album “Mask Of Anark”,composed and produced by my alternative identity, Ben’Artivist. The project was organized in four stages of development: first the instrumental production, then the song writing, after that the voice recording and finally the mixing stage, all described in this report. The album presents a wide diversity of musical styles with a noticeable influence of Portuguese Hip-Hop. The message of the project is focused on the destruction of the system in which we are stuck without awareness; an imprisoning system causing the world’s collapse, a melancholic life filled with a sense of rage and lack of social empathy, that leads us to a state of madness. This album is an antisystem manifest, in which the roots of hip-hop are mixed with genres such as dubstep, trap, drill.
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Chen, Yu-Kai, and 陳郁凱. "A Study on the Cover Design of Kun – Chi Tsai’s Indie Musical Albums." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/72gwby.
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碩士臺北市立大學
視覺藝術學系
107
Keywords: independent music, album cover design, illustration art, Kun-Chi Tsai Along with the time goes, the music market in Taiwan has gradually changed everywhere. Music promotion used to be found in TV or radio ad, but now is changing to the Internet platform. Audiences used to be a pop trend, but now are turning to niche taste. Although the music market environment change crash the mainstream music, independent music also has a chance to listen. Independent music is a new style of music which is known for unique viewpoints for explaining society and people’s daily life and experimental songs creating the different style compared with mainstream songs. Recently, independent music has a great proposition in the Chinese music market year by year because of these advantages including inexpensive cost, simple music structure and focusing on music creation. Independent music has a tremendous impact not only gives abundant style in the music market but also stimulates new commercial opportunities in different music festivals and themes in recent years. Along with music development, albums are not only for listening to music but collecting. Thus, album corporation starts taking album cover design seriously, expecting that preciously design can appeal consumer’s collection. To sum up, this thesis collects independent music album cover, found that independent music has a great proportion using illustration design. It can cumulate three reasons, first of all, independent music producers do not have exposures, and it may cause inefficient promotion in portrait photography. Secondly, illustration style can express its unrestrained experimental music style. Thirdly, illustration enables inexpensive budget compared to realistic photography in terms of visualization effect. Hence, this thesis uses Tsai’s seven albums as research targets to investigate the connection and appropriation between illustration and music. By using research survey approach and KJ approach, it has re-designed music performances which have large scales between album ingredient and visualization. Following is this thesis consolidate research purpose, 1. Clarify the development of independent music and illustration culture’s background by literature and former research. 2. Design the questionnaire by investigation analysis approach, in order to realize these seven albums cover design can whether correctly convey messages to audiences by using colors and visual elements and provides an example for the later designer. 3. Through re-design procedure and reviewing, it can restart using illustration style on album cover design, appealing young generations to know independent music.
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Fournier, Jesse. "Feuillets pour un album didactique analyse de quatre œuvres dont 3 fugues et la Fantasia Quasi Variazione." Thèse, 2014. http://hdl.handle.net/1866/12799.
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Le but de ce document est d’offrir une analyse détaillée de trois fugues et d’une pièce pour orchestre de chambre, pièces composées entre 2013 et 2014 et qui constituent le sommet d’une démarche compositionnelle visant la gradation de difficulté d’écriture et d’exécution. Leur analyse comprend : une explication détaillée de leur position dans l’album, une explication du ou des concepts qui les sous-tendent en plus d’une analyse des différentes sections de toutes les pièces.The purpose of this document is to offer a detailed analysis of three fugues and a piece for orchestra, all of which were composed between 2013 and 2014, and who constitutes the summit of a compositionnal approach that was based on a gradation of difficulty in performance and writing. This analysis includes : A detailed explanation of the place these pieces occupy among the album, an explanation of the concept or concepts that underlayed these compositions and a detailed analyses of every section of every composition.
The purpose of this document is to offer a detailed analysis of three fugues and a piece for orchestra, all of which were composed between 2013 and 2014, and who constitutes the summit of a compositionnal approach that was based on a gradation of difficulty in performance and writing. This analysis includes : A detailed explanation of the place these pieces occupy among the album, an explanation of the concept or concepts that underlayed these compositions and a detailed analyses of every section of every composition.
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Prifti, Egli. "Klavír v soudobé albánské hudbě." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-334657.
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This dissertation deals with comprehensive analysis of contemporary Albanian piano pieces. There have been selected compositions with artistic and educational value for these purposes. The pieces also represent different genres of Albanian piano music. Genres are exceptionally important in this view; the stylish range was reduced, in recent past. The reason was based not on cultural field, but on strict ideological rules. Piano music is embedded in a broader historical context that allows to stress the peculiarities of the Albanian musical language and thereby to clarify the uniqueness and value of selected compositions for the educational needs. Keywords Piano; album, folk-music; neoclassical style; analysis; pedagogical interpretation