Relevant bibliographies by topics / Popular music in visual art

Contents

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

Academic literature on the topic 'Popular music in visual art'

Author: Grafiati
Published: 12 December 2022
Last updated: 27 January 2023

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Journal articles on the topic "Popular music in visual art"

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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 (May 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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Double, Oliver. "Punk Rock as Popular Theatre." New Theatre Quarterly 23, no. 1 (January 16, 2007): 35–48. http://dx.doi.org/10.1017/s0266464x06000613.

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Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, characterization, and audience–performer relationships, arguing that these are as important and carefully considered as the music they play. Art movements such as Dada and Futurism were important influences on the early punk scene, and Double shows how, as with early twentieth-century cabaret, punk performance manages to include avant-garde elements within popular theatre forms. Oliver Double started his career performing a comedy act alongside anarchist punk bands in Exeter, going on to spend ten years on the alternative comedy circuit. Currently, he lectures in Drama at the University of Kent, and he is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005).
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.

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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.

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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 1, no. 1 (January 1, 1991): 176–90. http://dx.doi.org/10.1093/ywcct/1.1.176.

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BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 2, no. 1 (January 1, 1992): 198–217. http://dx.doi.org/10.1093/ywcct/2.1.198.

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Buckley, D. "Popular Music." Year's Work in Critical and Cultural Theory 3, no. 1 (January 1, 1993): 317–40. http://dx.doi.org/10.1093/ywcct/3.1.317.

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BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 4, no. 1 (January 1, 1994): 317–35. http://dx.doi.org/10.1093/ywcct/4.1.317.

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BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 5, no. 1 (January 1, 1995): 195–213. http://dx.doi.org/10.1093/ywcct/5.1.195.

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BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 6, no. 1 (January 1, 1996): 153–74. http://dx.doi.org/10.1093/ywcct/6.1.153.

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Dissertations / Theses on the topic "Popular music in visual art"

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Piotrowski, Stephanie Anne. ""All I've got to do is act naturally" : issues of image and performance in the Beatles' films." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/51353.

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In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. Such elements in the Beatles’ carefully constructed image reflected youth culture and countercultural thoughts and beliefs. Finally, through a close analysis of the Beatles’ musical sequences I have shown how experimentation with artistic synergy enabled the band to produce new and innovative films and lyrics while allowing each member to develop as individual musicians. This experimentation and willingness to undermine traditional film and pop music practices helped to change artists’ approaches in the entertainment industries.
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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.

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Shank, Jennifer Sue. "THE EFFECT OF VISUAL ART ON MUSIC LISTENING." UKnowledge, 2003. http://uknowledge.uky.edu/gradschool_diss/397.

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The purpose of this study was to examine the effect of visual stimuli on music listening skills in pre-service elementary teachers. Visual Stimuli in this study refers to the presentation of arts elements in selected visually projected images of paintings. Music listening skills are defined as those skills needed to identify and interpret musical excerpts. A Pretest-Posttest Control-group Design was used in this study. Subjects were pre-service elementary general educators enrolled in a large southern university (N=93). Students from intact classes were randomly placed into either the experimental group or the control group. The treatment consisted of six music listening lessons over a two-week period with each group receiving the identical teaching protocol with the exception of the use of paintings with the experimental group. Listening instruction emphasized the identification of melodic contour, instrumentation, texture, rhythm and expressive elements of the compositions. The Teacher Music Listening Skills Test (TMLST) was constructed by the investigator and administered before and after the treatment. The TMLST was designed to assess music listening skills in adult non-musicians. Results indicate that the group receiving visual stimuli in the form of paintings scored significantly higher on listening skills (pandlt;.01) than the control group which received no visual stimuli in the form of visually projected images of paintings. There was an instruction effect on both preference and familiarity of the musical pieces for both the control group and the experimental group.
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Linscott, Charles P. "Sonic Overlook: Blackness between Sound and Image." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.

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Bonner, Sarah. "Fairy tales and feminism in contemporary visual art and popular culture." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518484.

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Nicholls, Matthew. "Interactions between contemporary American independent cinema and popular music culture." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367385/.

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In recent years, many American independent films have become increasingly engaged with popular music culture and have used various forms of pop music in their soundtracks to various effects. Disparate films from a variety of genres use different forms of popular music in different ways, however these negotiations with pop music and its cultural surroundings have one true implication: that the 'independentness' (or 'indieness') of these movies is informed, anchored and embellished by their relationships with their soundtracks and/or the representations of or positioning within wider popular music subcultures. Independent American cinema, often distinguished from mainstream Hollywood cinema in terms of the separateness of its production or distribution, or its thematic and/or formal transgressions, can also be seen as distinctive in terms of its musical expression. This thesis will investigate the impact that these popular music cultures have had on contemporary American independent film since the 1980s. The primary objective of this thesis is not to discuss how these films are positioned within the industry (this has been done elsewhere), nor is it the aim to scrutinise a film's independentness (or 'unindependentness') in terms of its production, but rather to assert how music functions in these films and how a notion of independence (indieness) can be measured from the relationship between the film, its soundtrack, and a wider music culture. This will involve textual analyses of how popular music has been used to score a selection of key independent films (ranging from Blue Velvet and Do the Right Thing through to Ghost World and Juno), how popular music trends and subcultures have been represented on screen (such as dance music culture in Go), and how the film and music worlds have interacted, particularly through collaborations between directors and pop musicians (such as Darren Aronofsky and Clint Mansell).
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Whyte, Ross. "Perpetual erosion : impermanence in audio-visual intermedia." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196018.

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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.

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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Woods, Carrie L. "Visual Culture: A Case Study." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1193266191.

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Hendrickson, Laura M. "Against photography : the idea of music in Pre-Raphaelite visual reform." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318327.

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Books on the topic "Popular music in visual art"

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Kivinen, Kati. Thank you for the music: How music moves us. Helsinki, Finland: Museum of Contemporary Art Kiasma, 2012.

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Lanier, Jaron. Truth, technology, and the visual/virtual world. Cleveland: Cleveland Public Library, 2006.

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Deborah, Cherry, ed. Art : history : visual : culture. Malden, MA: Blackwell Pub., 2005.

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Cornelia, Lund, and Lund Holger 1967-, eds. Audio visual: On visual music and related media. Stuttgart: Arnoldsche Art Publishers, 2009.

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Principles of music and visual arts. Lanham, MD: University Press of America, 1986.

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Department of Education and Science. Arts education: Visual art. Dublin: Stationery Office, 2000.

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Walker, John A. Cross overs: Art into pop/ pop into art. London: Methuen, 1987.

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Albert, Walker John. Cross-Overs: Art into Pop, Pop into Art. London: Comedia/Methuen, 1987.

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Walker, John A. Cross-overs: Art into pop = pop into art. London: Comedia, 1987.

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Conway, Garry. Copyright, a practical guide for visual & media artists. Toronto: Canadian Artists' Representation Ontario, 1997.

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Book chapters on the topic "Popular music in visual art"

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Mednicov, Melissa L. "Sounding Pop Art." In Pop Art and Popular Music, 96–114. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-6.

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Dillon, Lorna. "Turning Protest Music into Art." In Violeta Parra’s Visual Art, 115–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38407-4_4.

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Mednicov, Melissa L. "Introduction." In Pop Art and Popular Music, 1–15. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-1.

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Mednicov, Melissa L. "How to Hear a Painting." In Pop Art and Popular Music, 16–38. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-2.

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Mednicov, Melissa L. "Pink, White, and Black." In Pop Art and Popular Music, 39–57. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-3.

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Mednicov, Melissa L. "The Sound and Look of Melodrama in Pauline Boty’s Pop Paintings." In Pop Art and Popular Music, 58–77. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-4.

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Mednicov, Melissa L. "Soundtrack Not Included." In Pop Art and Popular Music, 78–95. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-5.

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Mednicov, Melissa L. "Conclusion." In Pop Art and Popular Music, 115–18. New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781351187398-7.

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Medeiros, Beatriz, and Natalia Dias. "Crowdfunding is Not for Everybody: Performance in the Art of Asking." In Popular Music Studies Today, 85–95. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_9.

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Strange, Simon. "What Lessons can Higher Popular Music Education Learn from Art School Pedagogy?" In Popular Music Studies Today, 271–80. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_28.

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Conference papers on the topic "Popular music in visual art"

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Liu, Jinge, and Shuyu Wang. "Piano4Play: An Automated Piano Transcription and Keyboard Visualization System using AI and Deep Learning Techniques." In 8th International Conference on Control, Modeling and Computing (CMC 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.120502.

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Piano keyboard visualization was very popular right now, but there are very few virtual piano keyboard visualizations right now [1]. I was using unity to show the virtual piano keyboard and then they can play piano pieces by themselves or play a recording online [2]. After that you can listen and see how the recording pieces play it on the visual keyboard to give them a clear idea about how the songs played on a keyboard2 [3]. For those who played by themselves it can let them heard and know also when the visual piano play for them, they can tell if they have offbeat playing or they missing not. Piano4Play is an automated piano transcription and keyboard visualization system using AI and deep learning techniques. The user could upload a recorded piece of music, and our app would visualize the music on a digital piano keyboard. The user could see how the music is played visually in order to help piano beginners to see how the music will be played on piano in order to help them learn more quickly and easier, and advanced players could use the app to see whether they made any mistake when they are playing so they can get some improvement. Our app uses wav and MIDI files, repl, real-time database, google Collab and Unity.
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Muller-Eberstein, Maximilian, and Nanne van Noord. "Translating Visual Art Into Music." In 2019 IEEE/CVF International Conference on Computer Vision Workshop (ICCVW). IEEE, 2019. http://dx.doi.org/10.1109/iccvw.2019.00378.

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Wands, Bruce. "Thoughts on Hesse, Digital Art and Visual Music." In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185994.

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Schwamstecher, Jorg. "Music." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.254024.

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Lee, Chang Ku, and Seungyon-Seny Lee. "Fusing Korea and Cuban Rhythms to Derive Rhythm Contents for Popular Music." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.113.01.

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Guo, Wei. "Criticism and Reconstruction of Visual Metaphor to Art Ethics from the Perspective of Popular Art." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.43.

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Smith, Sean M., and Glen N. Williams. "A visualization of music." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259283.

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Zand, Manizheh, and Maria Kyrarini. "Sensing Visual Art by Relatable Music and Haptic Feedback for Individuals with Visual Impairments." In PETRA '22: The15th International Conference on PErvasive Technologies Related to Assistive Environments. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3529190.3534785.

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Coignoux, Eric. "MTV music awards 95---les numeros de cirque." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.254023.

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Sugianto, Donna. "Stimulating Toodler’s Intellegence by using Music and Art Activities." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294722.

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Reports on the topic "Popular music in visual art"

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Nucera, Diana J., and Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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