Literatura académica sobre el tema "Album concept"
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Artículos de revistas sobre el tema "Album concept"
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Jovanovic, Jelena. "The appearance of concept albums in Yugoslav popular music: Kamen na kamen - long play records". Muzikologija, n.º 17 (2014): 167–94. http://dx.doi.org/10.2298/muz1417167j.
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It is commonly understood that a concept album is ?a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story? (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s and 1970s brought the most influential releases of this kind, especially The Beatles? album Sgt. Pepper?s Lonely Hearts Club Band (1967), which has had a great impact on many authors. As far as is known, the topic of concept albums in Yugoslavia has not yet been elaborated, so this article seems to be the first dedicated to this subject. It seems that in Yugoslavia there had been albums with elements of concept released before the appearance of the Kamen na kamen group album in 1973, entitled LP-60993 (Zagreb: Jugoton). The author of the album was Nikola Borota Radovan. After that, a double LP by the same ensemble and songwriter appeared in 1975 entitled OOUR/AVNOJ (RTV Ljubljana), with even more clearly expressed characteristics of concept. The aim of this article is to show that the thematic and conceptual elements of these editions are firmly connected to those of the concept album. These LPs were formed within the following thematic and contextual frames: 1) Borota`s general inclination towards folklore tradition(s) as a permanent source of inspiration, 2) models among the greatest popular music works that influenced his writing projects, primarily The Beatles? concept albums, and 3) social, economic and political circumstances in Yugoslavia at the time when these albums appeared. Even if it is not strictly a concept album in the full sense, the album LP- 60993 might be regarded as the first album with elements of concept published by a Yugoslav author, according to all the criteria and analyzed results. The elements that show a clear connection to the concept are as follows: leading subject(s)/idea(s) that demand(s) the order of compositions, organization of musical elements and motives on macro- and micro-levels (to produce formal and thematic unity), elements of narrative and musical/sound symbols, including elements of musique concr?te.
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Grier, James. "“What a Concept! What, a Concept? What Concept?” The Byrds, Jefferson Airplane, and the Early Days of the Concept Album". Journal of Musicology 39, n.º 2 (2022): 209–24. http://dx.doi.org/10.1525/jm.2022.39.2.209.
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While almost everyone agrees that the Beatles set the bar for the concept album, many would argue about possible precursors, rivals, and imitators. Two releases frame the Beatles’ two most important albums: the Byrds’ Fifth Dimension appeared on July 18, 1966, just weeks before the release of Revolver on August 5 and 8 (the British and US releases, respectively); while Jefferson Airplane’s After Bathing at Baxter’s was released in late November 1967, nearly six months after Sgt. Pepper’s Lonely Hearts Club Band appeared on June 1 and 2. Fifth Dimension and After Bathing at Baxter’s each provides its own interpretation of how thirty to forty minutes of music, articulated by a break halfway through between the end of side one and the beginning of side two, should proceed. The Byrds create an artful succession of songs familiar from single releases and new material, generating a multitude of stylistic cross-references and binding the album together despite the variety of styles it embraces, including Dylanesque psychedelia, Coltrane-inspired jazz, and items from the traditional folk repertory. The Airplane, on the other hand, attempt to string groups of two or three songs together into “suites,” as the band terms them on the jacket, with greater or lesser success. But the overall structure of the album depends on the strength of the material with which each side begins and ends. Both Fifth Dimension and Baxter’s contribute their own perspectives on how the album could become a well-integrated, thoughtful, and creative collection of material.
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Barski, Kamil. "Koncept album – między teorią a praktyką i literaturą a muzyką. Próba wyostrzenia definicji i propozycja metody badania mechanizmów spójności". Przestrzenie Teorii, n.º 37 (30 de diciembre de 2022): 97–120. http://dx.doi.org/10.14746/pt.2022.37.6.
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In its title, this article indicates two purposes. The first is to attempt to give a precise description of the category of the concept album, whose specificity (also in the opinion of foreign researchers) is usually described in a blurred, intuitive and rather imprecise way. This attempt is made through reference to the literary side of this kind of album. Based on these reflections, the author also attempts to create a typology of concept albums, which constitutes a fluent transition to the second purpose of the article, namely to propose (in terms of this field of knowledge, which we call linguistics of text and discourse) a method for analysing the coherence mechanisms seen in lyrics of this sort of album. Although it is not a theory in the strict sense, the author’s intention was to lend it a practical usability: it is an operation whose purpose is to support the interpretation of concept albums.
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Mazzanti, Sergio. "The live album or many ways of representing performance". Muzikologija, n.º 17 (2014): 69–86. http://dx.doi.org/10.2298/muz1417069m.
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The analysis of live albums can clarify the dialectic between studio recordings and live performances. After discussing key concepts such as authenticity, space, time and place, and documentation, the author gives a preliminary definition of live albums, combining available descriptions and comparing them with different typologies and functions of these recordings. The article aims to give a new definition of the concept of live albums, gathering their primary elements: ?A live album is an officially released extended recording of popular music representing one or more actually occurred public performances?.
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Wardani, Reza Kusuma, Panji Adam Agus Putra y Neng Dewi Himayasari. "Analisis Konsep Jual Beli Imam Hanafi dan UU Perlindungan Konsumen terdahap Jual Beli Album K-Pop Melalui Media Sosial X". Bandung Conference Series: Sharia Economic Law 5, n.º 1 (31 de enero de 2025): 7–12. https://doi.org/10.29313/bcssel.v5i1.17043.
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Abstract. This research is motivated by the buying and selling of K-pop albums through social media X, where K-pop albums sold by the seller have contents that are given randomly. Therefore, there are buyers who feel disappointed because the contents of the K-pop album they have bought do not match what they want. The purpose of this research is to find out the concept of Imam Hanafi's sale and purchase of K-pop albums through social media X and the Consumer Protection Law. The research method used is qualitative with a juridical-empirical approach. By using data sources obtained through field observations on social media X and interviews with fans who have bought K-pop albums through social media X and literature studies such as journals, articles, and so on. The discussion in this study is related to Imam Hanafi's concept of buying and selling against buying and selling K-pop albums through social media X and the Consumer Protection Law. The results of this study are that the sale and purchase of K-pop albums on social media X in its pillars have been fulfilled but the conditions have not been fully met because there are still buyers who feel disappointed with the contents of the albums obtained randomly and cause losses. In the Consumer Protection Law, buyers are entitled to compensation if the goods they buy are not suitable. So it can be concluded that the sale and purchase of K-pop albums according to Imam Hanafi does not meet the requirements and in the Consumer Protection Law the buyer has the right to compensation. Abstrak. Penelitian ini dilatarbelakangi oleh jual beli album K-pop melalui media sosial X yang dimana album K-pop yang dijual oleh pihak penjual terdapat isi yang diberikan secara acak. Oleh karena itu, terdapat pembeli yang merasa kecewa karena isi album K-pop yang telah dibelinya tidak sesusai dengan yang diinginkan. Tujuan penelitian ini untuk mengetahui konsep jual beli Imam Hanafi terhadap jual beli album K-pop melalui media sosial X serta Undang-undang Perlindungan Konsumen. Metode penelitian yang digunakan adalah kualitatif dengan pendekatan yuridis-empiris. Dengan menggunakan sumber data yang didapat melalui observasi lapangan pada media sosial X dan wawancara kepada penggemar yang pernah membeli album K-pop melalui media sosial X serta studi literatur seperti jurnal, artikel, dan lain sebagainya. Pembahasan dalam penelitian ini terkait konsep jual beli Imam Hanafi terhadap jual beli album K-pop melalui media sosial X serta Undang-Undang Perlindungan Konsumen. Hasil penelitian ini jual beli album K-pop dalam media sosial X dalam rukunnya sudah terpenuhi tetapi dalam syaratnya belum sepenuhnya terpenuhi karena masih terdapat pembeli yang merasa kecewa dengan isi album yang didapat secara acak dan menimbulkan kerugian. Dalam Undang-Undang Perlindungan Konsumen pembeli berhak mendapatkan ganti rugi apabial barang yang dibelinya tidak sesuai. Sehinggan dapat disimpulkan jual beli album K-pop menurut Imam Hanafi tidak memenuhi syarat dan dalam Undang-Undang Perlindungan Konsumen pembeli memiliki hak untuk mendapatkan ganti rugi.
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Merlini, Mattia. "The Second Death of Concept Albums World-Building and Unification Strategies in the Age of Streaming". Interdisciplinary Studies in Musicology, n.º 21 (21 de noviembre de 2021): 57–73. http://dx.doi.org/10.14746/ism.2021.21.4.
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As the end of the album format is apparently drawing near due to the radical change in music consumption habits motivated by streaming services, artists and genres interested in creating musical works with meanings broader than those of single songs find themselves in a situation worth analysing. Despite all appearances and expectations, I argue that nowadays artists willing to create narrative, thematic or generally conceptual contexts for their songs are living in a potential second golden age of concept albums. Some attempts at keeping the (concept) album alive are more alike to an act of resistance, others creatively take advantage of the same means of communication used by their digital enemy, in order to create something unique and capable of taking the place of the supposedly doomed CD/lP format. They are often transmedial works, thus requiring an interdisciplinary analysis. In this paper, I offer an overview of the contemporary situation of the album format (and concept album more specifically) and finally propose a classification of four forms of contemporary musical world-building strategies, starting from a selection of emblematic case studies.
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Zebboudj, Iddir. "Le concept album : une vaste « escrockerie » ?" Volume !, n.º 4 : 2 (15 de septiembre de 2005): 107–17. http://dx.doi.org/10.4000/volume.1397.
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Neimoyer, Susan. "The Cyclic Nature of Joni Mitchell's Court and Spark". Articles 34, n.º 1-2 (26 de mayo de 2015): 3–32. http://dx.doi.org/10.7202/1030868ar.
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Current scholarship recognizes several of Joni Mitchell’s albums as being cyclic, or based on a unifying concept. Court and Spark (1974), however, is not numbered among them, despite Mitchell’s having described it as “a discourse on romantic love.” Following the inference that this album may have been conceived as an extended, multi-movement work, this article examines both its textual and musical aspects, seeking unifying characteristics. The cyclic nature of the album is uncovered, showing it to be more unified from a musical perspective than a textual one. This approach is the opposite of Mitchell’s perceived norm, suggesting her compositional process may have been more sophisticated than is currently thought.
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Stimeling, Travis D. "‘Phases and stages, circles and cycles’: Willie Nelson and the concept album". Popular Music 30, n.º 3 (21 de septiembre de 2011): 389–408. http://dx.doi.org/10.1017/s0261143011000213.
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AbstractWhile many rock artists explored the compositional possibilities of the concept album in the 1960s and 1970s, Nashville's country music community largely ignored the format. But a few artists working on the fringes of country music – and who, notably, aligned themselves with the countercultural images and attitudes of the time – did begin to experiment with the format in the first years of the 1970s. Chief among them was country songwriter and recording artist Willie Nelson who, by the dawn of the 1970s, was on the verge of breaking away from Music Row to seek more lucrative opportunities in Texas. This article explores the role that Nelson's experimentation with the concept album played in his efforts to adopt a countercultural image, develop a younger audience and challenge the hegemony of the country music industry. Moreover, close examination of Nelson's compositional approach to three albums – Yesterday's Wine (1971), Phases and Stages (1974) and Red Headed Stranger (1975) – reveals that Nelson consciously blended the singles-based approach to songwriting that predominated in 1960s and 1970s Nashville and the extended narrative and musical forms of contemporaneous rock music to create musical products that suited the needs of country radio and rock fans alike.
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Vajda, Peter, Ivan Ivanov, Jong-Seok Lee y 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.
Tesis sobre el tema "Album concept"
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Kuzmina, Julia. "Histoire et sémiologie narrative des albums concepts : les exemples des corpus québécois et français de 1968 à 1987". Electronic Thesis or Diss., Valenciennes, Université Polytechnique Hauts-de-France, 2025. http://www.theses.fr/2025UPHF0003.
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Cette thèse examine des albums concepts français et québécois de 1967 à 1987. Elle aborde l’album concept à la fois comme une œuvre narrative plurimédiale, dont les composants sont organisés autour d’un fil conducteur sémantique, et comme une production phonographique sur le marché musical, évoluant parfois en franchise transmédiatique. L’étude se concentre sur deux processus clés, la mise en album et la mise en marché, en analysant leurs formes, leurs objectifs et leur déploiement dans la musique française et québécoise de la période étudiée. Avec une approche narratologique, ce travail vise à identifier comment la narrativité des albums se manifeste à tous les niveaux : paroles, musique, performance vocale, ingénierie du son, images et structure de la pochette, récit promotionnel, spectacles et adaptations transmédiales. Par ailleurs, une perspective cantologique est utilisée pour caractériser l’esthétique des albums concepts français et québécois au sein de la chanson francophone et de la musique populaire occidentale en général, notamment par rapport au corpus anglophone de la même périodeThis thesis examines French and Québécois concept albums from 1967 to 1987. It approaches the concept album both as a pluri-medial narrative work, in which the components are organized around a central semantic thread, and as a phonographic product in the popular music market, sometimes evolving into a transmedia franchise. The study focuses on two processes, the album sequencing and the album release strategy, in order to understand their forms, objectives, and deployment in French and Québécois music during the studied period. Employing a narratological approach, this work aims to identify how the narrativity of concept albums manifests at all levels : lyrics, music, vocal performance, sound engineering, cover art and album packaging, promotional narrative, the artist’s public persona, live performances, and transmedia adaptations. Additionally, a cantological perspective is used to characterize the aesthetics of French and Québécois concept albums within chanson Francophone and Western popular music in general, particularly in comparison to the Anglophone corpus of the same period
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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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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.
Trabajo de investigación
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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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Gras, Isabelle. "La métaphore dans les albums de Shaun Tan : concepts, modes d’expression et réception par les enfants". Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30043.
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La métaphore visuelle constitue un procédé récurrent dans les albums de Shaun Tan qui l’utilise pour interroger le regard, dans une démarche inspirée par le surréalisme. S’appuyant sur la théorie de la métaphore conceptuelle de Lakoff et Johnson, cette thèse considère la métaphore comme un processus de construction du sens. L’approche systémique fonctionnelle de l’image de Kress et van Leeuwen permet de dégager les liens entre les procédés visuels et le sens, et les métaphores visuelles sont analysées à partir des catégories déterminées par Forceville. L’étude des métaphores de Tan révèle que ce processus de pensée et son expression visuelle permettent à un public allant de l’adulte à l’enfant d’accéder au sens non littéral des albums. Les métaphores contextuelles des USA et de l’Australie dénoncent les choix de la société contemporaine en matière de migration, sous la forme d’une fable dans The Lost Thing ou d’un roman graphique utopique dans The Arrival tandis que les métaphores verbo-picturales de Tales from Outer Suburbia questionnent la relation entre l’homme, l’animal et la nature. The Red Tree et Rules of Summer développent une réflexion sur les émotions et les relations humaines, à travers les métaphores conceptuelles de la dépression, et les représentations des codes sociaux dans les jeux partagés par deux frères. L’étude de Rules of Summer dans une classe de maternelle montre que de jeunes enfants perçoivent l’inadéquation de l’interprétation littérale de nombreux éléments ou de scènes représentés et cherchent à justifier leurs interprétations. Les images de Tan peuvent ainsi être mises à profit pour construire la compétence métaphorique chez l’enfantVisual metaphor represents a recurrent process in Shaun Tan’s picture books as he uses it to question the reader’s gaze, in a way reminiscent of surrealism. Drawing on Lakoff and Johnson’s conceptual metaphor theory, this thesis considers metaphor as a meaning making process. Kress and van Leeuwen’s systemic functional approach to images accounts for the links between visual processes and meaning, and Forceville’s categories provide a basis to analyze the visual metaphors. The study of Tan’s metaphors reveals that this thinking process and its visual expression make it possible for readers ranging from adults to children to access the non literal meaning of his albums. Contextual metaphors of the USA and Australia denounce contemporary society’s choices regarding migration, through a fable in The Lost Thing or a utopic graphic novel in The Arrival. In Tales from Outer Suburbia, verbo-pictural metaphors question the relationship between men, animals and nature. Emotions and human relationships are evoked and questioned through conceptual metaphors of depression in The Red Tree, and metaphorical representations of social codes through the games shared by two brothers, in Rules of Summer. A study of Rules of Summer in Kindergarten shows that young children perceive the inadequacy of a literal interpretation for many of the represented elements or scenes, and that they try to justify their interpretations. Tan’s images can thus successfully contribute to developing the metaphorical competence of children
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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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Hsieh, Chia-Yien y 謝佳晏. "A Study of New Scale Concept in Postmodern Art for CD Cover Design–A Case of The Album by The Underground Band "Mapi" in Taiwan". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/25504720803362937044.
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碩士輔仁大學
應用美術學系碩士班
96
The topic of this study is concerning the design of CD Cover on the Underground Music in Taiwan. Putting the Postmodern Art Style of new scale's idea into the creation, the main conception is the development of using the Postmodern Art Style on the Underground Music in Taiwan. From the references analyze and confer the form and feature of the Postmodern Art Style, especially on the argument and analysis of new scale. By concerning the evolvement of the CD Cover design on the Underground Music in Taiwan, realizing the development of the Underground Music in Taiwan, and understanding the style's changes and blind spots of the CD Cover of Underground Music in Taiwan. Furthermore, from applying Content Analysis to analyze the CD Cover designer Xiao Qing-Yang 's designing the CD cover of alternative music, from analyzing the CD cover design on the Underground Music in Taiwan over the years, and cooperating the interview with the CD Cover designer Xiao Qing-Yang 's -- knowing his creation conception as the assistance rule of designing, we will use the student underground music group"Mapi"as the real create study.
Libros sobre el tema "Album concept"
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Thiesing, Lisa. Me & you: A mother-daughter album. New York: Hyperion Books for Children, 1998.
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Thiesing, Lisa. Me & you: A mother-daughter album. New York: Hyperion Books for Children, 1998.
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Carroll, Evan. Your digital afterlife: When Facebook, Flickr and Twitter are your estate, what's your legacy? Berkeley, CA: New Riders, 2011.
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Wolfson, Eric. Fifty Years of the Concept Album in Popular Music. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9781501391842.
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The concept album is one of popular music’s most celebrated—and misunderstood—achievements. This book examines the untold history of the rock concept album, from The Beatles to Beyoncé. The roots of the concept album are nearly as old as the long-playing record itself, as recording artists began using the format to transcend a mere collection of songs into a listening experience that takes the listener on a journey through its unifying mood, theme, narrative, or underlying idea. Along the way, artists as varied as the Moody Blues, Jimi Hendrix, Joni Mitchell, Pink Floyd, Parliament, Donna Summer, Iron Maiden, Radiohead, The Notorious B.I.G., Green Day, Janelle Monáe, and Kendrick Lamar created albums that form an extended conversation of art and music. Limits were pushed as the format grew over the subsequent eras. Seminal albums like the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, the Who’s Tommy, Marvin Gaye’s What’s Going On, stand alongside modern classics like Liz Phair’s Exile in Guyville, Kendrick Lamar’s good kid, “m.A.A.d city,” and Beyoncé’s Lemonade. Mixing iconic albums with some newer and lesser-known works makes for a book that ventures into the many sides of a history that has yet to be told—until now.
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Radiohead and the resistant concept album: How to disappear completely. Bloomington: Indiana University Press, 2010.
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Letts, Marianne Tatom. Radiohead and the Resistant Concept Album: How to Disappear Completely. Indiana University Press, 2010.
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Letts, Marianne Tatom. Radiohead and the Resistant Concept Album: How to Disappear Completely. Indiana University Press, 2011.
Buscar texto completoCapítulos de libros sobre el tema "Album concept"
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Turner, Laura. "Beatle Country: A Bluegrass ‘Concept Album’ from 1966". En New Critical Perspectives on the Beatles, 77–94. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57013-0_5.
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Coelho, António y Luís Miguel Costa. "The Integration of Augmented Reality and the Concept of Sticker Album Collection for Informal Learning in Museums". En Communications in Computer and Information Science, 107–15. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60633-0_9.
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De Feyter, Floris, Kristof Van Beeck y Toon Goedemé. "Automatically Selecting the Best Pictures for an Individualized Child Photo Album". En Advanced Concepts for Intelligent Vision Systems, 321–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01449-0_27.
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Ferrari, Sebastiano. "On some iconic strategies in concept albums within the Italian singer-songwriter tradition". En Iconic Investigations, 295–310. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/ill.12.22fer.
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Liu, Y., Y. Zhuge y W. Duan. "Reusing Alum Sludge as Cement Replacement to Develop Eco-Friendly Concrete Products". En Lecture Notes in Civil Engineering, 75–82. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-3330-3_10.
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AbstractAlum sludge is a typical by-product of the water industry. The traditional sludge management method, disposing of sludge in landfill sites, poses a critical environmental and economic concern due to a significant increase in sludge amount and disposal cost. In this paper, the feasibility of reusing sludge as cement replacement is investigated, and the physical performance and microstructure modification of concrete products made with sludge is discussed. The obtained results indicated that a satisfying pozzolanic reactivity of sludge after calcination at high temperatures and grinding to the appropriate size was identified. When 10% cement was replaced with sludge, the reaction degree of sludge was up to 39%, and the obtained concrete blocks exhibited superior mechanical performance. Based on the microstructural analysis, e.g., x-ray diffraction, thermogravimetric analysis, and advanced nanoindentation method, the high aluminum content in sludge was incorporated into C–(A)–S–H gel; the original “Al-minor” C–(A)–S–H gel in pure cement paste was converted to ‘Al-rich’ C–(A)–S–H gel. Also, sludge promoted the formation of aluminum-bearing hydrates, such as ettringite and calcium aluminate hydrates (C–A–H). Although the Al incorporation had no significant effect on the hardness and modulus of C–(A)–S–H gel, the homogeneous mechanical properties (hardness and modulus measured with nanoindentation) of binder paste degraded with increasing sludge ash content above 10%, attributing to the lower hardness of unreacted sludge than cement clinker and the relatively lower reaction degree. Using sludge in concrete products offers an economical and environmentally friendly way to dispose of sludge and preserve diminishing natural resources. Also, the reduction of cement usage may contribute to achieving carbon neutrality.
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Bäckman, Mikael. "3. Finding Voice". En Teaching Music Performance in Higher Education, 87–106. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.04.
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This chapter explores how my own artistic research has informed my practice, not only as a musician, but also as a teacher in higher music education (HME). In my ongoing PhD project, I have investigated how a personal expression, or voice, emerges from a process initiated by transcription and imitation. I have used an analytical perspective, informed by embodied cognition, and built around the concepts of voice and affordance to try to clarify these processes. I have transcribed 13 albums by the iconic country harmonica player Charlie McCoy. Based on these transcriptions, I have analyzed McCoy’s playing style, notably charting his musical idiolect. From my analysis, I found a number of licks and strategies which he often employs. The licks are, I argue, important features of McCoy’s idiolect. With McCoy’s licks as a point of departure, I have created my own variations of these. This method of deliberately transforming my voice is my way of finding out who I am, and who I want to be, as an artist. Starting with transcriptions gave me a view of the state of the art of country harmonica playing. The next phase of my PhD project has been to implement the knowledge I gained through artistic research, on my instrumental teaching in HME. In order to investigate this further, I have sought to initiate similar processes of formation of voice in my students. I have created a single subject course for harmonica students, where the aim is to explore the process of transcription leading to a formation of an original, unique voice. In the chapter I will present examples from my own artistic study, as well as examples from my study with my harmonica students in HME.
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"The Concept Album". En Beyond and Before, Updated and Expanded Edition. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501370847.0010.
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Friedwald, Will. "The Ends of the Earth". En Straighten Up and Fly Right, 408–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190882044.003.0010.
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The 1960s began well. In 1961, Cole’s wife Maria gave birth to twin girls, and Cole sang at the Inaugural Gala for President John F. Kennedy (who later in the year made a surprise appearance at the debutante ball for Nat and Maria’s oldest child, Carole). Nat started the decade with his first concert album, Live at the Sands, and his most ambitious concept album, Wild Is Love, followed by an hour-long special for Canadian TV. In the early 1960s, he also recorded some of his most breathtakingly beautiful albums with a new collaborator, the young Ralph Carmichael, who joined him on The Magic of Christmas, the beautiful Touch of Your Lips, and Nat King Cole Sings/George Shearing Plays, which amounted to a three-way collaboration with the great British pianist, Carmichael, and Cole.
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Hamessley, Lydia R. "Jolene, the Album". En Dolly Parton's Jolene, 13–24. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197760345.003.0003.
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Abstract Dolly Parton’s Jolene was her thirteenth studio album (1974). At the time of its release, critics recognized the album’s excellence, and later critics viewed it as a major shift in her career, both in style and in Dolly’s stature as an artist. Not long after Jolene’s release, Dolly began her move to a pop crossover style. Jolene can be loosely considered a concept album, although its songs are not connected as strongly as that notion suggests. In 2007, Jolene was reissued. It included four additional songs written by Dolly that were recorded in the same sessions as the originals on the album. Three of them strengthen the concept album reading of Jolene. Moreover, several of Dolly’s other songs about cheating expand the Jolene story. Finally, despite the song’s title, “Jolene” is not about Jolene; it is about the narrator’s feelings—her fears and insecurities.
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Winje, Geir. "CHAPTER 5 The Visual Dylan: Religious Art, Social Semiotics and Album Covers". En A God of Time and Space, 141–61. 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.
Actas de conferencias sobre el tema "Album concept"
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Schooley, K. E. y R. S. Ludlum. "Recovering Distilled Water and Pure Salt Products from Industrial Wastewater: Three Case Studies". En CORROSION 1996, 1–11. NACE International, 1996. https://doi.org/10.5006/c1996-96574.
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Abstract Industry is slowly moving beyond the concept of zero liquid discharge toward the ideal of “zero waste discharge”. While zero liquid discharge means no liquids are discharged off site, the tons of dry solids removed from treated wastewater are often hauled to landfills off site if they cannot be stored at the plant. In recent years, some plants have opted to recover valuable salts and chemicals from wastewater to reduce the cost of hauling away useless mixed salts. Some plants even recover some of the cost of wastewater treatment by selling recovered salt. This paper will discuss three industrial sites where all wastewater is treated and recycled and most salts removed from the wastewater are turned into saleable products. The case studies will be a coal mine in Poland, where distilled water and sodium chloride are recovered from mine drainage; a uranium mine in the Czech Republic, where distilled water and ammonium alum are recovered from acid waste; and a power plant in New York, where distilled water and calcium chloride are recovered from scrubber blowdown.
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Bukhanova, E. D. "CONCEPT OF CREATIVITY IN THE NOVEL «A GEORGIAN ALBUM» BY A.G. BITOV". En Proceedings of the IX (XXIII) International Scientific and Practical Conference of Young Scientists. TSU Press, 2022. http://dx.doi.org/10.17223/978-5-907572-04-1-2022-87.
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Ursachi, Tudor mihai. "A.R.E.A. - AUGMENTED REALITY EDUCATIONAL ALBUM FOR EXPERIENTIAL LEARNING". En eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-152.
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The current paper proposes a new approach of experiential learning, by bringing together the concept of immersive education and an emergent technology: augmented reality. The immersive education tends to resolve the main drawback of traditional education, which is the limited experimentation, and with the help of the evolving technologies, the students can understand the school subjects in a different manner. At present, the theoretical part plays the major role in education, while the experimentation is often ignored or treated superficially, especially when it comes to progressive domains, such as engineering or programming. By bringing the immersive education closer to students and teachers, they might be able to experience the most important aspects of this domain, in real-time, without sacrificing the good parts of traditional education. The approach presented in our paper is accomplished through an augmented reality system called AREA, which combines the digital and non-digital worlds, in order to foster an interactive and educative way of discovering the inventions that have revolutionized the modern world, thus making students curious about the evolution of modern technology. Using augmented reality, students have the chance to experiment the connection between learning and practicing and how they co-work in order to achieve great success. The application was tested on a group of high school students and on a group of adults specialized on engineering and marketing domains, the results being very intriguing. Besides presenting our system and the way it can be integrated to overcome the current educational challenges (e.g. lack of practical exercises), we also analyzed the use of other existing augmented reality systems, from various domains, that offer similar experiences to the one accomplished by AREA.
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Karpova, A. A. "THE CONCEPT «ART» IN THE LYRICS OF LADY GAGA’S ALBUM «ARTPOP» AND THEIR RUSSIAN TRANSLATIONS". En ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-55.
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Ribeiro Rabello, Rafaelle. "Between absence and presence: Augmented Reality as a self-fiction poetic". En LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.
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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
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Tanaka, Haruki, Kodai Furumachi, Haruaki Kobayashi y Namgyu Kang. "Air conditioner operating system based on the concept of Benefit of Inconvenience (Bol)". En 2024 AHFE International Conference on Human Factors in Design, Engineering, and Computing (AHFE 2024 Hawaii Edition). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005639.
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Today, a growing body of research focuses on the "Benefit of Inconvenience (BoI)," a richness that can be enjoyed and, therefore, the physical and psychological labor it entails. There is also a movement to propose the "Benefit of Inconvenience Systems (BoI Systems)," things (Products and Services) that provide the BoI to users. The purpose of this study is to propose a new BoI System by analyzing conveniences in the living environment, the richness lost due to conveniences, and the adverse effects caused. In proposing a new BoI System, this study focuses on convenience and its adverse effects from two perspectives. First is the black box effect of adjusting the room temperature, resulting in the convenience of setting the room temperature at the touch of buttons by operating an air conditioner using a remote control. Second is the diminishment of the value of each photo, leading people to leave their photos without managing and reviewing them, a result of the convenience of the spread of smartphones, which allows anyone to take any number of photos quickly. By re-examining these conveniences and adverse effects, we propose "MemoCon (Memory Air Conditioner)," a BoI System that operates an air conditioner by estimating the temperature and air volume based on the visuals of photos taken in the past. The room temperature can be adjusted based on the user's intuition by operating the air conditioner through the visuals in the photos. In addition, selecting photos from a photo album on a smartphone creates an opportunity for the user to look back at the photos. After determining the specifications, we made a prototype for use as a smartphone application and a promotional video to show the actual environment in which "MemoCon" would be used so that the content of this proposal could be conveyed concretely.
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Szymanska-Stulka, Katarzyna. "TRAJECTORY OF GREEN BY ANDRZEJ KARALOW AND JERZY PRZEZDZIECKI: TOWARDS THE LANDSCAPE MUSIC". En 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.11.
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Andrzej Karalow (b. 1991) is a pianist, composer and improviser. In his approach to music, an avid interest of the young generation, he breaks free from the traditional form and instrumentation, striving for creative freedom and artistic exploration. The composer combines a variety of trends that are fundamental for several genres of music and determine a contemporary world of sounds. Performing as a pianist and guitar player, Karalow creates artistic projects with Jerzy Przezdziecki, a recognised Polish experimental electronic artist. Trajectory of Green, the subject of this analysis, originates from the album Pedestal�s Complement (2020). In this production, Karalow and Przezdziecki present environmental or landscape music that reflects the patterns of the surrounding world. Their works are mostly improvised and are a perfect example of the use of space as a vital element of the composition. Inspirations with the landscape and its components appearing in our perception determine the general vision of the work as well as its details. The composer draws patterns from the space around him and creatively transforms them into a new artistic construct. This prompts the following question: To what extent does the increasingly popular concept of environmental music apply to the work in question? The article offers an analysis of the compositional devices along with the language of expression/artistic style, both at the level of the work�s microform and macroform, while also considering the influence of ambient music on this type of composition. Given the evident landscape component in the idea, form and structure of the work, Trajectory of Green is analysed as an example of landscape music.
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NOVAES DE REZENDE, Andre. "Firebird: Alex Steinweiss’ 78rpm album covers and the letterpress printing process". En 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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Afrin, Shaik y A. S. Vickram. "Crease in optical density reduction of alum treated food waste water and composition with photocatalytic fenton process". En INTERNATIONAL CONFERENCE ON NEWER ENGINEERING CONCEPTS AND TECHNOLOGY: ICONNECT-2024, 020168. AIP Publishing, 2025. https://doi.org/10.1063/5.0262748.
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Moshugi, Kgomotso. "A Musical History Through Vocal Expressions at the Abbey Cindi Cosmology Concert". En Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35900.
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This paper reports on a research project that culminated in a concert honoring South African musician and activist Bra Abbey Cindi. The project involved reissuing Cindi’s album, forming a band of young musicians to perform his music, and creating a vocal group called No Limits to reinterpret Cindi’s earlier South African choral works. The paper proposes the use of music to explore the past, present, and future, linking generations and addressing social issues. It discusses specific compositions, their lyrical and musical merits, and the process of arranging them for vocal performance. The paper also highlights the role of community engagement and the value of reimagining historical musical works.