Orientador: Denise Hortencia Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T15:11:52Z (GMT). No. of bitstreams: 1 Rampin_DantasNeves_M.pdf: 9209358 bytes, checksum: 374af3500d1f2a9923260762214a4c2a (MD5) Previous issue date: 2008 / Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou concepções advindas da pintura na composição técnica e estética em sua música. Para discorrer sobre este tema, a dissertação apresenta uma breve contextualização histórica da década de 50, do século passado, momento do encontro de Feldman com os pintores. Em seguida, apresentamos as concepções desenvolvidas por Feldman em sua música derivadas da pintura. Para tanto, apresentaremos análises que nos permitam compreender como estas concepções se concretizam musicalmente através da história notacional do compositor. Do ponto de vista metodológico a pesquisa se vale das declarações do próprio compositor, de pesquisas que abordam o trabalho composicional de Morton Feldman e da análise de obras. Priorizamos a análise da peça Crippled Symmetry, já que ela apresenta uma das notações mais originais produzidas por Feldman, o que nos inspirou a composição de Sombras Sobre o Encoberto 11, peça que apresentamos neste trabalho como resultado composicional desta pesquisa. Nas considerações finais, além do resultado de Sombras Sobre o Encoberto 11, discutimos como as concepções utilizadas por Feldman a partir da pintura pode ser amplamente explorada como base composicional singular. / Abstract: This research is about the relation between the music of the American composer Morton Feldman and the group of painters of Abstract Expressionism The New York School of Visual Arts - from the point of view of himself. It will focus the way Feldman developed concepts drawn from painting in the technique and aesthetics of his music. Thus the dissertation presents a historical account of the 1950s, when Feldman and the painters met. Then we present concepts Feldman drew from painting and developed in his music. We provide analyses which allow us to understand how such concepts work musically throughout Feldman's notational history. The method of this research is based on Feldman's statements, researches about his compositional work and the analysis of pieces. Crippled symmetry, whose notation is among the most original devised by Feldman, undergoes extensive analysis. It has also been the inspiration for the composition of our work Sombras sobre o Encoberto II, We present this piece as the compositional outcome of this research. In addition to this piece, the conclusion shows how the concepts Feldman drew from painting can be vastly explored as a unique basis for the composition of music. / Mestrado / Mestre em Música

In my diploma thesis I want to deal with another topic which is very interesting and important for me and that is organ and organ music in general and everything that belongs to them. From history, production, maintenance to play itself. In most of my previous works, not only at college but also earlier, fragments of this instrument appear in my paintings (mainly whistles, which are actually the most visible and their size determines the size of whole organs and is their precept) even though I have devoted myself on another topic, these fragments I had some need to plant there.  Organs are referred to as the royal instrument, they are the largest and mechanically the most complicated musical instrument. That is the complexity I would like to express in my pictures, I do not mean the complexity of the organ for the technical, construction, but especially the complexity of playing. The need for the right combinations of different registers with differently colored tones and tools. Swap pedal handbooks, etc. This is all about fascination for me.  In this diploma thesis I want to use the themes that appeared on the surface often as secondary or I did not put such emphasis or were the main topic for example only one semester, but in fact I continued to work with them subconsciously in the same way, Layers, Recycling, Reaction to Substrates, etc. It could be said that such organ compositions are such layers as Bach's or any fugues that are gradually being added, layers of new and new tones often result in the the full extent that the organ is able to administer.  The layer I used to work with before, and actually always appears in my works, has actually become an integral part of my paintings. I want to express the complexity of the organ compositions in my paintings, as I do. Not only by layering, but also by using different techniques, not just acrylic. I also used this in my previous work, and examined how they work with each other. I have responded to differently produced backgrounds.  Organ music can be considered complicated because all we hear is produced by one person. Who must play and cater everything else that is associated with it, except perhaps the bells pedaling.  This series of images will not, in the end, express myself visually, at first sight nothing concrete, over time I have come to a pretty abstract image. I do not mean to say that organ music is abstract, especially if I talk about Baroque or Classicism. Maybe in romanticism, for example, F. Liszt and his organ compositions are so complex and terribly crazy that I might consider them quite abstract. But just the organ music of Liszt, which I admire most, I think it is not possible to express it in abstract form. It's a mad, complicated tangle of different, tones, colors, games with registers, blinds, and so on, and I want to express it all on the canvas.

This study concerns the deliberate subordination in painting of thirteen art elements and principles, the primary pictorial features, and examination of the intervals between pictorial events, the pictorial interface. A written record was kept of the artist's observations and impressions during the making of ten nonobjective paintings and their later study. The artist selected five paintings as more successfully subordinating the primary pictorial features and three paintings as most successfully exhibiting the three characteristics determined for the pictorial inter face: (1) conceptual resonance, (2) ambiguity, and (3) unbiasedness. The three paintings selected as most successfully exhibiting the characteristics of the pictorial interface coincided with three of the five paintings selected as more successfully subordinating the primary pictorial features.

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Disertacijoje apibrėžiami ir analizuojami Lietuvos abstrakčiosios tapybos kūriniai sovietmečiu, išskiriant ir lyginant kelių dešimtmečių (nuo šeštojo pabaigos iki devintojo) dailės ir dailės kritikos įvairovę Lietuvoje. Abstrakčioji tapyba, peržvelgus jos teorinius ir istorinius akcentus, vertinama kaip radikali meninė reakcija Lietuvoje, o bendras meninis kontekstas sovietmečiu analizuojamas iš sociopolitikos problematikos perspektyvos. Tai Vakarų Europos (bei iš JAV atkeliavusių) žymiausių pavyzdžių analizė, pateikianti išsivysčiusias iš jų naująsias tendencijas ir Vidurio Europos (kaip sovietmečio įtakos lauko) kultūrų sugretinimas. Visiška priešingybe sovietmečio dirbtinai suręstam Rytų blokui buvo Vakarų Europos kultūra ir jų meninės srovės. Priverstinis to laikotarpio atskyrimas nulėmė savitumus, vienaip pasireiškusius Vidurio Europoje, kitaip – sovietų okupuotose šalyse (pvz., Lietuvoje), ir iššaukusius kitokio meno laisvės poziciją. Vakaruose abstrakcija buvo modernizmo suklestėjimas, tai reiškė išsivadavimą iš tradicinės dailės kalbos, susijusios su vaizdo atvaizdavimu. Lietuvoje abstrakcijos apraiškos turėjo ir kitokių funkcijų: plastinės meninės kalbos įvairove buvo bandoma paneigti priverstinai primestą socrealizmo ideologiją. Disertacijoje gilinamasi į Lietuvos abstrakčiosios tapybos formavimosi prielaidas ir galimybes. Abstrakčiosios tapybos užuomazgos –– S. Kisarauskienės, V. Kisarausko darbų pavyzdžiai, J. Švažo, L. Katino ir kt. tapyba XX amžiaus šeštojo... [toliau žr. visą tekstą] / The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s). In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art (also American art) presenting the most recent tendencies that developed out of them and juxtaposing it with the Central European culture (as the area of Soviet influence). Western European culture and its artistic movements were a complete opposition to the artificially built Eastern Block during the Soviet period. The forced separation of this period defined its unique qualities that found one expression in Central Europe and a different one in countries occupied by the Soviets (eg. in Lithuania); it also formed the position of freedom of an alternative art. Whereas in the West abstraction, in its own time, was the great boom of modernism because it freed painting from the traditional language of ‘representation’ and illustration, in Lithuania, in its local context, it had more functions: it was considered to be the great achievement of late modernism that helped to discover newer than... [to full text]

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« La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). » / Ma pratique artistique se divise en deux volets : la composition de musique acousmatique et la peinture abstraite. Loin d'être distinctes, ces deux pratiques se recoupent en plusieurs points et sont très complémentaires l'une à l'autre. En effet, il m’apparaît clairement que la façon d'aborder la création dans l'un et l'autre peut revêtir certaines similitudes. En d'autres termes, que je compose une pièce ou que je peigne une toile, le résultat que je cherche à obtenir en ce qui concerne l’organisation de la matière est le même dans les deux cas. La présente recherche propose donc une nouvelle approche de composition en musique acousmatique basée sur les techniques et concepts employés en art visuel, et plus particulièrement en peinture. À travers la réalisation d’une série de courtes pièces, j’expérimente sur les possibilités qu’offre la démarche de composition proposée. / My artistic practice can be divided in two paths: acousmatic music composition and abstract painting. Far from independent, these two practices meet on many aspects and can be perceived in a very complimentary manner. It becomes clear that the way in which I approach the mechanisms of the creative process in both practices is in fact quite similar. When painting or composing, I’ve come to realize that the result I strive for is in terms of structure and in terms of how I attempt to organize both the sound events in my compositions and the plastic materials I use on canvas. This text presents a potentially new approach to acousmatic composition derived from the techniques and concepts found in modern visual arts, more specifically non-figurative painting. In order to illustrate these ideas, I’ve composed a series of short composition studies that attempt to experiment the suggested methods and techniques.

In each of my paintings I try to create an individual micro-universe made up of elements that resonate between the familiar and the unknown. I carve up space and hybridize disparate elements, in an effort to excavate objects and spaces from our collective unconscious. By employing different perspectives, I try to encourage an experiential view of the landscape, like the one that exists for the viewer in the physical world, where sightlines are constantly shifting. These landscapes become a rhythmic labyrinth to enter and travel through, wherein the viewer experiences his or her own personal associations. In this thesis, I will explore the painted landscape in Western and Eastern traditions and discuss different types of landscapes as they relate to my paintings and my personal commentary on the landscape. I will also examine my painting process and my personal approach to fundamental elements including perspective, line, and color.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1988. / Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques extentionné de l'Université du Québec à Montréal à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU