Wong, Yong Yi. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 143-151). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.iii / Contents --- p.iv / Introduction --- p.1 / Chapter Chapter 1 --- Colours and Letter; Painting and Writing: Literary Impressionism in Pilgrimage --- p.32 / Chapter Chapter 2 --- Notes and Words; Listening and Reading: Music and Reading in Pilgrimage --- p.79 / Chapter Chapter 3 --- Consonance --- p.113 / Conclusion Arts in a Chord --- p.132 / Work Cited --- p.143

Made available in DSpace on 2018-07-27T18:26:03Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-21. Added 1 bitstream(s) on 2018-07-27T18:30:03Z : No. of bitstreams: 1 000848024.pdf: 4816889 bytes, checksum: 6025629bd348ed2ae3a1a2339df5de83 (MD5) / Partindo de obras do repertório pianístico, o trabalho experimenta expandir os limites tradicionais da interpretação ao piano e discute convenções relativas à interpretação e à difusão da música de concerto. Propõe rever o papel do pianista enquanto intérprete e difusor da obra. Apresenta reflexão quanto ao conceito de repertório e sua importância na concepção da Interpretação Musical e estabelece paralelos com a curadoria nas Artes Visuais. Os experimentos desenvolvem-se em instalações artísticas na interface Interpretação Musical e Artes Visuais. As instalações que resultam dos experimentos artísticos foram inicialmente concebidas para a Capela do Morumbi, situada em São Paulo. As obras pianísticas que originam as instalações são composições de Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin e Maurice Ravel,interpretadas ao piano por Anna Claudia Agazzi. Entre as referências visuais encontram-se obras do cineasta Gilberto Rossi, artesanato dos povos Tukano e obras de Eugène Delacroix / Beginning with works from the piano repertoire, this work attempts to expand the traditional limits of piano interpretation and discusses conventions related to the performance and dissemination of concert music. It proposes the review of the role of the pianist as interpreter and disseminator of works. It reflects upon the concept of repertoire and its importance in the conception of musical interpretation and establishes parallels with curation in visual arts. Experiences are developed in art installations through the interface of musical interpretation and visual arts. The installations which result from the artistic experiences where initially conceived for the Morumbi Chapel (Capela do Morumbi), situated in São Paulo. The piano works that originate the installations are works by Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin and Maurice Ravel, performed at the piano by Anna Claudia Agazzi. Among the visual references are works of filmmaker Gilberto Rossi, handcrafts of the Tukano peoples and works of Eugène Delacroix

Orientador: Pelópidas Cypriano de Oliveira / Banca: André Luis Rangel / Banca: José Spaniol / Banca: Carlos Roberto de Souza / Banca: Rubens Toledo / Resumo: Partindo de obras do repertório pianístico, o trabalho experimenta expandir os limites tradicionais da interpretação ao piano e discute convenções relativas à interpretação e à difusão da música de concerto. Propõe rever o papel do pianista enquanto intérprete e difusor da obra. Apresenta reflexão quanto ao conceito de repertório e sua importância na concepção da Interpretação Musical e estabelece paralelos com a curadoria nas Artes Visuais. Os experimentos desenvolvem-se em instalações artísticas na interface Interpretação Musical e Artes Visuais. As instalações que resultam dos experimentos artísticos foram inicialmente concebidas para a Capela do Morumbi, situada em São Paulo. As obras pianísticas que originam as instalações são composições de Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin e Maurice Ravel,interpretadas ao piano por Anna Claudia Agazzi. Entre as referências visuais encontram-se obras do cineasta Gilberto Rossi, artesanato dos povos Tukano e obras de Eugène Delacroix / Abstract: Beginning with works from the piano repertoire, this work attempts to expand the traditional limits of piano interpretation and discusses conventions related to the performance and dissemination of concert music. It proposes the review of the role of the pianist as interpreter and disseminator of works. It reflects upon the concept of repertoire and its importance in the conception of musical interpretation and establishes parallels with curation in visual arts. Experiences are developed in art installations through the interface of musical interpretation and visual arts. The installations which result from the artistic experiences where initially conceived for the Morumbi Chapel ("Capela do Morumbi"), situated in São Paulo. The piano works that originate the installations are works by Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin and Maurice Ravel, performed at the piano by Anna Claudia Agazzi. Among the visual references are works of filmmaker Gilberto Rossi, handcrafts of the Tukano peoples and works of Eugène Delacroix / Doutor

This paper outlines the artistic research process I followed as I made a short fiction film. It defines the stages that I’ve undertaken as I tried to learn more about filmmaking during my master’s studies in Film and Media at Stockholm University of the Arts. How to write a screenplay? How to dramatize a personal experience? What making a movie entails? How to write a moving story and the impact of storytelling on human beings. Here I share my learning about – and I try to investigate the interplay between – craftmanship, art, theory, conception, industry, and the neuroscience of storytelling. / Filmmaking

This practice-based research is concerned with a collection of fixed media compositions written between 2005 and 2012 with accompanying contextual writing. The primary focus of this research was to produce sound works, but the concept of place has played a significant role throughout both the compositional process and in the reflection of each composition. This research explores how place is ‘heard and felt’ (Feld, 2005) in a composition and how recollected memory impacts on the compositional process. Artistic decisions made with regard to creating the compositions reflect my personal place and associations with these sound materials at a given time whether they are field recordings or synthesised materials. The way in which sound material is subsequently processed and structured reflects this. Place and the compositional practice inform each other in a two-way process. This results in what Katharine Norman (2010) has referred to in her writing on sound art as an ‘autoethnographic’ journey; a representation of the creator’s personal experience. I have begun to reflect on these compositions as art works that represent a particular time or place. The artwork represents the trace of the place from which it was composed (Corringham, 2010). I believe that I cannot totally transport a person to my place; rather, I intend this creative representation to enable the listener to create and inspire their own narrative.

This research project explores a direction in the formation of sound and image. In the creation of a series of 'moving paintings' I bring together pieces of moving image and sound using techniques derived from musique concr??te. I have coined the term 'moving painting' to describe these sound/image objects that have grown out of an attention to the form, activity, rhythm and texture of sound and image. This project develops from an understanding that sound and image can be constructed on their own terms as opposed to being organised by specific plot devices. This text offers a context for the formation of these moving paintings and outlines the systems of construction that bring them forth from noise. Firstly, I identify sound and its emergence from noise. Secondly, I address the formation of sound into music within a community. And lastly, I use these ideas to form systems for organising visual imagery. In doing this, I present a series of audiovisual works in which sound and image are woven together to form moving paintings.

The research had an anthropological perspective, regarding the integration of Art and Music in Zambia. By using qualitative interviews and participating observations I collected information about how some teachers in Zambia reflect about the integration of Art and Music. Through the theoretical framework I analyzed the results. The results demonstrated how the teachers were responding due to the curriculum and teacher’s guide but acting differently through the observations. The teacher’s role in Zambia is affected by the social status and of certain rules one must follow in order to behave correctly. Music and Dance are used as a result of their culture according to the teachers. The lack of financial resources seems to be one issue that explains why Arts education in form of creative material is not being used. / Minor Field Study

Dailę ir muziką nuo neatmenamų laikų siejo glaudūs ryšiai. Pirmoje darbo dalyje atlikta šaltinių analizė atskleidė šių meno rūšių analogijas, kurios susiklostė Vakarų Europos istorijoje. Muziką su daile Senovėje, Viduramžiais ir Naujaisiais laikais siejo ne tik bendras meninis stilius, bet ir dažnai tokie patys filosofiniai, religiniai, estetiniai siekiniai, kurie šių menų sąlyčiui laiko tėkmėje suteikė įvairių šio bendrumo, analogijų formų. Dailė ir muzika Senovėje turėjo simbolinių sąsajų, jos jungėsi ugdymo erdvėje Viduramžiais, susilietė jas tiriančiuose moksluose Naujaisiais laikais, o postmodernioje kultūroje susijungė naujuose integruoto pobūdžio meno kūriniuose. Todėl, be istorinio dailės ir muzikos analogijų sąlygotumo, antroje darbo dalyje buvo aptartas integracinis šiuolaikinių menų pobūdis analizuojant šiuolaikinių menų sklaidą ir naujus jo pavidalus. Naujai atsiradę integruoti menai keitė ir teorinės jų analizės principus, todėl darbe jie taip pat buvo aptarti. Muziką ir dailę sujungiantys šiuolaikiniai menai bei nauji tokių menų tyrimo metodai traktuoti kaip integruoto šių menų pažinimo prielaida ir būtinybė. Trečioje darbo dalyje buvo išnagrinėta Šiuolaikinių menų programa, skirta 9–12 klasių mokiniams kaip integruoto mokymo galimybė. Šių trijų teorinių dalių pagrindu buvo atliktas empirinis tyrimas (anketinė apklausa), kuriuo buvo siekta nustatyti vidurinėse mokyklose bei gimnazijose dirbančių dailės mokytojų požiūrį į integruotą dailės ir muzikos mokymą bei... [toliau žr. visą tekstą] / Art and music have since time immemorial been closely related. The analysis of resources conducted in the first part of the thesis revealed analogies between these two forms of art determined in the course of the history of Western Europe. Art and music in ancient times, the medieval period, and modern times have shared not only a common artistic style, but have also usually had common philosophical, religious, and aesthetic objectives that in time resulted in various forms of affinity and analogies between these forms of art. Art and music in ancient times had symbolic associations that were combined in the area of education in the Middle Ages, came into contact in the science studying these two forms of art in modern times, and, subsequently, in postmodern culture, joined in new integrated works of art. Consequently, in addition to a historical determination of analogies between art and music, the second part of the paper discusses the integrational nature of contemporary arts, analyses the dissemination of contemporary arts, and new art forms. Newly emerged integrated arts have changed the principles of the theoretical analysis, therefore these principles are also discussed in the thesis. Contemporary arts combining music and art and new methods for the study of such arts are treated as both a premise and necessity for the integrated learning of these arts. The third part of the thesis explores the Contemporary Art Programme intended for pupils of grades 9–12 as an... [to full text]

This research project explores a direction in the formation of sound and image. In the creation of a series of 'moving paintings' I bring together pieces of moving image and sound using techniques derived from musique concr??te. I have coined the term 'moving painting' to describe these sound/image objects that have grown out of an attention to the form, activity, rhythm and texture of sound and image. This project develops from an understanding that sound and image can be constructed on their own terms as opposed to being organised by specific plot devices. This text offers a context for the formation of these moving paintings and outlines the systems of construction that bring them forth from noise. Firstly, I identify sound and its emergence from noise. Secondly, I address the formation of sound into music within a community. And lastly, I use these ideas to form systems for organising visual imagery. In doing this, I present a series of audiovisual works in which sound and image are woven together to form moving paintings.

In the essay A Rhetorical Guide to Ebb I explore the diverse array of influences in art, and music that guided the creation of the composition Ebb, for 13 musicians and electronics. Of those influences, the boxes of the American artist Joseph Cornell played a particularly important role. Having based the conceptual framework for Ebb on ideas taken from Cornell, the essay, instead of being driven by a single thesis, involves the creation of conceptual boxes. These conceptual boxes emphasize the influence of the artist Joseph Cornell, along with the composers Iannis Xenakis and Gérard Grisey. In addition, a time line documenting the stages in Ebb's creation is included.