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The Global ETD Search service is a free service for researchers
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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 431 to 440 of 583 (0.017 seconds)| 431 |
WindowlickerRöthig, Sabine 11 May 2016 (has links)
In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können. / This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes.
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整合行銷傳播在唱片產業之應用研究-以兩唱片公司為例黃宏銘, Huang,Hung-Ming Unknown Date (has links)
整合行銷傳播（IMC）發展十多年來，雖然其價值倍受肯定，但由於市場環境變遷與理論的限制，使得IMC在實際執行上的成效並不彰顯。因此，IMC正面臨發展的瓶頸。
本研究整理各家學者對IMC的論述，重新審視IMC之架構，將IMC依投入–產出的系統分為「要素投入」、「執行過程」、「績效產出」三大部份，並再細分為八大面向，說明如下：
一、要素投入：分為「組織架構面」、「人員知識面」與「企劃流程面」三大面向，檢視企業投入IMC的要素與投入IMC要素時所遇到的障礙。
二、執行過程：分為「執行層級面」與「執行內容面」二大面向，確認企業執行整合的層級與程度，並檢視企業執行IMC的內容是否符合IMC的四大特性，也就是協調性、一致性、互動性與互補性。
三、績效產出：分為「綜效評估面」與「系統回饋面」二大面向。綜效評估面又可分為「知覺導向」、「關係導向」與「行為導向」，企業應視其行銷需求設立評估績效的標準。在系統回饋面上，則表示企業應回頭檢視IMC在投入與執行的過程中是否符合IMC的要求。
綜合各家IMC之論述後，本研究建立出IMC之概念性架構，做為學界與業界在研究與實施IMC的基礎。
唱片產業近年來面臨不景氣與盜版的雙重打擊，加上數位科技的進步與消費習慣的改變，過去銷售唱片的價值模式已無法支持唱片產業。因此大部份唱片公司亟力尋求異業資源與多角化經營，將有限度的資源整合在一起做最大效益的發揮，非常符合IMC的精神，因此極具IMC的研究價值。
本研究以「個案比較研究法」，選取本土與外資各一家唱片公司為個案研究對象，研究其實施IMC的情形。其中本土唱片公司以「華研國際音樂」為代表，外資唱片公司以「環球國際唱片」為代表，結果發現：
一、IMC的投入部份
1．兩唱片公司在組織架構面上適合發展IMC。
2．兩唱片公司在企劃流程面上滿足IMC的規劃。
3．兩唱片公司在人員知識面上對IMC的了解較為不足。
4．兩唱片公司在人員知識面上並未使用資料庫行銷。
二、IMC的執行部份
1．本研究個案唱片執行整合內容符合IMC四大特性。
2．本研究個案唱片執行整合達「部份利害關係人整合」之整合層級。
三、IMC的產出部份
1．唱片公司需建立公平客觀的IMC績效評估系統。
2．唱片公司應重視IMC的回饋，提昇組織效率與效能。
四、本土唱片與外資唱片的比較部份
1．華研較環球在IMC投入要素高，阻礙較小。
2．環球台灣子公司以區域為市場，個別市場整合程度較不足。
3．環球台灣子公司在資源整合的權限較具限制。
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台灣K歌產製框架研究 / Frame Analysis of Taiwan Karaoke Pop Music呂理傑, Lu, Li Chieh Unknown Date (has links)
本研究以Csikszentmihalyi「創造力系統模式」個人、守門及領域三角模式觀點為指引，針對2000年至2008年產製最多Top 5 K歌作詞者、作曲者與唱片製作人進行深度訪談，歸納出台灣K歌產製框架。研究目的包括：第一、以框架理論觀點作質性分析，歸納K歌產製流程的框架作用與框架化產製元素；第二、藉由本研究解構K歌產製模式，提供台灣流行音樂產業未來產製省思。
本研究發現K歌產製者之核心能力，初期是透過「臨摹」領域成功作品習得，日後個人會將「臨摹」加以變形或延伸。「臨摹」建構個人對領域的認知，「臨摹變形」則是基於個人創作習癖，兩者結合形成個人創作風格。
領域框架個人創作有以下兩種形式：第一、K歌為高度約定俗成的文本格式，個人同意於「結構框架」之下進行產製；第二、K歌產製者選擇創作主題時，受到閱聽人「感情經驗」召喚，以悲傷情歌為主要類型。個人並非純然的創作者，K歌為個人與閱聽人進行之「集體創作」。K歌作曲者為了達到領域要求，從事創作時採用「慣例」造成冗贅性，增進文本的溝通效果。本研究對象最常用之「慣例」，有以下幾種：1、hook(反覆樂句)手法；2、古典音樂理論作曲法；3、慣用和弦。
由於本研究對象為領域中最具代表性的K歌產製者，守門與個人互動方式並非傳統篩選作品模式，而是雙方採取合作方式，共同為表演者「量身訂作」文本。本研究亦發現，領域中較高地位之「大牌K歌產製者」，具有統合個人與守門角色的權限，少了守門干預的個人作為，可以破除既有格式，自由地使用創意元素於新專輯之中。此外，網路科技降低了出版門檻，衝撞傳統K歌產製系統模式。過去被排除於領域之外的獨立音樂產製者，跳脫出「K歌產製創造力系統模式」，尋求另類出路。個人風格導向之產製，加速了流行音樂領域的變遷。 / In this study, the Csikszentmihalyi "creativity system” model, a triangular relationship between individuals, field influences, and domain impacts, is used to understand qualitatively the Taiwanese Karaoke song production popularity and success in the years between 2000 to 2008. The composers, lyricists and producers interviewed produced the most top five karaoke songs during this time. The purpose of this study is first; to use the frame analysis qualitative research method to understand the framework and production elements of Taiwanese Karaoke and Music. Secondly; to provide a model or framework for future production and to offer information that could advise future productions.
This study concluded that lyricists and composer’s core abilities were highly dependant upon what previously successful models were imitated. At first, it was often a matter of imitating successful models that preceded them. Later, as they developed they would transform or elaborate upon this imitation. Individual personalities building upon these imitation inspired works defined the domain. Transformation of the imitation into something new was based upon the habitus of each individual. The frame of the model and personal thought combine to become a personal style
The frame affects the personal content in two ways. First, Karaoke is an already widely accepted format that is familiar to composers. Therefore this structure or frame is already an accepted format to create songs within. Secondly, lyricists choose content based upon the audiences experiences. The most commonly shared experience is often expressed in sad love songs. The lyricist and composer are not purist creators, as audience expectation and interaction forms a collective and collaborative relationship. In order to reach the domain requirements, composers will use rules to form redundancy in the music to improve the contents communicative efficiency to the audience. The three most popular rules used by the composers interviewed were:
1) The hook. 2) Classical music techniques. 3) The top seven most commonly used chords.
Due to the nature of the group represented, the traditional gate keeper method of selecting individuals for work was most often set aside in favor of cooperative collaboration between the individuals, and the producers in selecting new content for the talent. This study also found that if the domain status is high the most popular composers and lyricists have the power to combine the rights of the gate keeper and the individual. Without the field or gatekeeper the individual can break-out of format models and freely use creative elements in their new productions. Moreover, internet technology opened the door for increased production and lowered the material requirements necessary to produce music. The caused a collision with traditional karaoke music production. Those independent music producers previously excluded from the domain now jump out of the Karaoke Production Creation System. They find alternate means to produce music and expose the audience to their work. Whoever’s personality or strong style stands out clearly will change the domain rapidly.
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The development of an intelligent ray launching algorithm for wireless network planningLai, Zhihua January 2010 (has links)
Current propogation models are no longer sufficient for wireless network planning. They are neither accurate (empirical) nor fast enough (deterministic) to be applicable in the applications of Automated Cell Planning. This thesis focuses on the development of a new method, namely Intelligent Ray Launching Algorithm (IRLA), which is based on a fast, accurate and robust algorithm that is especially suitable for wireless network planning. The infrastructure of IRLA is thoroughly analysed in this thesis and the results are presented. Foster's design methodology has been used to parallelise the new model. Various scenarios for outdoor, indoor, indoor-to-outdoor and outdoor-to-indoor settings have been employed to test the effectiveness and efficiency of IRLA. The field strengths (path loss) and multipath information were calculated, which were used to demonstrate the application of IRLA. The accuracy of IRLA is guaranteed via the use of a meta-based heuristics calibration procedure. In order to achieve a simulation within a realistic time scale, acceleration techniques such as avoid double marking, multi-threading and the use of Parallel Object-Oriented Programming C++ have been employed. Since multipath for a large number of receiver locations can be easily obtained via IRLA, the study of delay spread has been presented. The success of the integration with a wireless network planning platform exemplifies that IRLA is suitable for wireless network planning and optimisation, which is beneficial to relevant academics and industries. Testing demonstrated that depending on various scenarios, IRLA obtains industrially-recognised accuracy ranging from 5 to 8 dB Root-Mean-Square-Error. This model is highly-efficient because its required runtime for most simulations is from a few seconds to a few minutes.
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Query: how does the never to be differ from what never was?Whipkey, Robert Scott 24 April 2013 (has links)
The feeling of a narcotic cannot be put to words, just as the sensation one receives from her or his favorite artwork is impossible to record. Equally, both these delicacies of modern existence must be sought out. The user/viewer only gets a tiny taste and must therefore keep coming back for more. Utopia may be an unrealistic construction of culture, but I would posit the idea the both narcotics and art strive to give us just that – however tiny a taste. This paper addresses the intersections of visual art, drugs, anti-hero worship and contemporary representations of Romanticism throughout the American body politic.
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Hudba v českých filmech Miloše Formana / Music in Czech Movies Made by Milos FormanFranc, Adam January 2011 (has links)
The thesis deals with a musical aspect in Czech films directed by Miloš Forman. The topic is investigated within a wider context of musical culture of the 1960s as it is focused on analysis of cultural phenomena associated with musical expression which left their impression on Forman's films and participated, to great extent, in specificity of their soundtracks. So the films are not analyzed as separate artifacts, but they are considered as documents affected by the social climate at that time. Common social phenomena which were an integral part of Forman's films are studied such as dancing parties, twist and radio broadcasting. The Forman's cooperation with the Semafor theatre is analyzed as well as how Semafor poetics influenced his films. Jiří Suchý's lyrics and the period hits classified as the medium pop music stream are carefully analyzed as they are an important part of Forman's films. A short outline of the cinematographic context of the 1960s and comparison with films thematically similar help to specify Forman's approach to the music aspect. The collage-like structure of the work highlights a few contradictory trends in pop music of the 1960s whose variety can be seen in Forman's films.
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"Jag önskar att jag kunde prodda så här bra" : Ett arbete om att analysera och återskapa produktioner utifrån referenslåtarFrid, Oliver January 2017 (has links)
I detta arbetet så analyserar jag soundet ifrån tre framgångsrika musikproducenter inom popmusiken samt återskapar deras sound på mina egna låtar. Detta görs genom en grundlig analys i tre steg. Resultatet blev tillfredställande då jag har fått ett par ”aha-upplevelser” som direkt höjt kvalitén på mina produktioner.
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Invincible: Legacy and Propaganda in Superhero ComicsSheppard, Natalie R. 18 December 2014 (has links)
Captain America and Iron Man are both iconic American heroes, representing different American values. Captain America was created during the Golden Age of comics and represents a longing for the past, while Iron Man was created at the height of the Cold War and looks forward to a new America. This paper will first establish the historical and cultural relationship between comic books and propaganda, beginning with the first appearance of Superman. It will pay special attention to the similarities and differences of Captain America and Iron Man, focusing on their representation of American values over time, and discuss how that aspect of the characters affects their ongoing titles today.
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Procedimento Operacional Padrão (POP) de higiene bucal na prevenção de pneumonia associada à ventilação mecânica - PAVM, em Unidade de Terapia Intensiva Estudo não randomizado, aberto, com avaliador cego. /De Luca, Fernando Augusto. January 2019 (has links)
Orientador: Alessandro Lia Mondelli / Resumo: Introdução: Um dos problemas relacionados à internação em Unidades de Terapia Intensiva (UTI), diz respeito à condição bucal dos pacientes. Falta ou deficiência de higiene bucal podem levar a quadros de infecção por microrganismos patogênicos, sendo a principal delas, a pneumônica associada à ventilação mecânica (PAVM). Procedimentos Operacionais Padrão - POP de higiene bucal nem sempre são seguidos à risca, além de não contarem, na maioria das vezes, com a participação de cirurgião dentista em suas elaborações. Diante desse quadro, o objetivo desse trabalho é a criação de novo protocolo de higiene bucal para pacientes internados e intubados no Serviço de Terapia Intensiva (SETI) do Hospital das Clínicas da Faculdade de Medicina de Botucatu – UNESP e avaliar seu impacto na prevenção de PAVM. Materiais e métodos: Foram estudados 72 pacientes divididos em dois grupos: estudo, internados na Ala 1 do SETI, e controle, internados na ala 2 do SETI. Critérios de inclusão: pacientes em ventilação mecânica a no máximo 24 horas e que permaneceram nessa condição por período mínimo de 96 horas, idade mínima de 18 anos. Critérios de exclusão: neoplasias sob quimioterapia, imunossuprimidos, extubação (voluntária ou não) ou óbito antes do prazo mínimo de 96 horas. No grupo de estudo, foi realizada higiene bucal com clorexidina 0,12% líquida, 2 X dia, de acordo com o procedimento operacional padrão desenvolvido; no grupo controle, a higiene bucal foi realizada de acordo com o procedimento op... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Introduction: One of the problems related to hospitalization in Intensive Care Units (ICU) is the patients' oral condition. Absence or deficiency of oral hygiene may lead to infection by pathogenic microorganisms, the main one being ventilator-associated pneumonia (VAP). Oral hygiene standard operating procedures are not always followed to the letter, and in most cases, dental surgeon do not participate in its elaborations. In view of this situation, the objective of this work is the creation of a new oral hygiene standard operational procedure for hospitalized and intubated patients at the Intensive Care Unit of the Hospital das Clínicas of Botucatu Medical School - UNESP and evaluation of its impact on the prevention of VAP. Materials and methods: We studied 72 patients divided into two groups: study, hospitalized in ICU Ward 1, and control, hospitalized in Ward 2 of the ICU. Inclusion criteria: patients on mechanical ventilation for, at most, 24 hours and who remained in this condition for a minimum period of 96 hours, minimum age of 18 years. Exclusion criteria: neoplasms under chemotherapy, immunosuppressed, extubated (voluntary or not) or death before the minimum period of 96 hours. In the study group, oral hygiene was performed with chlorhexidine 0.12% liquid, 2 times a day, according to the standard operational procedure developed; in the control group, oral hygiene was performed according to the standard operational procedure existing in Hospital das Clínicas for ICU... (Complete abstract click electronic access below) / Mestre
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Preconceito e retórica: o feminino na música popular brasileiraTrepiccio, Thatyane 22 October 2009 (has links)
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Previous issue date: 2009-10-22 / This work establishes itself in the research s line text and speech in the verbal and writing modalities and it shows as theme the feminine in the Brazilian pop music.
The reason of research due to the fact that in our society there is a initiate prejudice against blonde women. Therefore, our general objective is prove that this prejudice is minimized in the mass pop music, since the predominance be of a positive ethnos.
The work s evolution, is based in the notion of Aristóteles rhetoric and in basic precepts about the rhetoric recourse cited especially in Perelman e Tyteca, Reboul, Tringali and Meyer.
Starting from biblical and mythological figures of Lilith, Eva and Aphrodite is done a comparison with the ethos of eternalized women by the history and by the modern women cited in the songs.
The realized research, in the twenty-five samples, allows the identification of the several ways as the blonde woman can be seen in the Brazilian pop music: fatal, stupid, delicate, charm, grifter and desirable.
Having as base the ethos above formed in the studied songs, we reach a conclusion, according the sample s numbers, that the blonde woman is dear for the men and awakes the desire, a passion that can be contained in the love, that so did the mithological figure of Aphrodite that charmed casting just the glance / Este trabalho situa-se na linha de pesquisa Texto e Discurso nas Modalidades Oral e Escrita e apresenta como tema o feminino na música popular brasileira.
A justificativa da pesquisa deve-se ao fato de que na nossa sociedade existe um preconceito instaurado contra as mulheres loiras. Portanto, o nosso objetivo geral é provar que este preconceito é minimizado na música popular massiva, uma vez que a predominância seja de um ethos positivo.
Para o desenvolvimento do trabalho, fundamentamo-nos no conceito de Retórica dado em Aristóteles e em preceitos básicos sobre os recursos retóricos citados especialmente em Perelman e Tyteca, Reboul, Tringali e Meyer.
Partindo das figuras bíblicas e mitológicas de Lilith, Eva e Afrodite, é feita uma comparação com o ethos das mulheres eternizadas pela história e pelas mulheres atuais citadas nas canções.
A pesquisa realizada, nas vinte e cinco amostras, possibilita a identificação das várias formas como a loira pode ser vista na música popular brasileira: fatal, burra, delicada, encantadora, golpista e desejada.
Tendo como base os ethos acima constituídos nas canções estudadas, chegamos à conclusão, de acordo com o número de amostragens, que a loira é querida pelos homens e desperta o desejo, uma paixão que pode estar contida no amor, assim como fazia a figura mitológica de Afrodite que encantava lançando um só olhar
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