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För att ge insikt hur design för ett nytt rockalbum ska ske och ge information kring vad som bör finnas med på ett nytt omslag har denna studie utförts. Studien framförde information om att albumsgrafik var relevant. Först sades det att en nedåtgående trend gick att anta, eftersom den digitala musikbranschen tog över från den fysiska. Men det visade sig därefter vara precis lika stor försäljning på de fysiska albumen som de digitala. För att besvara målen i studien utfördes en visuell innehållsanalys och informationssökning på internet. Studiens syfte var att visuellt granska rockalbum från tre olika ursprungsländer, som var Sverige, Storbritannien och USA. Genom analysen kategoriserades designelement, teman och framtogs landstypiska albumomslag. Studien berörde även vem som styr designen av ett omslag samt ifall det kunde ses någon tongivande designer bland de album som ingick i analysen. I slutsatsen framgick det att Storbritannien och USA hade mycket lika grafiskt manér och att omslag från Sverige såg annorlunda ut. Det framgick även att banden styr utseendet på omslaget mer än designern, och från analysen framgick inte någon tongivande designer. / This study is supposed to shed light on the design process behind album covers in the genre rock and give information about what should be displayed on them. Herein it is presented information about how the graphics on a record cover was relevant and didn’t follow the otherwise assumed declining trend. To be able to answer the goals set for the study, a visual content analysis was done and complementary information was gathered via searches on the internet. The aim with the study was to visually analyze cover art in the genre rock from three different countries of origin, these were Sweden, Great Britain and USA. Via the visual content analysis, categories and themes were structured. There were also created three different album covers, one for each country of origin that were based on the information of what should typically exist on the cover. Herein it is shown that designs from Great Britain and USA are much alike, whereas Sweden has a different style. In the study there was presented who decides the design of a new album and also concludes that from the albums in this content analysis there cannot be proven any designer who sets the generic tone for others.

O presente trabalho busca apresentar os primeiros cinco álbuns da cantora Vanusa como exemplos de composição da unidade álbum e a relação essencial entre visualidade, som e poesia que este apresenta enquanto produção artística. Para isso, propõe uma compreensão mais ampla da produção capista na cena da música popular brasileira identificada como para público jovem nos arredores e durante os anos 1960 no país – considerando Jovem Guarda, Tropicalismo e Bossa Nova como suas principais linhas. / This work seeks to presente the early five albums of the singer Vanusa as exemples of composition of the album unity and their essencial relation between visuality, sound and poetry that it presentes as artistic production. For that, proposes a wider comprehension about the capist production on the brazilian popular music scene identified as for Young public around the 1960’s – considering Jovem Guarda, Tropicalismo and Bossa Nova as their main lines.

O presente trabalho busca apresentar os primeiros cinco álbuns da cantora Vanusa como exemplos de composição da unidade álbum e a relação essencial entre visualidade, som e poesia que este apresenta enquanto produção artística. Para isso, propõe uma compreensão mais ampla da produção capista na cena da música popular brasileira identificada como para público jovem nos arredores e durante os anos 1960 no país – considerando Jovem Guarda, Tropicalismo e Bossa Nova como suas principais linhas. / This work seeks to presente the early five albums of the singer Vanusa as exemples of composition of the album unity and their essencial relation between visuality, sound and poetry that it presentes as artistic production. For that, proposes a wider comprehension about the capist production on the brazilian popular music scene identified as for Young public around the 1960’s – considering Jovem Guarda, Tropicalismo and Bossa Nova as their main lines.

O presente trabalho busca apresentar os primeiros cinco álbuns da cantora Vanusa como exemplos de composição da unidade álbum e a relação essencial entre visualidade, som e poesia que este apresenta enquanto produção artística. Para isso, propõe uma compreensão mais ampla da produção capista na cena da música popular brasileira identificada como para público jovem nos arredores e durante os anos 1960 no país – considerando Jovem Guarda, Tropicalismo e Bossa Nova como suas principais linhas. / This work seeks to presente the early five albums of the singer Vanusa as exemples of composition of the album unity and their essencial relation between visuality, sound and poetry that it presentes as artistic production. For that, proposes a wider comprehension about the capist production on the brazilian popular music scene identified as for Young public around the 1960’s – considering Jovem Guarda, Tropicalismo and Bossa Nova as their main lines.

[pt] Capas de disco: modos de ler busca chaves de leitura para compreender a relação entre a música e a cultura visual no século XX e início do XXI. Ao deslocar o objeto de uma discoteca, seu espaço tradicional de fruição musical, e trazê-lo para o campo dos estudos culturais, uma infinidade de leituras se apresenta. As capas são uma forma de arte muito particular, analisá-las é fundamental para entender as diversas formas em que seus mecanismos operam. A música é, por sua vez, um instrumento importantíssimo para entender a cultura visual de forma mais ampla. Este trabalho se vale de ferramentas do campo da história da arte e de outros dispositivos analíticos interdisciplinares para explorar as imagens e sua potência. O argumento central da tese defende a ideia de que as capas contribuem para a construção de um sentido musical, enriquecendo o processo estético do fruidor. Os anos 1950 foram essenciais para firmar a capa como elemento primordial para o disco. Foi também a partir dos anos 1950 que artistas plásticos e fotógrafos penetraram no mercado das gravadoras, vendendo seus talentos e experimentando concepções visuais inovadoras em capas. Ou seja: a criatividade de alguns capistas abriu novos caminhos e permitiu explorar novas concepções para as artes de LP. Procura-se, assim, mostrar que as capas foram locus privilegiado e fértil de expressão para diversos fotógrafos e artistas plásticos consagrados se expressarem em escala industrial. Esta tese busca entender a capa para além da simples ilustração e compreendê-la não só como invólucro ou objeto de design, mas principalmente como objeto artístico, tão importante quanto o conteúdo. Estão em foco neste trabalho principalmente dois aspectos que se complementam. Por um lado, analisa-se a capa de disco como campo de experimentação artística, ou seja, um suporte de trabalho para inúmeros artistas plásticos e fotógrafos. Por outro, que não deixa de complementar esse mesmo campo, reflete-se sobre a capa como suporte para o retrato do sujeito, no sentido restrito de portrait, que subentende tecer laços com o gênero pictórico secular. / [en] Album covers: ways of reading them aims to search for keys to interpret the relation between music and visual culture in the XXth century and the beginning of the XXIst. By displacing the object from a discotheque, its usual space of musical fruition, and bringing it to the cultural studies field, an infinity of possibilities come up. Covers are a very particular art form, analyzing them is central to understand the different forms in which their mechanisms operate. Music on the other hand, is a very important instrument to apprehend visual culture in a broader way. This work uses tools from the art history field and other interdisciplinary analytic devices to explore images and their strength. The central argument of this thesis asserts that album covers contribute to the construction of a musical meaning by enriching the esthetic process of the listener. The 1950s were essential to establish the album cover as primary element for the record. It was also in the 50s that visual artists and photographers penetrated the record company markets selling their talents and experimenting innovative visual layouts. In other words: the creativity of some cover artists opened new paths and enabled new conceptions for the album cover artwork. This work seeks to show that album covers were a notorious and fertile place of expression for photographers and visual artists to express themselves in a large scale. This thesis aims to understand the album cover beyond a simple illustration, and to grasp it not just as a packaging or design piece, but mainly as an artistic object, as important as the content itself. This work focuses on two aspects that complement themselves. On one hand, we analyze the record cover as a field of artistic experimentation, that is, a support for many visual artists and photographers to work on. On the other hand, that complements this same field, a reflection is made on the cover as a support for the portrait of the subject, in the restrict sense of the portrait, that aims to establish ties with the secular pictorial genre.

Denna studie syftar att undersöka huruvida animation som visuellt komplement på Spotify väcker större engagemang emotionellt än ett statiskt skivomslag. Animerade filmer har tagits fram till sex olika låtar på albumet 99.9% av artisten Kaytranada. Detta har gjorts genom en förstudie i form av en enkät, samt research om de befintliga filmer som finns tillgängliga på Spotify i dagsläget. Efter detta har designarbetet utförts genom brainstorming, explorativt skissande och storyboards. För att utvärdera skapades en värderingsmatris med syfte att välja ut de mest engagerande idéerna, för att sedan fortsätta med digitalt skissande och slutligen animering. Efter detta värderades animationerna gentemot det statiska skivomslaget genom en kvalitativ enkät, såväl som två olika fokusgrupper. Resultatet visade att även om animationerna ansågs något repetitiva så ansåg en majoritet att de var mer engagerande emotionellt än ett statiskt skivomslag.

Musical genres enable listeners to differentiate between diverse styles and forms of music, serving as a practical tool to organize and categorize artists, albums, and songs. Album covers, featuring graphic depictions that reflect the vibe and tone of the music, serve as a visual intermediary between the artist and the audience. While numerous machine learning techniques leverage textual, visual, and audio information in a multi-modal approach to categorize music, the sole focus on visual aspects, specifically album cover images, and their correlation with musical genres has been less explored. The question guides this research: How do EfficientNet and ResNet compare in their ability to accurately classify album cover images into specific genres based solely on visual features? Two state-of-the-art convolutional neural networks, ResNet and EfficientNet, are employed to classify a newly created dataset (the EquiGen dataset) of 60,000 album cover images into 15 distinct genres. The dataset was divided into 70% for training, 15% for validation, and 15% for testing.The findings reveal that both ResNet and EfficientNet achieve better-than-random classification accuracy, indicating that visual features alone can be informative for genre classification. Some genres performed much better than others, namely Metal, New Age and Rap. EfficientNet demonstrated slightly superior performance compared to ResNet, with higher accuracy, precision, recall, and F1 scores. However, both models exhibited challenges in generalizing well-to-unseen data and showed signs of overfitting.This study contributes to the interdisciplinary research on Music Genre Categorization (MGC), machine learning, and music.

From the perspective that it is one and the same picture that is changing, this essay includes semiotic analyses of Lynn Curlee´s painting Smoking angels, made in 1979, the photograph from 1928 wich inspired the artist, as well as Black Sabbath´s album cover Heaven and Hell, that was first released in 1980. Although the forms of the pictures are different the motif is quite the same, yet, what the pictures convey is different. The analysis will be based mainly by the use of two theories: Hans Belting opines that a picture can not exist on its own, that "the what" of an image is steered by "the how" in wich it transmits its message. The medium that is used and the physical form are the messengers but the picture happens where it is manifested. Wendy Leeds-Hurwitz´s theory implies that to understand what a picture means we need to study the context and culture that is prevailing where the picture is shown. How the picture is received in its different forms and what the factors are that play a part in this, is the main focus in this essay.