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Rock in Portugal : repercussões do género musical na juventude portuguesa (1960 vs. 2014)

Martins, Ana Cláudia Pimenta da Silva
Fonte: Universidade do Minho Publicador: Universidade do Minho
Tipo: Dissertação de Mestrado
Publicado em //2014 POR
Relevância na Pesquisa
26.51%
Dissertação de mestrado em Comunicação, Arte e Cultura; De acordo com o Manifesto das Sete Artes e Estética da Sétima Arte, a Música ocupa o quarto lugar na breve lista proposta por Ricciotto Canudo, em 1911. Ora, à semelhança de qualquer outra forma de expressão artística, também a música nasceu para mudar o mundo. Não só o mundo dos que a criam, mas o de todos nós, que a ouvimos e que com ela rimos e choramos, vibramos e suplicamos, crescemos, amadurecemos e com ela envelhecemos. A música é toda ela salpicada por diferentes culturas, distintos ritmos e sonoridades díspares, que se cruzam e se tocam em algum ponto. E é nessa desigualdade, que vive a beleza da harmonia musical. A mim toca-me o Rock. Digo “toca-me”, porque o meu coração ressaltase, os meus ouvidos expandem-se, a minha pele arrepia-se. À semelhança de outras formas de expressão artística, O Rock surgiu, igualmente, para deixar uma marca bem carregada no mundo em que vivemos. E, como nós vivemos em Portugal, por que não explorar o fenómeno do Rock nacional? Por que não debruçar-me sobre a chegada, o desenvolvimento e a consolidação desta cultura, no nosso país? Por que não analisar as suas repercussões, marcas, transformações e inovações...

Musical interfaces : design and construction of physical manipulatives for musical composition

Wan, Elysa (Elysa Q.)
Fonte: Massachusetts Institute of Technology Publicador: Massachusetts Institute of Technology
Tipo: Tese de Doutorado Formato: 19 leaves
ENG
Relevância na Pesquisa
27.06%
Currently, musical composition is considered to be a high-level skill that is inaccessible to young children. There is a "high floor" for children who want to create a piece of music because they must learn a way of recording and remembering the notes, their sequence, etc, such as musical notation. Our project explores tangible designs that will make music composition simple to learn and practice while also building an intuition about complex musical concepts. Three original designs of tangible interfaces for musical composition are introduced and the merits and limitations of each are explored using non-functional form models. Audio processing is performed on a peripheral computer running an audio program written specifically for each system. A "Wizard of Oz" approach was used to study user interactions with each design. Music Blocks are designed to be physical representations of inherently intangible musical notes. Each block represents a single note, and the user can modify its pitch and duration by changing the physical shape of the block. They resemble wooden building blocks and suggest the parallels between building structures and the organization of musical compositions and its melody. The Music Glove introduced the idea of using a sound recording instead of a musical note as the musical unit in a composition. This introduced rich ideas about nesting and recursion. At the same time the glove interface highlights the role of personal expression...

The design of a new musical glove: a live performance approach

Torre, Giuseppe
Fonte: University of Limerick Publicador: University of Limerick
Tipo: info:eu-repo/semantics/doctoralThesis; all_ul_research; ul_published_reviewed; ul_theses_dissertations
ENG
Relevância na Pesquisa
56.94%
peer-reviewed; A live performance using novel technologies is a highly complex system in which anthropological, sociological, psychological, musicological and technical issues are heavily involved. The New Interfaces for Musical Expression (NIME) community has presented a new approach to music performance often heavily technologically mediated while outputting a great deal of new digital instruments since 2001. Within this broad research field, important issues such as hardware interface design, mapping strategies, skilled performance and compositional approaches have been considered. Many NIME practitioners have explored the development of `gestural controllers' in the hope of achieving natural and intimate interaction while also designing clear interactions between performer's gesture and sound from an audience perspective. This thesis expands on this notion through the consideration of the possibilities for enhancing the audience engagement and understanding of the underlaying structures and mechanics of the live performance. To this end, a newly developed data glove named Pointing-at is developed. A number of live performances in which the data glove is used are presented and discussed. The analysis of both the theoretical and practical elements of the research formed the basis for the development of an approach to the design of nuanced gestural performative actions that are both visually and sonically legible to audience members. In that regard...