Repository of Arts Academy
Not a member yet
641 research outputs found
Sort by
Rhythmic formations in ballet Petrushka
No full textGlazbeni opus ruskog skladatelja Igora Stravinskog, jedan je od najvažnijih u glazbi 20. stoljeća. Iako se inovativnost, koja se očituje gotovo u svakom segmentu tretmana glazbenog materijala, ponajprije vezuje uz rusku fazu njegovog skladanja, Stravinskijev opus u cjelini svjedoči o iznimnoj skladateljskoj kreativnosti i nepresušnoj inspiraciji koja je rezultirala s više svevremnih remek-djela. Osim inovacija, skladatelj je u svojim djelima na svojevrstan način i reinterpretirao glazbenu povijest, takoreći od renesanse do dodekafonije, postigavši i posebnu vrstu glazbene sinteze. U prvom dijelu rada riječ je općenito o Igoru Stravinskom, njegovim fazama skladanja i glazbenom jeziku, dok se u drugom dijelu iznose glavne značajke baleta Petruška s naglaskom na ritamskim elementima. Upravo kroz razmatranje ritamske komponente pronaći će se poveznice s baletom Posvećenje proljeća, te utvrditi značajke koje su Igora Stravinskog zasluženo postavile na mjesto jednog od najznačajnijih skladatelja glazbe 20. stoljeća.The musical opus of the Russian composer Igor Stravinsky is one of the most important in the music of the 20th century. Although innovation, which manifests itself in almost every segment of the treatment of musical material, is primarily associated with the Russian phase of his composition, Stravinsky's opus as a whole testifies to exceptional compositional creativity and inexhaustible inspiration that resulted in several all-time masterpieces. In addition to innovations, the composer also reinterpreted musical history in his works in a unique way, so to speak, from the Renaissance to the dodecaphony, achieving a special kind of musical synthesis. The first part of the paper is about Igor Stravinsky in general, his composing phases and musical language, while the second part presents the main features of the ballet Petrushka with an emphasis on rhythmic elements. It is through consideration of the rhythmic component that links with the ballet The Rite of Spring will be found, and the features that deservedly placed Igor Stravinsky in the position of one of the most important composers of music of the 20th century will be determined
The String Quartets of Dmitri Shostakovich
No full textDmitrij Šostakovič, jedan od najvažnijih glazbenih velikana dvadesetog stoljeća, svoju je glazbu pisao prvotno kao refleksiju na tadašnju okolinu oštećenu ratovima i totalitarizmom i koristio je kao alat protiv ondašnjih striktnih političkih cenzura. Iako poznat po svojim veličanstvenim simfonijama, s druge strane skale nalazimo njegove ambiguozne gudačke kvartete širokoga raspona karaktera, tonaliteta, stila pa i skladateljevog sâmog kreativnog razvoja. U ovom radu osvrnut ćemo se na svih petnaest gudačkih kvarteta i proučiti okolnosti njihova nastanka te im detaljno proanalizirati strukturu.Dmitri Shostakovich, one of the most prominent musical figures of the twentieth century, wrote his music primarily as a reflection on the contemporary environment scarred by wars and totalitarianism, and used it as a tool against the at-the-time strict political censorship. Although known for his magnificent symphonies, we find on the other side of the spectrum his ambiguous string quartets of a broad range of character, tonality, style, and the composer's own creative development. In this work, we will review all fifteen of the string quartets, study the circumstances of their origin, and analyse their structure
Hommage to Juraj Dalmatinac
No full textOvaj diplomski rad razmatra vidove kiparskog rada dvaju autora. Referira se na domaću tradiciju, konkretno na portretnu skulpturu Jurja Dalmatinca s friza Šibenske katedrale i na Giacomettia koji je tu akademsku tradiciju u skulpturi mijenjao „ispisivajući stranice“ modernog i suvremenog kiparstva. Referirajući na prethodno iskustvo navedenih autora nastaje ovaj rad koji misaono i vizualno spaja ta dva „etosa kreativnosti“ i nadahnuća, bez pomisli da je rad rezultat križanja epohalnih nadahnuća i senzibiliteta vremena autora na koje je referiran. Koncentraciji je na portretnoj cjelini koja spreže oba iskustva gledanja između ekstremne prošlosti i današnjeg shvaćanja skulpture kao proširenog područja.This master’s thesis examines aspects of the sculptural work of two authors. It refers to local tradition, specifically to the portrait sculpture of Juraj Dalmatinac from the frieze of Šibenik’s Cathedral and to Giacometti, who changed that academic tradition in sculpture by "writing the pages" of modern and contemporary sculpture. Referring to the previous experience of the above-mentioned authors, this work is created that mentally and visually combines these two "ethos of creativity" and inspiration, without thinking that the work is the result of the intersection of epochal inspirations and the sensibility of the time of the author to which it is referred. The concentration is on a portrait unit that combines both viewing experiences between the extreme past and today's understanding of sculpture as an expanded field
Distinguishing features of Vlaho Bukovac portrait paintings
No full textOvaj završni rad bavi se isključivo portretima Vlaha Bukovca. Osnovna ideja moga rada je što i nagovještava sam naslov, analizirati i istražiti utjecaje na Bukovčeve portrete. U uvodnom dijelu najviše se spominje kontekst vremena u kojem slikar djeluje. Razdoblje devetnaestoga stoljeća pogodno je inovativnim promjenama. Problematizira se odnos između novonastalog buržoazijskoga društva i proletarijata. U središnjem dijelu rada analizirana su djela pionira stilova koji su obuhvaćali period druge polovice devetnaestoga stoljeća. Prevladavajući stilovi su realizam, impresionizam, postimpresionizam te simbolizam i secesija. Možemo pratiti životni put koji je oblikovao slikara već u ranoj dobi i odlike vodećih stilova u njegovim portretima. Poznajemo Bukovca kao velikog tradicionalista koji se školovao kod svog učitelja Cabanella na Akademiji Beaux des Ecole. Ipak on se udaljio od klasične palete atelijerskih prigušenih boja. Rasvijetljava svoju paletu boja koja se može vidjeti na njegovim portretima. Eksperimentira nanošenjem boje na platno, bržim potezima i usvaja tehnike postimpresionista. Važno za naglasiti je da i dalje akademski realizam egzistira u njegovim djelima jer je prisutan u precizno postavljenom crtežu. Dovodi modernizam u Hrvatsku kao član Društva hrvatskih umjetnika, izlaže na ključnom hrvatskom Salonu. Vodeća je osoba koja je u hrvatskom slikarstvu pridonijela inovacije i težnju prema odmaku od klasičnoga tradicionalizma.This final thesis focuses exclusively on the portraits of Vlaho Bukovac. The main idea of my work, as suggested by the title itself, is to analyze and explore the influences on Bukovac's portraits. The introductory part primarily discusses the contextual framework of the time in which the painter operated. The 19th century was a period conducive to innovative changes, and it problematizes the relationship between the emerging bourgeois society and the proletariat. The central part of the work analyzes the works of the pioneers of styles that encompassed the second half of the 19th century. The prevailing styles were realism, impressionism, post-impressionism, symbolism, and secession. We can trace the life path that shaped the painter from an early age and the characteristics of the leading styles in his portraits. We know Bukovac as a great traditionalist who was trained by his teacher Cabanel at the Beaux des Ecole Academy. However, he distanced himself from the classical palette of muted colors typically found in studio paintings. He illuminates his color palette, which can be seen in his portraits. He experiments with applying paint to the canvas, using quicker brushstrokes, and adopts techniques of the post-impressionists. It is important to emphasize that academic realism still exists in his works, as it is present in precisely executed drawings. He brings modernism to Croatia as a member of the Society of Croatian Artists and exhibits at the key Croatian Salon. He is a leading figure who has contributed innovations and a desire to move away from classical traditionalism in Croatian painting
Gesture and trace
No full textTema Gesta i trag je proizašla iz mentorstva s profesoricom Neli Ružić. Autorica završnog rada je odabrala jednu od tri glavne ponuđene teme za svoj rad. Radi se o apstrakcijama bez određenih figurativnih motiva. Sve je započelo time da se iz niza malih radova u bloku počela razvijati ideja o gestualnosti uz korištenje crteža kao motiva na slikarskoj podlozi. Razni su se mediji koristili, ali uglavnom su akril, jupol i crtačke tehnike poput markera, bojica, rapidografa i tuša bile upotrijebljene u nastanku ovog rada. Odabrani nositelj/podloga je papir koji je u zadnjoj fazi rada bio napet na okviru dimenzije 120 × 196 cm čime se autorica odlučila za veći format na kojemu je angažiran pokret skoro cijelog tijela. Autorica je kroz rad eksperimentirala s medijima. Zanimljiv joj je proces rada i taj proces ona predstavlja kao okosnicu samog rada jer smatra da je to ono što određuje njezine slike. U svojim slikama želi prikazati nevidljive odnosno transpercepcijske prostore vidljive u okviru individualnog pogleda i unutarnjeg svijeta.The theme and the title of this thesis Trace and Gesture emerged from professor Neli Ružić's mentorship. The author chose one of the three main topics offered during classes for her work. It is a collection of abstractions without specific figurative motifs. It all began with a series of small works in a sketchbook. The idea of gesturality started to develop, with drawings used as motifs on a painting surface. Various media were employed in creating the works, mainly acrylic, wall paint and drawing techniques such as markers, crayons, rapidograph and ink. The base surface is paper, which was mounted on a frame in the last stage of the work, sized at 120 × 196 cm . This allowed the author to move to a larger format, engaging her whole body in the process. The author experimented with various media. She finds the work process interesting and presents it as the backbone of the work itself, as she believes that this is what determines the identity of her paintings. In her paintings, she wants to show invisible or transperceptual space visible within the inner world
Affective sphere of education and music teaching: A cognitive-emotional approach to listening to music in elemetary school
No full textRad ne sadrži sažetak
Synthetic fibres - invisible pollutants
No full textProblem onečišćenja okoliša mikroplastikom postaje sve ozbiljniji jer mnogi ljudi nisu svjesni da njihove svakodnevne aktivnosti poput pranja odjeće doprinose ovom obliku onečišćenja. Mikroplastika koja se oslobađa tijekom pranja odjeće šteti morskom životu, infiltrira se u prehrambeni lanac i ostavlja negativne posljedice na ekosustave. Ovaj rad se bavi problemom onečišćenja okoliša mikroplastikom kroz temeljito istraživanje i analizu procesa oslobađanja mikroplastike tijekom pranja sintetičkih tkanina, kao i njenog naknadnog ulaska u okoliš putem otpadnih voda. Koristi kombinaciju kvalitativnih istraživačkih metoda analize sadržaja i intervjua kako bi se dublje razumio problem takvog onečišćenja. Kroz interdisciplinarni pristup osmišljena je kampanja s dvostrukim ciljem. Prvo, kampanja nastoji podići svijest o ozbiljnosti problema onečišćenja mikroplastikom. Drugo, cilj kampanje je pružiti praktična rješenja koja su lako primjenjiva u svakodnevnom životu i koja mogu pomoći u smanjenju ovog globalnog problema. Dizajn ima ključnu ulogu u ovom projektu. On nije samo estetski element, već moćno sredstvo za prenošenje složenih ekoloških informacija i poticanje promjena u ponašanju. Korištenje raznih vizualnih sredstava omogućava potrošačima bolje razumijevanje kako mikroplastika iz odjeće koju kupujemo završava u okolišu i koji su njeni utjecaji na ekosisteme te ljudsko zdravlje. Osim toga, dizajn igra ključnu ulogu u senzibiliziranju javnosti za problem. Pažljivo osmišljeni dizajnerski elementi ističu ozbiljnost problema, potiču empatiju i osjećaj odgovornosti te potrebu za djelovanjem. Na kraju, ovaj rad naglašava važnost suradnje između znanstvenika i dizajnera kako bi se stvorila kampanja koja koristi dizajn kao ključni alat za komuniciranje i osvješćivanje o složenim ekološkim izazovima. Kampanja ima za cilj promicanje svijesti o očuvanju okoliša i potiče pojedince na pozitivne promjene u njihovom ponašanju kako bi se sačuvao naš planet.The problem of environmental pollution by microplastics is becoming increasingly serious because many people are unaware that their everyday activities, such as washing clothes, contribute to this form of pollution. Microplastics released during the laundry process harm marine life, infiltrate the food chain, and have negative consequences on ecosystems. This paper addresses the issue of environmental microplastic pollution through in-depth research and analysis of the process of microplastic release during the washing of synthetic fabrics, as well as its subsequent entry into the environment through wastewater. It utilizes a combination of qualitative research methods, including content analysis and interviews, to gain a deeper understanding of such pollution issues. Through an interdisciplinary approach, a campaign has been devised with a dual purpose. First, the campaign aims to raise awareness about the seriousness of the microplastic pollution problem. Second, the campaign aims to provide practical solutions that are easily applicable in everyday life and can help reduce this global issue. Design plays a pivotal role in this project. It is not merely an aesthetic element but a powerful tool for conveying complex ecological information and inspiring behavioral change. The use of various visual means and elements allows consumers to understand more quickly and comprehensively how microplastics from the clothing they purchase end up in the environment and what their impacts are on ecosystems and human health. Furthermore, design also plays a crucial role in sensitizing the public to the problem. Thoughtfully designed elements highlight the seriousness of the issue, foster empathy, and instill a sense of responsibility and the need for action. In conclusion, this paper emphasizes the importance of collaboration between scientists and designers to create a campaign that utilizes design as a key tool for communication and raising awareness about complex environmental challenges. The campaign aims to promote awareness of environmental preservation and encourages individuals to make positive changes in their behavior to preserve our planet
My Theater - Volker Schmidt - "The Fox " Between Theater and Performance, Interfaces and Transitions
No full textRad ne sadrži sažetak
Constructions
No full textTema ovog diplomskog rada, koji se sastoji od pet konstrukcija napravljenih od bakrene i mjedene žice, je propitivanje svrhovitosti umjetne inteligencije u umjetnosti. Početna stavka djela je generiranje slika pomoću umjetne inteligencije i korištenje istih kao inspiracije ili predloška za daljnji rad. Korištenje umjetne inteligencije u izradi rada je provedeno u cilju istraživanja temeljenog na pitanju: kako se umjetna inteligencija može koristiti u umjetničkom izražaju i koliko se završeni stvarni objekt razlikuje od umjetnom inteligencijom generiranog virtualnog objekta? Autor također želi dovesti virtualno ili nestvarno u stvarno obličje, ali pod vlastitim uvjetima. Intencija nije pokušaj imitiranja generirane slike u 3D prostoru već da se postupa po autorskom osjećaju i tako vidi koliki se razmjer razlike očituje na završenom djelu – materijalnim konstrukcijama – u odnosu prema početnim AI-generiranim slikama.The subject of this master's thesis, which consists of five constructions made of copper and brass wire, is the examination of purposefulness of artificial intelligence in art. The initial step of the work is the generation of images using artificial intelligence and use of these as inspiration for further work. The intention of using artificial intelligence in the creation of the work is to conduct a research based on the question: how can artificial intelligence be used in artistic expression and how does the finished real object differ from the virtual object generated by artificial intelligence? The author wants to bring the virtual or unreal into the real, but on his own terms. The aim is not to try to conciously imitate the generated image, but to act according to the author's feeling and thus see the extent of the difference manifested in the finished work - material constructions - in relation to the initial AI-generated images