402 research outputs found
Merespon Isu Hoax Dengan Menggunakan Metafora Wajah Sebagai Ide Penciptaan Seni Lukis Representasional
No full textRINGKASAN Christian, Jonathan Viola. 2019. Merespon Isu Hoax Dengan Menggunakan Metafora Wajah Sebagai Ide Penciptaan Seni Lukis Representasional. Skripsi, Jurusan Seni dan Desain, Fakultas Sastra, Universitas Negeri Malang. Pembimbing: Drs. Triyono Widodo, M.Sn. Kata Kunci : Hoax, Wajah, Penciptaan, Karya Seni Lukis, Representasional. Hoax merupakan informasi yang tidak benar namun diolah dan dijual seakan menjadi sebuah kebenaran. Hoax sendiri muncul dan berkembang pesat mengikuti perkembangan teknologi dan informasi yang berkembang semakin cepat pula. Peristiwa hoax ini memicu kegelisahan pada benak pencipta. Tidak lain adalah dikarenakan dampak dari hoax yang sangat merugikan semua kalangan masyarakat. Hoax juga menimbulkan pergeseran sifat, perilaku dan pemikiran setiap orang pada masa sekarang. Pergeseran ini berhubungan dengan mulai hilangnya identitas-identitas manusia yang semestinya jujur dan bermoral. Berdasarkan dari kegelisahan ini, pencipta menjadikannya sumber inspirasi dalam penelitian penciptaan karya seni lukis representasional melalui metafor wajah. Penelitian ini merupakan jenis penelitian penciptaan seni, dengan menggunakan metode penciptaan Alma Hawkins meliputi: tahap eksplorasi, tahap improvisasi, dan pembentukan. Eksplorasi dalam penciptaan ini merupakan tahap pencarian ide serta pencarian objek yang relevan dengan ide tersebut. Ide dari penciptaan ini adalah merespon isu-isu dan dampak-dampak hoax yang booming akhir-akhir ini. Improvisasi merupakan pengembangan dari tahap sebelumnya, yaitu mengembangkan objek yang didapat menjadi sesuai dengan apa yang dirasakan pencipta. Pembentukan adalah tahap terakhir, yaitu menerapkan objek yang telah dikembangkan menjadi suatu karya yang utuh. Penciptaan ini menghasilkan enam karya seni lukis yang berjudul “Home Sweet Home”, “Missing Identity”, “After New World”, “Self Portrait 1”, “Self Portrait 2”, “Phantasm”. Keenam karya lukis yang diciptakan ini diharapkan dapat menambah kepekaan terhadap isu-isu sosial yang sedang berlangsung saat ini. Harapannya bukan hanya berakhir pada peka saja, namun ada perubahan yang terjadi baik dari pencipta maupun masyarakat secara umum. SUMMARY Christian, Jonathan Viola. 2019. Responding to the Issue of Hoax by Using Face Metaphor as the Idea of Creation of Representational Painting. Thesis, Department of Art and Design, Faculty of Literature, Malang State University. Advisor: Drs. Triyono Widodo, M.Sn. Keywords: Hoax, Face, Creation, Painting, Representation Hoax is incorrect information but is processed and sold as if it were a truth. Hoax itself appears and is growing rapidly following the development of technology and information which is growing faster too. This hoax event triggered anxiety in the mind of the creator. No other is due to the impact of hoaxes that are very detrimental to all circles of society. Hoax also causes a shift in the nature, behavior and thoughts of every person in the present. This shift relates to the beginning of the loss of human identities that should be honest and moral. Based on this anxiety, the creator made it a source of inspiration in the study of the creation of representational painting through facial metaphors. This research is a type of art creation research, using the Alma Hawkins creation method which includes the stages of exploration, stages of improvisation, and formation. Exploration in this creation is the stage of finding ideas and finding objects that are relevant to the idea. The idea of this creation is to respond to the issues and impacts of the booming hoax lately. Improvisation is the development of the previous stage, namely developing objects that are obtained to be in accordance with what is felt by the creator. Formation is the last stage, which is to implement objects that have been developed into a complete work. This creation produced six works of painting entitled “Home Sweet Home”, “Missing Identity”, “After New World”,“Self Portrait 1”, “Self Portrait 2”, “Phantasm”. The six paintings created are expected to increase sensitivity to current social issues. The hope is not only to end up sensitive, but there are changes that occur both from the creator and the community in general
Jody Rockmaker's Character Pieces for Viola and Piano (2014): A Study and Recording
Full text linkabstract: This document is a study of Jody Rockmaker’s Character Pieces for viola and piano (2014). The study begins with discussion of the work’s origin, then goes on to describe each of its three movements in some detail. A recording of the work with the author as violist is included.
The composer is a former violist and worked with the author on developing Character Pieces. Although the work is demanding, it was written with consideration of viola technique and the instrument’s characteristics and sound.
The composition is of approximately 15 minutes’ duration. Each movement is in a different tempo, fast-slow-fast, and with individual expression, though the pitch organization of all three movements is based on one hexachordal set. Rockmaker’s intent was to depict certain personality traits often found among violists. These attributes are evident in the titles of the movements: the Class Clown, the Mellow Fellow, and the Hipster-Intellect. The music, in addition to being intricately organized and technically suited to both instruments, also expressively portrays these character types.Dissertation/ThesisJody Rockmaker's Character Pieces for Viola and Piano(2014): I. Class ClownJody Rockmaker's Character Pieces for Viola and Piano(2014): II. Mellow FellowJody Rockmaker's Character Pieces for Viola and Piano(2014): III. Hipster-IntellectDoctoral Dissertation Music 201
Selections from Hermann Ritter’s Viola Alta Repertoire: A 21st Century Rendition of 19th Century Repertoire
Full text linkabstract: This research paper provides a revised version of viola alta compositions by
Hermann Ritter. These original compositions, written for viola alta, were published between 1878 and 1900. Without further reprint, these works are largely unknown by this generation of violists. Yet, these works are precious examples of viola alta repertoire from the late nineteenth century.
The viola alta was designed by Hermann Ritter with an instrumental length between 17 and 19 inches. Another version of this instrument was constructed with five strings, adding a high E-string. Higher pitches could then be played with relative ease in lower positions. Compositions for the viola alta often feature brilliant passages in the treble register and rarely showcase the sonority of the lower strings. Many of Ritter’s scores for the instrument are notated in the alto clef and contain numerous ledger lines. Due to the difficulty of reading the music and handling such a large instrument, the viola alta had a relatively short existence and its repertoire was soon forgotten.
Hermann Ritter actively promoted the viola alta during the late nineteenth century. His compositions featured the range of the instrument and captured the emotion and character of the late Romantic era. Ritter contributed a wealth of repertoire for the viola alta to increase its significance and importance. For today’s violist, it represents a body of work from the nineteenth century, and adds to the repertoire many wonderful, short, character pieces.
This document consists of a brief discussion of Hermann Ritter’s career and his contributions to the viola alta. Six of Ritter’s viola alta works are presented in order of difficulty with bowings and fingerings, along with a performer’s analysis and performance instructions. To aid ensemble issues, the revised version includes simplified piano parts. It is the author’s hope that this volume increases repertoire options for violists and becomes a valuable pedagogical resource.Dissertation/ThesisDoctoral Dissertation Music 201
A Transcription of Charles Stanford’s Cello Sonata No. 2, Op. 39 for Viola and Piano
Full text linkabstract: Provided here is a new transcription for viola and piano of Charles V. Stanford's Sonata for Cello and Piano, No. 2, Op. 39. This transcription preserves the original music, but provides new tone color and register possibilities using the viola. In general, there is a lack of solo viola repertoire in the early nineteenth century. Stanford, a romantic composer, writes music using structural forms and harmonic techniques derived from the classical period. In order to introduce violists to the music of Charles Stanford and increase the amount of nineteenth century repertoire for the viola, this transcription of Stanford's Cello Sonata No. 2, Op. 39 is done by making artistic and educated decisions regarding fingerings and bowings, while discussing the choices for register changes. The transcription here can be employed by viola students as an example of repertoire from the early romantic period.Dissertation/ThesisDoctoral Dissertation Music 201
A potential extension of the Barnett Shale oil play: a subsurface play analysis of the Mississippian (Osagean-Meramecian) strata in Shackelford County, Texas
No full textRepeatable, unconventional Barnett Shale completions have been constrained to the gas-rich, eastern portion of the play in Fort Worth Basin due to the presence of fracture barriers protecting the play from unwanted water production from the underlying Ellenburger Group. This project conducts a subsurface study on the Mississippian-aged strata (Chappel Limestone through the Barnett Shale) within the oil-rich, western extent of the Barnett Shale play in Shackelford County, Texas. The subsurface study results identify two distinct depositional mechanisms of facies formation within the Chester Limestone that overlap to give play potential for oil-rich Barnett Shale completions west of the Viola pinchout in the Bend Arch-Fort Worth Basin area. The upper portion of the Chester Limestone contains a higher porosity cherty zone that shows reservoir potential. The basal portion of the Chester Limestone is referred to as the Mississippian Shale , and it shows potential to act as a fracture barrier that could prevent downward fracture growth into the Ellenburger in areas with widespread deposition and significance difference in rock mechanics (ductile) from the upper cherty zone (brittle). Subsurface correlations were done utilizing over 100 wells that contained gamma-ray (GR) and bulk density (RHOB) within the 64 mi2 AOI (area of interest). Rock mechanics were tested utilizing the Equotip Bambino micro-rebound hammer and by observing the difference in RHOB of the play units. The main conclusions of this study include: (1) the identification of the Mississippian Shale as a potential fracture barrier for the Barnett Shale play to potentially extend the play in to the oil window; (2) sweet spot maps that identify areas with the most geologic potential to prevent downward growth of stimulation fractures into the Ellenburger in areas related to the growth of the Chappel reefs; (3) the identification o
2010-10_BB-Composer Ensemble
No full textBig Band / Composers Ensemble
01. Wave arr. by J. Sepetavec 6:05
02. Four arr. by Viola Hauser 5:22
03. Move (P.Walsh) arr. by Bernd Raffolo 4:44
04. Like Someone In Love 9:34
05. Birk’s Works 4:16
(Dizzy Gillespie) arr. by Abel Kovacevic
06. Fire Distinguisher (Miron Hauser) 4:18
07. You Don’t Know What Love Is 8:22
(G. de Paul) arr. by Rob Spelberg
08. Everything 7:57
Total time 50:40
Instruments played by KUG Jazzorchestra
Leitung: Jim Rotondi
Recorded by Jonathan Schorr and Christian Klotzbücher at KUG Studio, Graz, Austria
Mixed and Mastered by Ulrich Katzenberger at KUG Studio, Graz, Austri
String Showcase December 3, 1986, Shepherd School Rehearsal Hall
Full text linkRecording does not match program exactly, due to unperformed or unrecorded piece(s).Performance includes substitution for a piece listed in the program.PROGRAM: Sonata in E-flat, Johannes Brahms (1833-1897) -- Sonata in G minor, Giorgio Antoniotto (1692-1776) -- Arpeggione sonata, Franz Schubert (1797-1828) -- Sonata in F, Evaristo Felice Dall'Abaco (1675-1742) -- Concerto, Domenico Dragonetti (1763-1846) -- E major prelude, Johann Sebastian Bach (1685-1750) -- Kol Nidrei, op. 47, Max Bruch (1838-1920) -- Sonata in G minor, Antonio Vivaldi (1678-1741) -- Sonata no. 5 in E minor, Antonio Vivaldi (1678-1741) -- Suite in A minor, Christian Sinding (1856-1941). -- Sonata in B-flat major, Antonio Vivaldi (1678-1741
Natural Habitat
Full text linkThe research herein relates to the development and ideology behind the creative piece Natural Habitat, and is concerned with exploring effective narrative techniques. The goal of this research is to provide a methodology towards creating effective narrative in the medium of hypertext by developing a better understanding of how narrative functions.
The research explores the social and cognitive elements of narrative, and the manner in which structure impacts the understanding and development of narrative. The genre boundaries of medium and content are explored to gain an understanding of reader preference and expectation. The concept of reader expectation is then applied to multiform narrative in order to understand its functionality, before the question of effective combination of these elements is raised in regards to the medium of hypertext. This methodology is then implemented in the piece Natural Habitat, testing the merit of this approach in the resulting work of fiction.
Natural Habitat is a story describing the journey four friends make through the Amazon jungle after surviving a plane crash. Isolated and in a hostile environment, the four survivors find themselves slipping into surreal worlds that seem futuristic, fantastic, horrific, and tinged with noir. Some begin to question their sanity, while others adapt to their environs readily, but each faces their darker side as the fears in their minds begin to play out on the landscape around them. Fighting to survive, their only chance is to find each other and to conquer their inner demons.
The story is both the exploration and implementation of the arguments of the thesis, with the research guiding the construction of the story from planning, through initial writings and up to the final presentation. Natural Habitat itself is presented as a traditional novel and a piece of hypertext, facilitating comparative analysis between the two mediums
'A secret pleasure in being mastered': Play, Power and the Morality of Art in J. M. Barrie's Sentimental Tommy and Tommy and Grizel.
Full text linkThis dissertation analyses J.M. Barrie's novels Sentimental Tommy (1896) and Tommy and Grizel (1900) in terms of their narrative explorations of the moral implications of art. In particular, it finds the novels preoccupied with the power relations between reader and text, and with the question of whether the playful pleasures of art can ever justify the moral problems created when its power relations are reproduced in social relationships.
The introduction identifies these concerns in the style of the novels through close reading. Chapter one establishes the thesis that, within these novels, art is defined as excess and inconsistency, producing some surprising correspondences to late Nineteenth-Century art theory. This ‘art’ is personified by the protagonist, Tommy, who is shown to have both learned and inherited his artistic disposition. Chapter two identifies a complementary personification, of social morality, in the character of Grizel, which enables their relationship symbolically to play out tensions between art and society. This chapter also finds that these tensions are conceived in the novels as a debate on the gendering of power within heterosexual erotic relationships, wherein the intruding power dynamics of art disturb normative gender roles.
Chapter three, conversely, examines a selection of Tommy's non-romantic relationships and finds them to reveal a model of human selfhood as innately inconsistent, though necessarily modified by social relations. As such, Barrie also, and equally, portrays art as potentially therapeutic, since it allows the expression of individualistic concerns. Finally, the conclusion proposes that this ambivalence towards the morality of art culminates, both in these novels and in Barrie's later work, in a symbolic and paradigmatic mother/eternal boy relationship. Acknowledgement of the complexity of this symbolism, I propose, is of consequence, partly because it is precisely this aspect of Barrie's work that has survived and become significant within Western culture
A necessary fiction: The ritualisation of stakeholder practices in New Zealand cinema
No full textThis thesis argues that stability of the concept ‘national cinema’ is located in the discursive positioning of individual films in such a way that they are connected to a national ‘common ground’, one which is ritually accessed via engagement with media such as cinema. This positioning, however, is not quantifiable and may not be identified as arising from any particular production practice, dimension of popularity, theme, style, characteristic of production personnel, and so on. By synthesising the work of several theorists and applying this synthesis to a selection of films, a framework of ideas (around the ritualised ‘flagging’ of the national via the expression of stakeholder interests) is applied to cinema in New Zealand. In particular, an ideoscape is ultimately mapped as a result of applying this framework of ideas. The normative assumptions of national cinema are examined in this way and found to be lacking despite the weight that the term ‘national cinema’ continues to have
- …
