The translation and interpretation of the structural elements of Michael Berkeley's musical compositions through painting and digital media

通过绘画和数字媒体对迈克尔·伯克利音乐作品的结构元素进行翻译和诠释

• 批准号: AH/G013799/1
• 负责人: Kevin Laycock
• 金额: $ 2.07万
• 依托单位: University of Leeds
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FG013799%2F1
• 关键词: translation; interpretation; structural; elements; Michael

There are many examples of painters, who slosh paint around the canvas in the pursuit of what Walter Pater defined as the 'condition of music'. This type of expressionistic painting is fundamentally intuitive and is often merely a by-product of and reaction to listening. Painting of this kind has its own visual limitations and struggles to relate to the composers intentions and use of compositional technique in either music or design. Led by the principle investigator this project re-examines the art-music relationship. The project is intended to present a different way of thinking and a fresh approach to painting practice, in which both the language of design and music theory establish a logical link between both visual and audible composition based on musical systems and visual proportion. The research should be of particular interest to academics, artists and composers. This investigation will employ painting as a tool for thinking. The research explores the relationship between musical composition and visual perception and poses a number of questions about the way in which contemporary abstract painters and composers use the musical score and painted canvas to inform cross-genre art forms. Michael Berkeleys' Coronach, Gethsemani Fragments, Fierce Tears I and II and Keening, Voice from the Dark and Inner Space will be informed the basis for this investigation in conjunction with Gallery.Oldham's collection of mid 20th century abstract painting.

有很多画家的例子，他们在画布上晃动颜料，以追求沃尔特·佩特所定义的“音乐的状态”。这种表现主义绘画基本上是直觉的，通常只是倾听的副产品和反应。这种类型的绘画有其自身的视觉局限性，并努力与作曲家的意图和在音乐或设计中使用的作曲技术联系起来。在首席研究员的带领下，这个项目重新审视了艺术与音乐的关系。该项目旨在呈现一种不同的思维方式和绘画实践的新方法，其中设计语言和音乐理论在基于音乐系统和视觉比例的视觉和听觉组成之间建立了逻辑联系。这项研究应该引起学者、艺术家和作曲家的特别兴趣。这次调查将使用绘画作为思考的工具。该研究探讨了音乐创作与视觉感知之间的关系，并提出了一些关于当代抽象画家和作曲家使用乐谱和绘画画布来传达跨流派艺术形式的方式的问题。Michael berkeley的《Coronach》、《Gethsemani Fragments》、《烈泪I and II》、《Keening》、《Voice from the Dark》和《Inner Space》将与画廊一起作为本次调查的基础。奥尔德姆收藏的20世纪中期的抽象画。