國立虎尾科技大學 |

The Musician-Designer : = Integrating the Projection Medium Into Dramatic Musical Narrative.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	The Musician-Designer :/
其他題名:	Integrating the Projection Medium Into Dramatic Musical Narrative.
作者:	Tassi, Camilla.
面頁冊數:	1 online resource (101 pages)
附註:	Source: Masters Abstracts International, Volume: 57-06.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780438005761

The Musician-Designer : = Integrating the Projection Medium Into Dramatic Musical Narrative.
Tassi, Camilla.

The Musician-Designer :Integrating the Projection Medium Into Dramatic Musical Narrative. - 1 online resource (101 pages)

Source: Masters Abstracts International, Volume: 57-06.

Thesis (A.M.)--Dartmouth College, 2018.

Includes bibliographical references

Visual projections were first employed in theatrical performances by Erwin Piscator in Germany during the 1920s. Today, projection has emerged as a design field of its own, and degree programs dedicated to projections have begun to be instituted in universities. Yet, little has been written regarding how to approach projection as an artistic process and not a purely technical element. With the recent developments in projection mapping software (including the platform Isadora, first released in 2002), projection design has become more easily accessible and approachable. But what are the qualities that make projection unique from other mediums? Why and how should it be incorporated in performances? Projection is a tool located between the virtual and the physical world: it is the child of light and film. As a result, projection has become another powerful design element in the audiovisual performance setting, particularly in the theatrical, staged, environment.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780438005761Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

The Musician-Designer : = Integrating the Projection Medium Into Dramatic Musical Narrative.
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500 $a Source: Masters Abstracts International, Volume: 57-06.
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504 $a Includes bibliographical references
520 $a Visual projections were first employed in theatrical performances by Erwin Piscator in Germany during the 1920s. Today, projection has emerged as a design field of its own, and degree programs dedicated to projections have begun to be instituted in universities. Yet, little has been written regarding how to approach projection as an artistic process and not a purely technical element. With the recent developments in projection mapping software (including the platform Isadora, first released in 2002), projection design has become more easily accessible and approachable. But what are the qualities that make projection unique from other mediums? Why and how should it be incorporated in performances? Projection is a tool located between the virtual and the physical world: it is the child of light and film. As a result, projection has become another powerful design element in the audiovisual performance setting, particularly in the theatrical, staged, environment.
520 $a Because of the rhythm and flexibility it can have in its mutation and presentation of content, projections offer interesting possibilities, particularly in collaborations with music, which are the focus of this thesis. I offer a history of projection as a genre and as a medium through the lens of opera. I then present how projection can help with the re- contextualization of musico-dramatic genres (oratorio, cantatas, opera) of both early and modern periods, and how it can enhance and transform the visual and psychological space of a performance. Case studies of professional designers in opera are referenced and analyzed (Wendall Harrington's Werther, Ex Machina's La Damnation de Faust, and William Kentridge's The Nose). I then share three productions I have designed: composer Buxtehude's Membra Jesu Nostri, Carissimi's Jepthe, and Delinger's Talk to Me Like the Rain, and describe the process for tackling projection design for musical, dramatic, and narrative goals. Factors such as visual focus, score analysis, layers of accessibility in language and culture, as well as incorporation of architectural space, materiality, and interactivity with the performers are all present in the audiovisual approach of projections in the process of bringing music to life.
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