Fine Arts, Faculty of

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Recent Submissions

Now showing 1 - 5 of 46
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    Whisper: a nature-centred generative music performance
    (2023) Tareq Abu-Rahma; Dr. D. Andrew Stewart
    In my research-creation project, I create a digital musical instrument, referred to as Whisper, to investigate the capacity of wind to perform. By integrating principles of digital musical instrument design and generative music, as well as exploring the decolonisation of western classical musical practices, I create a multisensory, site-specific, technology-based performance that highlights the wind as the central performer. The music performed with Whisper consists of two parts, each part using a generative music system that responds to wind speed measurements in order to trigger sound events and create musical notes whose sounds are generated by both commercially available virtual instruments and my own custom-built software synthesis engines. With Whisper, I also investigate the decolonisation of musical practices and emphasise the principle of interconnectedness that exists among all life forms and relationships. Interconnectedness holds significant importance within Indigenous worldviews in particular. I study and incorporate Niitsi'powahsin (Blackfoot language) as a vital component of nature's performance. To guide my exploration, I draw inspiration from the scholarly works and calls to action put forth by Dr. Leroy Little Bear and Dr. Dylan Robinson.
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    Strange World: Immersive Experience Through Interaction and Projection Map
    (2023-08-21) So Eun Moon; Daniela Sirbu
    “Strange World: Immersive Experience Through Interaction and Projection Mapping” is an MFA Thesis Project that focuses on immersion through direct participation and explores possible expansions of affordances of projection mapping as an artistic medium. In this project, videos of personal experiences of isolation and gradual emergence of a sense of community in unknown environments with cultural differences are implemented in surrealistic style. These videos create a 180-degree projection mapping art, making multiple videos that reflect various personal experiences merged into one virtual space. This virtual space tries to convey the message that we need understanding and empathy for each other. The thesis project also includes experiments with interactive video aiming to engage the audience more actively. The thesis project explores options for implementing immersive experiences in a transitional period of digital innovation, where advanced technologies move into different fields and converge into new forms of expression.
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    Tuning into the Audible: An Arts-Based Investigation into Human Connections with Acoustic Environments
    (2023-08-11) Christina Masha Milinusic; Dr. Arlan Schultz
    Tuning into the Audible is an arts-based research project probing human connections to the physicality and phenomena of sound-in-space. Sound shapes our spatial reality. To confirm that sound shapes the human sensory and perceptual experience of space, analog and digital technologies, including custom built listening devices, spatial field recordings, and unconventional mixing practices are used. The theremin, a space- controlled instrument, facilitates physical engagement with sound-in-space, expressing sound as an aggregate, synaesthetic experience; musical, experiential, visual, and gestural. Performances on theremin, sound visualizations using a Chladni plate, and creative electroacoustic sound production devices are used to interact with and draw analogs to specific acoustic environments under investigation. Recordings of acoustic energy in soundscapes, investigations into hearing mechanisms across species, and assessments of the psychoacoustical impacts of listening, inform the inquiry. The primary methodology of this project is the creation of aural adventures through geological, biological, and anthropological soundscapes. These adventures, in the form of electroacoustic compositions, seek to connect and calibrate a listener’s deeper awareness of human spaces and draw attention to the often-ignored sonic environments of its inhabitants. The ultimate purpose of this research is to expand an understanding of human connection to acoustic ecology, bring awareness to how diverse species hear the world, and tune into our anthropocentric impressions of sound-in-space.
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    Attic foot and elbow to tip of middle finger
    (Lethbridge, Alta. : University of Lethbridge, Dept. of Art, 2023) Knight, David; University of Lethbridge. Faculty of Fine Arts; Kavanagh, Mary
    Presented at the Penny Gallery, University of Lethbridge, in June 2023, my Thesis Project, Attic Foot and Elbow to Tip of Middle Finger, consists of three primary thematic arcs organized into chapters: “Stair Iterations,” “Window Meditations,” and “Systems of Measure” – that together represent the culmination of two years of research, writing and creative activities. The defense of this work concludes in an exhibition that centers around five main projects: Stair Iteration III: Gamma, Retrospect, Near Poet, Ropes and Rulers and Growth Chart | Social Body. The exhibition focuses on the built environment while considering its relation to formal, bureaucratic, and cultural structures and systems. By separating windows and stairs from their usual placement within an architectural space, recontextualizing and altering these standard architectural elements, I consider perceptual changes in scale, memory and its fallibility, the recollection of objects, time and space, alteration of convention, as well as instruments and systems of measurement.
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    Improvising early-nineteenth century guitar music: the application of partimento rules with realizations informed by the music of Mauro Giuliani and Fernando Sor
    (Lethbridge, Alta. : University of Lethbridge, Dept. of Music, 2023) Culler, Austin; Visentin, Peter; Matos Vega, Iliana
    In the eighteenth century, partimento was an important part of music pedagogy, and was a primary mechanism by which apprentice musicians learned to improvise. Partimenti utilize pattern recognition, repetition, and variation in order to engrain stylistic features and compositional tools of the time. In this manner, apprentices would eventually become “native speakers” in the eighteenth-century style. Yet, today both partimento and improvisation are niche, specialist skills and are largely unfamiliar to most classical-music performers, even though eighteenth-century music plays a key role in today’s pedagogy and public concerts. This paper aims to lay the groundwork for adapting partimento practice for the guitar. Therefore, it is intended for both partimento scholars and advanced guitarists with a background in eighteenth-century compositional procedures. To this end, procedures from the Neapolitan regole, in particular Fedele Fenaroli’s “Regole musicali per i principianti di cembalo”, are discussed in terms of guitar performance. Examples from Mauro Giuliani, Fernando Sor, and other early-nineteenth century guitarists are selected in order to examine how they solved the compositional problems laid out in the regole for the guitar. This paper does not necessarily seek to develop a strict eighteenth-century style, but rather filter these procedures through the music of the guitarists who wrestled with them in the first part of the nineteenth century.