PODOBA IN ZVOK ,  VPLIV GLASBE NA SLIKARSTVO

Hrvatin Jazbec, Katja

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Izpis gradiva

Naslov:	PODOBA IN ZVOK , VPLIV GLASBE NA SLIKARSTVO
Avtorji:	ID Hrvatin Jazbec, Katja (Avtor) ID Rimele, Oto (Mentor) Več o mentorju...
Datoteke:	UNI_Hrvatin_Jazbec_Katja_2010.pdf (2,29 MB) MD5: AADB4AD793D5ADB343BC54DA98CD72F1 PID: 20.500.12556/dkum/a36da898-15f3-4f7e-8469-e13567da427e
Jezik:	Slovenski jezik
Vrsta gradiva:	Diplomsko delo
Organizacija:	PEF - Pedagoška fakulteta
Opis:	Včasih sem se spraševala, zakaj moram vsak teden hoditi na ure klavirja in solfeggia ter se zaradi tega ne morem udeležiti likovnega krožka. Kasneje sem opustila izobraževanje v glasbi in sem se posvetila likovnemu ustvarjanju oziroma slikarstvu. V precej drugačni obliki so se prav tako med glasbo in slikarstvom odločali danes priznani slikarji. Tako se je na primer slikar Paul Klee odločil za slikarstvo, saj bi po lastnem mnenju glasbo lahko samo poustvarjal. Vendar pa je glasba ostala prisotna v njegovem slikarskem snovanju. Paul Klee spada med ustvarjalce z začetka dvajsetega stoletja. Ta čas je zaznamoval velik tehnični napredek in mnoge družbenopolitične spremembe. Posledično je prišlo do novih načinov ustvarjanja in razmišljanj o le-tem. To je tudi čas, ko nastane prvo abstraktno delo Vasilija Kandinskega. Kandinski je raziskoval povezavo med glasbo in slikarstvom ter navezal prijateljstvo s skladateljem Arnoldom Schönbergom. Zanimivo je, da se je ravno v prvi polovici dvajsetega stoletja pojavilo več umetniških skupin, ki so povezale umetnike z različnih področij (slikarstvo, glasba, literatura in drugo). Ni pa glasba samo vplivala na slikarje, tudi glasbeniki so našli navdih in izziv v slikarstvu. Med bolj odmevnimi je primer simfoničnega dela Aleksandra Skrjabina za orkester in barvne orgle z naslovom Prometej: Pesnitev ognja. Skrjabin je s tem delom želel izzvati sinestetično izkušnjo pri gledalcih. Ni bil prvi, ki bi iskal sinestezijo v umetnosti. V zgodovini so nastali številni domisleki, ki bi sočasno nagovarjali naš vizualni in slušni sistem, med temi so tudi barvni čembalo in barvne orgle. V teoretičnem delu diplome sem našla izhodišča za lastno delo. Praktični del diplome sem raziskovala v dveh projektih. V obeh projektih sodelujem z glasbenikom. Ustvarjanje del in raziskovanje povezave med glasbo in slikarstvom za prvi projekt je potekalo v »ateljeju«, v drugem projektu pa se ustvarjanje in raziskovanje dogajata pred gledalci na odru.
Ključne besede:	slikarstvo, glasba, vizualni sistem, slušni sistem, sinestezija, abstraktna umetnost
Kraj izida:	Maribor
Založnik:	[K. Hrvatin Jazbec]
Leto izida:	2010
PID:	20.500.12556/DKUM-16005
UDK:	73/76(043.2)
COBISS.SI-ID:	17926408
NUK URN:	URN:SI:UM:DK:0CYFYHRM
Datum objave v DKUM:	22.10.2010
Število ogledov:	4125
Število prenosov:	474
Metapodatki:
Področja:	PEF
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Sekundarni jezik

Jezik:	Angleški jezik
Naslov:	IMAGE AND SOUND, THE INFLUENCE OF MUSIC ON PAINTING
Opis:	I used to wonder why I had to attend piano and solfeggio lessons and therefore was not able to attend the painter's circle. Later, I ended my music education in favour of painting. Many acclaimed painters also used to choose between music and painting in rather different ways. For example, painter Paul Klee, chose painting because, in his own words, he could only reproduce music. But nevertheless music stayed present in his painting creativeness. Paul Klee belongs to artists from the beginning of the 20th century. That time is known for great technical advances and for great social and political turmoil. New ways of artistic expression and new thoughts about it arose from that particular situation in history. That was also the time when Wassily Kandinsky created his first abstract painting. Kandinsky was researching the link between music and painting, and started his friendship with composer Arnold Schönberg. The first half of the 20th century was the time when many different art groups formed that connected the artists from different creative areas (painting, music, literature and others). But it wasn't only music that influenced the painters; musicians also took inspiration from and were challenged by painting. One of the more famous examples is Alexander Scriabin's symphonic piece for orchestra and colour organ, Prometheus: The Poem of Fire. With that piece, Scriabin wanted to stimulate a synestetic experience in the viewer. He wasn't the first one to search for synesthesia in art. Throughout history there were many ideas like the colour harpsichord and colour organ that tried to stimulate our visual and hearing systems simultaneously. I used the theoretical part of my diploma as a starting point for my work. I researched the practical part of my diploma in two projects. On both projects I collaborated with musicians. The creation of paintings and research of the link between music and painting for the first project took place in an »atelier«. For the second project the creation and research took place on the stage in front of an audience.
Ključne besede:	painting, music, visual system, aural system, synaesthesia, abstract art

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