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論文代寫: 音樂作為一種具象藝術

在這篇閱讀中,作者詳細討論了與藝術描繪相關的表征因素和理論視點。在這些場景中討論的藝術是圖片和音樂。尼爾森·古德曼的語義理論闡述了藝術是如何模仿或描繪現實的。現實的領域描述了藝術形式是如何構建的。這種形成結構在藝術和音樂中都有體現。音樂本質上代表著隱藏的現實,通過音樂的內涵來表現主題或主題。作者以夜鶯的樂音為例,為夜鶯譜曲。在音樂創作方面,它將是關於如何描繪夜鶯。它將不是確切的音樂作品,而是一種表現。作曲家在創作音樂時試圖表達某些理論家的思想。在大多數情況下,人們已經觀察到作曲家試圖表達某些概念。作曲家試圖通過音樂的建構來訴諸傳統的信仰和思想。這方面可能是本章最有趣的方面。從理論上解釋了如何理解不同的表征。從理論上講,視覺強調個體去尋找那些真正被表現出來的方面而不是那些沒有被表現出來的方面。為了理解這些描述,個體必須理解原作者所處的環境以及他們在創作音樂時的意圖。例如,要理解埃爾加·寧錄的音樂,首先要理解音樂的描述性和主題的理解。對於《悲愴交響曲》中的柏遼茲交響曲,要欣賞它,就必須理解交響樂中音樂的形式化結構。

本章有效討論的有趣元素是關於符號學理論的細微差別以及從音樂表征的角度從理論上看問題。這讓我們對音樂形式如何在語境中表現和欣賞有了基本的了解。除此之外,藝術的描繪或表現主題的重要性可以從這個背景中理解。這篇文章有很多深刻的元素可以運用到現代藝術中。它還能讓一個人對畫像進行回顧,並在每種藝術形式中尋找內在的隱藏信息。

In this reading, the author discuses in detail about the representational factor and the seeing in theory that is associated with depiction of arts. Art that is discussed in these scenarios are picture and music. Nelson Goodman’s Semantic theory professes about how art is an imitation or depiction of reality. The realms of reality depict how the art form is constructed. This formative structure is seen in art and music. Music essentially represents hidden reality and depicts the motifs or theme through musical connotation. The author has used the example of the musical tones made by the nightingale and composing music for the same. In the case of the musical composition it will be about how the nightingale is depicted. It will not be the exact musical composition rather it will be representation. While creating music the composer tries to express certain ideologues. In majority of the cases it has been observed that the composer tries to express certain concepts. Composer tries appeals to conventional beliefs and thoughts through construction of music. This aspect is probably the most interesting aspect of the chapter. Seeing in theory explains about how the different representations must be understood. Seeing in theory stresses the individuals to look for aspects that are actually represented to the aspects that are not represented. In order to understand the depiction the individuals must understand the context in which the original composer circumstances and what they had intended during composition of music. For example in order to understand Elgar Nimrod music there should be primary understanding of the descriptive quality of the music and the understanding of the themes. For Berlioz Symphonies of Fanstastique, there should be understanding of the formalized structure of music in the Symphony in order to appreciate it.
The interesting element that has been effectively discussed in this chapter is about the nuances of the sematic theory and the seeing in theory from a musical representational perspective. This gives fundamental understanding about how the musical forms can be represented and appreciated based on the context. Apart from this the importance of the subject matter of depiction or representation of the arts can be understood from this context. This reading has a lot of insightful elements that can be used in modern day arts. It also enables a person conducts retrospection about the portrayal and looks for intrinsic hidden messages in each of the art forms.


論文代寫 : 音樂作為一種具象藝術

然而,同樣的規則不能表達為作曲的目的。作曲家在創作過程中需要一定程度的自由和自主。從這個過程中可以看出,作者在得出任何結論之前都會考慮所有的觀點。作者的這種批判性分析受到尊重。

創新過程是一個獨特的主觀過程,在社會中個體之間存在著差異。實際的創造過程是混亂的。這是一個令人困惑的行為,它的變化基於個人。在個體的實際創造過程中有許多細微的差別。作者對這些過程進行了創新性的探討。作者提出的另一個有趣的討論是如何將這種創造力從小學教育中灌輸給小學生。這一章作為一種指導力量,以便在學校兒童的情況下發揮創造力。作者有趣地闡明了這方面的指導學生而不扼殺創造力。有許多因素使這本書有趣。之所以選擇這一章,是因為它與創作過程有關。作者準確地描述了創造力背後的原理。為了帶來創造力的確切情況無法解釋,但有一些因素可以促進創造力。作者對這方面進行了詳細而有效的描述。這是作者所嘗試的一個有趣的因素。從這個過程中,我們了解了許多從個人角度來調動創造力的新見解和方法。創造力所涉及的細微差別和促進創造力的過程可以幫助未來的作曲準備工作,也可以教授音樂。

Nevertheless the same rules cannot be expressed for the purposes of composing music. The composer needs to have certain level of freedom and autonomy in the creation process. From this process, it can be understood that the author tries to consider all the viewpoints before forming any conclusion. This critical analysis of the author is respected.
Creativity process is a unique subjective process that differs between individuals in the society. The actual creativity process is confounded. It is a perplexing action that changes based on the individuals. There are a number of nuances that are involved in the actual creativity process to be facilitated in the individuals. The author has innovatively discussed these processes. Another interesting discussion that is put forward by the author is the ways in which this creativity can be inculcated in young school children from their primary school education. This chapter serves as a guiding force in order to enable creativity in the case of school children. The authors have interestingly elucidated this aspect of guiding the students without stifling creativity. There are a number of factors that makes this book interesting. This particular chapter was chosen because of its relevance to creativity process. The author has accurately portrayed the rationale behind creativity. Exact circumstances in order to bring in creativity cannot be deciphered but there are some factors that can facilitate creativity. The author has effectively described this aspect in detail. This is the interesting factor that has been essayed by the author. From this process a number of new insights and ways to maneuver creativity from a personal standpoint is understood. The nuances involved in creativity and the processes involved in facilitating creativity can aid in future musical composition preparation and also to teach music.