韓立
Li Han
视觉叙述者；跨界艺术家
Visual Storyteller;
Interdisciplinary Artist
韓立
视觉叙述者；跨界艺术家
Visual Storyteller;
Interdisciplinary Artist
解構巴赫
——巴赫《平均律钢琴曲集》视觉化研究
DeBach
—the Visualization of Bach’s Well-tempered Clavichord
硕士学位毕业设计；藏于芝加哥艺术学院视觉传达设计系
MFA Thesis; Collected in the Deptment of Visual Communication Design of the School of the Art Institute of Chicago
RIVES BFK 低克数版画纸，聚氯乙烯片，犊皮纸
喷墨打印
2017年春，美国芝加哥RIVES BFK printmaking paper light weight, PVC sheet, vellum
inkjet printing
spring 2017; Chicago, IL, USA
Manuscript of the Prelude in C Major, BWV 846 from the first piece of Well-Tempered Clavichord, Book I
巴赫的《平均律钢琴曲集》在西方音乐史中被誉为“旧约圣经”。无论是演奏还是读谱，均可发现在同一首乐曲中，重复构成在持续发生。左图即为《平均律钢琴曲集》第一册第一首BWV 846的《C大调前奏曲》的手稿，可以清晰看出“上升-再上升”的模式贯穿全曲。
基于大量的作曲知识学习、乐史调研以及设计实验，最终我探究出了同样具备数学关系、几何结构、建筑美学的视觉语言将《平均律钢琴曲集》视觉化，通过可视作曲逻辑直观呈示巴赫的“谱曲奥义”。
DeBach—the Visualization of Bach’s “Well-tempered Clavichord” is my MFA thesis, which aims to visualize the logicality and architecturity in German composer and musician John Sebestian Bach’s music.
Bach’s The Well-tempered Clavichord is honored as the “Old Testament of Music” in the history of Western music. It is quite easy to find out that there is pattern repeating either by playing or score reading. For instance, the image on the left is the manuscript of the Prelude in C Major, BWV 846 from the first piece of Well-Tempered Clavier, Book I, in which the “ascent–re-ascent” pattern runs throughout the entire work.
Based on abundant studies in composition, music history, and design experimentations, I develop a mathematical, geometric, and architectural visual approach to visualize The Well-tempered Clavichord and straight-forwardly present the art of Bach’s counterpoint complexity.
曲式结构分析/Analysis of Musical Structure
i. Well-tempered Clavichord
Well-Tempered Clavichord is composed by two volumes. Each volume consists of 24 preludes and fugues in the same tonal system. Two volumes form a continuous structure by connecting each other end to end. Therefore, performance can start at any point and finally return to the origin. The Oloid shares exactly the same structural features. I divide its surface into 48 identical facets via rigorous mathematical computation, thereby visualizing the continuous tonal structure of the entire work.ii. Well-tempered Clavichord, Volumes I & II
24 Preludes and Fugues in each volumes strictly follow the well-tempered clavior (ascending consecutively from C major to b minor,) and return to the starting point forming an inner loop. The kaleidocycle reverts to its original cube form after a full twist as well. Sharing this transformative feature, it serves as the most appropriate structure to visualize individual volumes.iii. prelude—asymmetrical
The two parts of Prelude in C Major, BWV 846 from the first piece in Volume I is asymmetrical: the left-hand bass defines tonality for the entire measure by chords’ root notes, while the right-hand treble makes the melody flow. The cubic core—divided into ¼ and ¾ of its original volume—is the visualization of the asymmetricality.iii. prelude—parallel
The two parts of Prelude in C Minor, BWV 847 from the second piece in Volume I is parallel, whose hand movements are even axially symmetric about Middle C. The cubic core—divided into two identical halves—serves as the visualization of this melodic reflection.iii. prelude—intertwist
The melodic pattern of Prelude in #C Major, BWV 848 from the third piece in Volume I switches periodically between treble and bass, which makes the melodic lines form a intertwisting double helix between two hands. In response to this structure, the cubic core—divided into four identical parts—creates a counterclockwise rotating pattern on the sides when assembled, thereby visualizing the intertwined texture of the music.iii. fugue
Fugue is composed by the superimposition and nesting of theme and motif, and there may even exists motif within motif. It is for this reason that fugue is acclaimed as the most mathematical and architectural musical form. This enclosing structure can be reconstructed by four layers of consecutive dual Platonic solids, whose layer-by-layer stereometric relation visualizes its textural complexity.几何关系探究/Stereometric Computation
The dual stereometry of a dodecahedron & an icosahedron
A octahedron in a cube in a dodecahedron in an icosahedron
导视评语/Comments from My Advisor
副教授
Stephen Farrell
Associate Professor
to: Li Han <lhan4@saic.edu>
date: Mon, Apr 24, 2017 at 12:49 PM
subject: 回复：毕业展最后更新，哈哈/RE: The Final Updating about the Show, Lol“太惊艳了！作品真是精彩绝伦、引人入胜，兼具智性与格调，既别致又高端。你自始至终都保持着极高水准，我们都为你所取得的成就深感骄傲，也为你代表视觉传达系参展而自豪。你用一种全新的视觉语言诠释了巴赫的音乐。”
现在可以稍事放松，好好享受啦！
这周见，史蒂芬
“Many many wows, Li. It’s fantastic, mesmerizing, intellectual, ‘fancy,’ AND ‘high-end.’ You maintained quality and the thread of inquiry through the entire process, right up until the end—we are all very proud of what you’ve accomplished and that you are representing Visual Communication Department in the show. You are onto something here in a visual language that speaks Bach in a whole new way.”
Now you can relax and enjoy!
See you this week, Stephen
#毕业设计 #自主探究项目 #学科交叉 #音乐可视化 #艺术家书 #纸立体 #立体几何
#MFA Show #self-initiated project #interdisciplinary #music visualization #artist's book #paper sculpture #stereometry
特别答谢史蒂芬·法雷尔、闫大卫、雅各布·里斯托、郭烨、李邵恆、陈思
Special Thanks to FARRELL, Stephen; YAN, Dawei; RISTAU, Jacob; GUO, Ye; LI, Shau Heng; CHEN, Si
Special Thanks to FARRELL, Stephen; YAN, Dawei; RISTAU, Jacob; GUO, Ye; LI, Shau Heng; CHEN, Si