Findings of the evaluation show that CAP and CNN are effective models that can successfully extract high-level emotional features. Experimentations are performed to systematically analyze the models from various perspectives. Therefore, this paper comparatively analyzes dance movement aesthetic emotion based on deep learning. Only through specific movements can the value and ideological connotation of works be expressed. In the new era, in order to better promote the development, communication, and dissemination of dance art, it is very necessary to analyze and explore the connotation and aesthetic characteristics of dance art. Viewers may form their own diversified and unique aesthetic characteristics. People rely on the image of dance artists to develop and inherit the profound ideological connotation and philosophy of life. Dances with different characteristics will also reflect different aesthetics, different cultural psychology, different living styles, and emotional trajectories of different times and different nationalities. Like any art, dance is the product of human social behavior and a romantic behavior of human thoughts and emotions in the virtual world. Bach's 3rd Suite for Cello, this article examines the use of metaphor in talking about our responses to dance and music, thus illuminating some of the potential for subtlety and depth in their relationship, and the corresponding insights into human experience that they may offer.ĭance is a unique art with the human body movement as the main means, but dance is not limited to the human body movement itself. Through an analysis in which illustrations are drawn from Balanchine and Stravinsky's Agon (1957) and Mark Morris' Falling Down Stairs (1997) set to J. In other words, linking two disparate entities in a way similar to metaphor highlights a clear point of contact between them, but it also invites us to consider additional connections – the ghostly resonances that become apparent through close study. The closeness between the two announces a relationship, a connection that then extends beyond the natural affinity to embrace something more remote and surprising. Perhaps, however, this combination of closeness and distance is what makes it possible to see dance as a metaphor for music, and vice versa. Dance and music have several features in common – rhythm, metre, tempo, and the fact that they are structured in and through time – but they are also intrinsically different, they each ‘mean’ differently, making the task of talking about their interrelationship challenging.
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