majority of the research on sound symbolism published to date has focused on speech sounds (Hinton et al., 1994). The renewed interest in sound symbolism recently boosted research in neuroscience on crossmodal perceptual experiences. In the past, these crossmodal perceptual experiences were often referred to as synaesthesia (though this equivalence is not universally accepted, see Spence & Gallace, 2011), and thought to be rare. More recent research suggests instead that crossmodal perceptual experiences are more common than previously believed (Simner et al., 2006). Hence some researchers propose that connections across perceptual domains are gradually developed on the basis of crossmodal perceptual processing (“normative hypothesis”, Ward, Huckstep, & Tsakanikos, 2006, see Maurer & Mondloch, 2004). Although still a hypothesis to be tested, normative crossmodal neural processing offers a plausible mechanistic account for the arising of sound-symbolic relationships by means of natural connections between sounds and visual/spatial percepts. Within this theoretical framework, it is plausible to hypothesize that a connection between sounds and visual or spatial percepts could generate also the perceived “good match” between classic music and figurative artworks on the one hand, and jazz music and abstract artworks on the other. A possible explanation for the Takete/Maluma phenomenon (and, more in general, for the synaesthesia-like correspondences between speech sounds and the visual attributes of objects) has been suggested by Ramachandran & Hubbard (2001) and consisted in a supposed co-activation of motor or somatosensory areas involved in vowel articulation and visual areas involved in perceiving object shape. In a similar vein, we might surmise that classic (jazz) music and figurative (abstract) artworks share a similar “perceptual structure”, in the sense that some sounds typical of a music genre (e.g., jazz music) have been associated in early preverbal development with some visual or spatial properties typical of an artistic genre (e.g., abstract art), with the co- activation of the same areas involved in the sound symbolism (for a parallelism between preverbal and verbal synesthetic cross-modality correspondence, see Walker et al., 2010).
The goal of this unit is to introduce the students to the multicultural influences inherent in Latin Music and Dance, by demonstrating the various styles of Latin music and dance that incorporate African and European influences. Students will learn about the contemporary music and dance of Latin America, specifically those of Cuba, Dominican Republic, Argentina, Colombia, and the Garifuna communities of Belize and Honduras. They will also be exposed to African rhythms and Spanish Flamenco music. Students will also explore how visual art expresses mood and emotion, discover information contained within visual depictions, as well as employ their own visual art‟s abilities to represent the essence of dance and music.
I mean it all stems from the elementary level: that the amount of time and resources that have been invested in trying to teach to the test has impacted any subject that is not core so all the arts have been affected because they are not considered by a lot of people to be valuable. … I mean if you invest time in one thing it has to be cut from something else, so it’s always cut from the arts. It just cascades up the line right? So the fact that the kids don’t get adequate art training, whether it’s art or drama or music or whatever, the fact that they don’t get that adequately at elementary school means that when they get to Grade 9 VisualArts they don’t know the basics and we have to spend time on the basics and not move on to more complicated stuff so everybody suffers. That and of course elementary schools, nothing against the elementary teachers, because I started as that, they are generalists, I mean when they took away the Grade 7 and 8 rotation it took away the ability for somebody who knows what they are doing in a particular subject, to teach their subject. They took away the art teachers, they took away the music teachers, they took away the math specialist so now you have people who are unfamiliar with or not comfortable with, teaching those subjects. These two examples refer to changes in policy that have had a negative impact on the delivery of elementary, and therefore, secondary curriculum. Both participants note their concern about the lack of arts specialists at the elementary level and the long term impact this has on curriculum delivery at the secondary level. A third participant alludes to this lack of specialists at the elementary level and the impact felt by students and teachers when they enter Grade 9 Art:
As Cohen (2005) explains “structure refers to systematic relations among sounds that characterize the style or grammar of music originating within any time or culture” (p. 17). For instance, concepts like interval, triad, melody, scale, tonality, mode and rhythm are often used. Also, explanations take into consideration sound waves’ properties and characteristics, such as frequency, wavelength, period and amplitude. Topics in psychological research concerning musical structure address problems like: processing of temporal structure (e.g. a listener’s perception of grouping structure in motives, phrases, sections), identification of functions, musical form, perception of rhythm and meter, generation of expectancies in musical sequences and pieces, tonal inference, processing of timbre, identification of particular instruments, auditory space, absolute and relative pitch, etc.
In keeping with this diversity of practice, music therapy has been demonstrated to impact health in many ways, including positively affecting stress hormones, blood pressure and heart rate (Gregory, 2002; Hanser, 1985; Pelletier, 2004), anxiety (Mok, 2003), pain control and pain perception (Henry, 1995; Whipple and Glynn, 1992), emotional states (Gregory, 2002; Teague and McKinney, 2006) and the need for anesthesia (Newman, et. al, 2010). When Aldridge published his comprehensive and widely cited review of music therapy literature in 1993, he noted the lack of valid clinical research and of research using established immunological parameters. Much progress has been made in the field’s research since this time. In particular, wider utilizations of music therapy in medical settings and partnerships between music therapists and clinical researchers are yielding unprecedented advances in clinical intervention supported by scientific evidence (Thaut and McIntosh, 2010). These new integrations of the arts in medical settings have resulted in a significant elevation in the status of music and other art forms as effective biomedical therapies. They also create a distinction, made by some, that delineates music in the medical setting as medical music therapy. While medical music therapy would be practiced by trained music therapists, musicians who are not therapists also provide professional music services in healthcare settings. These practices would be defined in the context of arts in healthcare.
largely duplicative theatrical offering, it is the Ybor City Campus that houses the programs in fine and performing arts. The Ybor City Campus was established in 1973 and has the advantage of being located in a national historic district that dates back to the 1880s. The surrounding community has preserved its Latin heritage and international flavor, and today it has become the city᪃s hub for multicultural events, entertainment, live performances and art exhibits. The Ybor City Campus has been designated as the flagship campus for the visual and performing arts and the departments of music, theatre, dance and visual art collectively operate under the name “Ybor City Campus School of Visual and Performing Arts.”
company, theatre, etc. Of course, everyone doesn’t live in a big city, so this may require driving one to two hours or more to get this advice, but it’s worth it.” Visualarts students can receive portfolio evaluations and college information at one of the National Portfolio Days sponsored by an association of arts schools and art departments at universities. For more
Studio projects will explore a range of design solutions that engage everything from the traditions of print to the latest digital communication platforms. Students are encouraged to approach all projects with an open attitude to experimentation and critical enquiry. Studies in this program will help students develop an understanding of the vital space communication designers occupy in developing and contributing to the language of contemporary visual culture, alongside the social responsibilities inherently associated with it.
A Screening Committee will evaluate portfolios for originality, complexity of detail (elaboration), composition/design quality, perception and expressiveness. You will be notified of the decision of the Screening Committee following the portfolio evaluation. Students who demonstrate gifted potential will be invited to attend a full-day assessment at Kemps Landing/Old Donation School. Identified students will be recommended for placement in the Gifted VisualArts Program. Please note: Specific information on student applications is not gathered from committee members for the purpose of providing feedback to
Students learn about practice in artmaking and learn how to make art in its various forms within the context of the artroom. Practice in artmaking requires an understanding of how a network of procedures can be used to make art and how the exercise of judgement as reflective action is central to the making of informed decisions. This judgement entails a knowledge of how right procedures are enacted and the different value positions that affect the visualarts, including how artworks are valued as creative products (including their own). Students learn about the importance of representation in the visualarts in their making of artworks and in viewing the work of others. They consider the nature of representations and how their own mental representations of ideas can be adapted and take on particular qualities in visual and aesthetic form in the artworks they make.
Fig. 2.1 Examples of probabilistic and deterministic cellular automata in the visualarts. a Breed 0.1 #1, Driessens and Verstappen, 1995; b Accretor #2777-4, Driessens and Verstappen, 2013, courtesy DAM gallery Berlin; c,d Kristalstructuren (1970) Geurts and Meertens. c Voting rule with Von Neumann neighborhood; d opposite of voting rule with Von Neumann neighborhood; Swart Gallery, Amsterdam; e Pixelsex (2005) courtesy Tim Otto Roth. f SPLASH 1972/1974 (1972–1974) Peter Struycken. Stage 24–28 in a series of 28; scan of leporello 
The Department of VisualArts consists of artists and art historians with national and international reputations. Studio faculty share their expertise in ceramics, drawing, intermedia, painting, printmaking, photo-media, and sculpture through teaching and their own artistic practices. Art history faculty investigate fields such as cultural studies, queer theory, gender, curatorial studies, First Nations art, Asian art, early modern European art, history of collecting, and cultures of display. All members of the Department are well versed in contemporary Canadian art, and VisualArts faculty members engage in a range of interdisciplinary practices and activities.
**Electives. B.M. students are required to have one year of foreign language study in either French or German. Voice majors are strongly encouraged to elect one year of foreign language study in each language. ISU requires that 36 of the credits counted toward graduation must be in upper division courses carrying 3000 or 4000 numbers. Sixteen of these credits must be earned in music courses. Therefore, some non-music elective courses will need to be at the upper division level in order to satisfy ISU graduation requirements. Music electives must be chosen from Music Courses, not from Applied Music or Music Ensembles (Performing Organizations).
Intelligence - It is now well known that intelligence is not a static structure but an open dynamic system that can continue to develop throughout life, intelligence is developed through the mediation of experience by a sensitive, supportive teacher or an orchestra conductor, or a theatre director, or a choreographer. The arts provide the means to know one's culture at a very deep level. They provide rich multisensory experiences that engage the whole mind-body-emotional system. Intelligence does not lie just in the minds of individuals. It exists in our interaction with other people; in the resources in our environment such as books and other published materials, radio and television, art exhibits, concerts, and plays; and it exists and grows through the tools we use such as hammers and chisels, pens and paper, word processors and calculators, computers, paint brushes and musical instruments. Individual Differences - The arts not only contribute richly to the development of human intelligence, but they offer the means to reach the great diversity of human beings in every school today. It would be easier to achieve significant educational achievements if everyone learned in the same way, but not everyone does. In all schools today there is a growing diversity of students with different cultural, social, and economic backgrounds that result in very different ways of thinking, learning, and behaving. In our Seattle schools, over a hundred different languages are spoken. Children with different kinds of abilities and disabilities are in the same classrooms. Children from disadvantaged families learn together with more economically privileged students.
The work involves a variety of visualarts projects, each with its own sequence of different technical processes. Themes or subjects, as well as the general format (medium, color scheme, overall dimensions, etc.) to be used, are already established or specified by others. The emphasis is on technical proficiency in the development of visual products. (This differs from the next lower level where projects involve either isolated tasks in producing a visual product or creating faithful copies of existing illustrations, models, or other visual products with specified minor changes.)
All students pursuing degrees in The Division of Fine Arts are required to participate in yearly Student Juries. It is an opportunity to get feedback from your faculty, to set goals for yourself, and to learn more about where you are in your de- velopment.