Visual Arts and Music

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Educational Alternatives, Volume 12, 2014

Educational Alternatives, Volume 12, 2014

Creative process is related to the specific experiences: both the involvement of the stream, being understood as a joyful sense of action when a student's attention is completely devoted to the activity that makes one forget about “I” and revelations caused delight and surprise (Csiksentmihalyi, 2002). During the creative activities in the visual arts and music students have the opportunity to experience themselves as an autonomous personality, assuming free, independent decisions and making independent choices, thus strengthening confidence in their own abilities, self-confidence, self- sufficiency, perseverance and energy-related activities; opportunity to implement a strong personal commitment, freedom from psychological blockade.
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Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts

Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts

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).
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Examining the validity and reliability of the Activities Specific Balance Confidence Scale 6 (ABC 6) in a diverse group of older adults

Examining the validity and reliability of the Activities Specific Balance Confidence Scale 6 (ABC 6) in a diverse group of older adults

collaboration among seven teachers arguing that ―a multi-modal arts-infused curriculum better meets the needs of diverse learners‖ (p. 212). In this integrated collaborative unit on Native American perspectives for a fifth grade teaching team, the unit design was spearheaded by two teachers, the music and visual arts teachers, during a two week graduate summer seminar on arts integration. When the unit was implemented with the other fifth grade teachers, they emphasized viewing Native American tribes as a ―diverse group of people by studying their lives from different perspectives, including the arts‖ (p. 225). Integrating content from multiple disciplines, teachers‘ instruction moved from ―interpretation (looking at artwork and discussing its meaning, listening to music or songs, and thinking about what they communicate) to creation (making symbol shields and calendar robes, choreographing a dance) to sharing at the exhibition‖ (p. 228, emphasis in original). Berghoff and colleagues argued that ―shared focus and coherence is critical to effective integrated instruction‖ (p. 230). This study stood out in that it brought together multiple arts teachers with a grade level team of content teachers in a coordinated effort to integrate a thematic unit across disciplines. In addition, each content area teacher focused on interpretation, creation, and shared understandings in each
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Quantifying Regional-Scale Water Storage Using Models and Observations: Application For Drought Assessment In South Carolina

Quantifying Regional-Scale Water Storage Using Models and Observations: Application For Drought Assessment In South Carolina

The special relationship between music and the visual arts has existed well over two millennia and continues today. Composers of our time are continuing and furthering this tradition with programmatic compositions based on landmark works of visual art. These pieces are unique because the musical compositions would not exist without the original artwork; thus, the two works are intrinsically linked. When one performs Petr Eben's Okna, Anthony Plog's Four Themes on Paintings of Edvard Munch, or Jennifer Mitchell's Spomeniks, the listeners are in effect attending sonic exhibitions of the visual artwork. Thus, in order for one to effectively perform each piece, a thorough
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INTEGRATION OF ART, MUSIC AND DRAMA IN EDUCATION

INTEGRATION OF ART, MUSIC AND DRAMA IN EDUCATION

The need of the integration of performing art in teacher education curriculum is a new focused toward learning without burden. The Kothari Commission Report of 1964- 66 emphasized that “in an age which values discovery and invention education for creative expression acquires added significance. Adequate facilities for the training of teachers in music and the visual arts do not exist. The neglect of the arts in education impoverishes the educational process and leads to a decline of aesthetic tastes and values”. The National Policy of Education 1986 emphasized that the important school education is to foster understanding of cultural and social system of different parts of the country. Follow up taken in 1986 and program of action prepared in 1992 and mentioned cultural perspective interlinking education promotes personality development and helps to enhance potentialities of the child. It is also supported in the three previous National Curriculum Framework(NCFs)of 1975,1988 And 2000 that to encourage and arouse students curiosity it is important to the principle of the teaching is focused on drama, music and drawing etc. Paradigm shift toward the art education integrate in school curriculum.
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Improving Early Sepsis Identification on Inpatient Units

Improving Early Sepsis Identification on Inpatient Units

After reading several articles, thinking back on personal experience in school as well as watching many pop-culture TV shows and movies I have noticed, like many before me that there is a serious negative approach and opinion about arts education. What is arts education? Arts education includes the usage of music, painting/drawing, performing arts as well as dancing; they are more commonly known as music, visual arts, performing arts, and dancing. Many people believe that the arts cannot contribute in an effective academic and economic fashion our students (Alter, F; Hays, T; O’Hara, R, December 2009). They believe that more emphasis should be put on other subjects such as math and English. For example in Australia many teachers put too much importance on English and Math, which represents two out of six of the Key Learning Areas (KLA). Furthermore, too often is arts education a class apart. In the French school system each class has a “coefficient”, meaning that the final grade in this class is more or less important than the others. For the French BAC ES (Baccalaureat Economique et Social), which is the most general of the three possible baccalaureates in non-specialized schools, the coefficients should be relatively similar. However, that is not the case, Math (without the emphasis) is coefficient 5, economics (without the emphasis) is coefficient 7, but English (as a language) and LV2 (Langue Vivante 2, another language you learn apart from English), are coefficients 3 and 2 respectively. Even in high school, the importance put on the humanities is minimal compared to anything scientific.
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Performative, Arts-Based, or Arts-Informed? Reflections on the Development of Arts-Based Research in Music Therapy

Performative, Arts-Based, or Arts-Informed? Reflections on the Development of Arts-Based Research in Music Therapy

degree of resonance if critical for evaluating the impact and value of the research (Knowles & Cole, 2008). Though the audience’s role has been acknowledged by several music therapy researchers (Ledger, 2010; McCaffrey, 2014; Schenstead, 2012; Vaillancourt, 2009; Viega, 2013), little has been documented about how music therapy stakeholders respond to ABR findings. As most previous ABR in music therapy has been conducted within doctoral work, it is likely that audience responses occurred beyond the limits of the PhD time frame (as was the case in our arts-based work). As ABR becomes more established in music therapy, further reflection on the contribution of the audience becomes possible. Since submitting our theses, we have been fascinated by the range of responses to our research presentations. Tríona: While the underlying message of my ABR presentations has been to emphasise the need to listen to service user perspectives of music therapy in mental health, it has been particularly insightful to witness and engage in the discussions sparked from the visual and song materials emerging from this project. The degree of variance and diversity has been striking; after playing one of the songs I wrote in response to one service user’s visual image,
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DISCIPLINING STUDENTS THROUGH MUSIC, DANCE, DRAMA AND ART: AN EXPERIMENT

DISCIPLINING STUDENTS THROUGH MUSIC, DANCE, DRAMA AND ART: AN EXPERIMENT

Each one of them- music, dance, drama and arts has its own characteristics and body of knowledge and each makes its own distinctive contribution to learning among students. The school curriculum has to include all these areas so that all the senses aural, enactive, kinesthetic, tactile, verbal and visual are used.

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More Kiwi music : upgrading New Zealand's music industry through successful music export : a 152 800 (100 point) masters thesis presented in partial fulfilment of the requirements for the degree of Master in Business Management at Massey University, New Z

More Kiwi music : upgrading New Zealand's music industry through successful music export : a 152 800 (100 point) masters thesis presented in partial fulfilment of the requirements for the degree of Master in Business Management at Massey University, New Zealand

Arts and Cultural Industries Promotion Division Association of Independent Record Labels Australia Music Centre Australasian Mechanical Copyright Owners Society Australian Music Online A[r]

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More Kiwi music : upgrading New Zealand's music industry through successful music export : a 152 800 (100 point) masters thesis presented in partial fulfilment of the requirements for the degree of Master in Business Management at Massey University, New Z

More Kiwi music : upgrading New Zealand's music industry through successful music export : a 152 800 (100 point) masters thesis presented in partial fulfilment of the requirements for the degree of Master in Business Management at Massey University, New Zealand

Arts and Cultural Industries Promotion Division Association of Independent Record Labels Australia Music Centre Australasian Mechanical Copyright Owners Society Australian Music Online A[r]

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Community arts and music, community media: cultural politics and policy in Britain since the 1960s

Community arts and music, community media: cultural politics and policy in Britain since the 1960s

The desire for community through culture and congregation is also evident in Britain in the phenomenal success and expansion of festival culture in recent years: Commonly understood as a sociocultural practice of the transatlantic 1960s, pop festivals have absolutely thrived as a seasonal experience of British youth and weekend counterculturalists to the extent that in the 2000s festival culture is debatably more widespread (if by and large less edgy and socially radical) than at any previous time in its half-century history (see McKay, 2000, 2004). Instances of congregationalism such as community arts and pop festival culture are partly about place but in their contemporary manifestations are also sociocultural responses to the perceived atomizing effects of the
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Building our cultural defenses : the noninterventionist rhetoric of the National Federation of Music Clubs

Building our cultural defenses : the noninterventionist rhetoric of the National Federation of Music Clubs

The GFWC and NLAPW, both primarily active in non-musical fields, began to emphasize and develop their members’ musical activities throughout the early decades of the twentieth century. The NLAPW began admitting composers to its ranks in around 1910; in the same year, the GFWC established a Committee for Music. The NLAPW organized performances of its members’ compositions throughout the 1920s and 1930s, notably including a Golden Jubilee Music Festival in honor of Amy Beach during the League’s 1934 biennial convention in Washington. This festival included concerts at the Congressional Country Club and the White House and a broadcast from the United States Marine barracks. In keeping with the League’s professional orientation, its activities focused on highlighting the activities of its members. The General Federation of Women’s Clubs, on the other hand, designed its musical activities to benefit the nonprofessional elements of its membership. Its Committee for Music emphasized comprehension, listening, and other features of what would soon be called
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The Phrygian Sonnet: The Effects of Using Music to Teach a Seventh Grade Poetry Unit

The Phrygian Sonnet: The Effects of Using Music to Teach a Seventh Grade Poetry Unit

have been better if we could have chosen our own poetry too.” This comment was stated by almost half of the students on surveys when asked what the worst aspect of the unit was. For both projects, “My Language – Your Language Project” and the culminating presentation, each student was given the option of choosing between a song or a poem. As for the music and poetry used in daily lessons, I made the selections. I did this primarily in order to teach major concepts to the entire class at the same time; however, I see that I could have given the students more choice in the poetry and songs used when practicing these skills. To make this an effective and efficient unit for next time, I would briefly distribute copies of many different poems and songs the day before I plan to use them, and poll the class as to which ones they prefer to study. I would then collect the ‘possibilities’ and make copies of those that won the popular vote and would be discussed the next day.
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Visual Arts as a Tool for Phenomenology

Visual Arts as a Tool for Phenomenology

The arts are used in many ways in research, such as in supporting programs with historically disadvantaged groups (COHOLIC, COTE-MEEK & RECOLLET, 2017), with vulnerable children (COHOLIC & EYS, 2016), with international children addressing their concerns for the future (HOLDEN, JOLDOSHALIEVA & SHAMATOV, 2008), for social change working with adults (HAYES & YORKS, 2007), and for studying wellbeing (COHENMILLER & DEMERS, 2017). By incorporating ABR, additional insights are possible: "This philosophical belief system, which developed at the intersection of the arts and sciences, suggests that the arts are able to access that which is otherwise out of reach" (LEAVY, 2017, p.14). Such use of arts-based research has been brought to prominence in the social science and educational research through the work of EISNER (2008), HAYWOOD ROLLING (2013), LAWRENCE-LIGHTFOOT and DAVIS (1997), LEAVY (2015, 2017), and PINK (2012), to name a few. [11]
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A Comparative Study on Performing Identity of Khon Ramayana
Dance and Fon Phra Rak Phra Ram

A Comparative Study on Performing Identity of Khon Ramayana Dance and Fon Phra Rak Phra Ram

Abstract: This study aims to: study the history of Khon Ramayana dance of Thailand and Fon Phra Rak Phra Ram of the Lao People’s Democratic Republic; study the current state of Khon Ramayana dance in Thailand and Fon Phra Rak Phra Ram in the Lao People’s Democratic Republic; to compare the identity of Khon Ramayana dance of Thailand and Fon Phra Rak Phra Ram of the Lao People’s Democratic Republic. Tools for data collection consist of observation form interview form and group discussion. Target group consists of four knowledgeable persons or experts in the performance of Khon Ramayana dance and Fon Phra Rak Phra Ram. Performers include 12 actors and musicians of Khon Ramayana dance and Fon Phra Rak Phra Ram. Presentation of the study results is applied with descriptive analysis methods. The study found that Khon is one of the high-class performing arts of Thailand that has a magnificent beauty and a dance style resembling Lakhon Nai (the royal court dance drama play), showing the story sequence like a drama play while Fon Phra Rak Phra Ram is one of the outstanding performing arts in Laos that has been inherited to the present in Vientiane. For the current conditions of Khon Ramayana dance and Fon Phra Rak Phra Ram there are elements of the performances that have changed from the past to the present which was influenced by the culture of performances from neighboring countries. This indicates the identity of Khon Ramayana dance and Fon Phra Rak Phra Ram that both performances still retain the ancient traditions and still an indication of nationality transmitted through the acting style, dance style, narration and dialogue narration, music and costumes which may have some limitations that make the performance somewhat incomplete but still remain exquisite and structured, so, the performing arts are of people’s awareness to be appreciated by the value of arts and culture through the performance of Khon Ramayana dance and Fon Phra Rak Phra Ram.
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Expectations- Satisfactions- Needs of the Faculty of Fine Arts Students from the Design Programs and Solutions

Expectations- Satisfactions- Needs of the Faculty of Fine Arts Students from the Design Programs and Solutions

The vision of Başkent University in the art and design education being candidate to share the honor proven in the science was evaluated regarding the current educational environment, instructors, course contents and environmental factor and opportunities with the ideals of the students registered to the Graphic Design Program dependent on the Department of Visual Arts and Design; the results related to the ideals of students and the success of the program and suggestions regarding the solution of the current problems were evaluated.
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EPrints was graded and verified by the Project Officers as the most viable option because it fulfilled most of the requirements of visual researchers and their host institutions. However, it was also acknowledged that the scoring of all the solutions was extremely close and there were elements in two (figshare and DataFlow) which fulfilled some of the requirements that the EPrints software was not able to perform without further development work. These included a local file management

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Marketing and consumption of popular music :
the case of New Model Army

Marketing and consumption of popular music : the case of New Model Army

the issue of the balance between an act's collective and individual identities. Take for example, Kiss, the seventies US rock band (Lendt, 1997), where each of the four members had his own Kabuki-style makeup and was a character with a name and identity of its own. The band members' removal of this make-up and revelation of band members' identities became a media event in itself. More recently, in the UK, the Spice Girls was a group of female artistes each with her own individual band identity. These identities have now been spun off into their own celebrity orbits, with varying degrees of success. Perhaps more common in the rock scene are acts with one or two band members who are more prominent. Within each group act, there will be roles which people can make their own - drummer, bassist, in terms of either musicianship or song writing or performing. There is also the question of the identity life cycle. Like human beings and products, popular music acts have life cycles. Some can be fads, some fashions, some slow burners, some with staying power. Some popular music brands have considerable talent at changing and thereby prolonging their brand identity. A key brand manager in this sense of her own brand is Madonna (Taraborrelli, 2002), or consider David Bowie (Sandford, 1997) or Kylie (Scatena, 1997) Other artists use shock to gain and maintain impact, such as Marilyn Manson (Baddeley, 2000), or Jim Morrison (Hopkins and Sugerman, 1980). Other brands maintain longevity through a combination of talent, honesty and the richness of their overall contribution, e.g. Bob Marley (White, 2000).
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Room to Play: Exploring Process in Contemporary Ceramics

Room to Play: Exploring Process in Contemporary Ceramics

It is clear that tolerating ambiguity in the process of creative thinking is important; it can not only cultivate new ideas and encourage them to emerge, but simultaneously accompanies the investigation of new making methodologies and forms to evolve in practice. The ambiguity of the thinking and making process will eventually challenge the other to unearth potential possibilities. Theoretically, the more opened I am to inviting new ideas to emerge, the higher the possibility for me to find a valuable idea that I can use as an anchor in my future exploration. However, to invite ambiguity into practice can suggest failure because the nature of uncertainty and creative ideation do not always work well together. Many times an uncertain attempt in practice can be easily discarded due to its lack of concept, content or visual effect. Therefore, I was concerned at this stage that the ambiguous developmental process may lead to nowhere.
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A Cognitive Interpretation of Aristotle’s Concepts of Catharsis and Tragic Pleasure

A Cognitive Interpretation of Aristotle’s Concepts of Catharsis and Tragic Pleasure

This discourse, concerning the origins of the fine arts (and more specifically the visual arts), is explored through Darwinian evolution and inherited traits. Using a primarily materia[r]

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