There are many wonderful artists in Norco, California, including face and body painters, caricaturists, portrait artists, and airbrush artists. The present day Louvre includes Oriental antiquities; Egyptian antiquities; Greek and Roman antiquities; sculpture from the middle Ages to modern times; furniture and objects of art; and paintings representing all the European schools. Williams College Museum of Art, Williamstown, MA. Documents, Drawings, and Collages: Fifty American Works on Paper from the Collection of Mr. and Mrs. Stephen D. Paine. 8 – 30 June 1979. Traveled to the Toledo Museum of Art, OH; John and Mable Ringling Museum of Art, Sarasota, FL; Fogg Art Museum, Harvard University, Cambridge, MA. Catalogue by Hiram Carruthers Butler et al. The success of that first show in New York City launched a career spanning seventy years. By 1950, he was named in Time magazine as one of the greatest American artists. One of his works, “The Hunter”, was featured in the Saturday Evening Post. Wyeth paintings hang in museums across the country including the Museum of Fine Arts in Boston, MA., the Metropolitan Museum of Art and the Museum of Modern Art. In 1987, his “Helga” collection was displayed in the National Gallery of Art – the first time they ever exhibited the works of a living artist. Thomas Nozkowski†(New York Studio School exhibition review). The New Yorker, 10 February 2003. Read on for an abundance of tips and tricks for aspiring artists. Results support the use of music therapy with an emphasis on emotional-approach coping to improve positive affective states in adults awaiting elective cardiac catheterization and electrophysiological study. Statistically significant improvements in positive affect were seen after a single session of music therapy lasting 30-minutes in length. Conversely, participants who received a talk-based emphasis on emotional-approach coping or standard care did not demonstrate improvements in positive affect. Standley, J.M., & Hanser, S.B. (1995). Music therapy research and applications in pediatric oncology treatment. Journal of Pediatric Oncology Nursing, 12(1), 3-8. Her works from the 1950s demonstrate an explorative period with a visual language of largely amorphous shapes tending towards pure abstraction. By the following decade, Dodd had located an instinctive vernacular in fertile transcriptions of branches and skies, and hazy views of buildings. In a longstanding series of windows for which she has garnered much attention, Dodd’s works range from Hitchcockian voyeurism to meditations on opacity and the curiosity in dilapidation. Dodd’s observational painting over the years has become an ode to nature in its short-term flux and long-term rhythms, whether it is witnessed directly or through panes of glass. Consistent throughout her work, however, is the affirmation that she is not striving for illusion, but instead that her images are constructed of paint.
Even with free music streaming services, people still spend a lot of money on music and our emotional brain is responsible for the toll that music takes on our wallets. In an interesting study published in the acclaimed journal Science, researchers found that the amount of activation in the area of the brain linked with reward and pleasure predicted how much money a person would be willing to spend on a new, previously unheard piece of music. The valuation of a new musical piece included activation of areas of the brain that process sound features, the limbic areas associated with emotions, and prefrontal areas, associated with decision-making. Increasing activity in the functional connections between these areas and the nucleus accumbens, associated with motivation, pleasure and reward, was connected to the willingness to spend more money on the musical piece. The study elegantly described how processing of sound results in activation of affective brain regions and ultimately influences decision-making. Langston, T., & Barrett, M. (2008). Capitalizing on community music: A case study of the manifestation of social capital in a community choir. Research Studies in Music Education, 30(2), 118-138. Bannan, N., & Montgomery-Smith, C. (2008). Singing for the brain: Reflections on the human capacity for music arising from a pilot study of group singing with Alzheimer’s patients. Perspectives in Public Health, 128(2), 73-78. Erkkilä, J., Lartillot,, Luck, G., Riikkilä, K., & Toiviainen, P. (2004). Intelligent music systems in music therapy. Music Therapy Today, 5(5). Diatonic Scale is a heptatonic scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps, depending on their position in the scale. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally separated from each other (i.e. separated by at least two whole steps). The seven pitches of any diatonic scale can also be obtained by using a chain of six perfect fifths. For instance, the seven natural pitch classes that form the C-major scale can be obtained from a stack of perfect fifths starting from F: F—C—G—D—A—E—B. Any sequence of seven successive natural notes, such as C-D-E-F-G-A-B, and any transposition thereof, is a diatonic scale. Modern musical keyboards are designed so that the white notes form a diatonic scale, though transpositions of this diatonic scale require one or more black keys. A diatonic scale can be also described as two tetrachords separated by a whole tone. The term diatonic originally referred to the diatonic genus, one of the three genera of the ancient Greeks. In musical set theory, Allen Forte classifies diatonic scales as set form 7-35. This article does not concern alternative seven-note scales such as the harmonic minor or the melodic minor which, although sometimes called “diatonic”, do not fulfill the condition of maximal separation of the semitones indicated above.
Donohoe, Victoria. Abstract Return to the Area by Nozkowski†(Cava Gallery exhibition review). The Philadelphia Inquirer, 17 April 1987. Kulkarni, S., Johnson, P., Kettles, S., & Kasthuri, R. (2012). Music during interventional radiological procedures, effect on sedation, pain and anxiety: A randomised controlled trial. British Journal of Radiology, 85(1016), 1059-1063. Thomas Nozkowski: Recent Work (exhibition catalogue). Text by John Yau. New York: PaceWildenstein, 2008. Older adults prefer singing and listening activities over other music activities, and they preferred popular music over other types of music. Other than the study conducted by VanWeelden and Cevasco (2009), which only consisted of 36 participants listening to 36 popular songs and songs from musicals, a large-scale study of song preferences has not been conducted to address the music preferences of the current aging population. Thus, the purpose of this study was to determine older adults’ preferences for specific popular songs, across the 1900s-1960s, that might be used for music listening and singing activities and therapeutic interventions. Specifically, participants’ indicated if they: 1) had heard the song before, 2) would prefer to sing the song, and 3) would want to listen to the song. Also, participants communicated the degree to which they liked each song as well as stated any particular memories they associated with the song. Further analysis also indicated whether song preferences were within the “young adult years” theory, proposed by Gibbons (1977). A total of 240 older adults participated in the study, ages 70 and older. Twenty songs from each decade (1900s-1960s) were selected, resulting in a total of 140 songs. Song selection was based on previous research studies. Three age sub-groups of older adults (70-79, 80-89, and 90+) listened to the songs. Thus, a total of 20 participants in each age bracket listened to each playlist of songs. This resulted in a total of 60 individuals who listened to each playlist (e.g., playlist 1 = 20 participants 70-79 years of age, 20 participants 80-89 years of age, and 20 participants 90+ years of age). At this time data is being collected, and a preliminary analysis will be provided at the conference. Rich, Sarah K. Bridging the Generation Gaps in Barnett Newman’s Who’s Afraid of Red, Yellow and Blue?†American Art (Smithsonian American Art Museum) vol. 19, no. 3 (Fall 2005): 31-39. American Academy Invitational Exhibition of Painting & Sculpture, American Academy of Arts and Letters, New York, March 9-April 5, 1998.
