Fantasy Abstract Art

In these days of budget cuts and limited resources, it’s often the case that fine arts classes are the first to be cut. Further data were collected in order to determine children’s preferences for the musical selections. Children were asked to circle an icon representing whether they liked the piece, disliked the piece, or thought … Continue reading “Fantasy Abstract Art”

In these days of budget cuts and limited resources, it’s often the case that fine arts classes are the first to be cut. Further data were collected in order to determine children’s preferences for the musical selections. Children were asked to circle an icon representing whether they liked the piece, disliked the piece, or thought it was ok. Frequencies of responses were categorized by piece. Results of a two way chi square test indicate there was a significant difference among children’s preferences across pieces, Χ2 (372,10) = 54.35, p <001. the="" happy="" tonal="" piece="" received="" the="" most="" "like"="" responses,="" whereas="" the="" sad="" atonal="" piece="" was="" clearly="" the="" least="" liked="" selection.="" responses="" to="" the="" other="" four="" selections="" (sad="" tonal,="" happy="" and="" sad="" jazz="" pieces,="" and="" happy="" atonal="" piece)="" were="" more="" evenly="" distributed="" across="" preference="" categories.="" morris,="" lynda.="" strata:="" paintings,="" drawing="" and="" prints="" at="" the="" royal="" college="" of="" art="" galleries.="" exh.="" cat.="" london,="" 1974.="" also="" published="" in="" studio="" international="" (february,="" 1974):="" 92.="" nicholson,="" j.m.,="" berthelsen,="" d.,="" abad,="" v.,="" williams,="" k.,="" &="" bradley,="" j.="" (2008).="" impact="" of="" music="" therapy="" to="" promote="" positive="" parenting="" and="" child="" development.="" journal="" of="" health="" psychology,="" 13(2),="" 226-238.="" from="" the="" tate="" museum's="" website:="" abstract="" expressionism="" is="" the="" term="" applied="" to="" new="" forms="" of="" abstract="" art="" developed="" by="" american="" painters="" such="" as="" jackson="" pollock,="" mark="" rothko="" and="" willem="" de="" kooning="" in="" the="" 1940s="" and="" 1950s.="" it="" is="" often="" characterized="" by="" gestural="" brush-strokes="" or="" mark-making,="" and="" the="" impression="" of="" spontaneity.="" tsiris,="" g.,="" dives,="" t.,="" &="" prince,="" g.="" (2014).="" music="" therapy:="" evaluation="" of="" staff="" perceptions="" at="" st="" christopher's="" hospice. european="" journal="" of="" palliative="" care,="" 21(2),="" 72-75.="" some="" regions="" have="" elected="" to="" use="" only="" natural="" ochre="" pigment="" paints="" while="" others="" have="" chosen="" to="" use="" acrylic="" paints="" within="" a="" certain="" preferred="" tonal="" range.="" many="" of="" the="" artists="" do="" their="" painting="" in="" shared="" working="" areas,="" so="" ideas="" and="" techniques="" are="" readily="" observed="" and="" shared="" across="" generations="" within="" families.="" you="" want="" to="" make="" it="" fun.="" you="" want="" to="" make="" it="" memorable.="" you="" want="" to="" make="" it="" crazy.="" face="" painting="" la="" brings="" interactive="" entertainment="" to="" your="" birthday="" party.="" we="" have="" the="" skill="" to="" paint="" any="" theme,="" and="" we="" are="" well="" accustomed="" to="" high-profile="" clientele.="" in="" the="" last="" few="" decades,="" the="" rapid="" development="" of="" electronic="" music="" technologies="" has="" changed="" the="" way="" society="" interacts="" with="" music,="" which="" in="" turn="" impacts="" the="" profession="" of="" music="" therapy.="" though="" a="" few="" instances="" can="" be="" found,="" music="" therapy="" has="" not="" extensively="" explored="" the="" integration="" of="" new="" technology="" into="" clinical="" practice.="" however,="" current="" research="" trends="" show="" a="" willingness="" and="" excitement="" to="" explore="" the="" possibilities="" (nagler,="" 2011;="" ramsey,="" 2011;="" magee="" et="" al.,="" 2011;="" magee="" &="" burland,="" 2008;="" magee="" 2006).="" the="" project="" described="" in="" this="" paper="" intends="" to="" demonstrate="" one="" of="" these="" possibilities="" by="" combining="" modern="" technologies="" to="" create="" an="" interactive="" musical="" system="" with="" practical="" applications="" in="" music="" therapy.="" in="" addition="" to="" designing="" a="" practical="" tool,="" the="" project="" aims="" to="" question="" the="" role="" of="" technology="" in="" music="" therapy="" and="" to="" provoke="" discussion="" on="" the="" scope="" of="" the="" definition="" of="" technology="" in="" music="" therapy.="" donald="" maclean="" (b.1962)="" is="" a="" scottish="" artist="" producing="" still="" life="" and="" landscape="" paintings.="" brought="" up="" in="" paisley,="" scotland,="" donald="" studied="" fine="" art="" (sculpture)="" at="" glasgow="" school="" of="" art="" from="" 1980-85.="" much="" of="" his="" student="" work="" explored="" organic="" forms="" and="" textures="" through="" clay="" and="" wax="" modelling,="" and="" bronze="" casting.="" rapaport,="" brooke="" kamin.="" the="" great="" mystery="" of="" things="" -="" aspects="" of="" vital="" forms="" in="" american="" art.”="" vital="" forms:="" american="" art="" and="" design="" in="" the="" atomic="" age="" 1940-1960.="" exh.="" cat.="" new="" york:="" brooklyn="" museum="" of="" art,="" 2001:="" 118-119.="" this="" tranquil="" painting="" of="" the="" railway="" bridge="" has="" a="" strangely="" modern="" feel="" about="" it,="" perhaps="" because="" this="" bridge,="" and="" others="" very="" like="" it,="" are="" still="" part="" of="" the="" landscape="" today.="" smeijsters,="" h.,="" &="" van="" den="" hurk,="" j.="" (1999).="" music="" therapy="" helping="" to="" work="" through="" grief="" and="" finding="" a="" personal="" identity. journal="" of="" music="" therapy,="" 36(3),="" 222-252.="" the="" exhibition groups="" +="" pairs="" 2016="" -="" 2020="" features 116="" new="" and="" existing="" works="" and="" is="" a="" dedication="" to="" nixon's elegant="" experiments="" in="" non-objective="" painting.="" view="" the="" exhibition="" online.="" gagosian="" gallery,="" new="" york.="" arshile="" gorky:="" paintings="" and="" drawings,="" 1929="" -="" 1942.="" 27="" october="" 1998="" -="" 9="" january="" 1999.="" catalogue="" with="" texts="" by="" david="" sylvester="" et="" al.="" pueblo="" artists="" have="" been="" making="" pottery="" for="" two="" millennia,="" and="" the="" works="" on="" view="" not="" only="" reflect="" ancestral="" knowledge—in="" the="" maker's="" use="" of="" materials,="" methods,="" and="" motifs—but="" also="" express="" the="" potter's="" individuality="" in="" her="" choice="" of="" size,="" shape,="" and design.="" 55="" mercer:="" 12="" years="" (exhibition="" catalogue).="" texts="" by="" lawrence="" alloway="" and="" joseph="" masheck.="" new="" york:="" 55="" mercer="" street,="" 1983:="" illustrated.="" now="" then="" again="" -="" contemporary="" art="" in="" dallas="" 1949-1989.="" exh.="" cat.="" dallas:="" dallas="" museum="" of="" art,="" 1989:="" 38,="" 73.="" sixty="" healthy="" female="" volunteers="" (mean="" age="25" years)="" were="" exposed="" to="" a="" standardized="" psychosocial="" stress="" test="" after="" having="" been="" randomly="" assigned="" to="" one="" of="" three="" different="" conditions="" prior="" to="" the="" stress="" test:="" 1)="" relaxing="" music="" (‘miserere',="" allegri)="" (rm),="" 2)="" sound="" of="" rippling="" water="" (sw),="" and="" 3)="" rest="" without="" acoustic="" stimulation="" (r).="" salivary="" cortisol="" and="" salivary="" alpha-amylase="" (saa),="" heart="" rate="" (hr),="" respiratory="" sinus="" arrhythmia="" (rsa),="" subjective="" stress="" perception="" and="" anxiety="" were="" repeatedly="" assessed="" in="" all="" subjects.="" authors="" hypothesized="" that="" listening="" to="" rm="" prior="" to="" the="" stress="" test,="" compared="" to="" sw="" or="" r="" would="" result="" in="" a="" decreased="" stress="" response="" across="" all="" measured="" parameters.="" texture:="" strong="" textures="" within="" all="" colours="" and="" areas.="" lines="" and="" movement:="" strong="" upward="" bursting="" thrust="" due="" to="" the="" direction="" of="" line.="" thomas="" nozkowski="" (exhibition="" catalogue).="" texts="" by="" marc="" mayer="" and="" robert="" storr.="" ottawa,="" ontario:="" the="" national="" gallery="" of="" canada,="">