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Download and customize slideshows, worksheets, and other resources for use in the classroom or self-guided learning. Explores a selection of musical traditions in order to gain an appreciation of musical diversity in terms of aesthetics and meanings. Interrogates the concept of world music” as a way of sustaining binaries between the West and the rest.” By studying the historical, political, economic, social, and aesthetic contexts of varied musical practices, offers students an opportunity to learn how music both reflects and shapes its cultural setting. Through varied pedagogical techniques, offers an informed and critical understanding of music as a meaningful form of human expression. Electronic Tuner is a device that detects and displays the Pitch of musical notes played on a musical instrument. “Pitch” is the highness or lowness of a musical note, which is typically measured in Hertz. Simple tuners indicate—typically with an analog needle-dial, LEDs, or an LCD screen—whether a pitch is lower, higher, or equal to the desired pitch. In the 2010s, software applications can turn a smartphone, tablet, or personal computer into a tuner. More complex and expensive tuners indicate pitch more precisely. Tuners vary in size from units that fit in a pocket to 19″ rack-mount units. Instrument technicians, piano tuners, and violin-family luthiers typically use more expensive, accurate tuners. The simplest tuners detect and display tuning only for a single pitch—often “A” or “E”—or for a small number of pitches, such as the six used in the standard tuning of a guitar (E,A,D,G,B,E). More complex tuners offer chromatic tuning for all 12 pitches of the equally tempered octave. Some electronic tuners offer additional features, such as pitch calibration, temperament options, the sounding of a desired pitch through an amplifier plus speaker, and adjustable “read-time” settings that affect how long the tuner takes to measure the pitch of the note. Among the most accurate tuning devices, strobe tuners work differently than regular electronic tuners. They are stroboscopes that flicker a light at the same frequency as the note. The light shines on a wheel that spins at a precise speed. The interaction of the light and regularly-spaced marks on the wheel creates a stroboscopic effect that makes the marks for a particular pitch appear to stand still when the pitch is in tune. These can tune instruments and audio devices more accurately than most non-strobe tuners. However, mechanical strobe units are expensive and delicate, and their moving parts require periodic servicing, so they are used mainly in applications that require higher precision, such as by professional instrument makers and repair experts.
Music Workstation is an electronic musical instrument providing the facilities of: a sound module, a music sequencer and (usually) a musical keyboard. It enables a musician to compose electronic music using just one piece of equipment. Bob and Carol Thompson returned to New York in 1963, renting an apartment on the Lower East Side, not far from the studio of friend and fellow artist Lester Johnson, who helped Thompson get a one-man show at Martha Jackson’s gallery that same year. The show received favorable reviews, and, as Judith Wilson writes, in rapid succession, mainstream art-world doors began opening to the twenty-six-year-old artist.” 8 In 1964, he had solo exhibitions at the Richard Gray Gallery in Chicago and at Paula Cooper’s gallery in New York, after which collector Joseph Hirshhorn purchased a number of his paintings. On the recommendation of Lester Johnson, Thompson was included in Yale University’s influential Seven Young Painters exhibition that same year. He had a second solo exhibition with Martha Jackson in 1965, which brought an unprecedented amount of viewers to the gallery. 9 Thompson left New York at the height of his success and spent the summer in Provincetown. In 1966, he went to Rome, where he required gall bladder surgery. Advised to rest after the operation, Thompson continued at his characteristically vivacious pace, and he died a few months after his surgery. In 1967, St. Mark’s Gallery in New York held a memorial exhibition of his work. Even though listening to a recording to get a song in your ear is easy, try to avoid that method. You may want to hear your favorite artist singing the hit song you’ve chosen to sing, but most recordings differ from the music as it’s written. Of course, if you want to hear and sing a song just for fun, by all means, get out the recording and sing along. Vincent was born in a village of Southern Netherlands, Groot-Zundert. He was the son of Anna Cornelia Carbentus and Theodorus van Gogh, a minister with the Dutch Reformed Church. At an early age of fifteen, in July 1869, he obtained a position with an art dealer, Goupil & Cie at The Hague Gallery. By the age of twenty, Van Gogh was pulling in more greenbacks than his father did. This was also the same time where his first rejection in love happened. This phase marked a series of step down in his life, which can be felt and seen later in his drawings. For the second time again he felt love had failed him, was when his recently widowed cousin Kee, who was seven years older than Vincent, the daughter of his mother’s elder sister, refused his proposal. The girl’s father also made it clear to Vincent that his daughter cannot marry him, as he was not financially sound & strong enough to support and start a family. The rejection affected him deeply and he left for Hague, where his painter cousin-in-law encouraged him towards painting. Another unsuccessful relationship with an alcoholic prostitute drove him further to loneliness and isolation.
Museum of Modern Art, New York. New Rugs by American Artists. 30 June – 9 August 1942. Checklist. Oriel Makers operates like a cooperative – member artists are encouraged to play an active role by stewarding, giving them the opportunity to meet the public, network with other artists and gain experience in the administrative and day to day duties involved in running a gallery. All new work is scrutinised for quality and originality and existing work is reviewed to maintain a high standard of excellence. The meetings also provide an opportunity for the group to chat about their work and catch up with news. Raw Material is an arts and culture podcast from the San Francisco Museum of Modern Art (SFMOMA). Each season focuses on a different topic, featuring voices of artists working in all media and exploring the inspiration and stories behind modern and contemporary art. We hope this is a useful resource for music therapy and music and health practitioners, researchers and students as well as for policy makers, managers and fundraisers who would like to know more about how, when and why music works. Finch College Museum of Art, New York. Betty Parson’s Private Collection. 13 March – 24 April 1968. Catalogue with text by Eugene Goossen. Methods: Participants (n = 11 patients and n = 21 caregivers) were randomly assigned to one of three treatment groups: educational music therapy, education, or non-educational music therapy. Du Pont, Diana C., Katherine Church Holland, Garna Garren Muller, and Laura L. Sueoka. San Francisco Museum of Modern Art: The Painting and Sculpture Collection. Entry Hans Hofmann” by Katherine Church Holland, p. 160. San Francisco: Hudson Hills Press, 1985. Myers, Julian. Short Essays.” Ellsworth Kelly in San Francisco. Exh. cat. San Francisco: San Francisco Museum of Modern Art, 2002: 20-77. An Inuit in an open boat reaches out to rescue two people in the water. He has one by the hand. The boat, harpoon, and oars provide a strong diagonal. There is a variety of shapes and lines. The work has every appearance of a relief print where white areas have been cut away. The image can be seen as one total organic shape placed in a frame. Wellcome Collection explores Mexican votive paintings loaned by Mexican collections, together with amulets selected from Henry Wellcome’s collection. 20th Century American Art from Friend’s Collection. Exh. cat. New York: Whitney Museum of American Art, 1977. Sutton, J. (2002). Trauma in Context. In J. Sutton (Ed.), Music, Music Therapy and Trauma (pp. 21-40). London: Jessica Kingsley. Hagia Sophia’s footprint is 252 feet long, 233 feet wide and it could easily hold 16,000 people. The dome is 184 feet tall and is 105 feet in diameter. The church was carefully planned to align in the direction of sunrise at the winter solstice when light pours into the nave at the time of the church service, pointing at and then passing through the Royal Doors. You can see this effect in the image below. You can see the Islamic shields have been taken down for the picture. The shields were removed for almost three years, from 1939 – 1942, probably for repairs. If those shields were taken down today there would be riots by Islamic zealots. Very few people know these pictures exist.
Kotai-Ewers, T. (2000). Working with Words: People with Dementia and the Significance of Narratives. In D. Aldridge (Ed.), Music Therapy in Dementia Care (pp. 63-80). London: Jessica Kingsley. Noronha, W., & D’Souza, W. (2015). Effectiveness of music on behavioural and physiological responses of preterm neonates in the selected neonatal intensive care units of Mangalore. International Journal of Science and Research, 4(4), 1344-1349. With his landscape paintings Louis McNally takes a particular view and stylises it to meet his own impressions. Well known vistas are thus transformed into something which the art viewer beholds and warms to. In doing so he often creates paintings which can have the look of those painted by Victorian Artists but which are undoubtedly contemporary in presentation. McNally certainly produces paintings of contrast. It’s interesting how often that happens – there’s a global consciousness and then suddenly we have photography capturing a moment in time, and impressionism giving you the artist’s method of recording a glimpse or a glance. Modern Means – Continuity and Change in Art 1880 to the Present. Exh. cat. New York: The Museum of Modern Art, 2004. Priyesh Trivedi didn’t train as an artist, or go to art school—his technical training lies in animation film-making and game design, and he worked in the gaming and animation industry for four years after graduation. Trivedi, who says he has been painting ever since he can remember, was bored and didn’t feel creatively challenged. Then, in May 2014, he uploaded a watercolour poster he had painted the previous year. Using the character of Adarsh Balak—the ubiquitous boy in a blue shirt and indigo shorts common to educational posters on moral science, hygiene and other subjects—he drew him sitting and rolling a joint. Let’s tok”, said the poster. His caustic wit became an Internet sensation in the last couple of years,” point out Tara Lal and Mortimer Chatterjee. The series centred around the boy indulging in activities that were decidedly non-ideal, thus offering an incisive critique of socio-cultural expectations. Musical intelligence is one of Howard Gardner’s nine multiple intelligences which were outlined in his seminal work, Frames of Mind: The Theory of Multiple Intelligences (1983). Gradner argued that intelligence is not a single academic capacity of an individual, but rather a combination of nine different kinds of intelligences. Musical intelligence is dedicated to how skillful an individual is performing, composing, and appreciating music and musical patterns. People who excel in this intelligence typically are able to use rhythms and patterns to assist in learning. Not surprisingly, musicians, composers, band directors, disc jockeys and music critics are among those that Gardner sees as having high musical intelligence. There are, however, some researchers who feel that musical intelligence should be viewed not as an intelligence but viewed instead as a talent. They argue that by musical intelligence is categorized as a talent because it does not have to change to meet life demands.