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Robert Motherwell was a young American ‘Abstract Expressionist’ painter, printer, collage maker, and author. De Mott, Helen. Hans Hofmann School Attracts Pupils to Cape End from Many Distant Parts.” Provincetown Advocate, 17 June 1948. The fuzzy line is the result of lines being scratched into a metal surface. Little bits of […]

Robert Motherwell was a young American ‘Abstract Expressionist’ painter, printer, collage maker, and author. De Mott, Helen. Hans Hofmann School Attracts Pupils to Cape End from Many Distant Parts.” Provincetown Advocate, 17 June 1948. The fuzzy line is the result of lines being scratched into a metal surface. Little bits of the scratched metal formed burrs along the edge of the scratched line. This is common in the drypoint (intaglio) process. Chan, G. (2014). Cross-cultural music therapy in community aged-care: A case vignette of a CALD elderly woman. Australian Journal of Music Therapy, 25(92-102). Two features of our world which are universal and arguably have been a feature of an earlier evolutionary development are our ability to create and respond to music, and to dance to the beat of time. Somewhere along the evolutionary way, our ancestors, with very limited language but with considerable emotional expression, began to articulate and gesticulate feelings: denotation before connotation. But, as the philosopher Susanne Langer noted, ‘The most highly developed type of such purely connotational semantic is music’ (Langer, 1951, p. 93). In other words, meaning in music came to us before meaning given by words. The mammalian middle ear developed from the jaw bones of earlier reptiles and carries sound at only specific frequencies. It is naturally attuned to the sound of the human voice, although has a range greater than that required for speech. Further, the frequency band which mothers use to sing to their babies, and so-called motherese or child-directed speech, with exaggerated intonation and rhythm, corresponds to that which com posers have traditionally used in their melodies. In the same way that there is a limited sensitive period in which the infant can learn language and learn to respond to spoken language, there must be a similar phase of brain development for the incorporation of music. Landau, Ellen G., Sandra Kraskin, Phyllis Braff, and Michael Zakian. Mercedes Matter (includes artist’s statements). New York: MB Art Publishing, 2009. Jayasree, B., & Thenmozhi, P. (2015). Effectiveness of music therapy on pre-operative anxiety among patients undergoing cataract surgery. International Journal of Multidisciplinary Educational Research, 4(8), 141-147. Music may not only elicit new emotions, but connect listeners with other emotional sources. Music serves as a powerful cue to recall emotional memories back into awareness. Because music is such a pervasive part of social life, present in weddings, funerals and religious ceremonies, it brings back emotional memories that are often already associated with it. Music is also processed by the lower, sensory levels of the brain, making it impervious to later memory distortions. Therefore creating a strong connection between emotion and music within memory makes it easier to recall one when prompted by the other. Music can also tap into empathy, inducing emotions that are assumed to be felt by the performer or composer. Listeners can become sad because they recognize that those emotions must have been felt by the composer, much as the viewer of a play can empathize for the actors.

Lois Dodd (b. Montclair, New Jersey, 1927) has spent more than seventy years attentively observing the natural and manmade architectures of her surroundings and recording them in paint. Her works preserve the beauty camouflaged in ordinary and occasionally enigmatic details such as windows, wood siding, greenery and washing lines. Dodd’s quintessentially American pictures recount a life spent painting outdoors, much of it in the Delaware Water Gap and the bucolic settings around her summer home in Midcoast Maine, in addition to time in her Manhattan studio. At 92, she continues to produce new work. Goodman, K. (1989). Music therapy assessment of emotionally disturbed children. The Arts in Psychotherapy, 16, 179-192. Ratcliff, Carter. Ellsworth Kelly’s Curves.” Ellsworth Kelly- A Retrospective. Exh. cat. New York: Solomon R. Guggenheim Museum, 1996: 56-61. Twentieth-century compositional practices are studied from a variety of musical, cultural, social, political, and creative perspectives. The availability and impact of technology on compositional aesthetics is explored along with discussions about emerging trends in new media, sound art,, installations, and mobile technology. Fortunately the building of Hagia Sophia was early in his reign, before the real horrors began. The problems were not financial they were structural. Being so close to the job site Justinian carefully monitored the construction progress himself and make decisions. His builders, the famous team of Anthemios and Isidorus, encountered many challenges due to the scale of the project and the limits of the building materials used, particularly the drying of the mortar. On could say that the primary building material of Hagia Sophia was not brick, but mortar. The piers and arches moved and stretched apart in odd and uneven directions as it dried. The builders made changes and modifications to the design as it went up, with a great deal of improvisation, arches and buttresses were added, the columns in the upper arcade were increased from 5 to 7, which spoiled the symmetry of the colonnades forever. The superb dome they built – one that seemed to float above the nave – only lasted for 20 years when it came crashing down – destroying $9 million of silver-covered stuff in the sanctuary. The replacement of 563 was taller and less elegant, but was more secure structurally. It took almost as long to rebuild the dome as it took to build the church originally. As Morris continued to allow Congo to paint, the chimpanzee’s obsession for painting accelerated. Congo´s ability to experiment with abstract patterns and alter them in creative ways became clear evidence that the mind of a non-human had the same innate urge and understanding to make articulate visual works of art.

While the selection pressures for the emergence of language are widely regarded as self-evident (Pinker 1994), those for music appear less well understood, perhaps because the effects of music appear less immediate and direct, or obvious, than do those of language (Mithen 2005). However, authors suggest that a degree of adaptation to changes in the rate of individual maturation evident in the later hominid lineage may be a factor that led to the human capacity for musicality, distinct from, and perhaps foundational, in respect of language (Cross 2003b). Les Demoiselles d’Avignon (1907) Museum of Modern Art, New York. Being an artist that strongly contributed to people’s idea of agony and passion that characterizes the modern art movement of which he was an early member, this show is a must for anyone wishing to take in the experience first hand. A total of 24 out of the just over 100 prints on show were made in April and early May 1888 when Van Gogh had decided to quit painting altogether. Some of the drawings turned out almost as paintings. The art world also goes berserk over Van Gogh’s drawings because they generally highlight such distinct phases in his work and life. Later that month, he drew a special series of seven views of the Abbey of Montmajour, also on show. Oldfield, A., Bell, K., & Pool, J. (2012). Three families and three music therapists: Reflections on short term music therapy in child and family psychiatry. Nordic Journal of Music Therapy, 21(3), 250-267. In order to meet the needs of the client, it is essential that the music therapist have a large and varied repertoire of popular music genres and styles. A great deal of one’s popular music knowledge is generally acquired from listening to music in social and recreational settings. In the academic setting, collegiate music curriculums primarily teach Western art music or “classical” music as the predominant genre rather than more modern genres of popular, rock, folk, or sacred music. The purpose of this study is to investigate which genres of music undergraduate music majors prefer to listen to when they are outside of the collegiate academic music setting. It is the aim of the investigator to ascertain if undergraduate music majors’ recreational listening preferences outside of the academic setting aligns with the same genre of music that they are exposed to in the college music classroom. If not, what music do they prefer, and how can collegiate music programs offer more opportunities for pre-service music therapists to expand their popular music repertoire.

Rose, Kerry. Ellsworth Kelly.” Modernism from the National Gallery of Art – The Robert and Jane Meyerhoff Collection. Exh. cat. Washington: National Gallery of Art, 2014: 84-85. Hess, Thomas B. New York: The State of Art. Exh. cat. Albany: New York State Museum, 1977. A group show, Imagined Futures Reconstructed Pasts, on till Sunday at Bikaner House in New Delhi, features two photo works by Prajakta Potnis which were part of her exhibition When The Wind Blows, held in January by Project 88. They show staged scenarios within an old freezer—against the ice building up are everyday objects, pressure-cooker whistles in one, a lighter in another. In the photographs, the magnified scale allows a separate narrative to unfold in the viewer’s mind—an apocalyptic landscape, of something on the verge of being blown up”. When The Wind Blows was an extension of Potnis’ interest in showing the connection between the private—through the use of quotidian objects—and the political. The title of the show itself was derived from a graphic novel from the 1960s, which deals with the fear of the atom bomb. The fear is still there, and it’s even scarier with (US president-elect) Donald Trump,” says Potnis. The series was inspired by The Kitchen Debate”, a hilarious, heated debate between (Ronald) Reagan and (Nikita) Khrushchev in front of a washing machine, at a time when the US was trying to show off their modern kitchen appliances to the Communist world. It was like watching two little boys fighting, each propagating their own ideology,” says Potnis. Capitalism, the impact of war, environmental degradation, genetically modified food, loss of privacy, the works of Potnis, who did her master’s from the Sir JJ School of Art in Mumbai, are inherently derived from contemporary anxieties. So, if a still-life painting of a cauliflower takes on the form of a mushroom cloud, in site-specific works she developed the idea of the wall as a membrane between the inside and outside space”. From hanging threads giving the perception of cracks to keyholes drilled in walls or frills hung as skirting to give the impression of a curtain—opaque spaces appear fragile, giving the sense of being watched”. Watson, T. (Ed.). (2007). Music Therapy with Adults with Learning Disabilities. Hove: Routledge. By the end of the 3 day intensive course, Monsieur Chauveau had worked on all of us and some more than once. All different body paintings but all equally stunning. Donohoe, Victoria. An Abstract Artist Builds a Following” (Matthews Hamilton exhibition review). The Philadelphia Inquirer, 11 December 1984: H19, illustrated.

Painting As Percept (exhibition catalogue). Text by Anita Feldman. New York: Ericson Gallery, 1980: illustrated. A rare exhibition of Geoffrey Clarke’s striking abstract prints, often overshadowed by his primary work as a sculptor. Barron, Stephanie. Matisse and Contemporary Art.” Arts Magazine vol. 49, no. 9 (May, 1975): 66-67. Magee, W., & Burland, K. (2008). An exploratory study of the use of electronic music technologies in clinical music therapy. Nordic Journal of Music Therapy, 17(2), 124-141. Thaut, M.H., McIntosh, G.C., & Hoemberg, V. (2015). Neurobiological foundations of neurologic music therapy: Rhythmic entrainment and the motor system. Frontiers in psychology, 5, 1185. Naves, Mario. A Show of Shows: Nozkowski’s Masterful Conundrums” (Max Protetch Gallery exhibition review). The New York Observer, 13 March 2000: illustrated. Hunter, Sam. Hans Hofmann (includes artist’s statements). With reprints of essays by Hofmann: Plastic Creation” (1932), pp. 35-38; The Search for the Real in the Visual Arts” (1948), pp. 39-43; The Resurrection of the Plastic Arts” and The Mystery of Creative Relations” (1954), pp. 44-45; The Color Problem in Pure Painting—Its Creative Origin” (1955), pp. 46-48; Sculpture” (1933), pp. 49-51. New York: Harry N. Abrams, 1963. Octavia Art Gallery presents their first solo exhibition with Louisiana-based artist Debbie Fleming Caffery. Southern Work will bring together two distinct series that have been pivotal subjects for Caffery throughout her career as well as a recent project inspired by her grandchildren. Kornhauser, Elizabeth Mankin and Erin Monroe. American Moderns on Paper – Masterworks from the Wadsworth Atheneum Museum of Art. Exh. cat. Hartford, CT: Wadsworth Athenuem Museum, 2010: 199-201. Davy Brown was born in Kilmarnock in 1950. As a young Scottish artist Davy studied contemporary art at the Glasgow School of Art under David Donaldson and Duncan Shanks. He then went onto complete teacher training at Moray House Edinburgh. Art Institute of Chicago, IL. The Mr. and Mrs. Joseph Randall Shapiro Collection. 23 February – 14 April 1985. Catalogue with texts by Joseph Randall Shapiro, Katherine Kuh, and Dennis Adrian. Second Nature: Abstract Paintings and Drawings, Proctor Art Center, Bard College, Annandale-On-Hudson, New York, April 5-18, 1984. Wigram, T. (2002). Indications in music therapy: Evidence from assessment that can identify the expectations of music therapy as a treatment for autistic spectrum disorder (ASD); Meeting the challenge of evidence based practice. British Journal of Music Therapy, 16(1), 11-28.


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Anna Chromy was born in Bohemia and read in Paris, France at the Academie de la Grande Chaumiere under Maurice Mejaz, the former director of the Academie of Beaux-Arts in Caracas. Cohen, David. Gallery Going: The Painter’s Painter” (PaceWildenstein exhibition review). New York Sun, 10 April 2008: illustrated. 55 Ferris […]