Art buyers and collectors have many ways to acquire contemporary works of art, especially by living artists. Ansdell, G., & Pavlicevic, M. (2005). Musical Companionship, Musical Community. Music Therapy and the Process and Values of Musical Communication. In D. Miell, R. MacDonald & D. Hargreaves (Eds.), Musical Communication (pp. 193-213). Oxford: Oxford University Press. Schäfer, T., Smukalla, M., & Oelker, S.A. (2014). How music changes our lives: A qualitative study of the long-term effects of intense musical experiences. Psychology of music, 42(4), 525-544. Geometric abstraction both stems from and contrasts with lyrical abstraction, which geometric abstract artists summarised as abstract landscaping”. As its name suggests, this new form of abstraction is centred around the use of geometric shapes to create a sense of purity in the painting. Lines, squares, triangles and circles all collide with the use of bold, block colours on a two-dimensional surface. Kupka was one of the movement’s leading figures but nonetheless did not want to be associated with it, believing that art should be the very opposite of abstract; it should be concrete and real. Alongside him, Mondrian laid the foundations for geometric abstraction with his characteristic use of neat shapes and rectangles. The artist developed his unique style by structuring his paintings around an underlying orthogonal grid and using sharp right angles. Kigunda, M. (2007). Music and Health in Kenya: Sound, Spirituality, and Altered Consciousness Juxtaposed with Emotions. Saarbrucken: VDM Verlag. Burchfield displayed a strong interest and talent for painting early on, as well as a love for nature. He was a shy child, and very reserved; from fifth grade until his senior year in high school, he had no close friends, and spent a large part of his time alone. From seventh grade on, he began working part time-first as a drugstore errand boy, then as a mail clerk at Mullins Company, a local manufacturer. An avid reader, when not working, painting, or attending school, he consumed anything he could get his hands on. Johnson, Ken. Thomas Nozkowski” (Max Protetch Gallery exhibition review). The New York Times, 10 March 2000. Trevarthen, C., Aitken, K., Papoudi, D., & Robarts, J. (Eds.). (1998). Children with Autism: Diagnosis and Interventions to Meet their Needs. London: Jessica Kingsley. The two commissioned abstract paintings arrived about one week ago and were stretched here, as specified. They are absolutely beautiful in my opinion, and the opinions of my associates – who are all happy this worked out well. Rentfrow, P. J. (2012). The role of music in everyday life: Current directions in the social psychology of music. Social and Personality Psychology Compass, 6(5), 402-416.
Music is present in every culture, but the degree to which it is shaped by biology remains debated. One widely discussed phenomenon is that some combinations of notes are perceived by Westerners as pleasant, or consonant, whereas others are perceived as unpleasant, or dissonant. The contrast between consonance and dissonance is central to Western music, and its origins have fascinated scholars since the ancient Greeks. Aesthetic responses to consonance are commonly assumed by scientists to have biological roots, and thus to be universally present in humans. Ethnomusicologists and composers, in contrast, have argued that consonance is a creation of Western musical culture. The issue has remained unresolved, partly because little is known about the extent of cross-cultural variation in consonance preferences. Here authors report experiments with the Tsimane’—a native Amazonian society with minimal exposure to Western culture—and comparison populations in Bolivia and the United States that varied in exposure to Western music. Participants rated the pleasantness of sounds. Despite exhibiting Western-like discrimination abilities and Western-like aesthetic responses to familiar sounds and acoustic roughness, the Tsimane’ rated consonant and dissonant chords and vocal harmonies as equally pleasant. By contrast, Bolivian city- and town-dwellers exhibited significant preferences for consonance, albeit to a lesser degree than US residents. The results indicate that consonance preferences can be absent in cultures sufficiently isolated from Western music, and are thus unlikely to reflect innate biases or exposure to harmonic natural sounds. The observed variation in preferences is presumably determined by exposure to musical harmony, suggesting that culture has a dominant role in shaping aesthetic responses to music. One man’s music really is another man’s noise, says this new study from the Massachusetts Institute of Technology. The researchers found that only cultures previously exposed to Western music formed opinions on consonance and dissonance-an element of music theory that establishes consonant chords as more aurally pleasing than dissonant chords. The findings, published in Nature, may end longstanding arguments over whether or not musical preference is biological. June 10-14. Ages 4-5. Our youngest learners will dive into making by designing shapes and letters using Perler Beads, cardboard and recycled books. We will try our hand at origami, Pixal Art and engineering 101. $195 ($166 members). 803-779-3100. 211 Gervais St.
A photographic series by Parisian photo journalist Aida Tawil documenting the color of Mozambique with its colonial history and current laid-back pace. As a photojournalist, Ms. Tawil travels to distant places, speaks the local languages, and documents daily challenges. Presented are three series of images: Crossing the Zambezi, Pangane, and Ilha de Moçambique. The focus of the first series is the Zambezi River, which runs 3,540 Km and empties into the Indian Ocean. The second series documents the fishermen village of Pangane, a remote village at the Northern edge of the country on the Indian Ocean. Ilha de Moçambique, the old capital, is the subject of the third series of photographs. Global DanceFest JourneysAFRICA is proud to host the first U.S. exhibit by Aida Tawil, a visual journey complimenting the dance performers from Maputo, Mozambique, at North Fourth Art Center. Women Take the Floor seeks to acknowledge and remedy the systemic gender discrimination found in museums, galleries, the academy and the marketplace, including the MFA’s inconsistent history in supporting women artists. The exhibition also explores art and suffrage—emphasizing that both could give women a voice in their community and the world. At the same time, it recognizes that past feminist movements, including the campaign for the right to vote, were not inclusive or immune from systemic racism. By looking at 20th-century American art through the lens of modern-day feminism—which advocates for equity and intersectionality (the way an individual’s race, class, gender and other identities combine and overlap)—MFA curators hope to broaden the stories that are told during the yearlong commemoration of women’s suffrage in 2020. Theater is a collaborative form of fine art that uses live performers, typically actors or actresses , to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture , speech , song, music , and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality , presence and immediacy of the experience. Nguyen, T.N., Nilsson, S., Hellstrom, A.L., & Bengtson, A. (2010). Music therapy to reduce pain and anxiety in children with cancer undergoing lumbar puncture: A randomized clinical trial. Journal of Pediatric Oncology Nursing, 27(3), 146-155. Gimeno, M. (2010). The effect of music and imagery to induce relaxation and reduce nausea and emesis in patients with cancer undergoing chemotherapy treatment. Music and Medicine, 2(3), 174-181.