One of the most renowned artists of modern times, Andrew Wyeth continues to hold the American public enthrall with his almost photographic quality paintings. Murphy, K.M. (2015). Music Therapy in Addictions Treatment. In B. L. Wheeler (Ed.), Music Therapy Handbook (pp. 364-366). New York; London: Guilford Press. Negative Space: The unoccupied or empty space left after the positive shapes have been placed by the artist. The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney. Since October of 2009, music therapy services have been provided to premature infants in a 25-bed NICU located in the southeastern region of the U.S. Services have not been provided for infants younger than 27 weeks post corrected age (PCA) because additional research is needed to determine whether music therapy will be beneficial or contraindicated for this vulnerable population (infants 25-27 weeks PCA who weigh less than two pounds). Only two researchers have used music with infants 26 weeks PCA and older, but there was not a lot of information regarding the number of infants who were 26 weeks PCA or receiving ventilator assistance at the time of music therapy. This zoo has paintings by various species, available intermittently, but not at the time of this writing. All profits go to assisting the zoo to build new enclosures. Lanovaz, M.J., Sladeczek, I.E., & Rapp, J.T. (2012). Effects of noncontingent music on vocal stereotypy and toy manipulation in children with Autism Spectrum Disorders. Behavioral Interventions, 27(4), 207-223. Smith, Roberta. Is Painting Small The Next Big Thing?” The New York Times, 19 April 2008: B7, B11. Joan Miró’s artwork graces many museums around the world and is also in numerous private collections of people who can afford his prices. He has created unique, eyecatching colorful sculptures and also paints and creates works of art on paper. My husband and I were fortunate enough to be able to visit the Joan Miró Foundation in Barcelona, Spain, during the summer Olympics back in 1992, where we saw a vast collection of his works.
Goossen, Eugene. Betty Parsons’ Private Collection. New York: Finch College Museum of Art, 1968. Composition: The bicycle is placed centrally on the page, equidistant from each edge, yet it takes up only a small percentage of the painting surface. Contrast: The bicycle is very detailed; the background is rough and abstract. Shape: The bicycle is not placed in real space but in a light, airy undefined space. Instrument-specific neuroplasticity interestingly extends to perception. Musicians show greater evoked potentials in the presence of auditory stimuli as compared to nonmusicians (Pantev et al., 1998). This effect is modulated by the specific musical training, as indicated by timbre-specific neuronal responses observable in different groups of instrumentalists. For example, string and trumpet players reveal stronger evoked cortical responses when presented to the sound of their respective instrument (Pantev, Roberts, Schulz, Engelien and Ross, 2001), an effect particularly visible in the right auditory cortex (Shahin et al., 2003). In addition, musicians display increased gamma-band activity induced by the sound of their own instrument as compared to others (Shahin, Roberts, Chau, Trainor and Miller, 2008). These findings are supported by functional imaging evidence in violinists and flutists (Margulis, Mlsna, Uppunda, Parrish and Wong, 2009) indicating that instrument-specific plasticity is not restricted to the primary auditory cortex but rather spans across a network including association and auditory-motor integration areas. Recent studies provide additional evidence that experience-specific plasticity may be visible at the level of the brainstem (Strait, Chan, Ashley and Kraus, 2012; for a review, Barrett et al., 2013). In sum, there is compelling evidence of important and measurable differences in brain structure and function associated with musical training and listening experience in a heterogeneous group of musicians. Even though these studies are cross-sectional, thus making it difficult to conclude about a causal role of training on brain differences, instrument- or timbre specific plasticity still supports the notion of dedicated brain adaptations. Number 28, 1950 – Painted in the early summer of 1950, this enamel on canvas represents many layers of paint applied from all sides of the canvas, in the typical Pollock style. On the verso of the canvas, traces of black and yellow drawings can be detected. It was common of this art movement to start most paintings by drawing figures on the canvas, which were eventually obscured by paint.
