DOCUMENT RESUME ED 264 151 SO 016 882 TITLE a Fine Arts

DOCUMENT RESUME

ED 264 151 SO 016 882

TITLE A Fine Arts Survey. Bulletin 1737. INSTITUTION Louisiana State Dept. of Education, Baton Rouge. PUB DATE 84 NOTE 444p. PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052)

EDRS PRICE MF01/PC18 Plus Postage. DESCRIPTORS Aesthetic Education; *Art Education; Concerts; Course Content; Creative Art; Curriculum Guides; Dance; *Dance Education; *Drama; Educational Objectives; High Schools; Instructional Materials; Language; Learning Activities; Mass Media; Music; Music Activities; *Music Education; Symbolism; *Visual Arts

ABSTRACT The objective of the fine arts survey course outlined in this guide is to give high school studentsan introduction to understanding the four arts (visual arts, music, dance, and drama), their relationships, and how they each touchour daily lives. The guide begins with an introduction that containsa survey test, discusses the course rationale, and lists instructional materials. The course is comprised of 10 units: I-The Arts in Our Lives; II-Language, Media,. and Materials of the Visual Arts; III-Symbols and Images of Graphic Art; IV-Achieving Literacy in the Visual Arts; V-Art as Environment; VI-Discove_ing and Creating; VII-Materials of Music; VIII-Form in Music; IX-Roots of American Popular Music;and X-Standard Concert Repertory. Information provided for the units includes focus, expected outcomes, background readings forteachers on the unit content, discussion/reaction topics, learning activities, words to recognize, teaching strategies, references and sample test questions. Throughout the course, studentsare involved in class discussions, are encouraged to actively participate in the creative process, and are assisted in developing their aesthetic sensitivity. (RM)

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1,1 A FINE ARTS SURVEY

Bulletin 1737

,.. 0 THOMAS G. CLAUSEN, Ph.D. State Superintendent

\O 1984 3 2 4

1 4 4 1 1 I 0 A I 1 1 1 4 I 0il 1 I A I I 4 I 5r A 4 P 1 A 4 A t A P 1 41 I i 1 wel 1 I 1 fr° 4 I 1 41 4 1 1 A I 0 1 I ei , 1 1 q A4 I I . I r! Wej64 STATE OF LOUISIANA DEPARTMENT OF EDUCATION

A FINE ARTS SURVEY

Bulletin 1737

Issued by Office of Academic Programs

THOMAS G. CLAUSEN, Ph.D. State Superintendent

6 SUPERINTENDENT'S MESSAGE **********************************************+4444++

Theworld ofeducation is experiencingmany and they should demand the same level of perfor- approaches to schoolreform during the 1980's. mance as the Basics." High School graduation requirements and college entrance standards are being reviewed and, in "The curriculum in the crucial eight grades manycases, increased. All ofthese reform leading to the high school years should be efforts are directed toward improving the basic specifically designed to provide a sound base for skills acquisition of the high school graduates. study in those and later years in such areas as English language development and writing, compu- In spite of this increased emphasis on the basic tational and problemsolving skills,science, skills, the fine arts continue to be recognized social studies, foreign language, and the arts. as an integral part of public instruction. The Theseyears should foster an enthusiasm for final reports of several commissions on excel- learning and the development of the individual's lence in education remind us of the importance gifts and talents." of aesthetic education as experienced in fine arts instruction. The Louisiana State Board of Regents recommends that all college-bound high scnool graduates have The final Report of the National Commission on one unit in the Fine Arts, preferably a Fine Arts Excellencein Education, entitled A Nation at Survey. The course of study presented in this Risk, supports arts instruction in the follow- guide, and approved by the Louisiana State Board ing: of Elementary and Secondary Education, endeavors to satisfy the Regents' recommendation, andto "Whatever the student's educational or work expand the course offerings in the fine arts. objectives, knowledge of the New Basics is the foundation of success for the after school years I wish to express my personal gratitude to each and,therefore, forms the core of the modern educator that participated in the development of

curriculum. A high level of shared education in this curriculum guide, and I heartily recommend these Basics, together with work in the fine and the implementation of this course throughout the performing arts and foreign languages, consti- State of Louisiana. tutes the mind and spirit of our culture."

"The high school curriculum should also provide students with programs requiring rigorous effort in subjectsthatadvancestudents' personal, educational, and occupational goals, such as the Thomas G. Clausen, Ph.D. fine and performing arts and vocational educa- State Superintendent of Education tion. These areas complement the New Basics, LOUISIANA STATE BOARD OF ELEMENTARY AND SECONDARY EDUCATION

Dr. Claire R. Landry Mrs. Gloria J. Harrison President Member at large First Congressional District

Bro. Felician Fourrier, S.C. Mr. Keith Johnson Vice President Second Congressional District Member at large

Mrs. Marie Louise Snellings Mrs. Martha Scott Henry Secretary Treasurer Member at large Fifth Congressional District

Mr. Jesse H. Bankston Mr. A.J. "Sookie" Roy, Jr. Sixth Congressional District Eighth Congressional District

Dr. John A. Bertrand Mr. Jack Pellegrin Seventh Congressional District Third Congressional District

Mr. Milton Hamel Fourth Congressional District

EXECUTIVE DIRECTOR

Mr. James V. Soileau State Board of Elementary and Secondary Education

10 ACKNOWLEDGM, "IS

This publication represents the collective thinking and cooperative efforts of school personnel and the State Department of Education staff. Appreciation is extended to the writing committee and the special consultants forsharing their time and expertise to make thispublication possible.

The material presented is nota blueprint for a pre-fabricated structure; rather, the committee means it as a guide and an invitation to creative interpretation and thoughtfuluse. Any parts of the guidesuggestedbythe committeecan be improved by an imaginative teacher. As teachers in the field bring to lightnew insights, the guide can eventually profit by revision.

The committee is appreciative of the supportand thoughtful guidancegiven them by Dr. Helen Brown, Director of Curriculum, .Inservice, and Staff Development; and staff member, Mrs. Cornelia Barnes.

11 ARTS SURVEY CURRICULUM DEVELOPMENT PROJECT

WRITING COMMITTEE WRITING COMMITTEE

VISUAL ARTS MUSIC

Marvin Ashford Sara Bidner Central Middle School Southeastern Louisiana University Baton Rouge, Louisiana Hammond, Louisiana

Charlene Chaisson H. Dorman Clayton Sam Houston High School Rapides Parish Schools Lake Charles, Louisiana Alexandria, Louisiana

Valerie Haaga Anthony Fontana St. Martinville High School Abbeville High School St. Martinville, Louisiana Abbeville, Louisian.

Carol Smith Frances W. Hebert Tanglewood Elementary Acadiana High School Baton Rouge, Louisiana Lafayette, Louisiana

Sherry Wilkerson JoAnne Lay Hahnville High School South Lafourche High School Boutte, Louisiana Galliano, Louisiana

vi 12 WRITING COMMITTEE SPECIAL CONSULTANTS

MUSIC DANCE

Sidney C. Martin Katie Planche Friedrichs Caldwell Parish High School Director of Dance Columbia, Louisiana Southeastern Louisiana University Hammond, Louisiana Sr. Mary Hilary Simpson New Orleans Archdiocese Schools DRAMA New Orleans, Louisiana Pat Clay Dial Rosemary Watkins Supervisor of Gifted and Talented Louisiana State University State Deportment of Education Baton Rouge, Louisiana Baton Rouge, Louisiana

VISUAL ARTS

Myrtle Kerr tit Supervisor of Art and Humanities State Department of Education Baton Rouge, Louisiana

MUSIC

Tom D. Wafer Supervisor of Music Education State Department of Education Baton Rouge, Louisiana

vii 13 TABLE OF CONTENTS

SUPERINTENDENT'S MESSAGE

Acknowledgement iv

Louisiana State Board of Elementary and v Secondary Education

Writing Committees: Special Consultants vi

TABLE OF CONTENTS viii

Introduction 1 Survey Test 3 Rationale 4 Materials for the Course 6

UNIT I: THE ARTS IN OUR LIVES 10

Dance . Drama . Music . Visual Arts Focus and Expected Outcomes 12 A. Aesthetics, Beauty, and Creativity 13 B. The Arts and Their Commonalities 18 C. The Artist and Commonalities 22 D. The Valuing of Art 26

UNIT II: LANGUAGE, MEDIA, AND MATERIALS OF THE VISUAL ARTS 32 Focus and Expected Outcomes 34 A. Essential Elements of Art 35 B. Media and Materials of Visual Arts 44 C. Styles of Expression in Visual Arts 50

UNIT III: SYMBOLS AND IMAGES OF GRAPHIC ART 66 Focus and Expected Outcomes 68

viii ------1-41. UNII IV: ACHIEVING LITERACY IN THE VISUAL ARTS 82 Focus and Expected Outcomes 84

UNIT V: ART AS ENVIRONMENT 94 Focus and Expected Outcomes 96

UNIT VI: DISCOVERING AND CREATING 106 Focus and Expected Outcomes 108

Visual Arts Glossary 124

UNIT VII: MATERIALS OF MUSIC 132 Focus and Expected Outcomes 134

UNIT VIII: FORM IN MUSIC 152 Focus and Expected Outcomes 154

UNIT IX: ROOTS OF AMERICAN POPULAR MUSIC 168 Focus and Expected Outcomes 170

UNIT XI: STANDARD CONCERT REPERTORY 182 Focus and Expected Outcomes 184

DRAMA: A RESOURCE UNIT 204

DANCE: A RESOURCE UNIT 218

15 INTRODUCTION

16 The object of the Fine Arts Surveycourse is to It is very important that the students "experi- give students an introductionto understanding ence" this finearts course. Theknowledge, the four arts, their relationships, andhow they skills, and concepts will assumea deeper meaning each touch our daily lives. Though history and when the students are personally involved with appreciation of thearts are included, the hands-on experiences with the several art forms. course was not designed for an in-depth study of Participation is the class objective. Students these areas. should participate with the confidence that their evaluation for this class willnot be based on Bringing all of the arts together inone course the quality of artistic performance. is a large task. The writing team for this curriculum guide has endeavored toincorporate As there is no one textbook available, the within this course all three domains oflearn- teacher will be requiredto explore many re- ing, namely.. sources and to draw upon personal knowledge and experience to enrich the course. Unit titles, cognitive - knowledge, content discussion statements,the focus,and expected psychomotor - skills, technique outcomes are planned, as guideposts for the affective - attitudes, appreciations teacher to follow while preparing daily lesson plans. Following each focus and expected out At the beginning of theyear, the teacher may comesare limited resources for teacheruse. wish to give a pretestor survey test, in order This material presents onlyone possible dire& to determine "where the students are"in their tion of study; there are manyavenues to explore knowledge, skills, and interestsin the various to reach the expected outcomes. fine arts. A sample survey test is included in this introductory material tothis curriculum Presenting material from the suggestedareas for guide. This test is intended only as an exam- study will give the students the opportunityto ple, and the teacher should devise his or her gain an introductory knowledge of the finearts. own test. Some students will discover latent interests in one or more of the arts and may choose to follow The teacher is cautioned not to overemphasize this interest in greater depth; all students any one aspect of this course. For instance, to should be able to make educated judgmental stay with a straight historicalsurvey of the choices as to the role they want the arts to play arts would destroy the desired thrustof this in their lives. course. The prime emphasis should beonthe study of the arts from the viewpointof aesthet- Careshould be taken to seethat theclass ics and beauty. discussion does not become too theoretical. This may have a negative effect on some students. Class discussion should center around satisfying experience involves two processes: the students' natural curiosities about the arts. The focus should always be on the cre- perception-teachable and measurable ative process and the "art work" as an expres reaction - nonteachable and nonmeasurable sion of beauty. Students should be encouraged to "react" to each Teachers should look for ways for the students art work presented in this course, and it does to participate actively in the creative process. not matterwhether the person's reaction is In the "music semester," the suggested activity positive or negative. Also,it does not matter on playing the recorder is an excellent intro- whether the response is primarily emotional, duction to the creative process of "making intellectual, or physical. music." This simple instrument requires little effort to produce a satisfactory tone. The The material withinthisguide will leadthe theoretical aspect of musical literacy takes on students to develop the "perception" side of a new meaning when introduced through the use of aesthetic sensitivity. This involves the basic the recorder. elements of the fine arts and how these elements are organized. Efforts to teach or affect the The hands on experiences in the visual arts lead way a person reacts or feels about an art work the students through the many decisions made by usually have a negative effect on the sensitivity artistsin creating art works. Through these process. An aesthetic centered, concept oriented experiences, the essential concepts ofform, approach to the Fine Arts Survey will encourage line, balance, and contrast become more signif the students to work at the nonteachable aspect icant to the students and expand their vision of aesthetic sensitivity. and ability to think creatively.

Another goal of the Fine Arts Survey course is "I hear and I Torget. to assist the students in developing "aesthetic sensitivity" to the works of art. In Teaching I see and I remember. Music in Today's Secondary Schools by Malcolm E. Bessom, Alphonse M.Tatarunis, and Samuel L. I do and I understand." Forcucci, and published by Holt, Rinehart and Winston, "aesthetic sensitivity" is defined as - Chinese Proverb "theabilityto -perceive and understandthe 41 components of an art work, the handling of those components by the artist/composer: and the interrelationships among them."The aesthetic SAMPLE SURVEY TEST

Who or what is "The Who?" NEVER SELDOM OCCASIONALLY FREQUENTLY

In comparison with yourpeers, do you think your ideas are unique? To which of the fine arts is the term "pas de Do you find it easy to generatea number deux" associated? of ideas or solutions to problems and questions?

Have you ever attended a professional play or classical dance performance? Classify the following termsas dance, drama, music or visual arts by placing the appropriate Do you listen to classical musicon the number in the spaces provided. radio or on recordings?

1. Dance 2. Drams Do you like to visit museums, historical 3. Music 4. Visual Arts sites or other places where art objects are shown? choreographer treble clef pantomime monologue lithographer waltz Name the three performing arts. composer architect Mona Lisa Picasso acrylics The Nutcracker plot Charlie Chaplin Mikhail Baryshnikov overture Michelangelo Bolshoi Schottische Macbeth

(Teachers, analyze theresponses very carefully, Impressionism is a style of to see which of the four fine arts are the most/ least well known to the students. This may pro vide direction in lesson planning.)

411INMEN... =111111/M111111111111111

21 '.- 3 22 RATIONALE

following preparation in the arts:

Much attentionhas been directed recently to - The ability to understand and appreciate the what the college-bound student should know. As unique qualities of each of the arts. a result of severalreports on excellence in education, states are beginning to require -or - The ability to appreciate how people of strongly recommend--that every collep-bound various cultures have used the arts to express student take at least one coursein the fine themselves. arts. It is usually recommended that,if the student is not already enrolled in one of the - The ability to understand and appreciate performing or visualarts programs, he or she different artistic styles and works from should take a survey course involving all arts. representative historical periods and cultures. In response to the severalcommission reports andto therecommendations oftheLouisiana - Some knowledge of the social and intellectual State Boardof Regents, theLouisiana State influences affecting artistic form. Board of Elementary and Secondary Education has approved a two-semesterhigh school elective - The ability to use the skills, media, tools, course entitled Fine Arts Survey. and processes required to express themselves in one or more of the arts. The Fine Arts Survey curriculum addresses the needs of the"non-performance" arts student. Academic Preparation for College goes on to "Non performance" inthiscase refers to the recommend the following knowledge and skills, if study of the arts disciplines without the the preparation of college entrants is in... pressureofartisticperformance ordisplay. Unlike most visual and performing arts classes DANCE which emphasize a high level of artistic excellence, this course addresses the needs of the The ability toidentify and describe--using arts consumer. Many people have a lot of the appropriate vocabulary-- dances of various interest in the arts from the view ofthe cultures and historical periods. obs.Irver or listener or .collector. Theability to analyzevarious techniques, According to a1983 publication of the Collage styles, and choreographic forms. Board entitled Academic Preparation for College: What Students Need to Know and Be Able to Do, To knowhow to expressthemselvesthrough students going to college will profit from the dancing or choreography.

4 2R 24 - The ability to evaluate a dance performance. - Theabilitytoevaluate a musicalwork or performance. DRAMA VISUAL ARTS - The ability to identify anddescribe--using the appropriate vocabulary--different kinds - The ability toidentify and describe--using of plays from different historical periods. the appropriate vocabulary-- various visual art forms from different historical periods. - The ability to analyze the structure,plot, characterization, and languageof a play, - The abilityto analyzethestructure of a both as a literary document andas a theatre work of visual art. production. - To know how to express themselves inone or - To know how to express themselves by acting more of the visual art forms, such as in a play, or by improvising, or by writing a drawing, painting, photography, weaving, play, or by directingor working behind the ceramics, and sculpture. scenes of a theatre production. - The ability to evaluate a work of visual art. - The ability to evaluatea theatre production.

MUSIC

- The ability to identify and describe- -using the appropriate vocabulary-- various musical forms from different historical periods.

- The ability to listen perceptivelyto music, distinguishing such elements as pitch, rhythm, timbre, and dynamics.

- To know how toexpress themselves by playing an instrument, singing in a group,or individually, or composing music.

- The ability to read music. MATERIALS FOR THE COURSE

Davis Publishing, Inc., 1977. State textbook #259929 State price-$14.21 As stated before, with no one textbook written on the related arts or a survey of the arts at Davis, Beverly J. Chant of the Centuries. the high school level, the teachers of the Fine Austin, TX: W.S. Benson and Co., 1984. Arts Survey willbe required to pulltogether State textbook #259887 State price-$24.00 various materials to develop the daily lesson plans for this course. However, most visual and Fearing, Kelly, et al. The Creative Eye, Volume performing arts teachers have extensive personal I and II. Worcester, MA: Davis Publishing, collections of books, art works, recordings, and Inc., 1977. State textbook #259960 other applicable material for this course. and #259978 State price-U5.99

The list of State-adopted textbooks and other Brommer, Gerald R. Discovering Art History. instructional materialfor art and music does Worcester, MA: Davis Publishing, Inc., 1977. include severalitems of value to this course, State textbook #259945 State price-$20.21 either as student textbooks or as reference or resource material. Where applicable, these Gatto, Joseph A., et al. Exploring Visual items have been referenced into the course Design. Worcester, MA: Davis Publishing, outline. Inc., 1978. State textbook #259937 State price-$12.71 Visual Arts Material Hubbard, Guy and Mary J. Rouse. Art: Choosing Listed below are several visual arts books that andExpressing. Westchester, IL: Coronado arepresently included on the State-adopted Publishers, 1977. textbook list for art. These publications are State textbook #010512 State price-$10.29 recommended to the art teacher as resource material, not as student textbooks. The state Hubbard, Guy and Mary J. Rouse. Art: textbook number andcurrent state priceare Discovering and Creating. We-S-t-Chester, IL: included for each item. Coronado Publishers, 1977. State textbook #010504 State price-$10.29 Brommer, Gerald R. and George F. Horn. Art in Your World. Worcester, MA: Davis Publishing, Inc., 1977. A valuable resource to visual arts teachers isa State textbook #259911 State price-$14.21 collection of large prints for classroom display. A usefulset of poster-size printsis entitled Brommer, Gerald R. and George F. Horn. Art: ArtPrintEnrichment Program andpublishedby Your Visual Environment. Worcester, MA: Coronado Publishing Company, 4640 Harvey Hines,

ow 6 27 Dallas, Texas, 75235. These large reproductions This one volume is themost suitable single book of art works come in two folios,each $130.35. as the student textthat thecommittee could The folios are availableon the state adopted locate, and the associatedrecordings are very textbook list for grades 1-6. A teacher's guide suitable to the class activities. Throughout the is included with thesetandcaneasily be course outline, this textbook will be referredto upgraded to the secondary level. See the visual as "Politoske." art glossary, page 131, for informationon other fine art reproductions. Marsh, Mary Val, et al. The Spectrum of Music With Related Arts. New York: Macmillan Publishing Co., Inc., 1975.

This material is publishedin several pamphlets, each of about 36 pages. Eight of these volumes and their associated phonographrecordings are very suitable tothe scope of thiscourse of study. The suggested volumes, referredto in the outline as "Macmillan,"are as follows:

"The Arts in Our Lives" Music Material Student textbook #245860 State price-$ 2.16 Recording #670901 State price-$12.00 Included on the State-adoptedtextbook list are several very useful items for the music portion "The Materials of Music" of this course. All of the content area and Student textbook #245787 activities of this guide State price-$ 2.16 can be referenced to Recording these books and recordings. #670836 State price-$12.00 "Sources of Musical Sound" These materialsare separated into twogroups, Student textbook #245746 State price-$ 2.16 and either onecan be used as the principal text Recordings (2) #670794 State price-$24.00 for the course. These materialsare as follows: "Composing Music" Politoske, Daniel T. Music. Third edition. Student textbook #245894 State price-$ 2.16 Englewood Cliffs, N.J.: Prentice-Hall, 1984. Recordings (2) #670935 State price-$24.00 State textbook #274399 State price-$18.71 "Program Music" Phonograph recordings (6) Student textbook #245845 State price-$ 2.16 State textbook # State price-$26.96 Recording #670935 State price-$12.00

29 130 "Electronic Music" Student textbook #245878 State price-$ 2.16 Recording #670919 State price-$12.00

"The Rock Story" Student textbook #245738 State price-$ 2.28 Recording #670786 State price-$12.00

"Music U.S.A." Student textbook #245829 State price-$ 2.55 Recordings (2) #670869 State prize-$24.00

The Macmillan and the Prentice-Hall books have Teacher Editions that are useful to the teacher.

Another textbook that would be very appropriate to the music portion of the Fine Arts Survey is Music: Adventures in Listening by Joseph Machlis and published by W. W. Norton and Company of New York. Many highschools may already own this textbook, for it was on the state-adoptedtextbook list for manyyears. There is a teacher's edition and a collection of phonograph records that accompanies this textbook.

Because listening is such an important part of this course, itis hoped that a high quality phonograph will be available for the use of this class. A faulty phonograph will produce a less than adequate sound, and its use could result in damage to good phonograph records.

In addition to these materials, the teachers of the Fine Arts Survey are encouraged to utilize other artspersonnel withinthe community as guest lecturers and demonstrators.

8 REFERENCES RESOURCES

32 +++++++++++444444444*****40+++4444++++

THE ARTS IN OUR LIVES UNIT I DanceDrama MusicVisual Arts

33 **404.+4:44+********44**************++++++t

In this unit, the discussion will center around the questions: WHAT ARE THE FINE ARTS AND

THEIR COMMONALITIES? WHAT MAKES AN INDIVIDUAL "ARTISTIC"? HOW ARE THE ARTS PERCEIVED BY

SOCIETY? The unit will assist students in understanding the answers to the aboveques- tions, will help them to appreciate the role of the arts in society, and willhelp them to recognize the dynamic impact thatthe arts make on everyday events.

34 11 FOCUS EXPECTED OUTCOME

The focus of this unit is to explore thearts as il The words "art, artist, artistic, they relate to our lives with respect tothe aesthetics, creativity," willbecome following: more meaningful to the students after

they have studied the descriptive

characteristics of beauty in man's

creations. eit WHAT ARE THE ARTS?

4, The students will understandseveral 4, WHAT ARE THE COMMON ELEMENTSOF THE elements and principles that are ARTS? common to all art forms.

4 WHY DO ARTISTS CREATE? . The students will recognize and

understandsomeof the impactthat 4+ WHAT IMPACT DOES ART HAVE ONSOCIETY? artistic concepts haveon society and

everyday life.

12 35 36 A. AESTHETICS, BEAUTY, AND CREATIVITY

The arts are man-made . . . interpretations of nature and of life.

The arts of dance, drama, music, and the visual arts involve WHAT is said (substance) and HOW it is said (form)."

fto John Dewey

); 37 13 AESTHETICS Throughout history, dance,drama, music, and the visual arts have affected The word aesthetics refers to artistic the lives of peoplein taste and all cultures. more often to the appreciation of beauty. Aesthetic qualitiesvary froma It is simple beat on an environmentally an intangible quality, a result of harmonizing made drum to the soaring beauty of the the artistic concepts intoa unified form that Rheims cathedral,to the emotional impact of evokes a response from the perceiver/audience. a Shakespearian drama. Anaesthete is consideredtobe a personof The aesthetic quality taste, who is highly sensitive to of an object is quiteapart the arts and from its usefulness their beauty. Horace speaks of good tasteas "a or antiquity, although beauty may give new meaning to its usefulness fine judgement in discerningart." or add to Aesthetic its value. psychology is a study of the historyof the arts, comparing historical developments with theoreti- BEAUTY cal approaches to the arts ofmany periods and environments. Psychology gives insight into the What is beauty? The term is relative creative process and in understandinghow people andis a matter of personal tastegained with experience. hear, see, imagine, think, feel, andact in relation to the materials and Beauty may be thought ofas an aesthetic quality. problems of the It is arts. created by man andnature and can evoke responses from a viewer or listener. Thomas Munro states that developing of the What makes art beautiful? artistic and aesthetic strains in Looking at it objective personality is ly, this question not a purelysubjective, mental seems unanswerable. Why do the. process. It movements in a ballet please should involve increasing controlof hands, arms, the eye? Or why do certain paintings create the limbs,voice,and other parts of thebody desire to own? Why in are particular musical albums executing artistic techniques, under the treasured and played again and again? In searching the direction of a controlling mind,imagination, and art forms, one purpose. encounters those that simplyoverwhelm. Viewing them becomes an emotional experience! Personal Today the word connoisseur'is experience is needed to beable to often heard; a compare the unique beauties that theart forms can have. currentmagazine uses theword as its flag. There are connoisseurs ofevery art. The word carries the connotation of Process does not make thearts beautiful;nor does expert or authority on beauty a particular subject. lie in materials. Neither does beauty The connoisseur is consid depend on technique. ered an authority, and often In fact, for eachperson, this individual's the concept of beauty judgment sets the standard forwhat is good, what changes many times through out life. The concept of is beautiful. As cultural tastes and beauty is quite styles variable. It is not change so does the appreciationof the aesthetic uncommon for an artist,once having made a statement, qualities of an artisticstatement. to perceive a diminution

14 38 39 in thebeauty ofhiswork. This is because CREATIVITY experiences and knowledge affect his concept of beauty. Creativity is the process of bringing an idea into existence that has been conceived through experi- The observer sees or hears beauty only if tuned mentation and exploration of media and processes in to beauty. Yet beautyand thecauses of and projected as a personal expression. beautyremain mysteries. Nomatterhow much beauty is heard, analyzed, felt,or experienced, The arts are a wayof cultivating habits of it remains a mystery. creative thinking. Sensory development, problem solving, inventiveness, and tolerance for So what does make the arts beaJtiful? complexity are among the traits which have been identified with the arts trained individual.Arts There is no definite answer, but perhaps it is education encourages divergentthinkingthrough this unanswerable questionthat setsthe arts sensory, emotional, and intellectual responses to apart from the academic into the realm of the image, communication, and environment. emotional. Things and events that appeal to the emotions cannot be subjected to scientific Creativity is a total process that cannot be scrutiny. People themselves differ in so many isolated in the experienceofindividuals and ways; therefore there will always be disagreement turned on and off like a faucet. about the arts. No one can be expected to like all the arts that have been produced for thesame The creative person thinks for himself but is not reason that no one can be expected to like all afraid to askquestions, considers all things the people he knows. possible, experiments with ideas, media, and equipment, learns as much from mistakes as Each person should developindividualartistic successes, and explores new ways ofachieving standards and values, remembering to remainopen goals. Creativity has long been associated only minded in reactions. with the arts and artists, but it is considereda valuable asset in all fields of endeavor. The arts have been a part of the daily life of every culture throughout the span of human existence. A common bond of creativity flows through all forms of art. With this expression of creativity, artists help to discoverthe meanings of life; they deepen and intensify feelings about personal experiences. DISCUSSION/REACTION ARTS EXPERIENCES

Art's preeminentcharacteristic is o As students enter the classroom, prior to class routine, the unique, unrivalled ability to they are to record their responses on at least three of impart a markedly aesthetic aspect to five or six large 18 x 24 sheets of tag board taped to the human experience. wallin different areas of the room. Suggested titles for the tag board sheets are as follows: We perceive harmony inthe object, ART IS... and feel harmony within ourselves. THE ARTS I SEE AROUND ME ARE... WHEN I THINK OF BEAUTY I THINK OF... Scholars often wonder whether other THE MOST CREATIVE EXPERIENCE I ENCOUNTERED THIS WEEK senses besides sight and hearing WAS... might be used for perception of the After five to ten minutes, the teacher and students will arts. summarize the responses noting the varying acceptable responses and opinion. Who decides what is beauty? o Students collectively can develop a public opinion survey/ All people like beauty. questionnaire which they will administerto a specific audience and they will then discuss their findings. Who are the "taste" makers? Suggested people to survey: Music is the mostused and most four adults, at least one a professional in acknowledged art form. the arts - two students, 12-18 years of age

Thevisual arts have had a great J. two students, 6-11 years of age value all through history and through all the various cultures. Suggested kinds of survey questions are those requiring simple, easy-to-record answers: Toundergo a distinctive aesthetic experience requires disengaging it - Which one of the phrases describes the ARTS? from other forms: the practical, the Are creative intellectual, the religious, and the Develop self-worth social. Influence one's life style

Thekinds of questions developedfor thesurvey could be drawn from information given in any of the topics in any unit.

42 43

16 ARTS EXPERIENCES NOTES

o On one side are "contextualists," who defineart loosely, recognizing the tastes and values of students with whom they work. They would allow for, and recommend,use of popular, folk, and vernacular artas well as ethnic art in order toprovide students withstrongerpersonal and culturalidentities. On the other side are "essential- ists," who argue that art needs no such justification and that aesthetic experience is a valuable state of being in and of itself. They believe that excellent, or fine, art is better than poor art for bringing about sucha state. (Eisner, 1972) Select your position, or belief, i.e., contextualistor essentualist, and discuss your philosophyas it relates to the arts- dance, drama, music, and the visualarts. o To record the class's concept of aesthetics (pre-evaluation), arrange fiveor more prints, photographs, objects, music album covers, etc., for viewing. Number each for the purpose of ranking/rating. Establish the tone of this activity: allnumbered objects are aesthetically good. Each student is to select one that is most symbolicof his concept of beauty. Stress that one is to consider the aesthetic quality of the compositionas opposed to "that's a beautiful individual" if pictures contain individuals. To avoidpeer influence, haveselections recorded on secret ballots. Tally results and graph on the chalkboard. Encourage discussion. Keep the results for post-evaluation after several months have elapsed. Repeat this activityto determine ifstudents' attitudes and perceptions of beauty have changed. o Through small group interaction, students willassume the role ofconnoisseurs of thearts. As experts, they establish a set of criteria tobe usedin viewing or hearing the various art forms. Each group should share its ideas with the class. This activity could serve as a pre-evaluation measure and could be repeated at the endof the semester.

44 The arts are a basic communications system that informs, educates, influences, entertains, and historically records. The arts set moods, tones, and stimulate feelings; they can intimidateor be pervasive. The arts, in common, demanda response from an audience.

Throughout history,the arts have been used to

inform and educate people . . . the stained glass windows of the cathedrals, morality plays -of medieval Europe, the folk songs of the 60's,the dances of Hawaii are a few examples. During World War I, the arts were used to influencea national audience. The famous Jams Montgomery Flagg poster ofUncleSam pointing a finger atthe vieweris a classic example of apiece of art influencing a multitude of youngmen and women. Sousa's martial music moved the spirit ofa nation at a critical time. The movie, YankeeDoodle Dandy, introduced a George M.Cohan song by the sametitle that is still recognizedby modern audiences. Cohan was the only nonmilitaryperson in World War I to receive a Congressional Medalof Honor. The medal was given in recognition ofthe many stirring patriotic songs he composed.

B. THE ARTS AND THEIR COMMONALITIES The legacy of music by suchcomposers asBach, Brahms, and Beethoven; the witty and knowledgeable "What the arts give us ultimately is the chance plays of Shakespeare; the art of Rembrandt--the to balance reason against madness, beauty against painter oflight--and theelegant dance"Swan corruption, and joy against despair. . . And in Lake" are enthusiastically enjoyed by today's thepreservation of this awesome balance lies generation. whatever future we may have as a human society." There isa relationship in the pattern the arts 4, Anonymous use to express a statement. The arts collectively start with an idea or problem, use materialsand processes, have organization and form, and

18 45 ;46 all offer the perceiver an experience. Each step Inorder to understand the whole range of the is of importance--anidea without organization arts, it becomesnecessary to look beyond the and form would be sound, movement, and color that expectations ofwhat is socially accepted as signifiesnothing. Each art has a particular aesthetic. Work in one time frame that is medium by which it interacts with the perceiver. considered distorted, dissonant, or repulsive, A medium is a vehicle that is used to individ- may, in another time frame, be appreciated for its ualize anddefine while theprocessgives it execution and daring. Acceptance of changing meaning. For example, the Mona Lisa, a painting styles or mores is difficult for individuals and by Leonardo da Vinei, is composed of paint on a society. One of the functions of the arts is to board;what makes itone ofthe mostfamous overcome the aesthetic timidity that causes the paintings in the world, and today worth an amount public to shy away from such changes. of money never conceived by the painter, is the process or manner in which the artist applied the Though the arts have manycommonalities, each paint with his brush and his use of accents and retains its individuality. Dance and drama both intervals. The Mona Lisa started with an idea, usethehuman elementfor expression, butthe used material and process, has organization, and products differ in that dance is usually movement definitely gives the observer an experience. without vocalization while drama is movement with vocalization. Music uses the human element buy Not only do the arts enrich life, but also they has instrumentsandvoicefor expression. The mutually herald changes affecting our lives. visual artsusethehumanelement withpaint, Impulsion to go beyond all limits that are stone, and other maleable materials as vehicles of externally set is the very nature of an artist's expression. Some works of art are received by the work. It is characteristic of the creative mind audience directly from the hands of their to reach out and grasp any materialthat stirs creators, such as sculpture and painting and the the imagination and then to transfer this mate- composer-soloist. Others must be performed: the rial into a new experience.When the arts refuse drama cast interpretsthe playwright's message, to acknowledge the boundaries set by convention the orchestra plays the composer's music, and the or by asegment of the population, the work is builder puts the architect's plan into form. All criticized and often rejected. For example: the arts create unique ideas that carry signifi- Charles Ives, a composer, employed dissonances in cant messages, entertain groups or individuals on his music based on sounds of the environment. In a personal level, or exist for beauty alone. All a concert setting, these naturalistic sounds were arebased on sense perception. All haveone unacceptable to earlyaudiences. The Impres- function--to enrich human life. sionistic painters were refused galleryspace and theirworkwas classed as quick impressions unworthy of serious attention.

47 48 19 DISCUSSION/REACTION ARTS EXPERIENCES

The arts act as interpreters of o Introduce students to the diversity of the arts by listen- culture and technology. ing to a variety of recordings and looking at fine art prints for discussion of differing styles in the arts. The arts combined, each influencing the other, establish identification o As this course is new andresources maybelimited, of what we recognize as a historical brainstorm with the students by developing aclass re- period. source file that can be used for reference in this survey course. Discuss the kind of information each resource Thearts deal directly with emo- could provide. As new resources are discovered, they are tional, intuitive, and subjective added to the class file. Examples: dictionary, encyclo responses. pedia, magazines, specialized books on the arts, personal interviews, trade journals, television, newspapers, The arts come to you proposing computer programs, MTV, slides, film, etc. frankly to give nothing but the highest quality to your moments as o Have students keep a six-hour log of the arts that they they pass. touch, use, or come in contact with during an evening; or watch a television program at least one hour in length and The arts! gho comprehends them? list all the arts that are involved. With whom can one consult concerning these infinite matters? o The arts are a form of communication used from prehistoric timestopresent. Choose a use of communication: to Within a given society, the creators inform, to entertain, to influence, or to educate. List andviewersof the arts are sub- the changes in these uses as man has become more sophisti- jected to more or less agreed upon cated. aesthetic codes and conventions. o Present situation problems such as: Surely the artsare not merely a You are in an all white room and all walls, ceil decorative sort of unrelated accom ing,andfloor are softly padded. There is no paniment to life. sound. How would you feel? If music were added, how would you feel? What style of music would you The arts and life are one. select? If texture or color were added, would this change the environment?

20 An 50 ARTS EXPERIENCES NOTES

o Deprive the students of one of their senses and see if they could appreciate all the different arts. Example: You are attending a Michael Jackson concert. What art forms does he use? Imagine you are deaf. Can you still appreciate the performance? (Yes, through his movements of dance; his expression of feelings or moods/drama; and his costuming and stage backgrounds using the visual arts.) o Arts that use words differ from those that do not because words introduce a special sort of reference into the arts. Develop an outlineor report fortheverbal arts,the non-verbal arts, and the mixed arts. o Focus on a known period in time, past or present. Compare the similarities and differences in the manner of expressing the various art forms. Example: Today: Dance -- characterize break dancing. Music --does the music correlate with the dance movements? Drama --does video/drama correlate or enhance the music and dance? Visual Artsdo the visual effects of color, texture, and so forth relate to or enhance the total performance? o Will the arts of the present such as "LOVE" by pop artist Robert Indiana, the cinematography of StarWars, the choreography of the Broadway musical Cats, and the synthe- sized sounds producedthroughcomputers communicateto future generations?

51 Early in mankind's history, man's creative impulsesfound expression in a rudimentary way through aspects of daily living. Because of this compelling force for self-assertion and loveof beauty, society hasinherited tonesof beauty, illustrious dances and drama, and objectsof beauty.

What makes an artist unique? Ansel Adams, photographer and musician, in his last interview states: The artist has a basic creative drive . ." He further explains, "an artist isan artist and you can't explain an artist--he can't explain himself."

John Dewey states, "What most ofus lack in order to be artists is not the inception ofan idea or emotion, nor yet merely technical skill inexecu- tion. It is the capacity to worka vague idea and emotion over in terms of some medium." The magic of the artist resides in his sensitivity to surrounding stimuli, his ability to transfer values from one field of experience to another, and with imaginative insight express them ina unique way. But perseverance to the creative task is the quality most associated with theartistic C. THE ARTIST AND COMMONALITIES person.

Though both convergent and divergent thinkirigare The arts are a record of man. used by creative people, the divergent pattern is the more useful as it involves the unique "I am only a public entertainer who has under- abilities to improvise, to invent, to expand stood his time." relationships, to use image-forming skills, and to rearrange old concepts into new and novel systems. * Pablo Picasso Researchers have studied artists to find traitsto define the creative person. For Sachs it means the subconscious; for Guilford, fluency of thought, originality, flexibility, spontaneity,

.M.,MINIIMIf 22 52 logical evaluation, divergent thinking; Drevdahl An important part of creation concerns the mate- sees verbal facility, originality, lack of rials which an artist usesto give form to an conformity; Lowenfeld finds sensitivity and idea. Thechoreographeruses peopleand body intuition;Bronowski, discovery. Barron rinds movements; a playwright uses words; a composer creativepeople are not suggestable, but are uses sounds and silences; a painter uses pigments; flexible; Schoelin finds that they are able to and asculptor uses stone, metal, or wood. The see beyond the immediate problem, willing to be way the materials of movement, sound, and pictures different. Roe reports unusual energy output and are selected and used determines the quality of a perseverance as fUnctions. Though the elements work. The difference between a non:rtistic person are varied, a pattern emerges: and an artist is a knowledge of the elements and - willingness to be different, opposite, and principles of the arts, and the ability to orga- firm nizetheminto a statement that elicits a re- - ability to adapt to new ideas which come sponse. from within - perseverance, planning, and hard work Society is less resistant to change today than it - sensitivity to people, sensitivity to has ever been;in fact,society welcomes change challenge, sensitivity to media and finds ita desirable phenomenon. But para- - suddenness--a flash (after much hard work doxically, when the artist creates new concepts, and preparation) he may be criticized for doing so. Hans Hofmann, - sense of freshness; discovery the visual artist, neatly sums up the arts: "Art Guilford states,"A creative person isa fluid to me is the glorification of the human spirit and thinker. Facility in generating ideas is chara.c as such it isthe cultural documentation of the teristic of creative people--and the person who time in which it is produced. The deeper sense of can come up with more ideasis also likely to all art is obviously to hold the human spirit in a bring out more good ideas. There is a positive stateofrejuvenescence in answer toan ever- re1,11tionship between quantity and quality of changing world. Art is an agentaestined to production." counter-balance the burdensomeness of everyday life--it should provide constant aesthetic enjoy- The act of artistic creation is usually a ment." solitary one, carried out in isolation or in a crowded room. Most artists seek the stimulus of a special environment. Sometimes artists of similar views have inspired each other and worked together to develop new styles. Outstanding achievements have occurred when two or more creative people from different arts have collab- orated. The visual and the performing arts have a history of supporting each other. DISCUSSION/REACTION ARTS EXPERIENCES

Design, execution, and meaning all o Outline the impact artists have on everyday life using the contribute to beauty. headings, social, personal, economic, and emotional. Include the dual contributions and the relationships Beauty, in thebroader sense, is between creators and performersasthey relate tothe independent of usefulness. performing arts.

A fine piece of music, a masterpiece o Artists react differently to the same stimulus. Take a of painting, or a first-rate play- - birch tree for example: each has the power to capture and A dancer might be interested in the idea of growth hold the audience's attention. through upward and outward movement or the sway of the tree in the wind. Through his creations the artist A poet might combine many thoughts about a tree as attempts to bring beauty, order, and Robert Frost did in "Birches." meaning to life. A musician might compose a piece basedon the soiiiiiiTar the wind through the branches--the To understand the meaning of contem- softness of a breeze and the fierceness of a storm. porary arts is to understandthe A painter might show personal feelings toward the meaning of contemporary man and his tree by emphasizing its strength, texture, or beliefs. color. Have the students select a theme and describe how it would

. . . to me there is nothing new or be perceived by the various artists, either as the creator dynamic excepttotal individuality or the performer. of the artist himself. o Among the 15 career fields identified by the U. S. Office The greater our experience as of Education, the arts and humanities ranked ..,cond in spectators the more associations we 1981. Offer the students opportunities to become aware of are likely to be able to make. the many potential careers related to dance, drama, music, and the visual arts. People with interest and skills in the arts are found in many places in o The LA Connection has developed a new form of drama for every community. the 80's--improvision. Individuals, using scripts to old movies, videos, etc., provide the audio interpretations to Some researchers are now saying that the silent visuals. Try using a segment of a familiar the absenceofartsprogramscan 16mm film for students to get a feeling for improvision. retard brain development in A variation of improvision could occur when acting out the children. narrative of a popular song or television program.

24 56 57 ARTS EXPERIENCES

o Invite an architect (or contractor) to talk about costs per foot for plain buildings and for designed or artist- ically decorated buildings. This should show that people are willing to pay for beauty. o Propose that the student reside in a space colony for three years and after being told he will have a limited space to section and design, ask how he would divide the space, or if he would divide it? The student is told he can bring a limited number of personal decorations for the space. Ask what he would consider important enough to his way of living to take with him. Ask how he would utilize the other arts in making his livingenvironment most suitable to his personality. o Have a student take one of the concepts basic to the arts. He assumes the role of either the artist/creator or the artist/performer in each of thevisual andperforming arts. Have astudent explain how he would express the concept. . Example: Movement Dance: physical expression through body actin Drama: the same as dance Music: the spirited rhythm of a march theme Visual Arts: the flow of line, regular or irregular Variation: Trace patterning in architecture, dance, music,visual arts, gardening, costume design,poetry, utilitarian ware, etc. o Explore the emotional response generated by a photograph in black and white vs. thesame photograph in color. Explore the different responses to a song first sung as a solo, as a group harmony, or in rounds. o Identify some historical occasions in which the arts have served to heighten public sensibility.

58 Much of the arts produced have been trivialand anecdotal. The judgment of time hasseparated trivial art from what isnow valued as true art. But who made these judgments? On what did they make their judgments? Must the choices of others be accepted? These are valid questions to point to the need of the individual in a democratic society to be adequately prepared to exercisehis own aesthetic judgment.

Western society relishes the joy of recognizinga quote from a Shakespearian playor an excerpt from a favorite piece of music. Thereisan intellectual lift in recognizing a painting andknowing about the painter. Is this an attitude of snob- bishness or is the aesthetic spirit reallymoved?

Itappears rather difficult for the viewerto establish objective criteria for aestheticjudg- ment, perhapsbecause ofthe rapidlychanging concepts of e-t. Traditional techniques for making art are subject to constant challenge,too. The "challenge to tradition" is quicklytranslated into rebellion on personal and social levels. The nature of artistic innovation springs notfrom an attempt to be different, but inresponse to an inadequacy of traditionalforms to express new perceptions. This gives rise to the question that D. THE VALUING OF THE ARTS if an artist can make or break rulesas he works, does that mean everything the artistcreates is, "In the end, works of art are the only media of by definition,"art"? In the face of constant complete and unhindered communication between man changes in form, subject matter, and theuse of and man that can occur in a world full of gulfs materials, are there any constant, unchanging and walls that limit community of experience." criteria for a work of art?

John Dewey In the annals of history these questionshave not been entirely strange phenomena. Each generation

26 59 has had to face similar dilemma. The way between artist, collectors, and critics. Connois- art looks and sounds, and the way the arts relate seurs make a study of the arts, historically and to society are constantly changing. In fact, in depth, and are knowledgeable of the elements society is less resistant to change today than it andqualitiesthathave withstood thetestof has ever been. The LOOK,the METHOD, and the time. They are in a position to recognize MATERIALS of art are always changing. If there artistic statements that willreflect their own is anything constant about art, it must be in the era. Great auction galleries like Sotheby offer realm of IDEAS- the artist's observations, art objects to collectors and museums for prices comments, and criticism about the world in which never dreamed of before. There are "collectors" he lives at his point in time. Theartist who buyforspeculationandthose whose basic isolates an idea and puts it in a form thatmoves motive is the snobbism of one-upmanship. The arts individuals. In any field of art the idea then can speak directly to people across the boundaries becomes the dominant factor. of time and country. The museums build historical collections that are representative of cultures An analysis of an art work shouldcover: and eras,in order for man to know where he has - whether the form grows out of the idea been and to know where he is going. which prompted it - whether form is individualized and unique A study of the artsis both a necessity and a - whether the work has unity luxury. The aim is not to establish criteria for - whether the organization of the work calls use in judging a work of art, but to encourage the forth an aesthetic response individualto have an open mind. The purpose is An individual's response to art forms is colored not to give a set of definitions of art, but to by the way he feels toward a work of art. Some de-emphasize the importance of thesuperficial. of those feelings cannot be put into words. An It should encourage the study of new forms as they aesthetic emotion is hard to analyze--neverthe- occur in the on-going development of art. less, it is very real. Perception is guided most deeply by an individual'sown personality and temperament. Each individual constantly makes personal choices about what he wants tosee or hear, and this same individual willsee differ ently on different days. The arts change as life changes. No rules can govern appreciation. If criticsset up rulesto follow,other critics will prove them false.

Because critics, museum directors, and therich have influence on the popularity ofan artist or a particular art, there is an interrelationship DISCUSSION/REACTION ARTS EXPERIENCES

What is goodtaste? Who decides o In summarizing the value of the artsin everyday life, what it is? have a panel discussion on the arts. Present the visual and performing arts as the following: Who are the tastemakers? - -emotional expression - -communication If the saying "Beauty is in the eye - -artistic/monetary values of the beholder" is true, why is not everything beautiful? o Have students assume the role of an art critic for the local news media. Their assignment is to cover all arts' Why does society place a high value happenings and write a critique. What criteria would be on one artist's work and ignore used in order to be fair and objective? another? o Create problem solving situations for role play in small Great artis created by great men groups, such as: and women. - As members of the Board of Directors of the Fine Arts Council with an unlimited budget, plan a What do you think future generations commemorative program using visual arts, dance, will think ofthe arts wevalue drama, and music. Determine the theme and today? proceed to plan the event. - As members of the Arts League in a city, plan for Are perceptions cognitive, affeo the first fund-raising drive ever to be held. tive, or both? How can the public be convinced to support the arts financially? Are emotional responses ultimately After the groups have been allowed ample time to discuss of more value than logically problem solving situations, have the group recorder share developed conclusions? with the rest of the class the consensus of the group. Compare the solutions of each group using the same common Can appreciation be taught or is it problem. "caught"? o Have students assume the role of the public relations How relevant are such values as director for the John F. Kennedy Center for the Visual and moraltone, beauty, sentiment, and Performing Arts in Washington, D.C. They are to prepare narrative to the study of exemplary new mailout brochures to inform the public about the arts works of art? opportunities provided by the center.

o Research the terms "aesthetic" and "esthetic." Is there a difference between them? If so, what?

28 63 ARTS EXPERIENCES WORDS TO RECOGNIZE

o Artists commemorate ideas and interests with theircreative expressions. Commemorative arts become highly important to aesthetics melody people because of the events they symbolize. These are artist mood found in religious, social and political life. Ideal human artistic MOTIVATION qualities of courage, strength, and beauty are represented arts naturalistic in the copper and iron Statue of Liberty created by the ATMOSPHERE ORGANIZATION sculptor Frederic Augustus Bertholdi in 1874 75; thestatue ATTITUDE PATTERNS is located onBedloe Island in New YorkHarbor. Find balance PERCEPTION examples of commemorative interest in dance, drama,music, beauty performer and the visual arts. Limit the students toa specific characterization performing arts time. Specify the artist, creator/performer along with the color perceiver name of the art work. commonalities phrasing conflict plot o Do modern dance, drama, and music reflect any influences of contrast principles past cultures? Itemize or demonstrate responses. creativity process creator quality o Research and choose a representative work of art for each critics reception of the performing and visual arts. Students should choose design rhythm work that will reflect their culture to future generations. dialogue sense-perception Record responses in a composite listing and determine the dimensions shape result by class consensus. dynamics space elements STYLE o Give each student an envelope with nine pre-cut circles, emotions TECHNIQUE (diameters of one, two, and three inches), three of each emphasis tempo size. The shapes can be whitepaper for placement on a environment texture black background, or black shapes forplacement on a white FORM THEME background. The students are to arrange the shapes HARMONY TONE innovatively demonstrating form and perception. Critique Interpreter UNITY the individual works. Optional: Select the most creative, judgment value most artistic, most innovative, and so forth. line valuing MEDIUM visual arts o Students are to select a quality advertisementto be judged on the basis of the four factors used in analyzinga work of art. Students will assume the role ofa panel of judges at the InternationalCompetition for Advertising Awards. The top five ads will be selectedfrom the class entries. *Capitalized words are defined in Categories could be established, if desired. the glossary.

66 29 REFERENCES RESOURCES

Bessom, Malcolm, Tatarunis, Alphonse 42 - Introduction to Understanding Art M., and Forcucci, Samuel L., 52 - E - The Artist as a Social Critic- As a Visionary Teaching Music in Today's Secondary 211 - Film: A Reflection of American Values Schools. New York: Holt, Rinehart 212 - The Humanities: An Approach to Living in the Modern -5-a-Vston, 1980. World 213 - The Language of Man: How Words Change Our Lives Dewey, John. Art as Experience. 214 - Language, Signs and Symbols: How Man Communicates New York: Minton, Balch & Co., 219 - Personal Communication: Gestures, Expression and 1934. Body English

223 - Dance Is . . *Fearing, K., Beard, E.,& Martin, 224 - The Arts in Education: A Promise C. The Creative EZe: Vol. II. 226 - An Inquiry into Human Perception: The Nature Of Austin, TX: W.S. Benson & Co., Beauty And Ugliness 1979. 240 - Reality of Imagination: An Inquiry Into Human Creativity Hurwitz, Aland Madeja, Stanley S. 243 - Why Man Creates: Man - The Measure of All Things the Joyous Vision: Source Book. 308 - Black Composers of Louisiana Englewood Cliffs, N.J.: Prentice 309 - Jazz: The Music of Black America Hall, Inc., 1977. 310 - Music of the World (Cassette only) 311 - Musical Instruments of the Baroque and Early Yochim, Louise D. Perceptual Growth Classical Eras in Creativity. Scranton, PA: 313 - Poetry of Rock: A Reflection of Human Values International Textbook Co., 1967. 540 - Learning to See and Understand: Developing Visual Literacy Art Education: Vol.37,No. 3, RiY, 1984. AVAILABLE FROM The Louisiana Slide Library Box 94064, Baton Rouge, 70804-9064 Compton's Encyclopedia,Vol. 3, 1978. Art - What is it, Why is it? The Educated Eye Ballet With Edward Villella The Theater, One of the *State adopted text Earthplace Humanities Imagination at Work TV, Behind the Screen PgERENCES AVAILABLE FROM Music to Express Ideas What Does Music Mean, Part 1 Louisiana State Library What Does Music Mean, Part 2

AVAILABLE FROM Regional Film Libraries; Bulletin 1406

30 68 SAMPLE TEST QUESTIONS DESIRED RESPONSES

I. List two examples in which all arts work together. I. Miss America contest, television, cinema, theater, 2. T F No one has to like a work of art just because ballet, and so forth. someone tells the individual that it should be appreciated. 2. True

3. T F Individuals who say they dislike serious music 3. True are condemning themselves, not the music. 4. True 4. T F In the performing arts, the ideas and the interpretations of the performers are added to 5. True the original ideas of the creator. 6. True 5. T F The artist determines the kind of material most suitable t3 the idea or problem. 7. Performing

6. T F The material an artist uses has a definite effect 8. on what the artist produces and may limit or help the artist's statement. B D 7. T F Music, theatre, and dance are called the C arts. A A 8. Matching: (Answers may be used more than once.) C

The "Sun King" A. Dance Death of a Salesman B. Drama Michaelangelo C. Music The Mikado D. Visual Arts Swan Lake TENT- "The Star-Spangled Banner" Falcon Crest ******************************************41

LANGUAGE, MEDIA, ANDMATERIALS OF THE VISUAL ARTS VISUAL ARTS. UNIT II In this unit, the discussion will center around the questions: WHAT SPECIALIZED VOCABULARY IS NEEDED TO UNDERSTAND ART? WHAT ARE SOME OF THE MOST COMMONLY USEDMATERIALS WITH WHICH THE ARTIST EXPRESSES IDEAS IN ART? WHAT TRADITIONAL FORMS or EXPRESSION HAVEDEVELOPED IN ART THROUGH THE AGES?This unit will assist the student in understanding how art is made, and of what art is made,as well as giving a brief historical overview of styles inart and some of the reasons for changes in these styles.

33 72 73 FOCUS EXPECTED OUTCOMES

The focus of this unit is to explore the language, media, and materials of art. * The students will be able to identify and

define essentialelements and principles + WHAT ARE THE ESSENTIAL ELEMENTS OF ART? of art within a given work of art.

4, WHAT ARE THE PRINCIPLES THAT GUIDE THE USE

OF MEDIA AND MATERIALS? 4 The students will be able to identify the

use of traditional media and materials in 4, WHAT ARE THE TRADITIONAL MEDIA AND MATERIALS given works of art. OF ART?

+ WHAT ARE THE TRADITIONAL STYLES OF , The students will be able to compare and EXPRESSION IN ART? contrast at least two styles of expression

in art.

34 74 '75 A. THE ELEMENTS AND PRINCIPLES OF ART

Individuals seldom respond to something which would not touch them personally. If the individual cannot relate to something, it remains foreign. Knowledge is useless if it has no PURPOSE.

4:Anonymous

35 76 ESSENTIAL ELEMENTS OF ART Diagonal- implies action, motion Curved- implies of softness, sensuousness A work of visual art can be broken down into six Kinds of Line basic elements: SPACE, LINE, SHAPE, FORM, COLOR, Straight, &rved, Thick, Thin, Rigid, and TEXTURE. Fluid, Long, Short Although lines do not often occur in nature, the artist uses line to define his subject like bones SPACE define and give shape to a body.

The first element considered is SPACE--that area in which an artist creates a work of art. This SHAPE can be as small as an earring or as large as a complex of buildings. It encompasses spaces as When a line crosses itself and enclosesspace, a diverse asthe smallrounds of ivory that the SHAPE is created. A shape hastwo dimensions: minature portraitist Hilliard used to the subway LENGTH and WIDTH. walls of large cities used, today byyoung Categories of Shave artists to do murals of social commentary. Geometric -precise, rigid (circle, tri- Categories of Space angle, square) Two-dimensional Space (flat as in paper) Organic -fluid, irregular, free-flowing Positive--object Negative - background Three dimensional Space (has height, FORM width, depth) Volume or Mass-object If athird dimension is addedto a shape, it Area Outside of the Mass -- background becomes a FORM. A form hasthree dimensions: LENGTH, WIDTH, and DEPTH. Categories of Form LINE Actual--sculpture, architecture or craft Drawn- using: No work of art can be studied without considering PERSPECTIVE- to draw thingsas they the element of LINE. A line is a dot moving appear to the eye rather through space. Line has one dimension: LENGTH. than as the mind knows Categories of Line them to actually be Actual- a seen line One-point- all horizontal, parallel Implied -an imagined line lines appear to vanish at Directions of Line the same point on the Vertical -implies strength, dignity horizon Horizontal -implies calm, serenity Two-point- all horizontal, parallel lines appear to vanish to

36 77 78 one of two points on NEUTRALS: BLACK, WHITE, GRAY, TAN, BROWN either side of the horizon impure hues or colors not in SHADING--changing the value of an the spectrum object as it recedes in Properties of Color the distance VALUE--how LIGHT or DARK a hue is. Kinds of Form Lighten: by adding WHITE and the Geometric--precise and rigid (sphere, result is a TINT cube, cone) Darken: by adding BLACK and the Organic-- free flowing, fluid, irregular result is a SHADE (trees, people, stones) INTENSITY--how BRIGHT or DULL a hue is. A hue cannot be brightened--as it comesfrom the tube it is as COLOR bright as it will ever be. Dull: a hue by adding gray, brown, or One of the most noticeable art elements is COLOR. a drop of the hue's COMPLEMENT Color is all reflected light visible to the human (the hue directly across on eye. the color wheel) and the Categories of Color result iF a TONE HUE--pure colors of the spectrum Harmonies of Color PRIMARY HUES: RED, YELLOW, BLUE--hues MONOCHROMATIC--using one hue only--its that cannot bemixed; tints, tones, and shades meaning that if there is COMPLEMENTARY--using two hues that are no red paint in the directly opposite on the color paint box there are no wheel colors that can be mixed ANALOGOUS--using three or more hues that together to make red are in the same color family SECONDARY HUES: ORANGE, GREEN, VIOLET- - and are situated next to one made by mixing two another on the color wheel primaries together SPLIT-COMPLEMENTARY--using a hue and the TERTIARY HUES: YELLOW-ORANGE, RED- two hues on either side of the ORANGE, RED-VIOLET, original hue's complement BLUE-VIOLET, BLUE-GREEN, YELLOW-GREEN--made by TEXTURE mixing a primary with a secondary next to it on Most art elements involve only the optic sense, the color wheel but TEXTURE involves both the optic and tactile senses. To appreciate the textural quality of a Dominance or Emphasis is established by: work of art the viewer must be able to touch or Placement or grouping of elementsoff- imagine touching the surface. center is usually best Categories or Texture Contrast of sizes, shapes, forms, Actual--rough stone, smooth metals, soft textures, colors yarn Repetition of lines, shapes, forms, Implied - -drawn to look rough, smooth, textures, colors soft BALANCE

PRINCIPLES OF ART The artist strives to visually BALANCE the elements in his work so the viewer is comfortable. Artists have developed principles orrules of Kinds of Balance design to guide them in placement of the elements SYMMETRICAL--each half is a mirror re- discussed above. These are no hard and fast "do production of the other half or do nots" as the word "rule" usuallyimplies, RADIAL--each quarter is a mirror but rather observations that have worked most reproduction of thr one effectively in the past for other artists. facing it and all elements radiate or flow from the center DOMINANCE ASYMMETRICAL -- uneven elements balance each other Every visual work of art has one feature that Ways to achieve a SYMMETRICAL balance: dominatesor catches the viewer'seye. This A large shape/form near the feature is variously called the CENTER OF center balances a small INTEREST, EMPHASIS, or DOMINANCE. Placement of shape/form near the edge this dominant object is important. If it is in A large, plain, shape/form the exact center of the design the eye stops with balances a small, highly the dominant object and never continues into the textured shape/form design. If the dominant object is placed off- A large,light shape/form center it visually discomforts the eye, which balances a small, dark, then travels around the design in a backward shape/form figure six attempting to correct the imbalance. Alarge, dull shape/form When the eye travels it sees the complete design. balancesa small,bright, shape/form A large, cool shape/form

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38 balances a small, warm, shape/form tends to divide even numbers and stop. Large negative spaces balanr; small positive spaces. Kinds of Rhythm-Movement-Repetition Smooth or even repetitions create a CONTRAST PATTERN Staccato or uneven repetitions create the If any one element totally dominatesa work of unexpected. art the work becomes boring. VARIETY or CONTRAST sharpens the senses and makes the viewer think. Kinds of Contrast UNITY Line -- long/short straight/curved With strong emphasis on dominance, contrast, and vertical/horizontal movement, it is easy for a design to become too thick/thin busy. A design must have enough UNITY to please Shape and Form--large/small viewer. Repetition o any of the elements not geometric/organic only creates movement, it also provides a famil- Texture--subtle/bold iarity for the eye, thereby unifying the design. plain/detailed PROPORTION is important in achieving unity. rough/smooth If any object is out of scale with the hard/soft rest of the design, it may give dominance shiny/dull to an idea, element, or factor the artist Color --warm/cool did not intend. hue/neutral light/dark bright/dull

RHYTHM--MOVEMENT--REPETITION

Repetition of elements createsa sense of MOVE- MENT and leads theeye through the design in a rhythmicalmanner. The Japanese feel that an uneven number of repetitions is more interesting than an even number. Uneven numbers cause the eye to move through the design, whereas theeye

84 39 DISCUSSION/REACTION ART EXPERIENCES

Discuss the differences and the sim- o Have students draw a leaf or flower on half a sheet of ilarities that would occur between a paper. On the other half, repeat the drawing, but reverse visual artist'sand a dancer's def- the black positive SPACES to white and the white negative inition of the term SPACE. spaces to black.

Discuss and show examples of LINE o Show examples of drawings in which artists use LINE to directions. Vertical--public build- indicate a change in value. Have students draw a series ings, trees, etc. Horizontal- - of vertical lines with each succeeding line closer to the landscapes. Diagonal--figures playing previous line until the lines touch. sports. o Examine shells, driftwood,maps, geologic survey, and Have students discuss how they would weather maps for LINE patterns. Have students draw a convert ahuman figure into its most circle and fillit with a portion of a line pattern they basic geometric SHAPES. Then convert found. the shaped figure into a geometric FORM. Show examples of Picasso's o Have students examine their thumb prints (made with an ink cubism and discuss how he solved this stamp pad) and try to draw the LINE pattern. same problem. o Have students graphically record as many kinds of LINES as What does the visual artist mean when possible. he uses the term FORM? What does the actor mean when he uses this term? o Have students cut strips of paper, straight and curved, (from two different colors of paper). Weave the strips What if the world were without color? together and note how the LINES work together. Howimportant is COLOR tothe human being? Discuss the kinds of color o Have students explore SHAPE by playing with alength of blindness that occur in humans. string on the desk top. Play different musi: selections and have them arrange shapes to match the music. Discuss the differences that occur in the viewing of COLOR among several o Show students a small still-life arrangement and have them species. What colors are there that convert it into geometric SHAPES. humans cannot see? o Havestudents select a basicSHAPE and repeat it in Discuss the TEXTURES that occur in the various sizes, overlapping the shapes drawn. clothing and jewelry of the students in class? o Show how a shape evolves into a FORM with the addition of the third dimension--depth. What is the fourth dimension? The elements andprinciples give the Discuss the Futurist and its ideasabout thefourth viewer the tools to evaluate art. dimension. Take a magazine photo and cut into strips,

40 86 ART EXPERIENCES

take a sheet of paper and glue the pieces of the photo together but just abit out of alignment. Compare the collage with examples of Duchamps' work. o Have students cut primary andsecondary COLORS from a magazine and group them into warm and cool hues. o Use swatches of fabric in different COLORS to demonstrate skin tones. Have students decide which colors look best on them and their classmates. Discuss the colors each chose and the colors that should be avoided. o Havestudents do a MONOCHROMATICroom bycutting out photographs of various items(carpet, wallpaper, furni. ture, drapery) in their chosen hue and forminga collage of a whole room. o Have students collect examples (magazine photosare ideal for this) of a specific COLOR's tints, tones, and shades. o Have students choose afavorite COLOR. Have them list things they can think of that are this color. Have them describe their feelings when they see or wear this color. o Show students a blackand white photoandhave them identify as many different VALUES of grayas possible. o D a simple rubbing exercise with a penciland paper. Each student will collect TEXTURES from around theroom. Students should come up with at least 20 textures. o Pass around swatches of fabrics with different TEXTURES, and ask each student to describe in writing how the swatch feels, and what it reminds him of. Share the results with the class.

.87 DISCUSSION/REACTION ART EXPERIENCES

Examine biology slides of sea animals o Explain to the students they willlook at a poster and and microscopicplantsand animals will write down the first object or shape they see. Show for REPETITION of PATTERNS and a bold poster that has not been seen before. Leave the elements. poster on view no more than two or three minutes. Later, discuss DOMINANCE and ask each student what he listed as Discuss the purposeofPATTERN in the dominant object on the poster. Discuss placement, nature. (Example: the zebra's color, size, and meaning of the dominant object. stripes look like the shadow and light patterns thatlong grasses make o Choose a primary color to use as a background. Cut a on the plains where they live.) large white circle. Cut a smaller circle of the same primary color used for the background. Place the white Does PATTERN soothe or distract the circle on the background; then place the small primary eye? circlesomewhereon the white circle. Now, havethe students discuss where the EMPHASIS is in the design. Show examples of Op art and discuss CONTRAST and what effect this has on o Have students create a symmetrically BALANCED design using the human eye. their initials. Remember the design will include a mirror image. How is rhythm achieved in visual art?

In music? In dance? Is there a o Havestudentscut warm andcool colorsamplesfrom a similarity among the three in the use magazine. Cut these samples into basic geometric shapes of the word? and arrange them in a BALANCED design on a neutral sheet, Does it take several cool shapes to balance awarm shape Discuss the human need for equilib- or vice-versa? rium or balance. How does the human body achieve balance? How does this o Have students design a mask that is asymmetrically BA!. need apply to visual art? Architec. ANCED. ture? Household furnishings? Dance? o Have students collect photos of different body parts from What happens to the human personality magazines and then try to UNIFY them into a proportional when it is exposed to an environment figure. that has high contrasts in colors, or shapes and forms that appear to have o Have students draw three to five bottles in various sizes no apparent pattern or meaning? Does and color them in analogous colors. Select ashade or the human mind crave UNITY and tone of one of the colors to use as background color to HARMONY in its surroundings? UNIFY the design.

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o To study UNITY, have students draw a pair of scissors in different positions, making sure some of the pairs over lap. Use the primary colors to paint them and where they overlap, paintthatarea in thesecondary colorthat results when the two adjacent primaries are mixed. o Have students draw a landscape and reverse the sizes of theobjects to see CONTRAST outsideof the socially accepted idea. Example: A cow and a dog are the same distance from the viewer and the dog is larger than the cow. o Have students draw four squares on a sheet of paper and use markers to create: fast/slow lines loud/soft lines Stressing RHYTHM and MOVEMENT, discuss the squares with the class. o Have students bring examples of wood grain patterns to class. Compare and discuss the ways irregular lines form a contour pattern through their RHYTHMS and MOVEMENTS. On paper have students create their own contour line patterns. o Give students a list of the elements of art and have them cite ways to contrast each, such as: long line, short line, thick line, thin line.

o Have one group of students research and report on the "Golden Thirds" concept used by the Ancient Greeks. Have a secondgroupresearch the useofthis idea bythe Renaissance masters.

so In thecaves of Altamira,Spain,andLascaux, France, are found some of the oldest examples of the use of media by man. These are animals draw in charcoal on the cave walls. Scientists surmise thatthecavemen may havedrawnthese animals with the burnt ends of sticks from campfires.

The modern artist uses this same medium which is know as charcoal. Today it is commerciall:made from carefullyselected grape vines tha are burnedandcompressed intosticks. It cLn be used for quick preliminary sketches or carefully detailed studies. It is used on paper that has a "tooth." This term refers to the texture of the paper. Since charcoal is basically a dry powder, the paper must have a slightly raised surface or "nap" in order to hold the medium in place.

Paper is a fairly modern invention compared to charcoal. It was first made in China around 10D A.D. Before that,drawings and 'paintings were done on papyrus(made by the ancient Egyptians wholaminatedlayersof theinner pith of the papyrus reedthatgrew along the Nile), rice paper (the inner bark of the rice-paper tree), or vellum and parchment (animal skins). The paper- making process was.kept secret by the Chinese for hundreds ofyears and it was not until the B. THE MEDIA AND MATERIALS OF VISUAL ART twelfth century teat paper appearedin Europe. Paper is made of cellulose fibers that occur in many plants. They are most abundant in cotton. To get order out of the chaos of life we should Cotton rag papersare themostexpensive and learn to classify knowledgeably the multiplicity longest lasting of all papers. of material continually crowding the brain. Paper is madeby beatingcotton ragsor wood fibers untilthe cellulose strands separate and Shirley Basescu absorb as much water as possible. A fine mesh screen is passed through the watery pulp and the

44 91 92 fibers are caught as the water drains away. When water,but itwill never be astransparent as the fibers dry, the paper can be peeled from the watercolor. screen. Cotton rags are 95 percent cellulose and do not require the addition of acid to remove Tempera isa water-based paint that uses milk or non-cellulose particles. Wood fiber is only egg yolk as a binder. This was extensively used about50 percent cellulose and must have acid during the middle ages and during the Renaissance treatment to ridit of noncellulose particles. in Europe. Michelangelo and da Vinci both used Thisacid may cause the paperto yellow and forms of tempera in their "al fre:co" (applied to become brittle in time; artists, therefore, try fresh, wet plaster) paintings. to use the highest quality rag paper when they can afford to do so. During the Renaissance, the Northern painter Van Eyck invented oilpaints by mixing colored pig- Many of the prehistoric works in the caves are ments withlinseed oil (fromflaxseed). The alsocolored. They werepainted with various NorthernEuropean painters didnothave large pigments derived from locally available minerals expanses of plaster wall on which to work as the (iron oxide, yellow ochre, and so forth). These SouthernEuropeanartist did. Thecold, damp same minerals and pigmentsare in use today, climate of Northern Europe made large areas of although the binder(element that causes the glassimperativefor warmth. Oil painting was powder to stick to a surface) has changed originallyexecuted on wooden panels, but the throughout time. The caveman used animal fat; artist soon found that linen canvas stretched over the ancient Egyptians used the gum of the acacia a wooden frame worked as well, and it was lighter tree (gum arabic); East Indians used boiled rice in weight. and shellac; American Indians used salmon eggs and fish oil;and medievalEuropeans used egg Inthe 1950's, artists began experimenting with yolk and linseed oil. pigments mixed with plastic and acrylics and a new painting medium was developed. Acrylics may be The modern artist still uses many of these same thinned with water and used as watercolor or may binders. When the artist wishes to give a be used thick and heavy inan "impasto" (paint painting a light watery quality, he uses water- thicklyapplied with a palette knife) manner. colors--pigment bound with gum arabic. The more Acrylics may be painted on paper or canvas. water he adds to the paint, the more transparent andpalethe colors become. A rough-surfaced Oil paintings require much under-painting and paper will add sparkles of white to a watercolor over-glazing with extensive drying time in between painting,because the rough surface does not each coat. If an impasto technique is used, the cover as readily as a smooth surface does. dryingtime is even longer. A watercolorby Gouache is watercolor with ground-up chalk added comparison is a relatively fast method of to make it opaque. It can still be thinned with

94 45 painting; and, acrylics are not far behind. sculpture for centuries. Limestone and granite are also popular stones for sculptures and Whenpigments are mixed withchalkand com- buildings. pressed, the medium is called pastel. Rubens and Degas used this medium to do preliminary sketches Neolithic men collected clays and mudsto make for oils. Pastels can be blendedwith the storage jars and cooking pots. Clays range from fingers sothat a hazy, soft-focuseffect is the pure white kaolin, the secret of which was achieved. It is used by many modern artists to kept from the West by the Chinese for hundreds of do portraits. years, to the buff color used by the Greeks for their urns. Red clays also abound and pots of Oil is sometimes mixed into pastels andthe red,buff, and black design have been foundin resulting stick gives a much more intense, vivid Greece, Africa, North America, and South America. color than the compressed pastel. The modern potter uses these same clays and some Pigments may also be mixed with wax and used as of the same glazes. Glazes are ground glass and crayons. Though most people think of wax crayons minerals that are suspended in water. They are as a child's toy, they can be a very intense, painted on the clayware and fired at high easily handled medium for the adult artist. When temperatures in large kilns or ovens. During the crayons are melted and painted on a surface, the firing, the glass particles melt and flow process is called encaustic. Encaustic paintings together giving a colorful glassy surface to the were found in Egyptian pyramids and many early clay. Russian icons were also done in encaustic. Ancient Mayans, Incas, Persians, Egyptians, When carbon is burned, theresultingsoot is Greeks, and Chinese allhad extensive knowledge collected and mixed with a binder (gum arabic for of the smelting and fabrication processes needed watercolor; linseed oilfor oilpaint; varnish to castobjects in metal. Themodern artist for Indian ink) to make black paint or ink. Ink designs jewelry in goldand silverand casts drawings and paintings have been a standard art large sculptures in bronze, aluminum, and steel. form in the Orient for centuries. Wood hasbeen used by almost all societieson There are many examples of the use of stone for earth. Wood has been made into dwellings, sculpture and architecture. Stones of all kinds furniture, utilitarian objects, and art work. have been used. The early Greeks, Romans, and Art pieces range from the Alaskan totem poles and Renaissance Italians made excellent use of the African fertility fetishes, to Frank Lloyd Wright locally occurring marbles for their sculptures designed homes and Chippendale chairs. and temples. The Orient has mined jade, alabaster, and cinnabar, for jewelery and

46 95 96,, Primitive men the world over have gathered plant film,gel,paper,or glue. The ink is pressed materials (bark, moss, reeds, canes, grass) and through the unblocked areas of the silk, usually animal wool and hair to weave, lace, twine, net, the design, onto the paper or fabric below. knot, and knit together to form clothing, bedding, and baskets for storage and carrying. Lithographyuses a blockoflimestonethat is drawn on with a wax crayon and treated with acid. The modern textile artist uses these same The ink is repelled by the acid but sticks to the materialsandthesesametechniquesand more crayon drawing. A paper is placed on top of the (stitchery, quilting, felting) to make clothing, stone and both are put through a press. home furnishings, and tapestries, the only purpose of which is to beautify their environ Today the artist can do an original work, and it ment. can be photographically reproduced and printed on a press. This is a fastandeasy method of Printmaking media or graphics involves the printing, but the loss of the actual human touch process of preparing a design on aplate (wood should be considered when valuing such a print for a woodcut; stone for a lithograph; metal fir even though it may be highly touted that the print an engraving oretching) inkingthe surface, is personally signed by the artist. placingpaperon theplate, and putting both through a press. This process (from the inking The term graphics is also used to refer to photo- on) is repeated for each print that is desired. graphy. Fine art photography, where the photographer controls all segments of the process, from In relief printing (woodcut), the white areas of exposure of theFilm to printing of the print, the design are carved away, leaving raisedareas should be considered as a graphic method of art. that are to be printed. Inkis rolled on the plate and paper is pressed onto the plate to make George Braque, a cubistic artist,invented the a print. modern medium of collage. A collage is a drawing or painting composed of bits and pieces of papers In an intagliomethod, such as engraving or or other items glued to a surface. The drawing or etching, the design is cut into the plate (bya painting may dominate the design or the whole tool or acid); the plate is inked and wiped (ink designmay be puttogether like a patch-work stays in the grooves cut by tools or acid) and quilt. Collage quickly expanded inthe1950's the paper and plate are put through a press. into a medium known as assemblage. The Pop artist Marisolis known for assemblages of wood, metal, Silk screen prints are different in that a plate and everyday objects withwhich a sculptural is not made. A piece of thin silk is stretched grouping is created. Generally, collage is a over a frame and the ares the artist wishes to two-dimensional or flat medium, while assemblage remain white are blocked on the silk with lacquer tends to be sculpture or at least bas-relief.

1111111.1111 97 9F 41 DISCUSSION/REACTION ART EXPERIENCES

Who invented paper? o Discuss the origin of paints and binders (materials that cause paint to stick to a surface). See how many binders How is paper made? the students can suggest. Have them research and see if a former civilization may have used some of their ideas. Show examples of Rembrandt's paintings. Discuss how they may have been o Have each student pick a medium from a list. Write a one painted. page paper on the history and use of this medium. Encour age students to show examples of the medium (actual or What is a "binder"? photographs from library books).

What is a "pigment"? o Collect scraps of fabric. Have students unravel the fabric and see if they can determine and describe the method used Show examples of art done in various to make them. MEDIA (egg tempera. Michelangelo's Sistine Chapel) (Oil--Reubens) o Have student groups research a graphic method and present a (Watercolor Winslow Homer ) three minute talk to the class telling them how to do a print by this method. Some art works are considered to be more valuable because of their media. o Get students to see if they can find clay or mud. Experi- ment withthis medium andseeif it willmold andbe Should artistic expression of a sort workable by hand. that is considered "fine art" be limited only to the traditional o Show examples of various media and see if students can make drawing and painting media? In other their own paint using powdered charcoal, dirt, etc., with a words, is a woven tapestry "fine. art" variety of binders (egg yolk, milk, starch, etc.) or is it a craft? o Have students collect various grasses they think would be Is the statue of Chief Crazy Horse in Usable for basket making. Show examples (actual or photo- South Dakota, art or more a wonder of graphs) of different baskets. Have students try twining, nature? If it was created with or sewing a small, flat tray with their grasses. dynamite and earth moving machinery instead of hand-held tools, does this o Assign various groups of students to a research project on take it out of the realm of art? metal-working. Have one group of students study "lost wax casting," another groupresearchfabrication andsilver If a person comes across a beautiful soldering, while another group researches welding and piece of driftwood, is it art? Why? cutting with a torch. Present findings to the class.

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48 ART EXPERIENCES

o Have students collect as many kinds of white paper as possible and bring them to class. Make a study board by gluing a sample of each kind of paper to a poster board. Identify each kindofpaper. Expose to sunlightfor several days. Which papers have changed in color? Why?

o Have students explore the properties of ink. Give students a small piece of paper, a drinking straw,a toothpick, a small amount of water, and a Q tip. Drop a small dot of ink on the paper and allow students to fold the paper, or blow the ink with the straw, or lead the ink with the toothpick, or thin it with water,or smear it with the Q tip. Explore ink on wet paper using the same procedures. o Ask a knowledgeable graphic collector or print framer to visitthe class andexplain the importance ofusing acid-free paper and tape in mounting art work. Have them discuss the precautions museums take to preserve art work. o Ask a local T-shirtsilk screener to demonstratethe process he uses to make designs on T-shirts. o Ask the local art guild or club to demonstrate theuse of a particular medium. o Ask aknowledgeable antique salespersonor collector to talk about china and pottery. Show examples of fine china and its translucency and examine examplesof pottery which are opaque and heavier in body. o Have a group of students meet witha master carpenter or wood carver to discuss and learn about the differentuses of various kinds of wood. o Divide the students intogroups and have each group report on a way to put a design on a textile. Examples: batik, printing, tie-dyeing, applique, stitchery, stencil,etc. The word style can be usedmany different ways. One of these ways is to denote how subjectmatter is depicted in art. Styles of expression in visual art can be divided into three broadareas of which realism is the oldest. In a realistic style of expression the artist strivesto make as accurate a reproduction of an actual objectas he is able to do with the skill hepossesses. This kind of art was needed topreserve or commemorate for the future an image, a place,or an event.

Man began this pictorial record by drawingon his cave walls animals that he had killed or hoped to kill during hunts for food. Primitive societies still draw much the same kinds of pictures andfor the same reasons. Man eventually began to change his subject matter to include human figuresand god-figures that he could worship andappease.

The ancientEgyptians and-. Romansusedsubject matter that commemorated individuals' lives and deeds as a form of immortality or history. . Throughout this time man used the humanform as his major subject matter. If there were animals, outdoor scenery, or indoor views in the picture, they were incidental andwere used as a means to C. STYLES OF EXPRESSION IN VISUAL ART highlight the human figure.

With the invention of the camera in the1890's, a The factors which mold style should not be newstyle ofart evolved called abstraction. examined as one assembles statistics or Because the camera could quickly and inexpensively calculates percentages; they must simply be reproducean image quickly,the artist wasno recognized, studied and understood. longer required to strive for such realistic detail. The Impressionists were the firstgroup of artists to try to capture light and coloron Paul Zucker the canvas. (Remember the camera at this time

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4: e made only black and white photos.) The artists ular object discernible in the work. The artist feltlessneed torecord detailand beganto only wished to evoke an emotion in the viewer. paint more spontaneously, experimenting with the elements and brush strokes. They sought to It is important to point out that the evolution of express their emotions or feelings about a abstract and nonobjective art did not destroyor subject. The Impressionists were also some of do away with the realistic style. Throughout this the first artists to paint landscapes thatwere century some artists have continued to do work in not simplybackgrounds for the humanfigure. the realisticandabstract styles. Todayall Instead of workings in studios, they went to the three of the art styles are widely used andare fields and painted from the actualscenes, trying therefore considered valid styles of art. tc transfer to their canvases the feeling that light andcolorgave theactual scene. The Another way the word style is used in visual art Impressionists were also some of the first is to indicate or name a historical era in art. artists to paint still-life objects without Art is not created in a vacuum. The artist i including a human figure to give the composition strongly influenced by cultural beliefs and meaning. Cezanne, in his experiments with color, history,the economic structure, the political, painted the same bowl of fruit many times. His and physical environment of the society in which family used this as an example when they tried to he lives. Because these influences are the same have him committed to aninsane asylum,their for severalartists working in a specific area point being thatonly a madman wouldpaint during the same historical period, their workmay something so mundane and without valueso many contain similiar features that cause later times. From these first explorations, abstrac- generations to group them together as a "school" tion grewto its present meaningof changes, or "style" of art. The following pages contain a distortions, and rearrangements of the elements brief historical outline of styles in art. of a real object to express emotionor to convey a message.

Around the early 1900's, a group ofGerman artists began to carry abstraction a step further. ..andinsky, a Russianartist living in Germany, began the "Expressionist" or "Blue Rider"school of art. These artists wereno longer referring to an object, realor imaginary. When painting, they used the basic elements of art -line,shape,form, color,and texture--to express their emotions. This style of art is called nonobjective because there isno partic-

104 51 TIME STYLE CHARACTERISTICS/ART/ARTISTS

20,000 BC Prehistoric Art--drawings andpaintings ofhuntedanimals and stick figures of men by primitive hunters and gatherers who lived in caves. Lascaux, France, and Altamira, Spain

10,000 Neolithic Primitiveso,Aeties that developed agriculture and animal husbandry and made baskets, pottery, textiles, and Megaliths, Stonehenge in England

6000 BC Sumerian/Babylonian Well-organized society lived along the Tigris and Euphrates, builtziggurats, small clay statues with conical skirts, relief carvings, mosaics (Gate of Isthar), metal work

Egyptian Well-defined society lived along the Nile,built pyramids stone sculpture, jewelry, pottery, weaving, glass and metal work, papyrus, heiroglyphics, the Sphinx, painting--very stylized, head in profile, eye and chest front view, legs in profile

4500 BC Minoan Aegean Island of Crete had high artistic development- mazes, palaces, pottery

4000 BC Indian (Eastern) Developed along the Ganges- - frescoes, textiles, architecture

3000 BC Chinese Highly developedsociety who did calligraphy, painting, bronze casting, pottery-china

2500 BC Hittite Asia Minor--stone reliefs, used brick and stone

1800 BC Etruscan Pre-Roman people--wall and tomb painting, sarcophagi, stone carvings, pottery, metal ware

1700 BC Phonecians Modern Syria had textiles, glass, pottery

1500 BC Assyrian Conquered Babylonia, did relief carvings, textiles, textile decorations TIME STYLE CHARACTERISTICS/ART/ARTISTS

900 BC Greek-Archaic City-states on the island of Greece did stiffstone carvings; used Doric columnsin architecture; had urn painting stiff with little foreshortening

539 BC Persian Modern Iran and Iraq did pottery,repousse, relief sculpture, calligraphy, minature paintings, textiles

500 BC Greek-Classic "Golden Age"--Parthenon built; statuesvery idealized, calm and life-like; urn paintings show good foreshortening

325 BC Mayan Pre-Columbian in South America--built pyramids, reliefcarv- ings, sculpture, pottery, jewelry

300 BC Greek-Hellenic Statues and paintings show much emotion, ornateness

Roman Romans conquered the known world--great soldiers, engineers; did realistic sculpture, architecture (coliseum, Pantheon), paintings; built roads, bridges, aqueducts

200 BC African African cultures particularly strong in sculpturalforms and in weaving. Simplicity of their designs had an influenceon modern art.

AD 100 Early Christian Centered in Rome--catacombs, frescoes

AD 400 Byzantine Constantine, Emperorof Rome, legalized Christianty and moved capitolto Byzanthium toavoid Northern Barbarians; art shows Moslem influence in mosaics, church objects; use of gilding; manuscripts, illuminations, churches, sculpture

AD 600 Japanese Islandnation influenced byChina--calligraphy, painting, sculpture, pottery

AD 800 Romanesque Dark agesin Europe--Southern European churches have small window area, walls decorated in"al fresco paintings"; show Eastern and some Greek influences in figures.

.,108 TIME STYLE CHARACTERISTICS/ART/ARTIST

AD 1200 Inca Peru Pre-Columbian--South America had stone dwellings, pottery, metal work, textiles

AD 1300 Gothic NorthernEurope--influencesof Barbariansfrom the North; painting-colorscold,proportionsnotas good as Italian work, enamels,tapestries, stained glass,bronze casting, cathedrals

AD 1325 Aztec Mexico--Pre-Columbian;had stone sculpture,pottery, metal work

AD 1400 Renaissance In Europe--an awakening from the dark ages, "rebirth" of Greek ideas of simplicity, restraint and proportion Northern Artists--Van Eyck, Bosch, Gruenwald, Durer worked in oils, colors coldandclear; did portraits forpatrons Southern Artists--Michelangelo, da Vinci, Giotto, Donatello, Botticelli, Titian,Raphael, El Greco,patronized bythe Catholicchurch;most artreligious, frescoe,sculptures, etc.

AD 1600 Baroque European--reaction to the classicism of Renaissancea highly theatrical style, very ornate Italian Artists--Caravaggio, Bernini Northern Artists--Velazquez, Rubens, Hals, Rembrandt, Vermeer, Goya, Poussin

AD 1700 Rococo French influence highest--work extremely ornate, sentimental landscape; Versailles built Artists--Watteau, Boucher, Fragonard, Hogarth, Reynolds, Gainsborough

AD 1750 Neoclassicism Reaction against Rococo--return to classical concepts Artists--Ingres and David

54 110 11 i TIME STYLE CHARACTERISTICS/ART/ARTISTS

AD 1800 Romanticism Reaction against the restraint of the neo-classic--stressed imagination, action and vivid colors Artists--Delacroix, Rousseau

AD 1848 Pre-Raphaelite Sought a return to the pure faith of the Middle Ages; art naive and dreamy Artists--Blake, Rossetti

AD 1850 Realism Paintingsdealt only withreal, tangibleliings, mainly landscapes--forerunners of Impressionism Artists--Courbet, Millet, Corot, Daumier, Constable, Rodin, Turner

AD 1860 Impressionism Attempted to catch light on the canvas, experimented with color--the beginnings of Modern art Artists--Monet, Manet, Renoir, Degas, Pissarro, Cassatt, Whistler, Cezanne

AD 1880 Post-Impressionism Continued Impressionism, but became even more expressive with regard to color Artists--VanGogh, Gauguin, Toulouse-Lautrec, Seurat, Cezanne, Bonnard, Vuillard

AD 1890 Art Nouveau Illustrators used flowing lines and ornaments based on designs in nature--art in the form of illustrations, jewelry, glass, furniture Artists--Beardsley, Morris, Munch

AD 1900 Expressionism "Die Brucke--The Bridge" group in Germany--highly emotional style that usedexaggeration and distortion to express personal emotions; influenced by VanGogh's work Artists--Marc, Kirchner, Roualt, Munch

55 142 113 TIME STYLE CHARACTERISTIC/ART/ARTISTS

Cubism Developed in France onCezanne's color theories--involved breaking objects down into most basic geometric shapes Artists--Picasso, Braque, Moore

Purism Reactionagainst cubism's breakingdown of forms--sought return to pure forms Artists-- Ozerifant, LeCorbus, Brancusi

Fauvism The "Wild Beasts" applied brilliant color, wild brush strokes, angular patterns Artists--Mattise, Roualt, Dufy, Derain

Futurism The artist attempted to show the fourth dimension--motion, and time Artists--Duchamps, Boccioni

AD 1911 Abstract "Der Blaue Reiter--Blue Rider" group founded by Kandinsky-- first nonobjective art work Artists--Kandinsky, Klee, Mondrian, Marc, Feininger

AD 1918 Dadaism Movement ridiculed andsatirized extablished art,cynical reaction to World War I Artists--Man Ray, Max Ernst, Klee

AD 1920 Ashcan American painters specialized in depiciting "realism," poverty, squalor Artists--Burchfield, Hopper, Shahn, O'Keefe, Wyeth

AD 1924 Surrealism "Super reality"--influenced by Freud's dream theories, experimented with fantasy and weird psychological symbols Artists--Dali, Chirico, Miro, Klee, Ernst, Chagall

AD 1940 Abstract Expressionism Totally nonobjective painting in America Artists--Jackson Pollock, Stuart Davis, Gorky, Albers, Calder, Motherwell, DeKooning, Kline, Rothko, Hofmann

56 114 115 TIME STYLE CHARACTERISTIC/ART/ARTISTS

AD 1950-60 Pop Sort of a neo-dadaism--assemblages and paintings using contemporary materials Artists--Marisol, Rauschenberg, Jasper Johns, Lichtenstein, Andy Warhol, Oldenburg

AD 1960 Op Art with high contrast in color, geometric, precision, designed to leave an after image on retina Artists--Varsarely, Albers, Riley, Frank Stella

AD 1970 Hard Edge Art refined to pure shape and color - usually nonobjective Artists--Vasarely, Albers, Ellsworth Kelly, Max Bill, Lundeberg

Minimal Art Art content reduced to a color field nonemotional Artists--Barnett Newman, Ad Reinhardt

Enlarged Field Art large enough to fill whole walls, large areas of negative space Artist--Gottlieb, Sam Francis, Franbenthaler, Morris Louis

Revival ofrealism (super realism,photo realism,hyper New Realism realism,) uses commercial art techniques- air brush, spray paint Artists--Wyeth, Rosenquist, Estes

Illusions of reality extremely real life size Illusionistic Artists--Wesselman, Hanson, Hochnev

Uses new materials, techniques (plastics, resins) Sculpture Artists--Hepworth, Nevelson, Noguchi, Smith, Segal

=ramm...... mwmmwEIND, 116 117 51 TIME STYLE CHARACTERISTIC/ART/ARTISTS

Fine Crafts Clay, jewelry, weaving, etc.that has been produced for aesthetic reasons rather than pure utility Artists--Michael Carries,. Pelt's "u'Aus, Carleton Ball, Jack Larsen, Else Regensteiner, Anna Albers

AD 1980 Kinetic Art Sculpture that moves, uses motors, light (neon) sound, computers, and electricity to bring sculpture to lif^ Artists--Len Lye, Sebastian, Larry Bell

Intermedia Videotapes, light, sound, animated film, artistic environment in which the viewer participates Artists--Lucas Samavas, Judy Chicago, Rochne Kvebs

Earth Art Environmental art using large earth moving machines to gouge designs, build piers, or make large mounds

Experimental Sculpture Expresses in words or diagrams a mind's concept-- use laser beams, sprayed plate glass, huge curtains spanning valleys Artists--Christo, Robert Irwin

119 REFERENCES

120 DISCUSSION/REACTION ART EXPERIENCES

What is STYLE? o Show examples of Gauguin's and Matisse's worksand compare them to the Japanese woodcuts that inspired them. List What social influences determine a the elements that both groups have incommon. style? o Show examples of the pyramids of Egypt, theParthenon of Did the camera makerealistic art Greece, the cathedrals of Europe, and a building by Frank passé? Lloyd Wright. Discuss the different forms these works of architecture take and possible reasons for their differ- The Impressionist and the Op artists ences. were concerned with color theory. How were their ideas alike? Different? o Have students do a blind contour drawing of their neighbor's face. Explain that the student'spencil is Prehistoric art is primitive. Is all like a small insectcrawlingalong the edgesof the primitive art prehistoric? person, outlining each feature. The student may not look at his paper while he is drawing. Is the result Discuss the term CLASSIC. Where does REALISTIC, ABSTRACT, or NONOBJECTIVE? the term come from?How many times in history have ideas connected with this o Look at styles of housing from several cultures(American, term recurred? African, Oriental,European,primitive islander). List the reasons why certain features of these stylesmay have Several different groups of people developed. Give a group of students a list of factsabout (Egyptians,Mayans,Sumerians,) who, an imaginary group of people for which they are to design supposedly, had no communication housing. Give facts, such as the level of social sophis- among them, built pyramids or tication, the climate, and materials available. pyramid-likestructures. Howcould this have happened? o Show slides or photos of several sculpturesranging from Prehistoric (Venus of Willendorf, Stonehenge)to Greek, to China kept the secret of kaolin clay Renaissance, toGothic, tomodern (Moore, Calder)and used to make porcelain, and the secret write a description of how theyare similar or different. of paper-making from the West. Why? o Have students do a rubbing(with a crayon of aleaf). How didthedifferentreligions of This is a realistic design. They are to change, distort, world influence the art of their omit,or expand certain features untilthey have five believers? Consider Christians, different abstract designs. Buddhists, and Moslems.

so 121 ART EXPERIENCES WORDS TO-RECOGNIZE

o If possible, have students visita gallery or museum of ABSTRACT monochromatic art to compareexamples of realistic, abstract, and acrylic movement non-objective styles. analogous negative architecture NEUTRAL o To start a nonobjective design, draw lineson paper while assemblage NON-OBJECTIVE listening to music with eyes closed. After the music BALANCE oil paint ends, take the most pleasing part of the design and expand binder organic or rearrange it so that it makes a balanced design. CENTER OF INTErST painting charcoal pastel o Show the slide series, Realism, Expressionism, and clay patterns Abstractionfrom the"MetrWETTEin Museum Seminars in collage PERSPECTIVE Art," (available through the Louisiana Slide Library). COLOR pigment Have students choosean artist whose work particularly complementary pos'tive impressed them about whom to research and writea short CONTRAST PROPORTION paper. diagonal REALISTIC dimension repetition o Have students attempt to do a strictly realistic design of DOMINANCE RHYTHM a small shell or insect. Have them do it life-sized so drawing SCULPTURE they can physicallycompare the object with the drawing. EMPHASIS shade encaustic SHAPE o Have students.esearch Seurat's color theories and doa engraving silk screen small colored design in "pointillism" style. etching symmetrical FORM textile o Have a group of discussionon the subject of "Graffiti- geometric TEXTURE -Art or Vandalism"? Have the "pro" students research the glaze tint shows hung recently in New York bysome top galleries and gouche tone some of the young artists who have made names for them- GRAPHICS UNITY selves in this field. Have the "con" students research horizontal VALUE New York's expendituresand attempts to eradicatethe HUE variety graffiti in their subways. INTENSITY vertical LINE watercolor o Through the ages, certain periods of art haveacquired lithography weaving interestingnames (Ashcan School,The Blue Rider,The media woodcut Bridge Group, and so forth). Have students choose a style of art and research the origin of itsname. *Capitalized words are defined in the Glossary.

1,23 124 61 REFERENCES RESOURCES

Brommer, Gerald F. Discovering Art 1 - Afro-American Art and Artists History. Worcester, MA: Davis Pub- 7 - Contemporary Black Artists and Sculptors lishing, 1981. 50 - Art Is About: Unit I--Is a Painting a Picture? *Gatto, Joseph A., Porter, A. W., and Unit II--Why Distortion? Selleck, Jack. Exploring,Visual Unit VII--Color Des-iv'. Worcester, MA: Davis Pub- Unit VIII--Light and Plastics lishing, 1978. Unit IX--Space Unit X--Scale and Balance Brommer, Gerald F. The Art of Col- Unit XI--Motion lage. Worcester, MA: Davis Pub- 51 - Cheekwood Lectures: lishing, 1978. Introduction Painting *Davis, Beverly J. Chant of the Cen- Architecture turies. Austin, TX: W. S. Benson & Sculpture Co., 1969. Organization 52 - Metropolitan Museum Seminars in Art: Davis, Elton M. Arts and Cultures of Realism Man. Scranton, PA: intext Education- Expressionism TiTublishing, 1972. Abstraction Composition: as Pattern, Structure, Expression *Fearing, K., Beard, E., & Martin, C. Fresco The Creative Eye: Vol.I and II. Tempera and Oil Austin, TX: W. S. Benson & Co., 1979. Watercolor, Pastel and Prints 53 - Seminars in Modern Art: Gombrich, E. H. The Story of Art. Break with Tradition London: Phaidon Press, Ltd., 1968. The Reconstruction of Space Exploring the Heart and Mind Horn, Geo. F. Art for Todays Schools. Contemporary Trends Worcester, MA: Davis Publishing, 54 - Seven Hundred Years of Art 1979. 56 - This Modern Art 70 - Art Deco Janson, H. U. and Cauman, S. History 73 - Developments in 18th Century Art of Art for Young People. New York: 74 - Dictionary and Guide to Major Movements in Modern Art Harry N. Abrams, Inc., 1971. AVAILABLE FROM The Louisiana Slide Library, Box 94064, *State-Adopted Text Baton Rouge, Louisiana 70804-9064

References available from Louisiana State Library

Numwoomminawava.... 62 125 REFERENCES RESOURCES

Art in America, Pt.1 - The Beginnings 75 Encyclopedia Britannica Lectures Art in America, Pt. 2 - Hudson River Art in Early Renaissance Italy School to Dada Art of the Northern Italian Renaissance Art in America, Pt. 3 - The Twentieth Art in the High Renaissance Century Art of the Northern Renaissance Art in America Pt. 4- Black Artists Art of the Low Countries of the USA Art of Spain The Ancient Peruvian Art of France Art of the Middle Ages Art of England The Black Artists Art of the United States Black Dimension.; in American Art Art in the 19th Century France Cubism 77 - The Great Impressionists Expressionism 79 - High Renaissance and Mannerist Art Greece - The Golden Age 82 - The History of Sculpture The Greeks, In Search of Meaning The Human Image Hall of Kings- Westminster Abbey, Monuments, Temples, and Tombs Pt.1 - Shrine of Greatness Aesthetics in Contrasting Cultures Hall of Kings - Westminster Abbey, Modern Sculpture Pt. 2 - The Poet's Corner 83 - The Hunt of the Unicorn Impressionism 87 - Super-Realism What is Impressionism, Pt. 1 88 - Twentieth Century American Art What is Impressionism, Pt. 2 89 - Twentieth Century.huropean Art Italy - The Post-War Renaissance 90 - What Is Impressionism? Leonardo da Vinci - Giant of the 100 - African Heritage Renaissance 101 - The Creative Past: Art of Africa The Medieval Mind 118 - China and Its Pottery Army Michelangelo 168 - Sun King Exhibit Non- Objective Art 511 - New Orleans Vatican Exhibit Surrealism 541 - Line, Plane, and Form in Pictorial Composition Tut - The Boy King 556 - Vision of Color: Basic Theory 559 - Basic Design AVAILABLE FROM Regional Film 567 - The Artist's Vision: Color and Light in Painting Libraries, Bulletin No. 1406 581 - Structure 655 - Continuity of Forms AVAILABLE FROM The Louisiana Slide Library, Box 94064, Baton Rouge, Louisiana 70804-9064

127 128 63 REFERENCES RESOURCES

ELEMENTS AND PRINCIPLES 102 - Discovering the Art of Africa Discovering Composition in Art 107 - Egypt: The Past and the Present Discovering Creative in Art 108 - Paleolithic and Egyptian Art History Discovering Dark and Light 110 - The Treasures of Tutankhamun Rhythm and Movement in Art 116 - The Arts of China 117 - China MEDIA--TECHNIQUES 121 - Paintings from the Ajanta Caves (India) 125 - Persian Minatures Art in Woodcut 128 - Ancient Mosaics (Israel) Batik Rediscovered 131 - Ancient Buddhist Paintings Brith of a Bronze - With Jacques 132 - The Art of Japan Lipschiz 137 - Early Russian Icons Ceramic Art - A Series 141 - Ancient Maya Art in Copan Designing With Everyday Materials 144 - Two Cities of Ancient Mexico: Monte Alban--Mitla Enameling 149 - Gold: The Spirit of Ancient Peru Introduction to Contour Drawing 161 - Paintings in Georgian England Lines in Relief - Woodcut and Block 165 - Backgrounds of Modern Painting in France Printing 166 - Sources of 20th Century French Painting Loom Weaving 167 - Versailles Silk Screen Fundamentals 171 - Art and Architecture of Greece Silk Screen Techniques 172 - Byzantine Mosaics Simple Molds 176 - Art and Architecture of Rome 177 - Florence and the Early Renaissance AVAILABLE FROM Regional Film 178 - Florentine Art of the Golden Age Libraries, Bulletin No. 1406 182 - Flemish Renaissance Art 183 - Seventeenth Century Dutch Painting 191 - Paintings of the Great Spanish Masters 195 - Medieval Frescoes 199 - Oceanic Art 200 - Primitive Art: Oceania 324 - Jacob Lawrence: Toussaint L'Ouverture 325 - Henri Matisse: Paper Cut-outs 326 - Monet's Years at Giverny 327 - Picasso

AVAILABLE FROM The Louisiana Slide Library, Box 94064, 129 Baton Rouge, Louisiana 70804-9064 130

64 SAMPLE TEST QUESTIONS DESIRED RESPONSES

1. List the six elements of art. 1. Space, line, shape, form, color, texture

2. Define Shape. 2. A space enclosed by a line.

3. List ,the primary colors. 3. Red, yellow, blue

4. The three kinds of balance are radial, and 4. Symmetrical and asymmetrical

5. Dominance in a design can be established by 5. Contrasting the elements.

6. A collage isa (a. house; b. a design with bits and 6. b. pieces of peoer glued to it; c. a collection of wood and metal fibers).

7. Watercolor is generally considered to bea (a. binder; 7. b. b. transparent; c. opaque) medium.

8. Identify whichofthe followingare drawingmedia: 8. pastel, pencil, charcoal watercolor, oil, pastel, collage, pencil, charcoal.

9. T F In an abstract design there is no object depicted. 9. False

10.' T F Rembrandt is considered an Impressionist artist. 10. False

131 132

65 ++++++44********************************4444

SYMBOLS AND IMAGESOF GRAPHIC ARTS VISUAL ARTS. UNIT III

133. 10****10****01,****************************.***********+++4

In this unit the discuss'nn will cover the background of communication. Questions to be explored are as follows: WHAT ARE SOME OF THE SYMBOLS AND IMAGES MANUSES IN VISUAL COMMUNICATION? HOW DO

THESE SYMBOLS DIRECT A PERSON'SRESPONSES, FEELINGS, THOUGHTS, AND ACTIONS? A study is made of

color as a dominant persuasivetool. FOCUS EXPECTED OUTCOMES

The focus of this unit is to explore visual The students will be able to identify communication andrecognizethepsychological several means of communication used by man. and persuasive powers of the graphic arts.

* The students will understand and be able to

list some of the symbols and images used in

visual communication.

* WHAT IS COMMUNICATION?

Visual communication will be more meaning-

41 WHAT ARE SYMBOLS AND IMAGES AND HOW ful to the students as they recognize its

ARE THEY USED IN VISUAL COMMUNICATION? persuasive powers.

' HOW DO THE GRAPHIC ARTS MANIPULATE A

PERSON'S RESPONSES IN FEELINGS,

THOUGHTS, AND ACTIONS?

68 136 137 SYMBOLS AND IMAGES OF GRAPHIC ART

The practice of art isa process of bringing into being--the "making visible" of mental images. Words convey, but poorly, the quality of communication achieved by the plastic arts.

* Graham Collier

69 138 COMMUNICATION The ancient Egyptians, Chinese, Sumerians, and Mayans evolved aslightly more usefulkind of Communication is a way of letting another person picture writing, called logographs. Logographs know how one thinks and feels. Initially all are symbols (pictures of objects) that represent communication was oral, and a group's history or a sound in the language rather than the actual traditions were passed down thraugh generations object in the drawing. Suppose the symbol is a by story telling. In ancient India this method picture of the sun, and this is meant to be the of preservationrecordedgreatquantities of sound of the word "sun," not lightor warmth. informationfor centuries with very few mis- The picture could then be combined with another takes. This oraltradition is still used by sign to make the word "Sunday" or "sundry"; it primitive tribes in order to record myths, could stand for the word "son." Logographs are history, and genealogical material. The start easier to read than pictographs if one knows the of writing, putting oral language into a visible sound represented by the symbol, but theyare form soit could besaved more easily,came still something of a puzzle to figure out. The about when man began to identify things (perhaps Chinese and Japanesestill use thiskind of personal property) with signs and symbols. writing. Logographs evolved into alphabets and Writing was the beginning of history. alphabets are the beginning of writing as it is known today. Signs and symbols are useful for communication if everyone whohas contact with them has a There are more than 50 alphabets inuse today. clear understanding of what the sign or symbol The one used by English-speaking people has its is to represent. Signs and symbols used in this origins in the Egyptian hieroglyphs, the Sumeri- manner arecalled pictographs andideographs an cuneiform, and the linear scripts used by the (graph is the Greekword for writing). A Minoans of Crete. The Greeks adapted these, and pictograph is a picture of an object and is used the Romans converted the Greek alphabet to to call to mind that object--in other words, a Latin. When the Romans conquered Britain they pictograph of the sun means the sun in the sky. taught :.he people to write, and the British An ideograph is different in that a picture of eventually adapted theLatin alphabettothe an object can represent an idea or emotion--the sounds of the English language. sun picture in this instance could represent the words for "day" or "warmth." This is why it is The letter A began as a Sumerian symbol of anox so difficult to read pictographs unless one is head (Aleph in their language). For some very familiar with what a particular symbol reason, the ox head was drawn so it lay side- meant to a particular group. American Indians ways. The Greeks adopted it and turned theox and Australian aborigines both used pictographs head another quarter turn which resulted inan and ideographs. upside-down ox head, or the letter A. The

10 139 140 Romans adopted the Greek "alpha" and used it to character form's,geometric shapes,signs,and stand for a vowel sound. By 114 B.C. the Roman strokes. In place of set and arbitrary rules Emperor Trajan had adopted 20 Greek letters: A for the combination of forms, the designer has BCDEFH I KLMNOPQRSTVand X. The the freedom to modify existing forms, disregard Romans found need ofthree moreletters for convention,and create new motifs out of the three sounds intheir language that were not fertility of his mind. Only the degree of his differentiated in Greek. They added a stroke to own intelligence and ingenuity can limit result- the C and made G; Y was used for the "u" sound; ing forms. The impact of the graphic arts goes and Z wasusedto differentiatecertain "s" far beyond its technology; it is directly sounds. The letter W came into use after the related Lo the messages that itcarries. It Norman conquest to keep the English "w" sound provides peDple with information about the world distinct from the French "v." During the Middle around thea and exposes them to classic ideas Ages the letter J was invented as a variant of and new iceas alike. It helps to govern their the letter I,but later came to represent the country arid keeps the wheels of industry turn- consonant sound of "j." ing.

Marshall McLuhan once noted that only alphabetic Emblems, a means of visualcommunication that cultureshaveever masteredconnected lineal still have roots in modern times, are older than sequences as pervasiveforms ofpsychic and man's ability to read and write. Men of all social organization. McLuhan feels that the cultures and times have used them. While the breakup of every kind of experience into uniform evidence presented by the Bayeux Tapestry, one units in orderto producefaster actionand of the most authentic sources of information on change has been the secret of Western power over the Norman invasion of England in 1066 A.D., man and nature alike. He states that nonalpha- does show the styles of armor and weapons used; betic tribal societies do not believe in "cause it does not show a coat-of-arms anywhere. and effect" logic because they have not acquired Insignia probably came into use after that time the habit of sequencing events as Western men and eventually became the mark of distinction of have. In looking backover the history of European nobility. The medieval Catholic church communication, one can appreciate the full developed a color code for use on coats-of-arms. implications that the mastery of the alphabet In thiscodered denoted charity, love, and made on civilization. Instead of using graphic martyrdom; yellow for glory and power; green for symbols for ideas andobjects, the phonetic immortality and faith; pale blue for peace and alphabet introduced a means of representing hope; white for purity; purple for sorrow; and speech sounds with abstract symbols. black for death.

Instead of the 26 letter forms, today's designer Today emblems and coats-of-arms are classed has to command a bewildering array of simple together as heraldry. Originally a herald was a

71 141 1 142 person who functioned at tourneys, much as organizations beg for the services ofa special- sports commentators do today. A herald blazoned ist in armorial design. Compare the practice of (called out)the insignia or coats-of-arms of covering flagswithelaborate,over-designed, participants, proclaimed their titles, and noted heavily lettered insignia with the simple flag their standings in the games. As time went on, of the Red Cross. Heraldry fillsa universal heralds became the autocrats of the blazoning human desire for a strong and unique identity. board, prescribers of ritual, and chefs de protocol. The term "heraldry" came to mean the Symbolism inart--and allart is symbol--has actual insignia or emblem, or coats-of-arms. existed from the beginning of time, but symbols, like nations,fall and rise. Take the swas- Early European emblems and coats-of-arms used tika--it was used for thousands of yearsas a pictures of animals, particularly the lion. symbol of the sun. It has been found on Greek During the Crusades some real monstrosities in coins, in the catacombs of Rome, on Byzantine bestiary (which reflected the Northern Barbarian buildings, on textiles of theInca period, on influence on Europe)were used in heraldry. Celtic monuments, and on relics unearthedon the Some ofthese creatures are still seen in side of Troy. The swastikais also asacred today's heraldry, such as the cockatrice (a mon- sign of Buddhism. Today it has become one of strous se'oent with the head, legs, and wings of the most hated symbols inthe history of man a cock), he unicorn, the griffin (forepart of because of its association with the Nazis during an eagle and hindquarter of a lion), the dragon, World War II and their "finalsolution"that and Pegasus (a winged horse). Later, birds and resulted in thedeathsofsix million human fish became popular as did some plants (rose and beings. Meaningsof symbols change over the oak). The Americaneagle is borrowed from years reflecting the changing needs of society. heraldry. When the meanings given to a particular society's symbols are known, one has a key to Emblems appeared in America when George Washing- the values of that society. ton displayed a coat-of-arms on his coach and incorporated it into the architecture of Mt. Symbols and images communicate ideas and stimu- Vernon. Today, each state has its own seal. late the imagination. These images convey ideas Seals serve a function similar to coats-of-arms. more quickly, more efficiently, and more explic- Most people are familiar with the Great Seal of itly than mere words. They have a universal the United States, but do not realize that the language of their own. One of the most famous Arms of the Republic sealexistsseparately. symbols in modern time is the "eye" designed by Many cannot distinguish between the two. a visual artist for CBS. An internationally recognized symbolis the VW design seen on the Trade marks of the world bear heraldic devices Volkswagen car. Often a name willcause the as do some American businesses. Flags of many mind to see the symbol rather than the printed

143 144 name--such as Westinghouse or the Greyhound andstill retaintheoriginal designif the Transit Company. A single part of a symbol can explorations do notcreate a betterdesign. often trigger a mentalpicture of the whole, Sculptors can follow the lines of a small flat such as a singlestar oftensymbolizing the matrixand thecomputer can tell himexact American flag. measurements for the size the finished product should be cast, and he can view the sculpture A quiet, almost silent technological revolution from all angles before it is made. The graphic has beentaking placewithinthe fields of artist is freed from dependency on a typesetter communication duritigthepast25 years. The andcan easily makechanges in a layoutor greatest change came with the advent of illustration. The computer can connect him to a television. The viewer had to adjust his data bank of historical designs and styles to thinking from creating mentalimages from the authenticate an illustration or advertisement, spoken word (radio) to accepting a colored thus doing away with reams of files. He can picture environment that passed for communica- freely explore the geometry of space division, tion and with which no interactionwas required. which in a world of changing tastes remains as a The second change came with the discovery of the foundation for decorative design. magic "chip." Within just a few years several generations of thecomputer, have beenintro- THE MANIPULATIVE POWERS OF THE ARTS duced, and it has invaded most aspects of life. The architect and boat desimer, the theatreand Why does a person buy a certain product off the filmindustries, the landscape architect and store shelf when there are dozens of choices? city planner,the interiordesigner andthe Perhaps because a product has proven goodover furniture maker, thegraphicartist andthe the years but more likely it is because theeye printer, doctors and surgeons,are only some of has been caught by asmashing combination of the professionsdependinguponthe computer. colors or a snappydesign. A check ofthe Planes are landed by computer;carsindicate grocery carts willindicate the preference for trouble with computer language; food is pur- colored packages as opposed to the generic pack- chased and then cooked by computer; and banks ages in white. have computeroutlets for their customers. There seems to be no facet of daily living that Those in the business of selling are wellaware is notcomputer-related. Andhow does this of the appealof color and good design. They affect both the fine and the graphic artists? know how to mount advertisements that will sway Computers give themmore than a thousand colors, public opinion. Large concerns spend millions shades,andtintsfrom which tochoose. No of dollars each year to keep their company or longer does the artisthave to paint over, product in the public eye. Why are companies scrape off, or erase elements that do not work willing to pay exorbitant prices for minutes on well. He can explore, change, and repeat units television and even more money to prominent

145 73 ; I:.446 advertising firms tofill these minutes with definitive programs the viewer will remember? Why do angular: active, nervous, unstable candidates for public office hire specialized The directions of lines imply specific feelings: firms to handle their campaign from posters and vertical: strong, stately, tall newspaper to television? It is becausethe horizontal: restful, peaceful, relaxed experts know how to trigger a responsefor diagonal: action, movement, thrust sales. It is in this business that art and psychology hold hands! Shape and form can communicate a geometric feeling of organization or an organic feeling of Throughthecenturies,the visualartist has irregularity, or free-flowing shapes and forms. learned to use line, shape, space, value, and color to guide a viewer's response to his art work. The way in which these elements are used Space can create a feeling ofvastness and or combined determinethe response. Without freedom if it is open and the opposite feeling these elements, no visual communication can be if the space is closed. made. This knowledge has been honed through the years with theuse of psychological response Value can project moods with its darkness (sad, tests and more recently with the institution of ceding, smaller, heavy) and its lightness theinsidious poll. Thebusinessworld has (happy, airy, big, excitement). learnedto adaptthis responsive useof the elements to the sale of goods,products, and Color, because of its versatility, manageabil- people. It is big business! The individual is 1-157and permanence, lends itself more readily constantly being bombarded with visual messages, to the artist as a descriptive element and a both good and bad, that are planned to persuade means of symbolic and psychological expression. him to make choices or decisions, overtly or Tests have proven that colors have significant covertly. Is it not then important to know how effects on a person's emotions and performance. to sort out psychological uses of color and to Almost everyone has definite reactions to color. understand the methods of manipulation that lie Color gives definition to everything it touches; behind them? it can cheer or depress. oqte Rockne, that great man of football, had a ,,een understanding Knowing something about the elements the artist of color psychology. He is said to have painted uses maygivean insight into theemotional his own team's dressing room red-orange, a responses that can be generated. cheering, activating color, and painted the visiting team's room blue, a cooling, subduing, The kinds of lines used convey ideas: and relaxing color. curVidT grace, joy, soft, flowing straight: hard, strong, stable, Color sensations are the result of three things:

...1.1 74 ::147 148 what the color is physically, what it is to the The importance of color to the American consumer eye, and what it is to the brain. Past associa- waswell illustratedseveralyears back when tions, conditioned reflexes, tradition, and margarine was put on the market as a colorless fashion all have their influences. The ultimate product. Margarine was white due to the fears consumer judges what to buy on the basis of all ofthe dairy farmers thatit wouldsupplant the senses; he touches, tastes, smells, lifts, butter in the American dietas itwasless and looks at mer-handise. The eye ishighly expensive. The public demanded that a yellow discriminantabouttheappearanceofthings. color be added, so a dye capsule was included in The butcher has learned to display his meats the package to mix with the margarine. Today under pink lights to give them that rosy pink margarine is precolored and is considered a look associated with a good product, but not to satisfactory product to substitute for butter, allow his workers to work under that pink light just as the dairy farmers feared years before. because it causes them to become irritable and to suffer from physical and emotional diseases Accepted as a rule-of-thumb by all color related to stress. The sense of touch separates practitioners is that all colors on the red side colors as warm or cool, wet or rd The sense of the spectrum are warm and stimulating, while of smell associates color to the product. those at the opposite blue-green end are cool SureTFTEe smell of roses immediately brings to and relaxing and thatindividuals respond to mind tints of pink. Products are usually these in a definite manner. Both industry and packaged in boxes carrying the associated color organizations dealing with the public are more and definite distinctions are made in color for conscious today than ever of the soothing or the feminine or the male customer. As to the stimulating effects of color. Doctors' or sense of hearing, the majority of people asso- dentists' waiting rooms are rarely decorated in ciate slow music with blue, fast music with red, stimulating red or yellow. A group of New York high notes with light colors,and deep notes restaurants discovered their chaste gray-green with dark colors. color schemes were popular, but customers were inclined to linger and turnover was slow. When In modern civilization color tendsto play a a color consultant changed the color scheme to supporting role and is seldom seen alone. It red and yellow, traffic speeded up and business lends its charm, personality, or its ugliness to increased. This points to thenecessity of the form with which it is seen. In a assessing the general psychological effect competitive system,in which thereisa wide desired of a room orspacebefore selecting choice, no manufacturer or businesscan afford colors. Without a point of view, choice becomes to overlook the fact that the act of choosingor guesswork. It pays to develop an awareness of purchasing is an emotional experience and that color and particularly to those that willbe color consciously sells an article,person, or used in a personal environment. Beingcon- place. stantly surrounded by stimulating colors can

149 15 k;t L 1-50 affect the health. Colorsdo have an effect music. upon the mind, emotions, and Ely of man. As color, more than any other element in the Color seems to overflow in all directions. It visual arts, plays a dominant role in each has obviously contributed a great deal to dance, person's lifeit would seem to follow that a theatre, and music. At times the combination knowledge of color can make a difference in the has produced wonderful results as in the "Toc- home, play, and work environments. The quickest cata and Fugue" number in the Walt Disney way to learn about colors is by handling them, classic "Fantasia:" In another manner of mixing them, and combiningthem. By growing approach is Mondrian's painting "Boogie Woogie." familiar with what they can do one can express People who work in make-up, costume, set design, emotion, describe, and decorate. A person and lighting in the broad areas of theatre- - should take the time to find out which colors which include dance, opera, musicals, children's make him feel good, and which colors look best theatre, television, movies, and so forth--must on him. To do this, the most important assets understand the uses of color and their are a pair of eyes and a lot of timespent psychologicaleffects. A production's success looking. Color can enlarge the visual experi- or failure may rest on just this knowledge. ence and imagination. Once there is an understanding of color and its endless ramifica- The choice of colors for a production are chosen tions, it is quite challenging to analyze the for mood and to psychologically transport the advertiser's use of color and design for manipu- viewer toa specific time or place. Costumes lative purposes. and scenery are ineffectual if the color is not inkeeping. When "An American in Paris" was Another way the advertiser manipulates the buyer choreographed for ballet, the decor and costumes is by his choice of print. Why do some adver- were to convey the feeling of Paris in the late tisements have handwritten messages reproduced? 19th and 20th centuries. The designer turned to What is the viewer's response to handwriting as the famous painters of Paris of that time and opposed to an advertisement that is all graphic the v;oual aspects of the ballet were based on print? A professional graphologist could the style and palettes of six painters: Dufy, perhaps give reasons for these differences. Van Gogh, Toulous-Lautrec, Renoir, Utrillo, and Graphology is a seriousstudy ofthe way in Rousseau. The opening of the ballet was set in which a writerexpresses his individuality. the Place de la Concorde in the style of Raoul Such things as the size of the small and capital Dufy. In the Van Gogh sequence,the yellows letters, the pressure used to mark, spacing of used ranged from the most fragile yellow-greens words and letters, and margins are signs which to rich golds and finally dark brown-yellows. must first be considered separately and then put It was a color to "rise" to a climax with the together to produce the total personality picture. Some of the response to an advertise-

76 151 152 ment may come because of the personality "handwriting expressed in the handwriting. expert." The graphologist is concerned with analyzing handwritingwith the purpose of determining the writer's personality. People have drawn inferencesfrom handwriting Today it is used successfullyas a supplemental since the secondcentury A.D. according to diagnostic toolin the field of psychological researchers workingon the historical background testing. The handwriting analyst examines of graphology and calligraphy. One of the first each sample of handwriting in thesame way a finger- references was C. Suetonius Tranquillus's print expert does his work, statementthat hefoundsome realizing that each strangeness in person has his own Augustus Caesar's handwriting. unique characteristics. In the eleventh Handwriting is a personal century, some learned Chinese expression--a bodily recognized a movement registered graphically. relationship between the writingand the personalities of the writers. Model books of hand- Notice in advertising directed to writing and lettering arose women the in Renaissance handwriting will be flowing and Italy. Chancery cursive, the most graceful, while popular form an advertisement directed to a business of longhand for hundreds ofyears, was developed man will carry a forceful script. A backhand slanted in the Apostalic chanceryof the Roman Curia writing would be suitable foran outdoor adver- during the fifteenthcentury. The seventeenth tisement as it indicates an opennature, a century witnessed an even greater flow of engraved person who does not like routine details. These books of calligraphy containing a are just a few examples of the way the vieweror developed Baroque form ofchancery cursive. It wasin the early seventeenth buyer is manipulated by theuse of print and century that an script. Italian scholar wrote rulesto follow in making an analysis of handwriting. During the eighteenth and nineteenth Many of the things thatare used to catch the centuries, manyintel- viewer's eye are not lectuals formed study circlesfor the discussion as readily apparent as a bright color. Many almost fallinto the realm of handwriting analysis. Among these were such of subliminal programming, which means the individuals as Edgar Allen Poe, Benjamin message is sent so fast and so subtly that the Disraeli, Johannvon Goethe, Robert Browning, Sir conscious mind rarely notes theactual cue to Walter Scott, Thomas Gainsborou0, and others. the subconscious. When the viewer or buyer is In the late nineteenth an early aware of the way color,print, twentieth centuries, academic line,shape, scientists in form,and texture are used to Germany did much scholarly influencehis work in the choice of product he stands development of this science. a better chance of making the appropriate purchaseto fit his needs and finances. A graphologist is notto be confused witha

4:0 15$7 77 354 DISCUSSION/REACTION ART EXPERIENCES

Visualcommunication is a dominant o Change the atmosphere of the classroom by dimming the part of our life and affects every- lights. Assume a different personality through body thing we do. language. Follow with a class discussion.

An ideal way ofexchanging ideas o Create a new language by designing visual symbols to with a universal audience is through represent specific letters, words, or ideas. For exam- visual communication. ple, a line drawing of a square followed by a circle may represent the alphabet letter A. Once a new language is Visual communication is used by the created, have the students encode a simple questlon for dancer, the musician, the actor, the their neighbor to decode. author, and the artist, each in an individual way. o Using the elements of design, have the students experiment with the moods of various colors, shapes, lines, In commercial artwhat stepsare textures, values, and spaces by expressing the following: taken to develop an idea from excitement, depression, happiness, sadness, movement. conception to the printed page? o Choose a word, phrase, poem, scene from a play, song, Many of the seals of the states and season of the year, or a popular event to illustrate the some businesses are direct adapta- mood using the elements of design as communicative tools. tions of European coats-of-arms. o Group three or four students to select, view, and analyze The American flag consists of strips the persuasive powers of a television commercial. Share of color strung together--why do the with the class. colors of red, white, and blue have such appeal? Why do candidates for o Have the students design a product that may be placed on public office use these colors rath- the consumer market in the year 2000. er than orange, yellow, and green? o Redesign traffic signs for the local community. How can Could the colors in this classroom the taxpayer be convinced that the new design is more bechanged to create a different appropriate than the one currently in use? environment? Would psychedelic lights help concentration? Would o Have students divide into teams to compete in the game pink chalk on a red chalk board be a "charades" to emphasize nonverbal communication through suitable combination for easy body language. reading? o Have students list visual and nonverbal communications What new means of communication will they encounter daily at home, school, and in the there be in the future? community. ART EXPERIENCES WORDS TO RECOGNIZE

o The Great Seal of the United States and the Arms of the advertisement Republic are different. Research each and compare and alphabetic culture contrast the characteristics. campaigns coat-of-arms o All cultures use a pictograph form of communication. Re- city planner search and draw several, such as the cigarette ina circle color with a diagonal line indicating "no smoking" that isused color practitioner on commercial airlines worldwide. color psychology commercial artist o Find examples of typographical symbols and styles, suchas communication nonserifed letters, serifed letters,or Schoolbook type consumer face. Determine a specific need and select the stylemost decorative design appropriate for that need. designer emblem o Dosomethinggreat withsymbolism. Design a personal graphic symbols coat-of-arms or a seal that would communicate information graphology about one's self to others. Use crayons. HERALDRY HIEROGLYPHICS o Have students find an advertisement that caused themto ideographs "change" their minds about a product, place,or person. images Share with the class. interior designer landscape architect o Do a public opinion survey where respondents fillin a lineal sequence reaction to specific colors. Make comparisons on how dif- logograph ferent individuals may feel about thesame color. manipulate MATRIX o Introduce the students to the power of visual communica- MOTIFS tion by selecting advertisements froma number of publica- phonetics tions and then determine which art element is usedas the seal dominant persuasive factor. SYMBOLS/SYMBOLISM TYPOGRAPHY o Have thestudentsdesignone ofthe following,with emphasisonone or two of the art elements: a candy wrapper, record jacket, or a soft drink can. Display all products and take a survey of class members forthe most *Capitalized words are defined in effective advertisement. the glossary. REFERENCES RESOURCES

Brommer, Gerald F., and Gatto, Joseph 17 - Politics in America Careers in Art. Worcester. MA: Davis 70 - Art Deco Publishing, Inc., 1984. 205 - Art and War 206 - Art With a Message *Brommer, Gerald, and Horn, George F. 214 - Language, Signs, and Symbols: How Man Communicates Art in YourWorld. Worcester, MA: 217 - The Many Masks We Wear Davis Publishing, Inc., 1977. 218 - Myths and Legends: Mirrors of Mankind 219 - Personal Communication: Gestures, Expressions, and Cataldo, John W. Lettering. Worces- Body Language ter, MA: Davis Publishing, Inc., 220 - Pursuit of Happiness: Man's Search for the Good Life 1980. 227 - Man as Symbol Maker: Creating New Meanings 228 - Media and Meaning: Human Expression and Technology Davis, Elton M. Arts and Cultures of 505 - Art of the Middle Ages: The World and the Cross Man. Scranton. PA: Intext 540 - Learning to See and Understand: Developing Visual ITEational Publishing, 1972. Literacy 542 - Signs and Symbols: Traditional Images and the Modern *Fearing K., Beard, E., & Martin, C. Artist The Creative Eye: Vol. I and II. 543 - Understanding Art: Line, Color, Form, Space, Austin, TX: W. S. Benson & Co., 19837 Abstract Painting 556 - Vision of Color: Basic Color Theory *Gatto, Joseph A., Porter, Albert W. & 557 - Perception of Color Selleck, Jack. Exploring Visual 567 - The Artist's Vision: Color and Light in Painting Design. Worcester, MA: Davis 665 - The Continuity of Form Publishing, Inc., 1978. AVAILABLE FROM The Louisiana Slide Library, Box 94064, Horn, George F. Art for Today. Baton Rouge, Louisiana 70804-9064 Worchester, MA: Davis Publishing, Inc., 1979. Color and Light--An Introduction Color of Light Laliberte, Norman, and Mogelon, Alex. Discovering Dark and Light The Book of Posters. New York: Art The Educated Eye Education, Inc., 1970. Film, The Art of the Impossible Laser--A Light Fantastic *State adopted text AVAILABLE FROM Regional Film Libraries, Bulletin 1406 REFERENCES AVAILABLEFROMLouisiana State Library

80 159 160 t SAMPLE TEST QUESTIONS DESIRED RESPONSES

1, A way of letting others know how one thinks and feels is 1. communication referred to as .

2. List two means of visual communication discussed in this 2. emblems, insignia, unit. coat- of-arms, seals, trademarks

3. T F Prior to the alphabet, man's early ways to record 3. True messages were pictographs, ideographs, and logographs.

4. T F Graphics are directly related to the message they 4. True carry.

5. T F All art is symbolic. 5. True

6. T F Television provided the greatest change in the 6. True visual arts within the last two decades.

7. T F The consumer judges a product based only on its 7. False physical appearance.

8. T F Colors in the red spectrum are warm and 8. True stimulating and are preferred interiorcolors for fast food outlets.

9. The most recent discovery incommunication is the . 9. computer, computer chip 10. Match the kinds and directions of lines with their 10. d., e., a., f., c., b. emotional response: angular a. definitive curved b. movement straight c. peaceful vertical d. unstable horizontal e. soft diagonal f. stately

i R2 81 [kk********.kfkkk*k***.k******kkkkkkfkkckfbkk+

ACHIEVING LITERACYIN THE ARTS VISUAL ARTS UNIT IV

163 ******************************44++++++

In this unit the discussion will center around thefollowing questions: HOW DOES

THE INDIVIDUAL SEE ART? HOW CAN THE INDIVIDUAL LEARN TO DESCRIBE AND ANALYZE

WORKS OF ART? HOW IS ART ASSIGNED AESTHETIC VALUE? This unit will explain what

literacy in the arts means and how to achievea measure of literacy that should

helpindividuals make aesthetically sound choices in their day-to-day living

environment.

164 FOCUS EXPECTED OUTCOMES

The focus of this unit is to explore literacy in o The students will understand some of the the arts. factors that influence their perception.

41 The students will explainthe critical

ob WHAT FACTORS INFLUENCE AN INDIVIDUAL'S process used to assign certain aesthetic

PERCEPTION? values to art and why some works of art

are considered to have passed the "test

* HOW IS ART DESCRIBED AND ANALYZED? of time."

* WHY AND HOW AND BY WHOM IS ART ASSIGNED * The students will understandsome of the

AN AESTHETIC VALUE? terms used to describe art.

The students will select and be ableto

analyze at least three works of art.

165 166

84 ACHIEVING LITERACY IN THE ARTS

"Appreciation--the act of evaluating, understanding, and experiencing art or any expression of art through sensitive awareness of design and perception of worth or value."

* Leon Winslow

167 85 PERCEPTION red wedding dress! They associate the color white with purity, innocence, andgoodness. In Perception is defined as the act of experiencing an American's eyes this makesit the perfect sensation and interpreting or giving meaning to color for a bride's dress. The Chineses would that sensation. Perception begins with the five be horrified if a Chinese bridewore white be- senses: sight, hearing, taste, smell, and touch. cause they consider it tobethecolor for The individual becomes aware of a stimulus byway mourning. of one of these senses. The perceptual screen is alsoactivated by phy- Perception is anindividualexperience that is sical experiences. A baby does not recognize unique to each person; no two people will per- the word "hot" untilhe touches something hot ceive a sensation in exactly the same way. The and relates or connects in his mindthe experi- reason for these differences is the perceptual ence of being burned with the warning wordof screen orfilterthateach individual builds "hot." Perception in these instances comes throughout his life that allows him to decide through the senses. People learn from what they what sensations or events are important and worth see, hear, smell, taste, and touch. remembering. This screen is influencedor built by an individual's cultural beliefs, physical Intellectual perceptioncomes from connecting experiences, intellectual knowledge, and personal previous experiences gained directlythrough the emotions. senses to the symbols or words thatwere learned or associated with those experiences. An exam- An example of the influence of cultural beliefs ple would be a person who reads (symbols)about upon an individual or group of people would be a pineapple, but has never tastedone. He may, the way thetaskof weaving was regarded by however, have tasted other similarfruit and be differentAmerican Indian tribes. TheNavajo able therefore to imagine in hismind what it believed weavingto be a menial task suitable must taste like once he readsa description. only for women. The Hopi Indians, however, would have stoned any woman who dared to weave, because Emotional perception is the association of they believed it to be a religious duty that a only feeling with a physical sensation. For example, men were capable of performing. a person walking down a streetpasses a bakery and smells cookies like his motherused to make, A second example of cultural biasconcerns the and suddenly is overwhelmed by a feeling of color red. Most people in the Western world feel homesickness. Or take the example ofa small that red symbolizes danger, evil, or excitement. child who is frightened bya visitor to his home TotheChinese however, red is thecolor of who is wearing a red dress. Red may never re- happiness--most Chinese brides wear red on their mind him of that person again, butit may start wedding day. Americans would be scandalized by a a lifelong dislike of the color andan associa- 168 169 86 tion with the feeling of fear with the color. ANALYSIS

Peop'e remember or relate to what is personally Analysis is defined as the act of breaking up important. In order for something to be signifi- any whole into its parts to find out their na- cant to a person, he must be familiar with it or ture, composition, function, or relationships. recognize it. Hemustbe able to attach a In an analysis ofa work of art, the viewer meaning to it. If an object or event has meaning takes the elements and principles of art he has either culturally, or physically, or intellectu- described and noted in the art work, and adds to ally, or emotionally, a person can describe it. these parts any facts about the artist and the He can formulate a word picture to communicate historical period he may know. He is then ready information about the object to another person. to interpret the facts his mind recorded and described during the perception of the art work. DESCRIPTION He may ask himself why this particular medium was chosen? For example, did Degas choose The description of a perceivedwork of art pastelfor his ballet sketches because it was requires some knowledge of the elements that go fast, easy to carry, and unobtrusive to the real together to make up that art work. It may occur dancers he was drawing while they worked? Or at any level. A small child may relate to, or did he use pastel because it gave a light, airy, recognize, a work of art because it has a dog in delicatefeeling to the drawing thatalmost it that reminds him of his own dog. Because he matched the effect of the dancers themselves? relates to the dog, he remembers the picture and can describe it (perhaps only the dog) to another When analyzing a work of art, the viewer must person. An adult may relate to a work of art study the artist's technique and ask, for exam- because the colors trigger a certain emotion the ple, why did he use an impasto technique rather he associates with pleasure or well-being. He than a thinner, flatter application of paint to may also relate to a work of art because he has make light appear to dance off the surface of studied 141 history, or the period, or the life the objects in the painting? of the artist who did the work. This isthe recognition of an informed viewer who can give a The viewer must take into account the artist, description of the work that willallow others his lifestyle, the period in which he worked, hearing the description to visualize the work for and the culture in which he lived. For themselves. In the previous sectionsofthis instance, a comparison of a female nude by course the elements, principles, symbols, and Picasso with a nude by Rubens must take into styles of art have been presented. Familiarity account the intentions of the artists. Picasso with the facts in these sections will aid in the was trying to restructure space and to add the description and analysis of a work of art. fourth dimension of time to his work. Rubens

17Q 87 171 was concerned with interplaying dramaof light and composes the elements of his against dark. work; the vividness and intensity of the elements Another question that occurs in the analysis of a Meaning--the subject or message work of art concerns the subject matter. Did the of the work artist have a great desire to paint this particu- Feeling--the emotion that the lar person or was this a painting of aperson work evokes whose patronage economically supported the artist, or, as in the instanceofGoya, was The decisions made during the critical process political pressure applied? should yield a value judgment about a work of art--an aesthetic value, not a monetary value. When the viewer can answer a few of these ques- The viewer who is impressed with a work of art tions fromhis own knowledge, artbegins to because of its monetary value, or the popularity relate to him personally. He can makeintel- of its style, its age, or the artist who did the ligent choices that are backed by informed work may perfectly well merit its high price. opinion rather than strictly emotional choices The thinking viewer appreciates the work for its about the art around him. aesthetic qualities, not its expense, or because it is the fad of the moment. VALUING Many works of art have been saved and preserved Anyone who makes a choice between two pieces of through the ages because they inspired awe and artis making avalue judgment. That judgment pleasure in the people who saw them. Men have can be based on something that the viewer relates coveted, acquired, and saved works of art for to or recognizes, something that intellectually their heirs. These were often acquired at great stimulates him, orsomethingthat elicits an expense. During times of war and famine, these emotional response from him. Ideally, all of works were hidden and protected. When a work these factorsshouldbeemployed inmaking a has survived because of this kind of care and decision about the value of a work of art, with attention it is said to have passed the "test of none outweighing or eclipsing the other. time."

The critical process should consist of decisions Throughout time, critics, both professional and based on the following: otherwise, have molded the public's taste in art. - Technique--the way the artist chose Many of the critics' choices have stood the "test the medium of his work and the skill of time." Michelangelo's work was popular in his with which he uses the medium lifetime and is still considered to be some of - Design--the way the artist chose the finest art ever created. But many more of

88 172 173 the critic's choices have not faredso well. The Today art is big business--paintings from certain FrenchRococo painters were highly popu'ar in artists sell for millions of dollars. Art is now their time, but are now consideredsentimental bought for investment purposes. In our changing and rather effete. Many works that were ridi- times, art is one investment that :ontinues to culed by the critics of their timeare considered gain in value. One reason is the small collector great art. The Impressionists were named bya who begins to buy inexpensive pieces--let'ssay criticwho derided them saying theyhad no cut glass, or Amish quilts, suddenly finds he painting skill and, could only give an "impres- has a collection of some value which he sion" of an object. The Fauvists were named bya continually changes and upgrades. The more he newspaper critic who said their work looked like looks and studies in the field of art in which it had been done by "wild beasts." hecollects, themorehe learns ofart in general. This learning can expand his interest Of course, the public's taste isvery changeable, and his collecting to other fields of art. if not tosay fickle. Witness the rebirth of Greek Classicism: first during the Renaissance, There are other collectors who collect only for then again in the Neo-classicism of the early investment, with little or no regard for the art 1800's. Each of these revivalswas followed by a itself. These collectors rely on the critics, rejection of the style's concepts ofcool, calm, because they look for the newest trends. They moderation. The highly theatrical and emotional buy work that is inexpensive now, in ti , hope Baroque period following the Renaissance,and the that it will become the rage and rise imaginative and emotional Romantic periodreact- dramatically in value in the near future. At ing to theNeo-classic;both tookinspiration times critics have been responsible fora large from the Hellenic period. T'ie Hellenic period portion of the public's acceptanceor rejection followed the Classical period of Greece. These of an artist's work. Generally a professional new artists drew their inspiration from the older critic is a person who has been educated in the styles. arts and has extensive knowledge of the field. But, as the past has proven time and time again, Just as a generation's taste may change about they arenot infallible. It is up to the current art work, taste can also change with informedand intelligentviewer to takethe regard to the past. The Victorians held Gothic information and opinions of the critic anduse art in high regard, today the publicconsiders them as one piece of available information to Gothic art to be a bit too elaborate for its assist in analyzing the art in question, rather taste. What remainsreally certain about art than regard the critic's opinion as the ultimate styles and public taste is that theyhave changed judgment. This is literacy in the arts. continually in the past, and will likelycontinue to do so in the future.

89 175 DISCUSSION /REACTION ART EXPERIENCES

Discussperceptionfrom a q;sual, o Play agame of "Describe"in order to test PERCEPTION. audible, tactile, and taste point of Take 20 small objects and allow a group of students to view. Which senses are used to discuss them for five minutes. Cover the objects and have perceive drama? Dance? Music? each student write a list of as many of the objectsas he Visual Arts? can remember. Go over each list and ask students to tell why they think they remembered a particular object. Why are so many people working so hard and contributing so much money o Show examples of Michangelo's "David,"and Donatello's to restore the Statue of Liberty? "David" and discuss how they are alike and how theyare Why not let it fall to pieces? different. Have someone relate the story of David and Goliath and poll the class on whether or not they think Why was the "King Tut" exhibit so either David would be considered historically correct and popular? Sometimes it took as long if so which one? as three hours in line in both America and in Europe to enter the o Have students look at a piece of abstract art. Have the exhibit? class discuss the various emotions it evokes. Have them explainwhythey thinkthey mayhavehad a certain What is cultural bias and how can it reaction. both affect and effect a"' o Look in a current art magazine, or the local newspaper, How much do people depend on profes- for a critic's column (with an illustration of the work sional critics? Consider movie re- critiqued). Have students critique the work, telling what views, plays reviews, music reviews, they like and do not like about the work. Then read the as well as visual art reviews. Can critic's piece and see howsimilaror different the a critic make or break a show even student's opinions are. if it's good? o Show examples of Rembrandt's portraits. Discuss the Which critic has more influence, the economy of Northern Europe during the Baroque era as an criticoffilmorthe critic of influence on the artist's works. Broadway shows? Why? o Show examples of French Rococo and Impressionist land- Shouldthe crownheads ofEurope scapes and ask the students to give a critical evaluation (many of whom inherited great art of them. Remember to view, describe, analyze, and value. collections that the public has never seen) be encouraged to show o Show examples of three styles of Greek columns and havea their collections? Why or why not? class discussion on why they are different and how they aredifferent. Whichone is preferredbythe class? Which one do most art historians regard as Classic?

...... ,/111=111110111116. 90 176 177 ART EXPERIENCES WORDS TO RECOGNIZE

o Discuss and show examples of Bauhausdesign. What were ANALYSIS the underlying ideas behind the Bauhausdesign? APPRECIATION audio o Show examples of George Seurat'sand Jackson Pollock's CRITIC art. Record some of the student commentsabout each critique artist's work. Discuss the ideas George Seurat hadon culture color. It has been suggested thatthe paintings of DESCRIPTION Jackson Pollock are also carefullycontrolled studies in emotion color rather than random drippingsof paint. How does LITERACY this knowledge affect the students'ideas about the value opinion and worth of Pollock's work? PERCEPTION sensation o Have students go through magazines andcollect examples of tactile furniture they like and thatthey feel go together. Have taste them draw a simple room floorplan indicating which technique furniture goes where and showingwith actual color samples VALUING their chosen color scheme. visual o Discuss how some shapes and formsin pottery and baskets have evolved through the centuriesin several different civilizations. Have students drawsome of these shapes and discuss why they recur in civilizationsthat had no communication between them. o If possible, have studentscall or write a museum director and interview him about themuseum's recent purchases, and future purchases they would liketo make. Check to see if the museum has a master plan forbuying (perhaps to round out their collection or add toa collection) or whether their plan is to buy the best ofwhatever becomes available that they canafford? Havethe classformulate questions and then haveone student write or conduct the interview and report to the class. *Capitalized words are defined in the Glossary.

91 18 179 REFERENCES RESOURCES

- I. M.: Art Into the Mainstream Dewey, John. Art as Experience. 225 A. Man--the Measure of All Things New York: Minton; Balch, and Co., 243 - Why Man Creates: Man Creates: In His Own Image 1934. Man Creates: For God and Country *Hubbard, G. and Rouse, M. J. Art: Man Creates: For Love or Money Choosing and Expressing. West6Fel: 284 - Academia Gallery: Venice Athens ter, IL: Benefic Press, 1977. 285 - Acropolis Museum: 286 - California Palace of the Legion of Honor: San Hurwitz, Al and Madeja, Stanley. Francisco Cleveland Museum of Art: Ohio TheJoyous Vision: Source Book. 287 - Holland Englewood Cliffs, N.J.: Prentice 288 - Kroller-Muller Museum: Hall, Inc., 1977. 289 - The Louvre: Paris 290 - The Metropolitan Museum of Art: New York 291 - Museum of Impressionism: Paris 292 - Museum of Sao Paulo: Brazil 293 - National Gallery of Art: London 294 - National Gallery of Art: Washington 295 - Pitti Palace: Florence 296 - The Prado: Madrid 297 - Uffizi Gallery: Florence 540 - Learning to See and Understand: Developing Visual Literacy Expressions Impressions 541 - Line, Plane, and Form in Pictorial Composition 543 - Understanding Art 565 - The Artist's Eye: Pictorial Composition 566 - The Artist's Hand: Five Techniques of Painting 567 - The Artist's Vision: Color and Light in Painting *State-adopted Text 655 - The Continuity of Forms

REFERENCES AVAILABLE FROM AVAILABLE FROM The Louisiana Slide Library, Box 94064, Louisiana State Library Baton Rouge, Louisiana 70804-9064

The Educated Eye

AVAILABLE FROM Regional Film Libraries, Bulletin No. 1406

92 180 181 SAMPLE TEST QUESTIONS DESIRED RESPONSES

I. To perceive an object means to (a. take it apart;b./ sense it; c. synthesize it). I. b. sense it

2. List the steps used by a viewer to make a value judg- 2. perceive, des,ribe, analyze, ment about an art work. value

3. This is self-portrait of Van Gogh. Describe it. 3. The work is very vivid in color, mainly pure hues used, little dulling; brush work appears in quality. Man appears haunted, drawn, worn.

4. People view life through a perception filteror screen made upof cultural beliefs, physical experience, 4. Emotional intellectual knowledge, and experiences.

5. People remember what is to them personally. 5. Important

6. T F People should believe and act on a critic's 6. False opinion of very new art.

7. Art is used as an (a. invention; b. investment; c. 7. b. investment economy) by people who wish to increasetheir wealth.

182 it' 1833 I 444040+01040010400100140100144040+4040**010010404001044+++******

ART AS ENVIRONMENT VISUAL ARTS UNIT V

184 In this unit the discussion will center around the following questions: WHAT IS EN-

VIRONMENT? HOW DOES ART AFFECT THE ENVIRONMENT? WHAT KINDS OF ARTISTS AFFECT THE

ENVIRONMENT? This unit should help the student becomeaware of the arts and art careers that affect his life and help him develop the knowledge to choosedress, furnishings, and homes that reflect good aesthetic taste.

185

95 FOCUS EXPECTED OUTCOMES

* The students will become aware of their

environment, its changes, and the effects

The focus of this Unit is to explore art in the they experience as they move through a environment of man: day.

. WHAT CONSTITUTES THE ENVIRONMENT OF MAN? fit The students should become aware of how

much of their environment isconnected

* WHAT ROLE DOES ART PLAY IN MAN'S ENVIRON- with art and the forms it takes.

MENT?

* Thestudentswill become aware of the

* WHAT CAREERS IN ART AFFECT MAN DAILY? many fields of art, the career options in

art, andhow artists affect the world

around them. ART AS ENVIRONMENT

"Knowledge of art should develop an awareness and appreciation of both nature and well- designed man-r'de objects that range from paintings and houses to kitchen utensils, Art should aid in developing a belief in oneself and a desireforcreating a morebeautiful and meaningful world in which to live . . . it can serve to enrich an entire society."

dt James A. Schinneller

188

97 Man's environment consists of everything that artists have provided elegance and grace to many surrounds him that he can sense by sight, sound, of the utilitarian and functional products that smell, taste, or touch. John Dewey, educator, have made up man's environment for centuries. adds ". . . life goes on in an environment--not merely in it,but because of it, and through In order to study the pervasive effect art has interaction with ;t: The career and destiny of on a man's life, it is interesting to examine a a person is bound vp in an intimateway." 24-hour span in an ordinary day and consider the Environment is an "umbrella" kind of word that art and artists whohave touched man'slife includes things as large as a city or as small during that time. Modern man can livein as as a room. It includes such essentials as food many as four different environments every day: and air, and sur..h frivolities as designer jeans. home,workor school, recreational, and the organizational environments that his society has Man's personal environments have changed through formed for mass use. the centuries from cold, dark caves to climate- controlled, comfortably furnished dwellings. Perhaps this man lives in a city, in an apart- Whatever man's personalenvironments were,he ment, where he is now asleep in the bedroom. has always sought to decorate or enhance them. This is a home environme t. The man is asleep Although man's first concern was function on linen that was designed by a textile design- (makingsuretheobjectdidthejob it was er, who decided the pattern, color, and weave intended to do), he rarely passed up the oppor- used to make these particular sheets. He is tunity to decorate the object as well. Man's asleep on a bed that was designed last year, or attempts to force order on his surroundings led 200 years ago, by an artist who works with wood. him toimitate and abstract thepatterns and The room is carpetedand draped (again the designs he foundin nature,and use them to textile artist), as wellas painted and wall- decorate the functional objects he made. papered (both items have an artist'sdirect input before production). All of these items Visual art is considered to be the attempt of a (furniture,carpet, drapes, paint, andwall- man to communicate his emotions, and attitudes paper) have been put together bya professional about his personal experiences and his environ- interior designer, who was trained in art with ment in a non-verbal manner to his fellow man. emphasis in furnishing. The bedroom is but one Traditionally,these methodsof communication of several rooms in an apartment designed by an have included drawings, paintings, graphics, and architect and built by craftsmen. sculpture. When art or art in the environment is mentioned, itis these traditional methods When the man awakens, he dresses in clothes that that come to mind,but art is not limited to a fashion designer created and a fashion buyer decorative objects that hang on walls! Art and bought and displayed. He goes to the kitchen for breakfast where every appliance (from the At the office the man opens his mailand is refrigerator to stove, to toaster) was initially inundated with examples of the graphic or print designed and packaged by an artist working for artist's work. Every advertising brochure, industry. The man's dishes, silver, and glass- every letterhead, every logo(design, usually ware may even have been created by an individual incorporating the company's initials, that serves artist. If not, they were mass produced from an as a symbol or shorthand for the company's name), original design by an artist or potter working was designed by a commercial artist or a graphic for a manufacturing company. Other examples of artist. art's influence irf the kitchen must include the packaging offoodstuffs. Thesepackagesare After work the man chooses to eat in a restaurant carefully designed by commercial artists for the (organizational environment), whose building food companies to attract the buyer's attention. involved an architect, a decorator, and a commercial furniture designer. The menus, table The man goes to his car (whose design beganas a settings, china, glassware, and silver may all drawing and eventually became a full scale clay have been designed by artists working for various model by an artist working with engineers), and industries. At home again the man chooses to goes to work. He travels streets and interstate relaxby .watching television (visual artists systems(which have an artist's inputin the worked on the sets, costumes, special effects and intitial design), he might see a city park with film editing), or he may listen to his favorite a statue or fountain created by an individual record album (cover design by a visual artist) on artist. He will surely see the many advertise- the stereo, or read his latest magazine (ads, ments and bill boards with all of their graphic layouts, illustrations, andphotos by visual communications, because they are carefully artists). And so to bed. Thissketch only designed by commercial artists and advertising points out a few of the arts and artists who may executives to catch the passer-by'seye. The have played a part in his daily life. park, his apartment grounds,andthe grounds around his office building wereprobably de- As has been noted the purposes of art are varied signed by an architect trained in botany. He and serve the needs of society through products works in a large high-tech office building that for the home, religion, business, and industry. was undoubtedly designed by anarchitect and While every man-made object has a design not decorated by an interior designer, because most every man-made object has a design good enough to large businesses are wellaware of the effect be called art. Take, for example, a jelly jar. good design and pleasing interiors haveon their An artist probably designed the first one, the employees. They know that the correct colors, prototype for the jelly company, but its main textures, and lighting will help their employees purpose or function was to hold jelly--if it did work at optimal capacity with the least amount so attractively that was well and good, but it of stress and physical discomfort.

99 192 was not art nor wasit ever meant to be. It is Beautifying an object does not mean adding or very rare for a mass-producedutilitarian object applying ornate decoration to the outside of the to eventually be considered art. Man ca;1 choose object, but involves instead the rearranging of to surround himself with cheap,mass-produced the basic structure of the object into beautiful items, such as the jelly jars, or clumsy non- lines, shapes, and forms. Functional objects by functional furniture, or ornate overly decorated definition eliminate all nonessential or super- knick-knacks, or he can choose to surround ficial elements. himself with well designed, aesthetically beautiful, and functional items. Cost need not be a factor or reason for choosing the poorly designed object over the well- If man has this choice, why does he ever choose designed piece. Bad taste can frequently cost the nonaesthetic over the beautiful? Mostly it as much--or more--than good taste. Take, or is a matter of inattention to his surroundings example,dishes. A man goes to the discount and lack of knowledge of what makes an object house to buy a cheap set of plastic dishes. The functionalor what makes one objectbeautiful color may be unattractive, the shape may not be and well designed while another is poorly deep enough to hold food easily, and plastic may designed and non-functional. scratch and discolor easily. This same man could have gone to a local potter and bought In order for an object to be functional,the original art work for his table, work that has artist must know and intimately understand the weight, warmth, and is well designed--work that, way the object will beused. If it is a dish, with care, can become an heirloom. The pottery he must consider size and weight(will it be too maycost a little more initiallybut,when heavy when it is full of food to carrysafely?), contrasted with the plastic ware that must be are the glazes lead-free andsafe for human use, replaced several times in a lifetime, the will the dish fit in the standard sized oven, or pottery willbe more practical. If individual burner, or dishwasher? If it s a chair, will it taste runs to fine china rather than pottery, he tip over easily? Is it the right height? Does can stillfind better design than the plastic it support the back? Is the cushioning thick ware. Granted fine china is extremely expensive enough? Is thematerial covering iteasily when bought new and in a set, but a few week- cleaned or finished so it does not need frequent ends at a local flea market can unearth beautiful, old, elegant pieces of chi,ia for a nominal cleaning? Is the weave of the materialtight enough to preventsnags and runs? Whenthe cost. artist has thought of and surmounted these kinds of problems, then and only then, can he hope to Today the home environment and its furnishings make a beautiful functional object. are big business and the home owner has amulti-

100 193 194 tude of good, elegant choices of design avail- The craftswomanwho did this design did an able on the market. Designers have found that abstraction of a geology map of one of the coal people are willing to invest a bit moremoney in veins mined by the company. Many public and furnishings that are functional, well designed, civic buildinys are once again using the art and intrinsically beautiful. Some of the modern work of local artisians as was done during the furniture coming from the Scandanavian countries Depression. And, as during the Depression, is so beautiful it could be classified as government grants make this possible. In one of sculpture, yet every piece is functional, the police precincts in Seattle, ceramicist Liza comfortable, and very usable. Today there are Halvorsen was commissioned to do art for the young designers who ace making copies, by hand, public areas. She chose to do mosaic murals of in fine woodsandfinishes,of olderpieces salmon, up the front steps, around the drinking whose designs have stood the test of time and fountains, and in the restrooms. She worked are aow considered classics. veryclosely with the architects sothe art became an intregal part of the building and not Business and industry have long employed archi- an addition of afterthought. tectsandinterior designers to design their places of business. Most of these businesses Art in the environment proof of the never- feel that the aesthetic qualities these profes- ending struggle by man toimprove his world. sionals give to the buildings they designare Just as the first caveman incised designs on the well worth the extra costs thatare involved. bones and stones he used for tools, so modern It has been mentioned that from a business point man seeks to please his natural instincts with of view,it makes good sense to construct a aesthetically functionalobjects and inspiring building that keeps its workers happy and buildings and dwellings. Art may increase the healthy,but business andindustry have also cost of these objects (it is, after all, found that an aesthetically beautiful building possible to build a warehouse of several pleases the community that often appropriates thousand square feet for the same price asa land and facilities, and may have to tolerate much smaller, well-designed building with intri- traffic problems that result in the business's cate decoration), but man has found that mone- location. tary cost is acceptable when the result gives him pleasure and inspiration. Businesses are also investing in art work for their corporations and buildings. This art work ranges from pieces bought at auction to pieces specifically commissioned for a particular space. One West Virginia coal company commissioned a huge tapestry for its front office.

I 5 lot 196 DISCUSSION/REACTION ART EXPERIENCES

Good art istoo expensive for most o Have students list all the careers they :ao think of that people. concern art and have them explain how the products of these artists affect the environment. What does the saying "form follows function" mean? o Have a group of students research the Bauhaus group, its artists, teachers, andobjectives. Havethemcollect What was the Bauhaus movement? Where examples of Bauhaus designsthat are being used today did it start? (check magazines for the Bauhaus designs in kitchen appliances and cabinets). Big businesses use architects and interior designers. Why? o Have studentsgo throughmagazinesdedicatedto home decoration andhave one group collect silver and dish Why are certain shopping malls designs, one group collect chair designs, one group popular with the public while other collect linen designs, etc., and have them write individ- shopping centershavehadto close ually about the article they feelis the most beautiful, from lack of business? Does the the most functional, and why they think so. design and convenience of the mall have a bearing on this? o Have students research current fashion designers(Vogue magazine often has articles and interviews of designers) Whatdoes a commercial artist do? and write areport for the class on the designers and What effect does his art have on the their ideas about fashion and art. public? o Ask a local commercial artist to visitthe class to What dces a fashion designer do? How discuss and share work with the students. much power do he leading designers have over the public? o Ask alocal buyer for a department store to visit the class and explain how she decides what to buy at market. How would you convey your ideas for a Have her explain the "market" and the difference between home to an architect? ready-to-wear and designer fashion.

Research well-known modern archi- o Have the students interview a free-lance artist, an tects, some of their designs, and why architect, a local craftsman, and so forth about their theyare considered '')ps in their commissions and how the commission system works. Discuss field. the meaning of "on consignment."

o Have students collect severalitems or photos of items that they consider to be well designed. Have them evaluate the item as to how wellit performs, its function, and how it looks.

102 197 198 ART EXPERIENCES WORDS TO RECOGNIZE

o Have students design their version of a space age chair. agronomist Have them look up examples of chairs from the ancient architect Egyptians to the present before starting their designs. ENVIRONMENT commercial artist o Have students design a book jacket for a novel (maybe one DESIGN assigned for readingin English). Have them work ina fashion designer size that could be used. FUNCTION graphic designer o Have studentscollect photosof lamps andhave them illustrator design a lamp that functions in a specific place (hanging interior designer from a head board on a bed, standing by a chair, lighting layout artist a picture, ctc.). logo municipal building o Have the girls collect examples of clothing for a weekend potter wardrobe that could be used at the beach (or other specif- prototype ic place) and that can be packed in one bag. Clothes will textile designer have to mix and match and be used in more than one way. urban Be sure to include all the accessories needed. utilitarian o Have the boys design a one-person mode of transportation thatcould actuallywork. Themachine may be pedal driven, oared, or flown. o Have students pretend they have been given a commission to do the art work for a public building--perhaps their own school. Have them decide on a theme for the art work and what forms the art willtake (tapestries, stained glass windows, murals, mosaics, or sculptures) and the placement. o Have students design a playground for children. Have them look up some of the urban designs that have been done in large cities using tires, barrels, pipes, etc. o Have students study several house floor plans and compare the traffic flow. Have students make any changes they feel would make an improvement in the traffic plan of the *Capitalized words are defined in houses. the glossary.

...1,....111111MW 499 200 103 REFERENCES RESOURCES

*Brommer, G. F. and Horn, G. F., Art: 3 - American Civilization: The First Hundred Years Your VisualEnvironment. Worcester, The Arts and the Common Man MA: Davis Publishing Inc., 1977. The Arts Reflect Daily Life Architecture as a Language *Fearing, K., Beard., E. & Martin, C. 10 - The Eye of Thomas Jefferson The Creative Eye: Vol. I & II. Architecture Austin, TX: W. S. Benton & Co., 13 - Index of American Design 1979. 14 - Two Hundred Years of American Design 80 - History of Costume: An Overview Harlin,Calvin. Visionand Inven- 258 - American Rooms in Miniature tion. Englewood Cliffs, N.J.: 259 - European Rooms in Miniature Prentice Hall Inc., 260 - Art and Environment 261 - Art, Science, and Technology *Hubbard, G.and Rouse, M. J. Art: 263 - Concepts of Archaeology Choosing and Exeressing. West- 264 - The City chester, IL: Benefic Press, 1977. 265 - An Inquiry into the Future of Mankind: Designing Tomorrow Today Schinneller, James A. Art: Search 266 - Man avid His Environment: In Harmony and in Conflict and Self-Discovery. Scranton, PA: 268 - Restored Gardens in the Southeast United States International Textbook Co., 1962. 364 - Early New Orleans Architecture 367 - A History of Louisiana Architecture Walsh, M.V., Rinehart, C. A., & 376 - Louisiana Colonial and Antebellum Architecture Savage, E. J. The Arts in Our Lives. 378 - Louisiana Furniture New York: Macmillian Publishing Co., Inc. 1975. AVAILABLE FROM The Louisiana Slide Library, Box 94064, Baton Rouge, Louisiana70804-9064

Cities and Beauty - Cities Can Be Beautiful Form and Function

Hall of Kings--Westminster Abbey, Pt. 1- Shrine of Greatness *State Adopted Text Hall of Kings--Westminster Abbey, Pt. 2- The Poet's Corner New Guidelines for the Well-Landscaped Home

REFERENCES AVAILABLE FROM Louisiana AVAILABLE FROM Regional Film Libraries, Bulletin No. 1406 State Library

2 -10111Mam., 104 202 SAMPLE TEST QUESTIONS DESIRED RESPONSES

1. Define the word "environment." . Anything that surrounds a person that he can sense.

2. What is the difference between an illustrator and a . An illustrator draws or paints photographer? his subject while a photographer uses a camera.

3. List the four major kinds of environments in which man . hem, recreational, work/school, lives today. organizational

4. Define function. . Function is how something is used.

5. A Logo is(a. a child's toy, b.a store's name, c. a . c. symbol that identifies a company).

6. A artist designs the plan for placing copy 6. layout and photos in a magazine.

7. Artists who plan and design buildings are called 7. architects, agronomists/land- while artists who work with plants and landscapingare scape architect called

8. Anartist who designsand co-ordinates theuseof 8. interior textiles, furniture, and walland floor coverings is called a/an designer.

9. Define prototype. 9. A model from which other objects identical to the model are mass produced. 10. A building is a building constructed for public use at public expense. 10. municipal + 40 * + flo olook 40 flo 40 40 flo* 4, * * 40 4, + 40 40 do do flo +do do 4440010 40 * + + 40

DISCOVERING AND CREATING VISUAL ARTS . UNIT VI

205 itfivivipkfiplplfip144:**********4444:4*******4:44***

In this unit the discussion will center around the questions: WHAT IS CREATIVITY?

WHY DOINDIVIDUALS WISH TO CREATE ART? WHERE DO ARTISTS GETIDEAS FOR THEIR

DESIGNS? This unit is designed to prepare students to actively participate in a

creative process, to plan, design and complete a work of art, so that they may

understandthe excitement,frustration, joy,andsatisfaction involved in the

creative process.

111NalaN *, 10 206 FOCUS EXPECTED OUTCOMES

The focus of this unit is to prepare the student The student will understand what makes a to experience the creative process by discussing person creative and what makes a person the following questions: wish to create.

41 The student will understand where ideas

40 WHAT DETERMINES CREATIVITY? for designs originate and will execute a

design from one of these sources.

ob WHY DO PEOPLE CREATE ART?

The student will experience the creative

4 WHERE DO ARTISTS OBTAIN INSPIRATION FOR process first-hand by creating a work of

THEIR DESIGN? art using a traditional form of expres-

sion, media, technique, and style from an

original design.

108 20 7 208 DISCOVERING AND CREATING

"Design is intelligence made visible."

c% Frank Pick

209 109 It has been said that allpeople are born with Art is an intellectual and emotional recording of the creative instinct in varying degrees. Some- an attitudeor an experiencepresented in a where, duringthe years.' development, this personal manner. It is a creative endeavor that innate ability is lost unless nurtured. Parents, is nonfunctional whereascraft is a creativ: school, and society often inhibit self-expression endeavor that is usually functional. in the very young child by urging him to conform to the rules and manners that society has deter- Theartcreative process beginswithproblem mined are necessary for survival. A small child solvingsimilar to other disciplines. In the and a crayon can le'ad to an afternoon of creative visual arts, a problemcan be anything from discovery if the drawing is done on paper, but on drawing a three-dimensional flower on a two Mother's wallthe same creation may be grounds dimensional surface, to capturing the glistening for aspanking. Some inhibitions are good and shine of water on a lake in an oil painting, to necessary if people are to coexist peacefully. decorating a pottery bowl. In order to solve a Sometimes parents and teachers restrict original- problem theindividual mustgeneratenumerous ity of young children through thought- lessness ideas, which is called fluency of thought. The or by making adult judgments. The teacher who more ideas, the more likely one is to arrive at a rejects the child's purple tree by saying "Trees solution. The individualgeneratesideas, and are not purple, they are green," or the parent these ideas must be original- -new ways to combine who objects to the three-armed person his child elements, new uses of media, new approaches to has just drawn falls into these categories. problems. A lot of old or trite ideas only net Despite allthe limitations and restraints, the the artist a trite work of art. After settling need to create remains. on a solution the artist must be able to elaborateor expand the idea while remaining The urge to express one's self is common to men flexible enough to incorporate any new ideas or of allages and cultures. Archaeologists have relationships that occur. p,oved that man has been creative for as long as he has been on earth; after all, this is one of If it is accepted that man has an intrinsic need the characteristics that zeparates man from lower for self-expression and the ingenuity to create, animals. Cavemen drew pictographs on their walls from where do the specific ideas for designs in 20,000 years ago. Today the stone age tribes in an art work come? The answers to that question Ecuadorcreate decorations for their bodies, are asnumerousas there are artists and art weapons, and dwellings for the same reason the works. There are a few sourcesartistshave New York artist creates paintings and sculptures: repeatedly used that may help anovice. The aninner needtoexpressemotion,vision, or first consideration should be nature, for it has ideas. Creationis like a never ending stream been a sourceof inspirationsince man began constantly changing its course anddirection. creating. Animals, plants, rocks, minerals, Sometimes the form brings out the reason, and landscape scenes, and the patterns in these have sometimes the reason brings out the form. been used througlamt the centuries. For proof of

110 210 211 the power nature holds over the imagination of to paint a bouquet of roses, the abstractionist man, consider the use of the shell motif through- may find beautyinthe pattern formed by the out the world by ancient and modern people, or spaces between the leaves and stalks. The big the drawings of animals that canbe found in difference between the realist and the abstrac- every culture. tionist is the point of view. The realist takes the whole; the abstractionist may take onlya Man has always used himself as subject matter for small piece, or may rearrange the pieces to suit his art work. The human figure runs through the his mood. art of the past and'the present and is seen as an affirmation of man's importalce to himself. The The nonobjectiveartist works in an entirely stick figures of the cave men, the marble statues different way. He does not begin with an object of theGreeks,and the cubisticpaintings of in mind, but works directly with the elements of Picasso all point out man's interest in himself art: line, shape, form, color, and texture. He and his fellow man. may start a design with an irregular line that he particularly likes, aild by contouring the line Another source of inspiration for the artist has (drawing other similar lines in a more or less been the study of art work from the past. Tex- parallel direction nextto the original line) tile artists use variations of the Cretian maze, creates a pleasing design. He may use a shape the Moslem geometric patterns, and even the Norse that has appeal, and by repetition and overlap, runes in designing borders for bath towels, create a compositionof new shapes. He may sheets,and draperies. Artists have used the experiment with media: dripping or spattering same subject matter as historically recorded by paint, forming "blooms" by dropping ink or previous artists(such as the reclining nude), watercolor on wet paper, or using salt on wet but have handled the subject in a totally watercolor to change the paint concentrations. different style. Creating art is exciting and satisfying, but it Subject matter or designsfor theartist who also entails work and decision making. What form works realistically are not a problem; but from will the art take (drawing, painting, sculpture, where do the ideas for abstract work come? From graphics or craft)? What media and technique exactly thesameplaces realistic designsdo: will be used? What style (realistic, abstract, the past, man, and nature. While the realist or nonobjective)? To bring a piece of art into paints a bowl of oranges, the abstractionist may being requires every faculty an artist possesses. choose to split the orange and draw a slightly It can be exhausting, require patience, draw upon altered view of its interior. The realist paints visual perceptionsand minutediscriminations; the beach at sunset, the abstractionist paints but, oh,what a feeling of fulfillment! The the patterns in the sandmade bythewater following art experiences are samplings of the returning to the sea. The realist could choose kindsofprojectsthat might be suitable for students of varying artistic abilities.

4 212 YOU COULD TRY ART EXPERIENCES

Paper: o CRAFT: Mural Research: Triptychs of the Renaissance painters - folding Materials: Length of bulletin board paper, ruler, - free hand cutting scissors, paint, crayons/colored markers - tearing Method: With the paper flat on the floor, - slotting imagine the area as a giant puzzle - curling/fringing without a picture. The students will - weaving create apicture for the puzzle using - sculpture the mural theme of the underwater world - mache of Jacques Cousteau. - murals/friezes - mosiacs Cut along the puzzle lines and distrib- - textures ute an area to each student. Limit the color scheme to having the background Printing Ink: colored only with coolcolors and the objects colored with warm colors or vice - linoleumblock printing versa. When the students have completed - woodblock printing their segment, reassemble to a whole. - styrofoam printing Display the completed mural. - corrugated cardboardprinting - string printing o CRAFT: Stained Glass - fruit/vegetableprinting Research: Windows of Gothic Cathedrals,-12th/13th - oil based clayprinting century - brayer printing Materials: Black construction paper, white paper, - gadgetprinting crayons or oil pastels, scissors, tape - monoprinting Method: All black paper is cut the same size. A - stencils 4"to a6" square makes asize easily handled. The white paper is cut Yarn/String one-fourth smaller on all sides for tape to be placed to hold the two pieces, - weaving black/ white together when completed. - reweaving - stitchery The black paper is folded and designs, - contact paper large enough that the colors underneath - macrame can be seen, are cut out. Caution - liquid starch/glue mobiles students not to cut through the con-

112 214 215 ART EXPERIENCES

necting strips, or beyond theedge'. Refer to examples of stainedglass windows where the leadstrips are easily visible.

The white paper is coveredentirely using light, bright colors. Encourage a heavy coverage of wax. Attention can be called to the contrast of a dark paper andlight colors. Thetwo finished papers, the cut black and the whitecrayoned one, are tapedtogether with a small piece of tape onthe back. The student's individualdesign can be taped together to form apatchwork quilteffect. When hungover a window/door the effect is similar to a stained glasswindow and is quite dramatic.

° DRAWING: Pointillism Research: Georges Seurat, Impressionism Materials: Most pictures in newspapers are printed by using aseries of tiny dots; in colored pictures four separate colorsare used andthe eye "puts" these dots together to recognize color, as we know it. In black and white pictures, light gray areas have fewer dots than the dark gray areas. Printers use a dot screen pattern on their camera tocreate values. The artists, called Impres- sionists, used pure colored dot patterns of red, blue, andyellow plus black to create color. This is called pointillism. Manipulate your YOU COULD TRY ART EXPERIENCES

chosen medium to produce a still life as the Liquid Tempera: Impressionist painters would. Apply the colors in dot patterns. Vary the values and intensi- - sponge painting tiesofthe primary colors. Studythe way - dry brush painting light shines on an object and how it ultimately - string painting affects the appearance of that object. - spatter painting - straw blowing o DRAWING: Vertical or diagonal line shading - blot paintings Research: Joan Miro, Durer's etchings - murals/friezes Materials: Shells, flowers, seed pods, insects, pencil, paper, felt tip pens °encils: Method: Have students choose an object to draw. The subject will be drawn realistically and larger - texture rubbings than life. Using very light lines, as these - sketching are only guidelines and will be erased later, - drawing draw the object and indicate shadow areas with - shading the pencil. - doodlingdesigning With a feltpen, draw all vertical or all Felt-tipped Pens: diagonal lines within the pencil outline. The lines will be closer together to indicate - use point and side shadowed areas--the darker the shadow, the - sketching closer the lines. - drawing - color highlight When the ink has dried, erase the pencil - color outline guidelines. - on transparent film for overhead o GRAPHIC: Monocarbon print Research: Printmakers Leroy Neiman, Frank Stella Transparent Water Color: Materials: Paper, white chalk, wax crayons, pencil Method: Layer the chalk on a background paper and apply - with charcoal drawing small adjacent areas of crayon directly over - crayon resist the chalked plate similar to carbon paper and - with ink lines cover the colored plate with a cleanpaper. - resist from waxpaper Draw with apencil or a ball point pen. Test drawing the technique by first doodling a multi-

114 217 218 ART EXPERIENCES

designed pattern, such as circles, hatch marks, etc., to see the kind of line thatwill lift off and the exciting color changesthat occur in a line.

Choose a subjectto draw. Whenfinished, separate the papers to see anegative-positive lift-off design. Only one print can be made from one master plate. o GRAPHIC: Rubbings Research: Historical documentation, India/England Materials: Wax crayons, white paper (typing paper works well), tape Method: Peel the wrapping paper from the crayons which will make it possible todrag the crayons broadside over the paper.

lace a thin paper directly over atextured area, such as a leaf, open-work metal object, atrivet,aninteresting historical marker, etc. Ifthe area is large, tape the paper tokeepit from shifting. Rub withthecrayonusing a varietyofpres- sures to obtain light and/or dark areas. Change colors of crayon as desired. Designs can be made by repeating the rubbings with the paper in different positions.

o MEDIUM: Handmade 16mm Movie Research: Film and filmmaking; film animation Materials: Old 16mm film or film leader (purcased), bleach, permanent oil-based markers, 16mm movie projector, screen (optional), tape recorder (optional), blank tape (optional)

219 YOU COULD TRY ART EXPERIENCES

Oil Pastels: Method: If old film is used, clear the old image by soakingin bleach water. When the image is - rubbings wiped off,hang the film over lines to dry. - resist Discuss how films are made; that is, drawing - on sandpaper must be repeated 6-10 times, or even more in - on textiles/then ironed order to be seen and read. Note that - etching each frame occupies the space between the two - on newspaper sprocket marks. If one wants a line to lookas if itis falling over, one must draw several Clay: frames in a straight upright position,then draw several more frames moved down slightly. - rolling Eachchange is slightand must be repeated - pulling several times. Slight animation can be given - pinching to geometric shapes. It is suggested that the - press designs/textures filmbe put on the projector after a few - reliefs designsare madeto allow studentstime to - carvings conceptualize what animation is and how quickly - masks the film travels through the projector. - maps Uselotsof warm colors and black asthese Crayons: project well. Cover the entire area. A light warm color can be applied on one side of the - rubbings film and a contrasting color used to drawon - resists the other side of the Film. - chipped/ironed between wax paper If film leader is used, the emulsion is removed - on textiles in areas by scratching with a sharp surface. - etching Afterdesigns arescratched in the leader, - stencils color these areas. The leader acts as a black - batik background with the colored images projected. - offset When projected, the jerky, quick movements of - mosiac the shapesor lines are exciting and often - pointillism funny. To complete an audiovisual program, add - murals/friezes music or script to the presentation. - stained glass 0 Medium: Shadow Theatre

116 220 221 ART EXPERIENCES

Research: Indonesian History of Puppets Materials: Paper, cardboard, tape, scissors rear-view screen (cardboard box or hinged triptych, unbleached muslin, tape), slides, slide projector, tape recorder, blank tape Method: Initiate a general study of puppets as an early universal means of communication for generations that did not know how to read. Study in particular the Indonesian history of puppets.

A rear screen is made by cutting an opening in a box and taping unbleached muslin tautly over the opening. The projector is used behind the screen whiletheperformers are between the projector andscreen. Performerssit onthe floor and manipulate their puppets according to the dialogue. The screen must sit on the front edge of a table to allow room for the performers.

Shadow puppets are made from any stiff paper (notebook paper is adequate). Designs are cut or punched in thepaper todepict buttons, pockets, eyes,, etc. Movement of shadow puppets is minimal; usually only the arms move. This movement can be created by putting threads at theelbow joint andtaping arms to a thin cardboard strip, stick or wire.

To create a backdrop for the puppets, use handmade slides or commercially prepared ones.

A tape that has music or music and a story can be prepared by the students to accompany the shadow theatre. This activity is most suitable to small-group assignments.

222 DISCUSSION/REACTION ART EXPERIENCES

What does it mean when4a person is ° SCULPTURE: Assemblage said to be fluent in thought? Research: Louise Nevelson, Escobar Marisol Materials: Glue, string, small sticks, straws, What does original mean? toothpicks, small blocks of wood in various sizes and shapes, etc. Can a copied or traced drawing of an Method: Arrange objects, studying carefully the old master's painting be considered placement, size-relationship, repetitive original? areas, etc. Emphasize the depth of some of the textured medium. When the composition is Can media exploration or "accidents" organized, tie with string and/or gluein be considered design? position to build three-dimensional forms that are realistic, abstract, or totally How do artist draw influences from nonobjective. The only rules to follow are art work of the past without copying that the sculpture must bebalanced, have the original work? good design qualities, and stand in the round or be high bas-relief. Encourage the sharing Five different abstractionists paint and exchange of materials as needed. a basket of oranges--would the result be five similar pictures of oranges? 0 SCULPTURE: Mobile Research: Alexander Calder How many ways can the above basket of Materials: Objects found within the environment, such oranges be abstracted? as: a cracker box, an oatmeal container, an orange juice container,round tops, cylin- How does an artist elaborate on a ders, etc., glue, paint (optional), scissors, design? string Method: Observe and discuss the meaning ofa When discussing creativity what does three-dimensional form. Collect the objects the word "flexible" mean? that, when assembled together, will comple- menteachothertomake onecomposition. Man creates because he must express Make discoveries of theways of putting his ideas, visions, and emotions. things together by studying slides/prints.

It is easier for people to relate to Assemble the objects intoa "hanging" compo- ballet or the symphony than to the sition by attaching stringor yarn to each visual arts. object. Tie the strings to one central support and balance each component part to hang freely and move with air circulation.

118. 223 224 SEQUENTIAL APPROACH IN DEVELOPING ALESSON WORDS TO RECOGNIZE

ABSTRACT mobile animation monoprint assemblage mural The teacher, in developingan individual lesson to meet the background negative/positive needs of the student, willprovide a natural flow of con- BALANCE nonobjective ceptual development and skills development,from simple to has - relief originality complex. The sequential approach will provide for: composition pointillism CONTRAST principles of LOOKING Using visual stimulation such as prints, a cool colors design variety of models, various objects relatedto crafts print the category /skill, films, filmstrips, slides, CREATIVITY printmaking books, etc., the student initiates awareness crafts printing plate through the sense of sight. DESIGN process elaboration realism DISCUSSING Using the visual stimulation the student elements of relief sculpture orally shares ideas, comments, and/or ques- design Renaissance tions. EMPHASIS rubbings etching size-relationship THINKING Building upon the first two phases, the film frames sketch student mentally begins an ordering process flexibility sprockets which will lead to personal decisionmaking. fluency stained glass foreground still life EXPERIMENTINGBased upon the first three phases, the format SYMBOL student will explore, whether planned or by freestanding TECHNIQUE trial and error, to make discoveries. sculpture three-dimensional geometric shapes triptychs CREATING Following discoveries, the student will make graphic arts two-dimensional personal selections which will express hatch marks UNITY individual means for communicating ideas. Impressionism warm colors landscape EVALUATING Based upon originality and the student's personal objectives,thestudent determines strengths and weaknesses eitherindependently, with peers, or with teacher (cognitiveand/or psychomotor domains only).

*Capitalized wordsare defined in the glossary.

ts.t' 225 ihs SUBJECT ARTS

Audubon, John James - Line, Texture de Kooning, William - Color

Baskin, I.eonard - Prints de Vinci, Leonardo - Value, Line Beardend, Romare - Shape, Form, Movement Donatello - Form Beardsley, Audrey - Prints Douglas, Aaron - Color, Line Beckmann, Max - Line, Value, Movement Duchamp, Marcel - Space, Movement, Repetition Benton, Thomas Hart - Movement, Rhythm Durer, Albrecht - Line, Movement, Rhythm Bellows, George - Value, Color Eakins, Thomas - Line Bernini, Giovanni - Form El Greco, Theotocopoulos - Value, Color Blake, William -*Color Escher, M.C. - Line, Color Botticelli, Sandro - Line Frasconi, Antonio - Line, Value, Movement Bosch, Hieronymus - Value Gainsborough, Thomas - Line, Color Braque, Georges - Space, Repetition, Shape Gauguin, Paul - Prints, Shape, Overlapping Bruegal, Pieter - Line, Prints Giorgio - Design, Balance Buffet, Bernard - Line Goya, Francesco - Value Calder, Alexander - Space, Movement, Rhythm Gris, Juan - Space, Shape, Overlapping Cassatt, Mary - Color, Line Prints Hals, Franz - Value Cezanne, Paul - Color, Balance, Line Hepworth, Barbara - Design, Balance Chagall, Marc - Repetition Hiroshige - Prints, Line, Shape Chardin, Je6 - Color, Line Hofmann, Hans - Form, Line, Shape Constable, John - Color Homer, Winslow - Color; four major harmonies

Dali, Salvador - Shape Indiana, Robert - Line Daumier, Honore - Line Ingres, Jean - Color, Line Davis, Stuart - Value Johns, Jasper - Texture, Repetition, Composition Degas, Edgar - Shape, Overlapping Kandinsky, Wassily - Balance, Line, Composition Delacroix, Eugene - Color Klee, Paul - Line, Movement, Color

120.. 228 SUBJECT ARTS

Lawrence, Jacob - Color, Pattern Remington, Frederick - Shape, Line, Movement Lichtenstein, Roy - Color, Texture Renoir, Pierre Auguste - Shape, Overlapping Manet, Edouard - Shapes, Overlapping Rockwell, Norman - Color, Line Marisol, Escobor - Shape, Form Rodin, Auguste - Form Matisse, Henri - Color, Line, Repetition, Pattern Rouault, Georges - Line, Color, Shape Max, Peter - Prints, Color Rubens, Peter Paul - Prints, Color, Line Michaelangelo - Form, Composition Seurat, Georges - Color, Value, Shapes Miro, Juan - Space, Design Shahn, Ben - Prints, Line, Value Moholy-Nagy, Lazlo - Design, Balance Stella, Joseph - Line, Color, Space Monet, Claude - Balance, Shapes, Overlapping Tanner, Henry Ossawa - Value, Composition Moore, Henry - Form Tintoretto, Jacopo - Line, Design, Balance Munch, Edvard - Prints, Value, Line Titian - Color, Value Nevelson, Louise - Repetition, Value, Shape Toby, Mark - Line, Color, Design Nieman, Leroy - Texture, Color Toulouse-Lautrec, Henri -Line, Shapes Noguchi, Isami - Texture, Space Van Eyck, Jan - Line, Color O'Keefe, Georgia - Color, Value, Shape Van Gogh, Vincent - Color, Texture, Shape Oldenburg, Claes - Space Vasarely, Victor - Repetition, Movement, Rhythm Orozco, Jose - Color, Space, Value Velazquez, Diego - Color, Shape Picasso, Pablo - Color, Texture, Value, Shapes Vermeer, Jan - Color Pollock, Jackson - Line, Color, Movement Vuillard, Edouard - Texture Poussin, Nicolas - Movement, Line, Color Warhol, Andy - Repetition, Texture, Shape Raphael - Value, Balance, Design Whistler, James Abbott McNeil - Value, Color Rauschenberg, Robert- Color, Space White, Charles - Line, Value, Texture Redon, Odilon - Shape, Overlapping Wood, Grant - Line, Composition Rembrandt, Van Rijn- Value, Line Wright, Frank Lloyd - Architecture, Form

121 229 . .. 230 REFERENCES RESOURCES

Brommer, G. F. Relief Print 243 - Why Man Creates: Man--The Measure of all Things lning. Worcester, MA: Davis 329 - Portraits I Paint Publishing, 1970. 552 - Basic Drawing and Texture 553 - Drawing People: An Introduction to Figure Drawing Collier, Graham. Form, Space, and 554 - Explore, Perceive, Create Vision. Englewoods Cliffs, N.J.: 555 - Perspective Drawing: How to Do It TTeTITTEe-Hall, Inc., 1963. 556 - Vision of Color: Basic Color Theory 557 - Perception of Color Edwards, Betty. Drawing, on the 565 - The Artists' Eye: Pictorial Composition Right Side of the Brain. New York: 566 - The Artists' Hand: Five Techniques of Painting St. Martin Press, 1979. 567 - The Artists' Vision: Color and Light in Painting 569 - Painting with Watercolor *Fearing, K., Beard, E., & Martin, C. 579 - Elements of Sculpture The Creative Eye: Vol. I andII. 580 - Mathematical Shapes Austin,TX: W. S. Benson & Co., 581 - Structure 1979. 610 - The Creative Weaver 629 - Pottery: How-To-Do *Gatto, J. A., Porter, A., & 637 - The'Creative Printmaker Selleck, J. Exploring Visual 638 - Silk Screen Techniques =nclingV,IoZirter, MA: Davis 648 - Stained Glass: Techniques and History 649 - Mosaics 654 - Letters and Posters Horn, Geo. R. Art for Toda,ys 655 - Continuity of Forms Schools. Worcester, MA: Davis 657 - Shadow Theatre . Publishing, 1979. AVAILABLE FROM The Louisiana Slide Library, Box 94064, Horn, G. F. Crafts for Toda,s Baton Rouge, Louisiana 70804-9064 Schools. Worcester, MA: Davis Publii-Eing, 1972. Art in Woodcut Designing with Everyday Materials- Corrugated Paper Lidstone, John. Design Activities Designing with Everyday Materials- Straws for the Classroom. Worcester, MA: Discovering Ideas of Art Davis Publishing, 1977. Sources of Art

*Wasserman, Burton. Exploring the AVAILABLE FROM Regional Film Libraries, Bulletin No.1406 Visual Arts. Worcester, MA: Davis Publishing, 1976.

*State Adopted Textbook REFERENCES AVAILABLE FROM Louisiana State Library (through Parish Library) SAMPLE TEST QUESTIONS DESIRED RESPONSES

1. T F All people have innate qualities to be creative. 1. True

2. T F Fluency of thought means how unusual a person's 2. False ideas are.

3. T F Creativity can be inhibited by parents, schools, 3. True and society.

4. T F In a relief print method the cut away portion is 4. False the part that prints.

5. T F The abstractionist and the realist both use the 5. True same things for design and inspiration.

6. T F The abstractionist and the nonobjective artist 6. False both use the same things for design inspiration.

7. List the four characteristics of a creativeperson. 7. Fluency, originality, elaboration, flexibility

8. The artist gets inspiration for his design from , 8. nature man, and art of the past. 9. point of view 9. The differencebetweenthe abstractartistand the

realistic artist is . 10. distorts 10. An abstractionist changes or the elements of a real object to make his design.

123 ,233 234 GLOSSARY

235 Knowledge is the key thatopens the doors to the world.

tb Anonymous

236 125 TERMINOLOGY

ABSTRACT - a term that describes art work where the artist takesa real object and changes, distorts, or rearranges the elements of the object to make a design

ANALYSIS - the separation of a whole idea or object into parts for individualstudy

APPRECIATION - the acts of perception, description, and analysis applied toan art work in order to determine aesthetic value

ATMOSPHERE - a surrounding influence, a stimulatingor inspiring factor that encourages mental or physical activity

BALANCE - distribution of weight or emphasis of separate elements ofan art work so that unity is achieved; may be formal or informal

CENTER OF INTEREST - that area of a design that first catches theeye; achieved by high contrast of the elements of art

COLOR - all reflected light visible to the humaneye; color has three qualities: Hue, Value, Intensity

CONTRAST - in art work the use of opposite elements in close proximity inorder to emphasize one of the elements

CREATIVITY - a human trait characterized by fluency, flexibility,originality and elaboration of thought; having the power or ability to bring into being,to cause to exist

CRITIC - one who forms and expresses judgments of the merits andfaults of anything; a specialist in explaining and judging literary or artistic works

DESCRIPTION - the act or process of transmittinga mental image or impression with words; to picture verbally

DESIGN - the aesthetic relationships of line, color, shape,form, and texture, arranged inspace and formed into a unified whole

126 23 238 TERMINOLOGY

DOMINANCE- term used to indicate emphasis of a particular element in a design;dominance is achieved by placement of, or the contrastingof, elements

EMPHASIS - prominence or intensity of an element ina work of art

ENVIRONMENT- the total circumstances surrounding an organism, the combination of external social, and cultural conditions physical, that affect the nature ofan individual or community

FORM - an element of art thathas three dimensions (length, width, and depth);may be drawn on two-dimensional paper by using perspective and/or shading,or may be actually three- dimensional such as sculpture

FUNCTION- the use for which an object has been designed

GRAPHICS- those forms of pictorial expression which are linear in character; all forms ofprinting such as engraving, woodcut,etc.

HERALDRY - the practice of devising and granting armorialinsignia and of tracing and genealogies recording

HIEROGLYPHICS- a system of writinc in which pictures or symbols are used to represent wordsor sounds HUE - a pure color of thespectrum or rainbow

INTENSITY- exceptional concentration or force; the brightness or dullness ofa color LINE - a dot moving through space; has one dimension (length) andseveral directions (vertical, horizontal, diagonal)

LITERACY - the condition or quality of being well-informed

MATRIX- a situation or surrounding substance within which something originates, contained develops, or is

MEDIUM - the material the artist uses toexpress an idea

121 23,9 24n TERMINOLOGY

MOTIFS - a leading idea or conception; an element in a work of art

MOTIVATION - external or internal stimuli which generate a change in behavior and lead to action

NEUTRAL - a color which is not in the spectrum, or has no positive hue, such as grey, black,or white

NON-OBJECTIVE - used in reference to painting or sculpture, i.e., art which has no recognizable subject matter but deals only with the harmonious relationship of art elements

ORGANIZATION - the harmonious structuring of interrelated parts; the relation of parts to each other andto the whole

PATTERN - the repetition of one or more motifs in a regular scheme

PERCEPTION - the process of receiving knowledge of external things by way of thesenses

PERSPECTIVE - the act of drawing things as they seem, not as they are known to actually be; basedon the commonly accepted phenomena that objects appear smaller as they recede and that receding parallel lines appear to converge to one, two, or more vanishing points

PICTOGRAPHS - a picture representing a word, or an idea; hieroglyph

PROPORTION - the ratio among parts of an object, figure, or non-objective forms; the relation ofparts to the whole

REALISTIC - fidelity to natural appearances; may be exact or with less attention to minute details

RHYTHM - the repetition of art elements in space resulting in continuityor movement

SCULPTURE - term describing the forming, carving, modeling, constructing, assembling Forms inwood, stone, ivory, clay, and metal in the round or in relief; three-dimensional

SHAPE - an element of design; the area in which a design is created

SYMBOLS - any word, image, or event which stands for something else; in paintingor sculpture a symbol stands for something rather than imitates something

SYMBOLISM - in painting or sculpture, the word describes the expression ofan idea in terms of line, mass, and color, or the representation of an object by means of a simple formal equivalent

128 241 24.2- TERMINOLOGY

TECHNIQUE - the method of executing a work of art

TYPOGRAPHY- the composition of printed material from movable type; the use of type in graphic designs

UNITY - a harmonious relationship of elements and principlesadapted to a single purpose

VALUE - a quality of color; how lightor dark a color is; tints are light values, shades are dark values

VALUING - to rate or estimate relative worthor desirability; evaluate

243, 129 24a PERIODICALS

THE AMERICAN ARTIST CONNOISSEUR Billboard Publtcations, Inc. ,Hearst Corp. 1515 Broadway 959 Eighth Avenue New York, New York 10036 New York, New York 10019

AMERICAN CRAFT GEO American Craft Council Knapp Communications Corp. 401 Park Avenue South 140 East 45th Street New York, New York 10016 New York, New York 10017

ARCHITECTURAL DIGEST METROPOLITAN MUSEUM OF ART BULLETIN Knapp Communications Corp. Fifth Avenue & 82nd Street 5900 Wilshire Blvd. New York, New York 10028 Los Angeles, California 90036

ART EDUCATION THE NATIONAL GEOGRAPHIC MAGAZINE National Art Education Association National Geographic Society 1916 Association Drive 17th and M Streets, N.S. Reston, Virginia 22091 Washington, D.C. 20560

THE ARTIST MAGAZINE PRINT MAGAZINE F & W Publications, Inc. 6400 Galdeboro Road 9933 Alliance Road Bethesda, Maryland 20817 Cincinatti, Ohio 45242 SCHOOL ARTS MAGAZINE ARTS AND ACTIVITIES Davis Publishers, Inc. 591 Camin de la Reina 50 Portland Street Suite 200 Worcester, Massachusetts 01608 San Diego, California 92108 THE SMITHSONIAN CERAMICS MONTHLY Smithsonian Associates Box 12448 900 Jefferson Drive Columbus, Ohio 43212 Washington, D.C. 20560

130 245 SPECIAL RESOURCES

Sources for ART PRINTS are: Large reproductions that coordinate with ARTEX Prints, Inc. Discovering Art History, by Brommer, (an Westport, Connecticut adopted state textbook)are available from: Davis Publishers, Inc. BRETANO'S, Inc. 50 Portland Street 58 Fifth Avenue Worcester, Maine 01608 New York, New York

The prints are divided into two folios, Shorewood Reproductions, Inc. each $157.00, or $300.00 for the set. 724 Fifth Avenue New York, New York I-Renaissance II-Impressionism Shorewood ART REFERENCE GUIDE (Third Enlarged Edition) Art Print Enrichment Program published Shorewood Reproductions, Inc. by Coronado Publishing Company,4640 Harvey 724 Fifth Avenue Hines, Dallas,Texas, 75235, is available New York, New York 10019 on the state adopted textbook list for grades 1-6. These are large reproductions The Shorewood Reference Guide has a small of art works and come in two folios,each photograph of famous paintings witha descriptive $130.35 paragraph of each. The reproductions cover the following areas: The following Graphic Design Annuals are available at the LOUISIANA STATE LIBRARY Germany and Flanders 1500-1650 can will be sent to your local parish library The Netherlands at the parish librarian's request. England Spain GRAPHIS ANNUAL France--The Impressionists An International Annual of Advertising France--The Post-Impressionists and Editorial Graphics France--The Twentieth Century Germany - -The Twentieth Century GRAPHIS POSTERS Picasso An International Annual of Poster Art The United States--The Nineteenth Century The United States--The TwentiethCentury ILLUSTRATOR'S ANNUAL Mexico Annual of American Illustration The Orient

'446 131 ukkolielielielielieli*************************4414

MATERIALS OFMUSIC MUSIC UNIT VII

248 14*+.1.144.********************+.********************++44

The activities and discussions of this unit will explore such questions as: WHAT IS THE DIFFERENCE

BETWEEN NOISE AND MUSICAL SOUND? IF I DO NOT LIKE A PARTICULAR PIECE OF MUSIC, DOES THAT MAKE IT NOISE? WHAT ARE THE MANY SOURCES OF SOUND AVAILABLE TO THE COMPOSER OR PERFORMER? HOW IS THE LANGUAGE OF MUSIC WRITTEN AND INTERPRETED? Although this unit concerns aspects of music theory, efforts should be made not to get too theoretical with the discussions. The elements of musical

notation should be handledina very practical manner. The use of the recorder in"hands-on" experiences is suggested to help the students grasp the elementary levels of music literacy.

2.4,9 .1211154L1 133 FOCUS EXPECTED OUTCOMES

The focus of this unit is to explore the 44The student discovers the physical characteris- elements, sources, and components of music. tics of sound, such as frequency, pulse,dura- WHAT IS MUSIC? tion, volume/density, and timbre.

* What are the physical characteristics of * The student discriminatesbetween traditional music? and nontraditional musical sounds.

* How does noise differ from musical tone? flo The student analyzes the concepts of melody, harmony, and rhythm, as they interrelate to 4 What are the sources of musical sound? the whole of the musical composition.

* How is music organized? c% The student identifies musical symbolsused in notations. * How is music notated?

251 252

134 "I must study politics and war so that my sons may have liberty...liberty to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce, and agriculture;in order to give their children a right to study painting, poetry, music, and architecture."

* John Adams, Second President of the United States

253

135 The product of the composer's imagination is read by a performing musician in the samemanner that a person reads a play by Shakespeare or a novel by Alfred Lord Tennyson. However, a different set of signs and symbols must be used. These symbols, along with some words traditionally inItalian, must conveyall instructions related topitch, duration, intensity, and timbre. As complicated as allof this sounds, music reading skills are relatively easy to acquire in a short time.

For the purposes of the Fine Arts Survey, music notation is presented in concept only. The THE MATERIALS OF MUSIC ability to read music fluently is not an objective of this course of study. However, the students Of what is music made? This is a logical place to can be led to understand the concepts involved in begin a study such as this. An understanding of musical literacy. If the students so desire, the elements of music is essential to knowing more these concepts can be expanded into fluency in about music. Music is one form of sound, but not music reading with practice and in due time. all sounds are music. In order to understand the aesthetic basis of musical perception, one must Students can acquire knowledge of the basic first understand the physical characteristics of elements of music by learning to play an instru- sound, i.e., pitch, duration, intensity, and ment. As an extension of this course of study, timbre. the teacher may choose to include instruction on therecorder. Theelements ofmusicnotation become more meaningful in actual performance on an Music is an art that exists in a span of time, instrument. And, the student can experience the not in physical space such as painting and satisfaction of musical performance on the record- sculpture. Fur the master ,forksof the great er, without dealing with such artistic consider- composers of the past to be lard and/or appreciations as tonal beauty, blend, and intonation. ated,thecreationsofthe composers must be re-createdby performingmusicians,either in Included within this unit of the Fine Arts Survey public performance or on a recording. How does are several words that identify the concepts the composer communicate the "art work" to the involved in organizing sounds into a musical performer?

136 254 255 idea. Most of these words are familiar to the colors to blend into a musical masterpiece. Each average person,but a better understanding of individual instrument or voice part hasa distinc- "how music is made" can be attained by under- tive--and identifiable--tone color, and the standing the interrelationships of these words. selection of the particular timbre fora melody or Some of the terms to be defined are as follows: harmonic background can be the key to the musical value of a composition. beat measure rhythm chord melody scale The musicportion ofthiscourseof study is duration meter section presented from the point of view of the listener, form note staff not the performer. Therefore, in many cases, the harmony phrase tempo students need to understand a concept withappro- intensity pitch texture priate examples, rather than to explore togreater interval rest timbre depth alldetails of performance as required of the performer. These words are to be defined in concept only. This is the "stuff"of which music theory is made, and students who major in music in college take several courses that explore these concepts, from a practical point of view, to a tremendous depth. Every effort should be made to identify these concepts for the Fine Arts Survey studen'ts without being too theoretical. This approach can be exciting without being too demanding.

An infinite variety of sources and materials has been available to man for the purpose of producing music. From the earliest animal-skin drums to the most futuristic and ethereal sounds of the microchip synthesizer, man has adapted and used the sounds of his contemporary environmentand technology tocreate musicfor beautyand/or entertainment.

Just as the visual artist hasa myriad of colors from which to choose for his or her painting,so does the composer have an endless variety of tonal

5 131 257 CONTENT ACTIVITIES

I. Sound: musical sound and noise

A. Physical characteristics of a tone

I. Pitch-- the highness or lowness of Using any pitched musical instrument or tone a tone generator, play a tone for the class, and have the students call out words that describe this 2. Duration-- the length of a tone tone. List these terms on the board, showing that each descriptive word falls under one of 3. Intensity-- volume; the loudness or the four characteristics of a tone. softness of a tone

4. Timbre-- tone quality; particular identifiable sound of a tone

B. Differences between musical sound and Repeat the above activity but with a noise sound, noise such as dragging a chair across the floor. Lead the students to discover that pitch is not a characteristic of noise.

II. Structural elements of music

A. Rhythm-- the flow of music in time

I. Beat-- the recurrent throb or pulse Have the students check their body pulse at the within music wrist.

2. Meter -- the organization of beats Play a recording of musical compositions with into patterns of two's or obvious groups of two and three beats per three's measure.

a. Measure Illustrate on the board a time signature and show that the top number indicates the number of b. Time Signature beats per measure. Leave the bottom number for iater.

138 258 259 TEXT REFERENCE EXTENSION

Politoske, pp.4-5 1. Take the class on a walk indoors andout- doors, and have students list all sounds Politoske, pp.5-6 heard, both natural and man-made.

2. Tape a class discussion and play back the Politoske, pp. 49-50 tape. Listen for sounds you did not intend to record. List any sounds perceived Politoske, pp.34-36 as noise.

3. Look at a painting, either in theroom or Politoske,pp. 25-32 in the text, and list all "sounds" in the painting.

Macmillan: "The Materials of Music," pgs. 1-3

Politoske, pp. 8-12 Suggested Listening: Politoske recordings, side 1, band 1, "Melody and Rhythm."

Politoske, p. 9

Politoske, p. 9-10 Demonstrate three-and four-beat conducting patterns. Have students conduct while listening to recordings of short pieces.

Politoske, p. 10

Politoske, p. 50

139 260 261 CONTENT ACTIVITIES

3. Duration Illustrate and identify whole, half, quarter, eighth,and sixteenth notes with corresponding a. Notes and rests rests.

b. Dotted notes Illustrate and explain the concept of the dot, and how it functions to produce dotted-half, dotted-quarter, and dotted-eighth notes.

c. Rhythm patterns Illustrate and explain how these different note and rest values can be combined to form rhythmic patterns.

B. Melody Illustrate the first phrase of "Twinkle, Twinkle Little Star," and identify the steps, skips and 1. Repeated tones, steps and skips. repeated tones.

2. Whole- and half-steps Using a visual representation of the piano keyboard, illustrate and explain the half- and whole-steps.

3. Interval --the distance in pitch be- Identify the intervals used (unisons, 2nds, and tween two tones 5ths.)

Write the melody in treble and bass clefs. Identify the note names in both clefs.

Illustrate the grand staff, middle C,and ledger lines.

4. Scales

a. Major Illustrate the C Major Scale on the board, and identify the half- and whole-steps. Play the scale on the piano or other instrument.

Construct another major scale, beginningon a tone other than C. Show that the half- and 262 whole-step placement is the same. 263 140 TEXT REFERENCE EXTENSION

Politoske, pp. 49-50 At this point in the course, the teachermay wish to hlgin the suggested activity with recorders. Each student should have his or her own recorder, and they can be purchased at a local music store for a smaffprice. The state-adopted textbook list includes a couple of very suitable method books for recorder, including:

Marsh, Mary Val, et al. Playing the Recorder. New York: Macmillan Publishing Co., Inc., 1975. Politoske, pp. 6-8 State textbook #245761State price-$ 2.16

Recording State textbook #670810State price-$12.00

Politoske, p.16 If the teacher chooses to include the recorder activity in the daily lesson plans for this course, it is suggested that only about 15 minutes per day be used for the recorder portion of the class activities.

Politoske, pp. 16-17 Macmillan, "The Materials of Music," pp. 15-16.

264 265

141 CONTFNT ACTIVITIES

b. Minor Notate the A Minor Scale (natur form), pointing out the difference in the order of half- and whole-steps.

Illustrate the minor mode by playing the first phrase of "Twinkle, Twinkle Little Star" ina minor key.

C. Harmony

I. Chord three or more tones sounding simultaneously.

a. Triad --a chord of three notes. Illustrate on the board the C Major triad. Identify the intervals of major third, minor third, and fifth.

Show on the keyboard the difference between the major and minor thirds. (number of half-steps)

b. Inversion and voicing Demonstrate the concept of inversion and voicing. Notes of a chord may appear inany order.

c. Chord progression --a series of Demonstrate the I, IV, V, I progression in C chords. Major.

d. Seventh-chords Add the minor third to the top ofa triad to obtain the seventh chord.

D. Form --general principles which govern Play, by performance or recording, asong, such the structure of a composition. as "All Through the Night," in A, A, B, A form.

I. Phrase --a musical thought, aseg- Illustrate the four phrases individually. ment of a melody.

a. Unity and contrast Point out that phrases 1, 2, and 4are the same, providing unity, and verse 3 is different,providing contrast.

142 2PQ 267 TEXT REFERENCE EXTENSION

Play side 1, band 2, of the Politoske recordings entitled "Harmony and Texture." Politoske, p.18

Politoske, p. 167-168

./ Politoske, p.19

Politoske, pp. 38-43 Form will be discussed in more detail in Unit Ill.

Politoske, pp. 165-166

143 268 269 CONTENT ACTIVITIES

2. Section Play a song such as "0 Suzanna," pointing out the verse and chorus sections.

E. Texture --horizontal and vertical relationships of musical material

I. Monophonica single line melody Sing "Row, Row, Row Your Boat" in unison. without harmony or accompaniment

2. Polyphonic -- a texture combining two Sing "Row, Row, Row Your Boat" as a round. or more melodic lines

3. Homophonic --melody heard against Sing "Row, Row, Row Your Boat" with a chordal chords accompaniment.

III. Expressive Elements of M4SiC

A. Dynamics -- varying degrees of loudness Play recordings of compositions that demon- and softness. strate obvious dynamic contrast.

I. piano -- soft; p = soft, pp = softer, ppp . softest

2. forte --loud; f = loud, ff = louder, fff = loudest

3. Crescendo and decrescendo Illustrate the meaning of and the symbols for these two words.

B. Tempo -- refers to speed Select recordings which demonstrate various speeds and changing tempo.

I. metronome markings Bring a metronome to class, and demonstrate various tempos.

List and define various words that refer to tempo, e.g., allegro, largo, moderato, accele- rando,and ritardando.

144 270 271 TEXT REFERENCE EXTENSION

Politoske, pp. 39-40

Politoske, pp. 21-23 Macmillan, The Arts In Our Lives," pp. 30-31. "Amen" Recording side B, band 5.

Politoske, p. 21

Politoske, pp. 21-22 Sing partner songs, e.g., "Row, Row, Row Your Boat" and "Are You Sleeping?"

Politoske, p. 22

Politoske, pp. 34-36

PolitOske, p. 36

Politoske,pp. 12-13

145 272 273 CONTENT ACTIVITIES

Play a recording ofIn the Hall of the Mountain King," which demonstrates changing dynamicsand tempos.

C. Timbre --characteristic quality of a Play various recordings of choral and instrumen- tone, recognizable as a particular voice tal music, pointing out the recognizable differ- or instrument. ence between soprano and alto, tenor and bass, and various instruments.

Play recordings and have students identify the various voices and instruments.

IV. Performance Media of Music

A. Human voice Locate and play recordings, such as the Quartet from Rigoletto, that demonstrate four unique voice qualities.

B. Acoustical Instruments Discuss and demonstrate (when possible) how sound is produced and pitch changedon various instruments.

2. Traditional instruments Locate and play such recordings as "A Young Per- son's Guide to the Orchestra" by Brittenor a. Keyboard "Peter and the Wolf" by Prokofiev, to illustrate various instruments. b. Strings

c. Woodwinds

d. Brass

e. Percussion

3. Folk Instruments Locate and play recordings of various folk sele- tions that demonstrate the guitar and recorder. a. Recorder

b. Guitar

146 274 275 TEXT REFERENCE EXTENSION

Politoske, pp. 25-34 Play side 1, band 3 of the Politoskerecordings entitled "Timbre."

Politoske,pp. 25-26

Politoske, pp.26-27

Politoske, p. 30

Politoske, pp. 26-27

Politoske, p. 27

Politoske, pp. 27-30

Politoske, p. 30

Politoske, p. 31

276 141 27'7 CONTENT ACTIVITIES

C. Electric Instruments Locate and play recordings of various pop selections that demonstrate the various electric in-

I. Guitar struments.

2. Piano

3. Bass

D. Electronic Instruments

Synthesizer

E. Environmental Sounds Locate and play recordings of music that Include environmental sounds, e.g., "Manhattan Towers" by Gordon Jenkins or "An American In Paris" by George Gershwin.

278 279

148 TEXT REFERENCE EXTENSION

Politoske, p. 32

28n SAMPLE TEST QUESTIONS DESIRED RESPONSES

Multiple Choice:

The highest tone of a piano is produced by the string which a vibrates a. the least rapidly. b. the most rapidly. c. at roughly twice the speed of the lowest string.

The longer of two vibrating strings will produce a c a. longer tone. b. sweeter tone. c. lower tone. d. softer tone.

Instruments are dividedinto families according to b a. their colorand size. b. their meansof producing sound. c. their basicshape and quality.

The term "dynamics" refers to the c a. sprightliness with which a composition is played. b. general emotional mood of a composition. c. level of volume at which a composition is played.

Readingmusic is the process of a a. translating written symbols into equivalent sounds b. memorizing a set of fixed pitches. c. translating notes into written language.

The keysignature of a piece tells a performer a. where to begin playing. b. which scale is being used as a tonal foundation for the piece. c. how many beats there will be in each measure.

150 281 282 SAMPLE TEST QUESTIONS DESIRED RESPONSES

Completion:

The of any musical tone is determined by the pitch number of vibrations per second.

A succession of tones used in a meaningful way is calleda melody

The term is used to describe theorganization of a musical piece in time. rhythm

A is one small section of the melody, corres- phrase ponding roughly toone line of an entire poem.

Pitch is indicated by the positionof notes on the staff

The recurring pattern of accentedand unaccented beats in music is called meter

is the sounding together of two or more tones. Harmony

The distance between two tonesis referred toas an interval

Three or more tones playedsimultaneously are called a chord

A texture consists of a singlemelodic line without accompaniment. monophonic

In a texture, melody is accompanied by chords. homophonic

The tone quality of instrumentsor voices is known as timbre

A work in two distinctsections is said to be in form. binary

283 28T 144********************************bi:

FORM IN MUSIC MUSIC UNIT VIII

285 64*+++++++++**************************************444+

The activities and discussions of this unit will explore such questionsas: HOW IS TRADITIONAL MUSIC PUT

TOGETHER? DOES THE COMPOSER USE A PATTERN? IS ALL MUSIC BASED ON A PRESELECTEDFORM? WHAT FORCES OUTSIDE OF MUSIC INFLUENCE THE SHAPE OR FORM OF A MUSICAL COMPOSITION? Here again, this aspect ofmusical composition should not be taken to such depths that the students lose interest and attention. ki effort should be made to work on 'the students' natural curiosities. FOCUS EXPECTED OUTCOMES

The focus of this unit is to assist the student 41 The student discovers the composer's plan as in arriving at an awareness that there is form the musical composition develops. in musical compositions.

i The student discovers the basic eluents of

* what is form in music? musical structure through traditional forms.

44 What are the forms of music? '% The student discovers the common elements of form in various fine and performing arts.

4, What is "program music"? $' The student discovers some of the influences

4 What are the common elements of form in outside of music that direct the structure or music, drama, dance, art, and architecture? form of a musical composition.

154 288 289 "Greatnations write theirautobiographies in three manuscripts: the book of their deeds, the book of their words, and the book of their arts. Not one of these books can be understood unless we read the other two, but of the three, the only trustworthy one is the last."

* John Ruskin However, each time the melody or theme is heard, it will be varied, perhaps by altering a few notes of thetheme, speedingor slowingthe tempo, changing the dynamic level, using different instrumentation, or varying the rhythmic pattern. The composer is restricted only by the available sound sources and his or her own imagination.

Musicalform canalsobe analyzed as specific forms of music. Many of the musical compositions of the standardconcert repertory have short nondescript titles, such as Symphony No. 5, Concerto in G Minor, Sonata in C Major,and String Quartet No. 3. However, these undescrip- tive words, such as "symphony," indicate a lengthy description of the musical work that bears this name. This word indicates such characteristics as FORM number of movements, general tempo of each movement,number of themes,key relationships, and The composer has chosen music asthe artistic instrumentation or voices to be used. medium through which to express ideas. The elementsof music--i.e., melody, rhythm, and This generalarea of forms of musicis usually harmony--are the raw materials which are combined called "absolute music," that is, music with no and organized in expressive patterns of tension nonmusical associations. Absolute music must and release. These patterns create a sense of stand or fall on its own ability to be interesting forward movement in music and give the composi- in and of itself. Many of the best known forms of tion its living, dynamic shape. Thus, the absolute music represented the main output of the composer creates FORM in music. "Classical" period of music history.

Form in music is the broadest, most general way There is another large body of musical composi- to examine a musical composition. What causes a tions that do have more descr4ptive titles, sense of forward movement? Why does the listener because the composer specifically intends the continue to listen? Itis because the composer sounds to be associated with nonmusical ideas or creates unity as well as variety in both subtle objects. This genre of musicalcomposition is and obvious ways. As an example, a melody may be called "programmusic," that is, instrumental repeated several times throughout a musical work. music that the composer associates with some idea,

156 291 292 thing, place, or feeling. Just as the forms of before the notes are placed onpaper. The com- "absolute music" of the Classical period provided poser has the entire composition in mind as the ideas and guidelines for sizable musical works, writing process begins. so the nonmusical associations of "program music" gave the composers of the Romantic era the same One goal of this unit of the Fine Arts Surveyis benefits. to remove some of the mystery of howa composer practiceshisskill and talent. The listener The particular associations are often indicated should begin to see the underlying planor pat - in the title, or in some cases by an explanatory tern,. the interrelationships of the musical note--the"program." It is the composer that elements, to the whole of the musical composition. supplies the information about these nonmusical Theseconsiderationsareespecially significant associations. Publishers often gave descriptive when studying or even listening to extendedworks. titles to works merely as a means of identification andarenotreally examplesof program As each new unit is encountered in theFine Arts music. As an example, the Beethoven Piano Sonata Survey, and asthe various works of "suggested in C-sharp Minor, Opus 27, No.2, is better known MTfing" are experienced, a reviewof the as the "Moonlight Sonata." However, the Beetho- concepts of musical form is suggested. This ven music is an excellent example of "absolute experience will assist the listener in giving music," for the descriptive title new was attached to musical experiences just consideration. this work by the composer's publisher.

It is not up to the listener to fantasizeor make up a story to accompany a work of program music, for in practically allcases, that story often bears little or no resemblance to what the composer had in mind. Good "program music" will stand on its own musical merits, and it isnot necessary for the listener to see or imagine the same scenario that the composer used while writing the work.

Both"absolute"and "program"musicrepresent means of organizing sounds into meaningfulcompo- sitions. The listener should recognize thatthis organizational plan is thought out in advance, CONTENT ACTIVITIES

I. Form in music

How does a composer go about the A. Music is composed of basic elements Discussion: which interrelate to form a complete job of creating a musical composition? musical work.

Sing available folk songs. B. Binary (AB) and ternary (ABA) Compose rhythm pieces in AB and ABA forms.

Have students collect paintings that reflectAB or ABA form.

Create a dance in AB and ABA forms.

Extend above activities from AB and ABAform to C. Rondo (ABACA) explore the five-section rondo form.

Have class sing "When Johnny ComesMarching D. Theme and variations Home." Class discussion: What could the composer do to the melody,rhythm, harmony, dynamics, tempo, and timbre to create a setof variations?

E. Imitative form

Review material in Unit I related to form. I. Canon 1

Show that the fugue is anextension of the 2. Fugue' I canon.

158 295 296 TEXT REFERENCE EXTENSION

Politoske, pp. 38-40

Politoske, pp. 40-41 Tape a sound bank of 30 seconds, anduse this sound material to compose an original composition in AB and ABA form.

Suggested listening: Chopin: Nocturne in E-flat Major. (Politoske recordings, side 7, band 1) Politoske text,pp. 268-270.

Politoske, p. 41, p. 175 Suggested listening: Beethoven: Piano Sonata in C Minor, Op. 13, third movement. (Politoske recordings, side 6, band 3) Politoske text, pp. 234-235.

Politoske, p. 41 Suggested listening: Haydn: Symphony No. 94 "The Surprise," second movement (Politoskere- cordings, side 4, band 2) Politoske text,pp. 183-186.

Sing "Row, Row, Row Your Boat" asa round by dividing the class into twoor there groups.

Politoske, pp. 134-137 Suggested listening: Bach: Fugue in G Minor. Politoske recordings, side 3, band 4.

159 29'7 298 CONTENT ACTIVITIES

F. Sonata-allegro form Analyze a short story, a television drama, or a stage play to show the underlying sonata form, Exposition--introduction of e.g., themes Act I - charactersintroduced Development--varied treatment of Act II - plotthickens themes Act III - characters revealed in new light, Recapitulation--restatement of tension resolved themes

II. Forms of Music

A. Classical Symphony--generally in four Introduce the standard plan of a symphony, as performed by a symphony orchestra: movements

Explain that music that follows a tra- 1st movement--fast--usually in sonata- ditional structure and has no extra allegro form musical association is called "absolute 2nd movement--slow--usually in rondo or theme and variations form music." This kind of music is often identified by number or key, i.e., 3rd movement--usually a minuet or other Beethoven: Symphony No. 5 in C Minor, dance form 4th movement--fast--usually in sonata- Opus 67. allegro or rondo form

B. Other multimovement forms

1. Sonata Explain that a sonata usually has three orfour movements in a similar pattern to that ofthe symphony. It is written for piano solo or some other orchestral instrument with piano accompaniment. 2. Concerto Has the same three- or four-movementstructure as the sonata, butis for an orchestral instrument accompanied by the symphonyorchestra

160 299 300 TEXT REFERENCE EXTENSION

Politoske, pp. 174-175 Suggested listening: Mozart: Symphony No. 40 in G Minor, first movement. Politoske recordings, side 4, band 3.

Politoske, pp. 178-188 Suggested listening: Haydn: Symphony No. 94 in G Major ("Surprise Symphony") first and second movements. Politoske recordings, side 4, bands 1 and 2.

Politoske, pp. 199-210 Suggested listening: Beethoven: Symphony No. 5 in C Minor, all four movements. Politoske recordings, side 5, band 1.

Politoske, pp. 228-235 Su ested listening: Beethoven: Piano Sonata in C Minor, Opus 13, third movement. Politoske recordings, side 6, band 3.

Politoske, pp. 125-127, 212-220 Suggested listening: Mozart: Piano Concerto No. 17 in G Major, first movement. Politoske recordings, side 6, band 1.

.301 302 161 CONTENT ACTIVITIES

3. String Quartet Usually a four-movement structure, in thesame order as the symphony, but scored fortwo solo violins, one solo viola, and one solo cello.

4. Oratorio A large vocal form, consisting of solos,ensembles, and choruses, accompanied byan orchestra, and usually based on a religious story.

5. Opera A theatrical form, employingscenery, costumes, lighting, and acting. It is usually based on a comic or tragic story, and all dialogue issung. Contains solos, ensembles, and choruses,accompanied by the symphony orchestra.

6. Ballet A theatrical form with music as an essential element. Contains no spoken or sung dialogue; the message is conveyed through music and movement.

7. Orchestra' suite Related pieces, usually taken from a larger work, such as an opera or a ballet.

C. Single movement forms

I. Solo literature

a. Piano solos Various forms, e.g., nocturne, etude, mazurka, rhapsody

b. Art songs Poetry set to music. Solo voice with piano or orchestral accompaniment.

162 303 304 TEXT REFERENCE EXTENSION

Politoske, pp. 223-228 Suggested listening: Haydn: String Quartet in C Major, Opus 76, No. 3, first movement. Politoske recordings, side 6, band 2.

Politoske, pp. 152-155 Suggested listening: Hander: For unto Us a Child Is Born" from Messiah. Politoske recordings, side 3, band 7.

Politoske, pp. 237-242 Suggested listening: Mozart: The Marriage of Figaro, Act I, First Duet. Politoske recordings, side 6, band 4.

Politoske, pp. 442-444 Suggested listening: Copland: Appalachian Spring,,first and second sections. Politoske recordings, side 11, band 2.

See "Incidental Music." Politoske, pp. 324- Locate and play such recordings as Grieg: Peer 327. Gynt, Tchaikovsky: Nutcracker Suite, or MeTEM- sohn: Midsummer Night's Dream.

Politoske, pp. 266-272 Suggested listening: Chopin: Nocturne in E- flat Major, Opus g, No. 2. Politoske recordings, side 7, band 1.

Politoske, pp. 277-288 Suggested listening: Schubert: "Gute Nacht" from Die Winterreise. Politoske recordings, side 7, band 3.

305 163 306; CONTENT ACTIVITIES

2. Orchestral pieces

a. Concert overture Single movement orchestral form with contrasting sections.

b. Symphonic poem An extended work for orchestra, usually descriptive of a story, scene, or event.

D. Program music Explain that the form is influenced or suggested by extra-musical sources, as opposed to "absolute music," discussed above. The r!eces usually have descriptive titles. Some of the extra-musical sources are as follows:

nature

paintings

literary sources

164 307 308 TEXT REFERENCE' EXTENSION

Politoske, pp. 323-324 Suggested listening: 1812. Macmillan recordings, "Program Music," side A, band4.

Politoske, pp. 320-323 Suggested listening: Saint-Saens: Danse Macabre. Politoske recordings, side7T-Eand 3.

Politoske, pp. 262, 313-323

Macmillan, "Program Music"

Macmillan, "Program Music." pp. 6-9 Suggested listening: Grofe: "Cloudburst" from Grand Canyon Suite. Macmillan recordings, "Pro- gram Music," side B, band 1.

Politoske, pp. 355-358 Su ested listenin : Mussorgsky: Pictures at an x > ition. o itoske recordings, side 9, band 3.

Macmillan, "Program Music," pp. 22-32 Suggested listening: Strauss: Till Eulen- spiegel's Merry Pranks. Macmillan recordings, "Program Music," side B, band 2.

165 3'09 310 SAMPLE TEST QUESTIONS DESIRED RESPONSES

Essay Topics:

Compare and contrast the two expressions "absolute music" and "program music." Give examples.

Describe in detail the orchestral form called the "symphony."

Completion:

Often, a composer will state one musical idea and then offer a theme and variations series of elaborations on this one theme. This form is known as

A more sophisticated means of using a musical idea is development

, is which the idea itself is changed and transformed in various ways.

music is the opposite of "program music." Absolute

True or False:

A concerto is a musical work usually in one movement. false

Matching:

Match each description in the left column with the appropriate word in the right column.

a girl playing a melody on a flute a. polyphony b

a round with all the voices in motion b. monophony a

a baritone singing a solo to piano c. homophony c accompaniment

166 311 312 SAMPLE TEST QUESTIONS DESIRED RESPONSES

Matching:

Match each term at left with the appropriatedefinition.

sonata a. related pieces, usually taken from a larger work concerto b. theatrical form, usually comicor tragic plot, fully staged oratorio c. theatrical form, no spoken or sung dialogue ballet d. multi-movement work in fast, slow, dance, fast pattern, for orchestra orchestral suite e. large vocal form, accompanied by a orchestra, religious story symphony f. a work for solo piano or other in accompanied by piano opera g. a work for instrumental solo with orchestral accompaniment

Indicate which term in the rightcolumn applies to each composition in the left column.

Strauss: Till Eulenspiegel's Merry a. absolute music Pranks Grofe: "Cloudburst" from Grand b. program music Canyon Suite Haydn: Symphony No. 94 in C Minor a

Bach: Fugue in G Minor a

Mozart: Piano Concerto No. 17 in G Major a

Smetana: The Moldau

Liszt: Les Preludes

313. 314161 10*****+*********************************4

ROOTS OF AMERICAN POPULAR MUSIC MUSIC UNIT IX

315 ++++++******************4444444441************444*****

The discussions and activities of this unit will centeraround the world of popular music and

jazz, as well as a look at the development of the Americanmusical theater and Broadway. IS THERE

A TRULY AMERICAN MUSICAL ART FORM? WHICH CITIESIN AMERICA HAVE BEEN THE CENTERS OF THE

DEVELOPMENT OF JAll? WHAT IS THE DIFFERENCE BETWEEN "ELECTRIC"MUSIC AND "ELECTRONIC" MUSIC?

Listening exercises in this unit should trace the history and development of "pop" music. The

descriptive characteristics of each stage ofpopular music's development and the changesthat

occurred through the years should be the primaryconsideration cf this unit.

316 169 317 FOCUS EXPECTED OUTCOMES

The focus of this unit is on the truly American * The student discovers that one of the roots of musical art form: Jazz. American jazz was a form of religious music.

*What are the earliest roots of jazz? * The student discovers the relationship of changes in society to the evolution of jazz.

* What are the characteristics of ... Dixieland * The student discovers that popular music is in

Blues a constant state of change and development.

Ragtime Swing

Rock

*Now have electronic innovations influenced popular music?

11:0 318 "Afteremancipation ... all those people ... needed the music more thanever ... trying to find out from the music what theywere supposed to do. ...They learned it wasn't just whitepeople the music had to reach to noreven their own people, but straight out to life ..."

* Sidney Bechet

171 area of New Orleansis usually regarded asthe "birthplace" of jazz. The many "night spots" of the Vieux Carre and the infamous Storyville employed many musicians, and the publicwas made aware of these early stages of jazz primarily by the famous New Orleans funeral processions.

However, when Storyville was closed down in 1917 and many musicians lost their jobs, jazz moved up the Mississippi River through Memphis, St. Louis, and Chicago'to the rest of the United States. The study of American popular music in the Fine Arts Survey will end with rock, which became an over- night sensation in 1955 with the Bill Haley and the Comets rendition of "Rock Around the Clock" in the motion picture Blackboard Jungle. American popular music has continued to evolve since that time, but this study deals more with our musical heritage than the music of today. Certainly the "now sounds" of the eighties will become a part of ROOTS OF AMERICAN POPULAR MUSIC this heritage.

Jazz and rock, and the various other genre of With any study of jazz or popular music, one must American popularmusic, are among the most lookatthesame elements of musicthat were recognized contributions of America to the world analyzed in the study of "classical music." As of music. Although there are those who question the study of American popular music continues from the musical quality and value of popular music, ragtime and blues through Dixieland, swing, bop, one can hardly complete a studysuch as this cool, and progressive jazz to rock, the listener without somediscussionofsomeof themain shouldexaminechangesor innovations in such stages in the development of this musical style. areas asmelody, rhythm, harmony, timbre, and texture. The rootsof American jazz reach back to the African heritage of blackAmericans. Some say Jazz melodies are characterized by improvisation that jazz is an amalgamation of various influ- and the "blue tones." Real jazzis not written ences, including work songs, field hollers, down because it is made up on the spot. blues, spirituals, and ragtime. The Basin Street

322 321

17Z Once the musicians agree on the tune or harmonic With regard to timbre, progression--or it is said thatthe typical "changes".-to be used, the jazz musicians take turns in instrumentalist unconsciouslyimitatesthe "improvising" or making blacksinging up a part based on the melody voice. Duringthe evolutionof and harmony of the jazz, several selected tune. instruments have been key influences. The saxophone, banjo, piano, and various percussion The "blue note," an example of instruments have hadprincipal the African roles in the influence on jazz, is progression of jazz through the the lowering of thethird, years. fifth, and/or sevecith degrees of the majorscale. The performer often shifts or slides betweenthe The texture of most regular note and thealtered one. popular musicis primarily The "blue homophonic, with solo note" is a phenomenonof the melody and parts--either written down may not or improvised--played to the necessarily be employed in accompaniment of a the harmonic chordal background. background, thus resulting Some of themore progressive in an interesting styles of jazz, when dissonance. several instrumentalistsare improvising atonce, employ a complex style of The harmonic counterpoint. considerations for jazzare really very simple, for the traditionaltonal harmonic backgroundof jazz This unit of the FineArts Survey will also take utilized the basicthree a look at another musical chords: tonic (I), dominant (V), tradition of musicas and subdominant displayed in the (IV). Although more recent very popular musical theateror kinds of jazz employ the music of the Broadway more advanced harmonic idioms, musical. With roots in the primary appeal vaudeville and the of jazz, however,does not lie in its operetta, this phenomenon of harmony. the American theater has evolved from the often stilted operettas, Some of themore significant innovations such as those of Sigmund of jazz Romberg (The Desert Song) and rest in the element ofrhythm. Victor Hebert (The The meter of jazz Red Mill) is almost always to the more substantive and in two beatsper measure. One of the contemporary musicals of today,such as Leonard principal rhythmic devicesof jazz is syncopation, or the Bernstein's West Side Story. redistribution of accentsto where the emphasis occurs on the weak beat. This is an unexpected There willnot be time for a thoroughstudy of and exciting sensationto the all listener. styles of popular music, Jazz musicians often make jazz, and musical slight theater. However, one alterations of the patterns goal oftheFine Arts of conventional Survey is to lead the notation when readingthem. students to recognize the value of popular music inthe ongoing evolution of the world of music.

173 323 324 CONTENT ACTIVITIES

I. Development of Jazz Explain that the spiritual is the religious counterpart of the blues made popular after the A. Spiritual Civil War by such groups as the Fisk University Jubilee Singers. Characteristics of the spiritual include useof syncopation, sliding pitches, generally homophonic texture, and often in call and response pattern.

Explain that blues style is characterized by "blue notes," produced by lowering or bending the B. Blues pitch of certain notes of the major scale, generally thethird and seventhscale degrees. Blues is usuallywritten in 12-measure units divided into three lines of four-measures each. The text expresses longing, complaint, or sadness.

Explain that ragtimeis primarily asolo piano style with an even left-hand part and syncopated C. Ragtime right hand.

Make students aware of the typical instrumentation of Dixieland combo: clarinet, D. Dixieland trumpet, trombone, banjo, and sometimes drums. Improvisation is an essential element of Dixieland.

Explainthat melodic and harmonic practices of

1 E. Chicago style Chicago style and New Orleans style (Dixieland) are generally similar. Chicago style jazz was generally in two beats per measure, and the piano became an essential instrument.

W1111 114 3 5 TEXT REFERENCE SUGGESTED LISTENING

Politoske, pp. 457-458 "Every Time I Feel the Spirit"Macmillan recordings, "The Materials of Music,"side B, band 5.

"I Couldn't Hear Nobody Pray"Macmillan recordings, "Music U.S.A., record2, side A, band 2.

Politoske, pp. 456-457 Armstrong: "West End Blues" Politoskerecord- ings, side 11, band 4.

Ma Rainey: "Traveling Blues.'Macmillan recordings, "Music U.S.A," record2, side A, band 4.

Politoske, p. 459 Joplin: "Maple Leaf Rag"

Joplin: "The Entertainer" from TheSting

"South Rampart Street Parade"

Politoske, pp. 459-461 Armstrong: "Keyhole Blues." Macmillan recordings, "Music U.S.A.," record2, side A, band 5.

327` 175 CONTENT ACTIVITIES VIIIIft/IIMmolimull...1OiliiIliMno.11111111MIS11.11111

F. Swing (Big Band) Describe the larger size of the big band, noting that it was necessary to write out the arrange- ments, rather than improvise asinthe smaller combos. Typical instrumentation included five saxophones, four or five trumpets, four or five trombones, piano, bass, guitar, and drums.

G. Concert Jazz Note that thisisan extension of the big band style into the full symphonic instrumentation.

H. Bop Explain that the instrumentation was again reduced to a small ensemble. The rhythm section--piano, bass, guitar, and drums--played a much more important role than in the past. Harmonic improvisation was more significant than melodic.

extensionof bop, I. Cool Notethat cool jazz is an blending the harmonies and rhythms of bop with a more lyric melodic approach.

than in J. Progressive Note that the harmonies are more dissonant swing.

K. Rock Explain that rock is generally a combination of rhythm-and-blues and country-and-western styles. The beat is prominent in the driving rhythm ofthe percussion.

comedy as havingan American II. Musical Theater Introduce musical theme, and characters and lyricsfamiliar to A. Musical Comedy Broadway.

176 '329 330 TEXT REFERENCE SUGGESTED LISTENING

Politoske, pp. 461-462 Goodman: "King Porter Stomp" Politoske recordings, side 11, band 5.

Glenn Miller: "String Of Pearls"

Gershwin: "Rhapsody in Blue" Gershwin: "An American in Paris"

Politoske, pp. 463-464 Parker: "Ornithology" Politoske recordings, side 11, band 6.

Dizzy Gilespie: "Groovin' High"

Politoske, p. 464 Miles Davis: "Venus de Milo"

Dave Brubeck: "Take Five"

Politoske, pp. 468-472 "Rock Around the Clock" Macmillan recordings, "The Rock Story," side A, band 8.

Politoske, p. 465 Victor Herbert: "Babes in Toyland"

George M. Cohan: "Little Johnny Jones"

41111=11, 331 332 177 CONTENT ACTIVITIES

B. Broadway Musical Explain that this is a complete theatricalform, including spoken dialogue anc;songs. Choreog- raphy is an essential element.

C. Rock Opera Note that this is a style of musicaltheater using electronic instruments and rock idioms.

333 334

118 TEXT REFERENCE SUGGESTED LISTENING

Politoske, pp. 465-466 Bernstein: "Dance at the Gym" from West Side Story. Macmillan recordings, "Composing Music," record 1, side A, band 2.

Politoske, pp. 471-472 Pete Townshend: "Tommy"

Webber and Rice: "Jesue Christ, Superstar"

336 335

179 SAMPLE TEST QUESTIONS DESIRED RESPONSES

True or False:

The best description of jazz is exciting, written-out arrange- false ments that swing.

The technique of "bending" or lowering certain notes of the true scale for blues melodies is called "blue notes."

The only difference between Dixieland and swing is theuse false of piano in Dixieland.

Multiple Choice:

The jazz style most directly associated with the piano is c a. spiritual b. Dixieland c. ragtime d. bebop

Which of the following is not characteristic of the blues? d a. lowered third and seventh degrees of the scale b. a 12-measure unit divided into three lines of four measures each c. a call-and-response pattern d. a fast tempo

Which of the following is not a characteristic of "musical comedy?" a. solos and duets d b. orchestra accompaniment c. spoken dialogue d. none of the above

180 337 338 SAMPLE TEST QUESTIONS DESIRED RESPONSES

Completion:

A religious counterpart of the blues was the spiritual

Among the composers who made use of blues techniques in George Gershwin written music was , the composer of An American In Paris.

Matching:

Match each performer or composer in the left column with the appropriate type of music he or she is associated with.

Miles Davis a. concert jazz g

Elvis Presley b. traditional jazz e

Benny Goodman c. blues

Scott Joplin d. Broadway musical h

George M. Cohan e. rock and roll

The Who f. rock opera f

Bessie Smith g. bebop c

Leonard Bernstein h. ragtime d

George Gershwin i. musical comedy a

Louis Armstrong j. big band swing b

181 339 340 ***************************************

STANDARD CONCERT REPERTORY MUSIC UNIT X

341 fi+++,1*+++.14+******************4.4.&444.1%********44+++++++

The activities and discussions of this unit will center around someof the musical literature

accepted to be within the "standard concert repertory."Listening activities should be planned

to encourage the students to participate in creative listening. HOW DOES A CONDUCTOR SELECT

SPECIFIC PROGRAM CONTENT?WHAT HAS CAUSED MUSIC WRITTEN CENTURIES AGO TO REMAINPOPULAR? WHAT

IS'THE DIFFERENCE BETWEEN "LISTENING" AND "HEARING"? Students and teacher should work toward

creating a classroom environment, similar to that of the concert hall, socreative listening can

occur. FOCUS EXPECTED OUTCOMES

The focus of this unit will be listening activ- * The student acquires a recognition inventory of ities using music literature from the "standard musical styles from different periods of musical concert repertory." history.

Who determines what is to be included in The student relates the general characteristics

the standard concert repertory? of aesthetic form to the selection of program content.

* What makes a particular work popular and selected for performance after centuries fk The student reflects on the aesthetic value of have passed? musical style.

* What is the difference between "hearing" 4' The student gives further consideration to his and "listening"? or her "tastes" in music.

IIIMullomim 184 345 344 As humans, our best work isour best art. But artists don't leap to life fullgrown. They need good schools, patient parents, and skilled mentors."

* David Rockefeller, Jr. Rockefeller Foundation

346 185 The curricular material related to each period of music history is divided into these four columns:

1. Historical Overview--general characteristics of the period of history, as well as its music.

2. Suggested Listening--a random sam- pling of scme of the principal musical works of the period.

3. Recording Source--where each suggested listening item can be found in state-adopted material.

4. Text Reference--the location in the suggested textbooks of material about STANDARD CONCERT REPERTORY each suggested listening item.

The emphasis of this unit is on the presentation The suggested musical compositions are listed in of the basic characteristicsof musical style alphabetical order by composer. The material in from eachhistorical period. The content for the textbook about each work willshow how it "listening lessons" comesfrom major works of relates to thevarious characteristics ofthe each period. A comprehensive overview is encour- period. aged. It issuggested that the characteristics of the The periods of style in music historywith historical period and its music be presented along generally accepted dates are as frllows: with the listening exercises. Emphasis should be placed on the enjoyment of each selection and why Renaissance 1450-1600 society through the years has retained each r,aroque 1600-1750 suggested work in the standard concert repertory. Classical 1750-1825 The textbook contains sufficient materialabout Romantic 1825-1900 each work to give the students an idea ofits Modern Era 1900-present significance.

186 347 348 The works in the Suggested Listening column were ago still worthy of performancetoday? Why have chosen because, first, they are representative of some compositions remainedpopularthrough the the period, and,second, they areincluded on centuries when others are never heard? recordings and in textbooks on the state-adopted textbook list. Naturally, the teacher is The works suggested for listening arefrom the encouraged to use other recordings that are "standard concert repertory," that is, music that available. Students might be requested to bring is most likely to be included on a concert pro- some of their recordings, if they are appropriate gram. Opportunities to hear examples of various to the course of study.The record jackets of musical media--instrumental, vocal, solo, chamber mostLP recordings usually offer good program music, orchestral, choral,etc.--should be in- notes and biographical materialabout the com- cluded in the plans for this course. A suggested poser. general listening guide, as well as a sample guide for a specific work, is included in this unit of The five stylistic periods of music, naturally, the guide. should not be given equalemphasis. Very few opportunities are available to hear the musical Of allthe units in the "music portion" of the worksof the Renaissance onconcertprograms. Fine Arts Survey, this unit will probably occupy Yet, the works of this period are significant to the most time. One of the goals of this course is this course, in the more popular music of later toassist thestudentswith an "interest in- periods. ventory" of the major musical works. Since many students are not accustomed to listening to the More opportunities existto hear music of the works suggested for this unit, the teacher should Baroque period, but most concert programs include be aware of the attention the students are giving more works of the Classical, Romantic, and Modern to each work. When playing extended works, such eras. Worksselected for listening activities as symphonies, it may not be necessary toplay all should maintain balance of interest and logic. of every movement.

No attemptshould bemade topresent highly technical and theoretical material. The previous units on the elements and form in music should serve as a guide for analyzing style.

Emphasis should be given to creative listening. After an analysis of style, reflect on the value of the musical work. Why is music from centuries

349 181 350 1. The person must be willing to make an effort, to move beyond simple awareness of music to a look atwhat the music has to offer.

2. The personmust realize thatart music is usually not simple. If music were too obvious, it would fail in artistic expression.

3. The person must be, at least, toler- antofall music. Anopen-minded person has a better chance ofbroad- ening his or her sphere of music.

In his book, A Concise IntroductiontoMusic Listening, published by Wadsworth Publishing Company, Charles Hoffer refers to three kinds of listening. "Sensuous" listeningmeans "of or It refers to the purely LISTENING appealing to the senses." physical effect that music has on the listener- - thespineorthe sheer Trained musicians and sensitive music"buffs" use the chill runningup the word "listen" to mean anactivity involving pleasure of a beautiful sound. intense concentration. Listeningis much like The secondkindoflistening is oftencalled thinking in that both acts are willful and There can be littledoubtthat deliberate, yettotheobserverthere is no "expressive." Music frequently visible evidence of either activity. "Listening" music has expressive power. relates to something the listener thinks or feels. is not the same as "hearing." Hearing refers to an involuntary response to aphysical stimulus. Listening is the deliberate act that takes'the The thirdkind of listening,called"musical," whathappens inthe person beyond merely hearing. involvesconcentrating on music--what notes are being played, at what speed, in combination with what other notes, on what in- Three conditions must exist in orderfor appreciation of "art music" to take place, and all three strument, in what range, and so on. It is in this are within the realm ofattitude. kind of listening that the more musical values are

0/, 188 351 realized. Attainment of this kind of listening A person can tellif he or she is really hearing requires more education, but it also offers what a musical composition has to offer by asking greater rewards. the following questions:

Hoffer goesontosuggest10 ways to improve 1. Does the music seem sensible? listening skills: 2. Does it move along without seeming to

1. Concentrate very hard on the musical be dead or stagnant? sounds. 3. Do you hear specific details of form, 2. Concentrate on the main themes of the rhythm, and melody? piece. 4. Do you keep your attention focused on 3. Remember the main themes of the work. the music almost all the time?

4. Notice what happens to themes and 5. Do you get some reactions or feelings musical ideas as the music goes along. from the music as you hear it?

5. If you have trouble following and 6. Do you like to listen to this music? remembering the main themes and what happens tothem,listen tothe work 7. Do you enjoy it? again--and again, if necessary. 8. Does it seem interesting? 6. Apply knowledge to what you hear. If the answerto most of thesequestions is is 7. Try to be more aware of the more subtle "yes," there islittle doubt that the music And smaller features of the music. being heard as it should be. Composers want their music to be enjoyed and their skill at handling 8. Encourage your reactions to the music. music to be appreciated.

to 9. Do not conjure up visions or fantasize One goalof the Fine Arts Survey course is when listening to music. assist the students to become better listeners. Applying the above principles will facilitate the 10. Practice learning to listen to music realization of this goal. more effectively.

189 353 354 HISTORICAL OVERVIEW SUGGESTED LISTENING

Gabrieli, A. Ricercar RENAISSANCE (1450-1600)

General Characteristics of the Period Gibbons Fantasia A 2 development of intellectual outlook worldliness Josquin "Absalom, Fili mi" nationalism individualism humanism Monteverdi "Si ch' io vorrei morire" General Characteristics of the Music

Polyphony - line against line with each Morley "Now Is the Month of Maying" part having distinct melodic character Palestrina "Kyrie" from Missa Brevis No strong feeling of harmonic movement

No strong feeling of meter

Emphasis on vocal forms

Sacred

restrained (emotionalism not in keeping with the attitude of reverence to God)

Latin text (ecclestical)

Secular

vocal music sung in conjunction with lute and harpsichord

vernacular language (native) pastoral, erotic texts

190 355 356 RECORDING SOURCE TEXT REFERENCE

Macmillan, "Composing Music," Record 2, Side A Macmillan, "Composing Music," pp. 26-27 Band 3

Macmillan, "Playing the Recorder," Side B Band Macmillan, "Playing the Recorder,"p. 33

Politoski, Side 2 Band 8 Politoski, pp. 91-92

Politoski, Side 2 Band 10 Politoski, pp. 98-99

Politoski, Side 2 Band 11 Politoski, pp. 100-101

Politoski, Side 2 Band 9 Politoski, pp. 94-94

M7 19 HISTORICAL OVERVIEW SUGGESTED LISTENING

BAROQUE (1600-1750) Bach Cantata No. 80, first movement

General Characteristics of the Period Bach Fugue in G. Minor large scale production rhetoric humanism Bach "Jesu, Joy of Man's Desiring" contrast 2 versions ornamentation Bach Prelude and Fugue No. 2 in C General Characteristics of the Music Minor

counterpoint--voice clainst voice in a Bach "Sanctus" from the Mass in B harmonic context Minor

concertante Handel "For unto Us a Child Is Born" from the Messiah polychoral Handel Concerto in B-flat Major concerto grosso

homophony Monteverdi "Tu Se Morta" from Orfeo

movement toward major, minor tonalities Scarlatti Sonata in C Major metrical organization

terraced dynamics Vivaldi Winter Concerto Op. 8, No. 4 in F Minor, first movement keyboard forms

rise in use of instruments

solo concept

358 359 al 181 RECORDING SOURCE TEXT REFERENCE

Politoski, Side 3 Band 6 Politoski, pp. 151-152

Politoski, Side 3 Band 4 Politoski, pp. 135-136

Macmillan, "Sources of Musical Sound," Record Macmillan, "Sources of Musical Sound," II, Side B, Bands 3 & 4 pp. 30-31

Macmillan, "Composing Music," Record II, Side Macmillan, "Composing Music," p. 28 B, Band 1

Politoski, Side 3 Band 8 Politoski, pp. 156-158

Politoski, Side 3 Band 7 Politoski, pp. 153-155

Politoski, Side 3 Band 3 Politoski, pp. 130-132

Politoski, Side 3 Band 1 Politoski, pp. 143-145

Politoski, Side 3 Band 5 Politoski, pp. 133-134

Politoski, Side 3 Band 2 Politoski, pp. 128-129

360

r. 193 HISTORICAL OVERVIEW SUGGESTED LISTENING

CLASSICAL (1750-1825) Beethoven Piano Sonata in C Minor, third movement General Characteristics Beethoven Symphony No. 2 in D Major, sec- emotional restraint ond movement formal structure objectivity Beethoven Symphony No. 5 in C Minor elegance Age of Reason Haydn Quartet in C Major, "Emperor," General Stylistic Characteristics of the Music first movement

mixture of homophony and polyphony Haydn Symphony No. 94 in G Major, first & second movements simple harmonies--clear key relationships Haydn Excerpts from "The Seasons"

clear, precise rhythmic patterns Mozart Piano Concerto No. 17 in G graded dynamics Major, first movement

decline of vocal dominance, rise of in- Mozart Symphony No. 40 in G Minor strumental music first & third movements

new developments Mozart "Cinque, dieci," from The Marriage of Figaro piano

orchestra

symphony

sonata allegro form

362 363

194 RECORDING SOURCE TEXT REFERENCE

Politoski, Side 6 Band 3 Politoski, pp. 233-235

Macmillan, "Sources of Musical Sound" Record II, Macmillan, "Sources of Musical Sound," p. 23 Side A Band 4

Politoski, Side 5 Band 1-4 Politoski, pp. 199-210

Politoski, Side 6 Band 2 Politoski, pp. 224-226

Politoski, Side 4 Bands 1 & 2 POlitoski, pp. 180-186

Politoski, p. 249

Politoski, Side 6 Band 1 Politoski, pp. 214-216

Politoski, Side 4 Bands 3 & 4 Politoski, pp. 190-194

Politoski, Side 6 Band 4 Politoski, pp. 245-249

195 364 365 HISTORICAL OVERVIEW SUGGESTED LISTENING

ROMANTIC (1825-1900) Berlioz "Symphonie Fantastique" fourth movement General Characteristics of the Period Brahms Symphony No. 3 in F Major, first individualism movement rejection of restraints subjectivity Chopin Nocturne in E-flat Major mysticism nationalism Debussy "Prelude A L'Apres-Midi D'Un General Stylistic Characteristics of Music Faune"

solo passages within concerted works Liszt Hungarian Rhapsody No. 6 in D-flat Major long asymmetrical phrases Rossini "Largo al Factorum" from The chromaticism Barber of Seville

exploitation of tone color Schubert "Gute Nacht" from Die Winterreise

varied, exotic instrumentation Smetana "The Moldau" exploitation of virtuosity of performers

new developments Strauss "Till Eulenspiegel's Merry Pranks" nationalism Tchaikovsky "1812" Overture program music

impressionism lchaikovsky Violin Concerto in D Major, third movement

Verdi "Ah, Fors E Lui" and "Sempre Libre" from La Traviata

Wagner Prelude to Tristan and Isolde 366 367 196 RECORDING SOURCE TEXT REFERENCE

Politoski, Side 8 Band 2 Politoski, pp. 315-230

Politoski, Side 7 Band 5 Rolitoski, pp. 300-301

Politoski, Side 7 Band 1 Politoski, pp. 268-270

Politoski, Side 9 Band 4 Politoski, pp. 372-374

Politoski, Side 7 Band 2 Politoski, pp. 274-275

Macmillan, "Composing Music," Record I, Side A Macmillan, "Composing Music," p. 2 Band 3

Politoski, Side 7 Band 3 Politoski, pp. 280-283

Politoski, p. 358 (see listening guide)

Macmillan, "Program Music," Side B Band 2 a-j Macmillan, "Program Music," pp. 22-32

Macmillan, "Program Music," Side A Band 4 a-e Macmillan, "Prog.ram iusic," 12-16

Politoski, Side 8 Band 1 Politoski, pp. 307-311

Politoski, Side 8 Band 4 Politoski, pp. 334-333

Politoski, Side 9 Band 2 Politoski, pp. 346-347 369 3 197 HISTORICAL OVERVIEW ,=0, SUGGESTED LISTENING

MODERN (1900-Present) Bartok Music for Strings, Percussion, and Celesta General Characteristics of the Period Berg Lyric Suite, first movement return to objectivity mechanical/technological "Fontana Mix" materialistic Cage pluralism of cultures "Appalachian Spring," first and General Stylistic Characteristics of Music Copland second sections move away from tonal centers Copland "Lincoln Portrait" polychordal

"Synchronisms No. 1" , polytonal Davidovsky

atonal Hindemith "Mathis Der Maler" Symphony, first movement serial "Fourth of July" from A Symphony: return of modes Ives Holidays, dissonance Penderecki "Polymorphia" free concept of rhythm

polymeter Schoenberg Suite for Piano, first movement

polyrhythm Stravinsky "Danse Sacrale" from The Rite of Spring rhythmic ostinati

exploitation of traditional and non- Varese "Poeme Electronique" traditional sounds as sound sources

Webern Symphony for Chamber Orchestra 37o ----2.41 198 RECORDING SOURCE TEXT REFERENCE

Politoski, Side 10 Band 1 Politoski, pp. 393-396

Politoski, Side 10 Band 6 Politoski, pp. 427-428

Macmillan, "21ectronic Music" Macmillan, "Electronic Music," p. 3

Politoski, Side 11 Band 2 Politoski, pp. 442-444

Macmillan, "Music U.S.A., Record 1, Side A Macmillan, "Music U.S.A." p. Band 5 a-c

Politoski, Side 12 Band 1 Politoski, pp. 482-484

Politoski, Side 10 Band 2 Politoski, pp. 398-401.

Politoski, Side 11 Band 3 Politoski, pp. 447-449

Politoski, Side 12 Band 3 Politoski, pp. 486-487

Politoski, Side 10 Band 5 Politoski, pp. 424-425

Politoski, Side 10 Band 3 Politoski, pp. 407-410

Macmillan, "Electronic Music" Macmillan, "Electronic Music," p. 18

Politoski, Side 11 Band 1 Politoski, pp. 429-432

199 372 373 GENERAL LISTENING GUIDE

consonant, dissonant, major/ I. Problem-Solving Aspects of Listening Areharmonies minor tonalities? Do the harmonies change Focus on what is happening in the musical within the composition? What effect is composition. achieved?

Place the student in the perspective of the Does the composition have metrical composer. organization?

How did the composer construct the musical Does the composition use solo performers or composition? Using "same-different," ensembles?Are the groups large or small? describe theunderlyingstructure in the musical work. How are expressive qualities of timbre, tempo, and dynamics used in the selection?

II. Stylistic Analysis III. Affective Response Refer tothe GeneralStylistic Character- istics of Music for each historical period. An analysis of individual emotional response Listen to representative compositions from would include the following: the period. Focus on the distinctive characteristics of the period. Do you like this music? Why or why not?

Arrange the guide sequentially so that each How does it make you feel? Do you think lesson will have a similar format and can be this is what the composer intended? Does of the used for comparative purposes. your opinion change the value music? How was form achieved in this period? Which of the three general categories of texture-- Do you intend to listen to this monophony, polyphony, and homophony--best composition again on your own? describe this selection?

How are melodies used? Are they distinct, fragmented? Arethey independent, ordo they fit into a harmonic context? Are the intervals conjunct or disjunct?

0Ot10ir- 374 200 Listening Stu 4y Guide THE MOLDAU

Bedrich Smetana

How would you like to follow a river back to the very place it began, then journey along with it until it meets the sea? One composer envisioned many different sights that might appear along its banks when he wrote a musical version of a river's journey in his country Bohemia (now Czechoslovakia). This composer has been called a "nationalist" because his music reflects the beauty of his native land.

What makes a river? How does it begin? This river, the Moldau, begins when two sp"ings, a noisy and a quiet one, join and start a journey that leads eventually to the sea.How do you think the composer describes each spring, their forming into a brook and river, and the scenes through which the river passes?

Before each scene listed in Column I, place the letter indicating the musical means by which the composer describes the scene, choosing from the musical clues in Column II.

Column I Column II

Broadening of the brooklet into a river a. Happy dance tune, heavy accents, bagpipe drone effect

Forest and hunting scene b. Ghostly music, soft, staccato, horns in harmony

Village wedding c. Trumpet and horn hunting calls, galloping rhythm

Moonlight scene d. Broad singing melody, violins, oboes

Old castle e. High sustained violin tones with rippling accompani ment; soft Rapids of St. John f. Big chords, big melody, building to a climax, then Triumphant theme (Song of the River) dying away

g. Brass, woodwinds, strings, percussion; listen for cymbals

376 377

201 SAMPLE TEST QUESTIONS DESIRED RESPONSES

Matching:

Match each composer in the left columnwith the musical period each is associated with.

b Bach a. Renaissance

c Beethoven b. Baroque

d Chopin c. Classical

e Copland d. Romantic

b Handel e. Modern Era

c Haydn

c Mozart

a Palestrina

e Stravinsky

d Tchaikovsky

Multiple Choice:

d Which of the following is not acharacteristic of the Baroque period? a. harpsichord b. extensive use of polyphony c. vocal musicdominance over orchestral d. order and restraint

378 379 111VIMINS ..4 202 SAMPLE TEST QUESTIONS DESIRED RESPONSES

Essay Topics:

Compare and contrast the musical style of theBaroque and Classical periods, giving most prominentcomposers and compositions.

Discuss the new composition techniques usedby twentiethcentury composers. Give names of composers and their works.

Matching:

Match each composition in theleft column with the appropriate composer in the right column.

"1812" Overture a. Bach

The Marriage of Figaro b. Chopin f

Appalachian Spring c. Copland c

The Barber of Seville d. Handel 9 The Moldau e. Haydn h

Messiah f. Mozart d

Jesu, Joy of Man's Desiring g. Rossini a

Till Eulenspiegel's Merry Pranks h. Smetana

The "Surprise" Symphony i. Strauss e

Nocturne in E-flat MOGI j. Tchaikovsky b

380 203 381 is++++********k+++++++++++++++++++44444

DRAMA A RESOURCE UNIT

382 What is drama? An example of the work of this period is the drama Medea by Lucius Seneca. Art is natural to man. Since the dawn of human existence, man has felt a need to communicate his In the Dark Ages that followed the fallof the thoughts and feelings to the world around him. Roman Empire, most cultural activities took place Hehas done this through dance,drama, music, in the monasteries. Theatre buildings were visual arts, and literature. allowed to decay, many scripts were destroyed, and actors became vagabonds. The art of drama does not simply retell a story: it relives it. Drama is an experience, a result The Middle Ages saw the birth of church drama, of combining the written thoughts of the which brought with it a new trend of realism. playwright with thespeechand actionof the The first notes of realism can be found in the performers in a theatre before an audience. elaboration of the Mass at Easter in the Passion Play. Gradually, around the 12th century, plays Drama wasprobably bornone evening around a were performed outside the church, and as many as campfirewhen cave men reenacted the events 300 actors would appear in a single outdoor irama. relative to the capture of the evening's meal. In these plays, humanswere facedwithmoral choices. The first documentation modern man has of drama dates to 540 B.C.in Athens, Greece, when plays Everyman is the most famous of these were performed at the climax of religious festivals. Thethemes ofthese earlydramas concerned man's dignity, the existence of evil, The Renaissance saw the birth of the professional and human values. The common people performed as acting company and the court theatre. Scenery, masked dctors whoactedout a story while a elaborate costumes, lighting, and special effects chorus sang and danced the transitional material. wereadded to dialogue, pantomime,music, and dance. Drama moved indoors and theaters such as An example of the work of this "The Globe" were built. period is the drama Antigone written by Sophocles in 450 B.C. The greatest playwright of all time, William Shakespeare, belongs to this Roman theatre, 240 B.C., mirrored much of Greek period. Other famous playwrights of this theatre, but comedy and tragedy were replaced by period were Cervantes (SpanishRenais- farce and pantomime. The chorus was eliminat:A sance drama), and Moliere (Frenih and emphasis was placed on a star performer. Renaissance drama).

205 383 384 Eighteenth century drama consistedof "laughing Peer G nt by Henrik Ibsen and The Cherry I rc and by Chekov are excellentexamples comedies" andmelodramas. Themostimportant contribution to theatrein this period was in of the work of this period. scenic design. The Baroque style of architecture influenced the famous scenic designers,Torelli Theatre from 1945 to the present has seen much Playwriting schools have and Vigarani, who continued therefinement of growth and development. developed, and the playwright has emerged as an scenery and "specialeffects." artist in the theatre. Independent companies and The plays of Voltaire, 1694-1778, are acting studios have expanded, and plays that have representative of this period. universal appeal are being written.

Romanticism emerged in early nineteenth century Sociologists suggest that man has become a passive observer of life. Young people seeking drama. In theseplays man was always in a struggle with himself as he tried to overcomehis entertainment merely sit and watch drama unfold on film, and on the stage. limitations. Late nineteenth century theatre was on television, Pleasure is richest for those who are prepared by dominated by large audiences, musicals, and the knowledge and training to appreciate drama. melodramas. True enjoymentcomes to an audiencethat is One of the most popular playwrights of active, not passive. thisperiod wasEugene Scribe,1791-1861. Knowledge of drama turns young people into active His plays followedthe formula for the sense and a "well-made play." Scribe's play Camille was observers with an informed critical society. famous in this day. One of the FEHTimous true appreciation of drama's place in make learning come alive. actresses during this period was Sarah Drama's activities Bernhardt. Skills of critical thinking and problem solving are developed. Through expressive use of the body Early twentieth century drama tried to break away and voice, communication skills are improved. from the melodramatic craze. An effort was made to unify theatrical productions and todepict the Participation in drama affords the opportunity to truth, the real world on stage. An outstanding express oneself creatively or to escape to aworld of theatre leads to playwright of this periodwas Henrik Ibsen. of fantasy. A study self-knowledge and appreciation of high standards Other great writers of the period were Strindberg, Zola, Shaw, Pinero, and Chekov. ofartistic performance. Drama expands man's ability to explore, imagine, reflect, and better understand his environment.

385 386

206 How then can drama be studied? Unlike other literary forms, dramais written to be seen by an audience, andeveryone who views There are a multitude of approaches to the study drama is a critic. It is impossible to apply of drama: a "litmus paper" test to drama. Often the play the public thinks is marvelous, thenewspaper critics - One may select to study drama for its tear apart. What then constitutes good basic drama? structure (setting, plot, Playwrights say drama should reflect characters, and theme). a "slice of life," life asit is, as it could be,or as - The dramatic'st les characteristic of the it should be. Drama should contain conflictsof man historic perio s of drama can be reviewed. versus man, man versus society,man versus the - The various forms of drama (tragedy, elements, or man versus himself. melodrama., comedy and farce) can be examined and compared. According to Joseph Mersand in Drama - The forces of drama (the creative force of in the Secondary Schools, good drama should the playwright possess the versus the interpretive following characteristics: force of the directors, scene designers, and actors) may be explored. A universality of appeal in time - the as well various techniques of performance as space (pantomime, mimicking) may be - A depiction of living characters in experimentally employed. convincing situations; the dramamust be - the many areas of theatre study believable (playwriting, directing, acting,costume Acapacity to stir, move, challenge, and makeup design, stage lighting and enrich and/or transform the scenic design) may be researched. audience The knowledge about human nature - Drama can be inspected to for its three enable man to face everyday elements: the dramatic element (tension problems and conflict), the theatric element (mimicry and display), and thesemantic element (meaning and value). - The diversity of drama in existence today can be experienced with tapes of radio dramas, television dramas, schoolpageants andplays, Mardi Grasballs,community stage productions, dinner theatre,films, and Broadway productions.

3S7 THEATRE EXPERIENCES

ACTING ACTING The Actor at Work. Englewood Have students prepare a report describingthe Benedetti, Robert. best acting performance they have seen onstage, Cliffs, N. J.: Prentice-Hall, Inc., 1970. in a motion picture, or on T.V.and explaining why they consider it the best. Chekhov, Michael. To the Actor. New York: Harper and Row, 1953. Discuss anaudience'seffect on a theatrical Res ect for Acting. New York: performance. Can a poor audience cause a poor Hagen, Uta. performance? How? What are the responsibilities Macmillan & Co., 1 3. of an audience? Spolin, Viola. Improvisationforthe Theatre. Describe the differences between the actingof Evanston, IL: Northwestern Universit5F-WEE, poetic drama and the acting of prose drama. 1983.

Prepare a soliloquy from Hamlet or Macbeth ordi- Stanislaysky, Konstantin. An Actor Prepares. narily delivered introspect and deMer it New York: Theatre Arts Books, 1978. with direct address to the class. Stanislaysky, Konstantin. Building a Character. Bring a Halloween mask to class. Pantomime the New York: Theatre Arts Books, 1949. character the mask suggests for oneminute. Switch masks with a classmate and pantomime the Stanislaysky, Konstantin. Creating a Role. New character his mask suggests. York: Theatre Arts Books, 1961.

Listen to a recording of a speech from one of Shakespeare's plays and report on effective vocal techniques heard. *All references may be obtained from the Louisiana State Library through the local parish Improvise thedialogueandactions offamous library. people in the historical situations for which they are best remembered.

Select simple words such as "no" or "oh" and say them conveying different emotions, such as fear, anger, sarcasm, surprise.

208 389 300 THEATRE EXPERIENCES RESOURCES

Prepare and present a one minute monologue from a COSTUMING play of the student's choice such as Joan of Arc's address toher inquisitors in Bernard Shaw's Komisayensky, Theodore. ,The Costume of the St. Joan or David's monologue in Amen Corner by Theatre. New York: Henry Hold and Company, 1932. James Baldwin. Lister, Margot. Costume. Boston: Play, Inc., Research a scene from a Shakespearean play and act 1968. out the scene in modern language. Motley. Designing and Making Stage Costumes. New COSTUMING York: .Watson-Guptill, 1964.

Design costumesfor apopular children's play Paterek, Josephine D. CostuminQ for the Theatre. using materials such as paper bags and cardboard New York: Crown Publishers, 1959. boxes. Zuiner, Laura. Costumin9 for the Modern Stage. How may a costume affect the success or failure of Urbana: University of Illinois Press, 1957. an actor in a part? How do costumes bring interest and contrast into the stage design? MAKEUP DESIGN

Select any character from aplay and plan and Buchman, Herman. Stake Makeup. New York: design on paper the costumes he wouldwear Watson-Guptill, 1971. throughout the play. Corey, Irene. The Mask of Reality. New Orleans: MAKEUP DESIGN Anchorage Press, 1968.

Collect and discuss magazine covers and advertise- Corson, . Richard. Stage Makeup. ments showing faces of people of varying ages Century-Appleton-Crofts, 1975. exhibiting various emotions. Experimentwith pencil and felt tip pens to give these faces a Strenkovsky, Serge. The Art of Makeup. New York: different look. E.P. Dutton and Co., 1937.

Discuss the value of makeup to the actor. Explain Westmore, Michael. The Art of Theatrical Makeup how makeup used improperly can do more harm than for Stage andScreen. New York: McGraw-Hill, good. 1973.

Invite the makeup artist from the community

39 209 392 THEATRE EXPERIENCES RESOURCES

makeup DIRECTING theatre to demonstrate to the class application for several charactersselected from Cole, Toby and Chinoy, Helen. Directors on plays of different periods. Directing. Indianapolis: Bobbs Merril Co., 1963. Using paper and pencilsketch the makeup that Clurman, Harold. On Directing. New York: be used to depict such interesting could Macmillan and Co., 1972. characters as Falstaff, Cleopatra, Macbeth's witches, or Pierrot. Clay, James H., and Krempel, Daniel. The Theatri- cal Image. New York: McGraw Hill Book Co., 1967. DIRECTING Stanislaysky, Konstantin. Creating a Role. New What is the role of a director? Is the director York: Theatre Arts Books. 061. an artist? What similarities exist between a painter painting a picture, a conductor conducting a symphony, and a directorproducing a MEDIUM OF THEATRE play? Albright, N.D., Halstead, William P., and Lee, Principles of Theatre Art. Make a list or your favorite ,directors. Describe Mitchell, Houghton Miffin Co., 1955. the individual techniques you havenoted in their Boston: plays or movies. Holton, Orley. Introduction to Theatre. Engle- Prentice-Hall Co., 1976. Select a play and plan on paper the stagesetting wood Cliffs, N.J.: including where each character for each scene the Theatre: stands in relation to the others. Kaufman, Julian Theatregoers.anIl'APPZiaYOW MEDIUM OF THEATRE Co., Inc., 1971. The Principles of Playmaking. Read synopses of several Shakespearean playsand Mathews, Brander. Books for Libraries Press, 1970. note how many instances you can find ofparallels Freeport: of plot or character. Ommanney, Katharine, and Schanker, HarryH. The New York: McGraw-Hill Co., Make a list of characters from plays whose lames Stage and the School. were intended to describe them. 1982. The Elements of Drama. Cambridge: Report onexamplesof prologues orepilogues Styan, J.L. which explain the general thought of the play. University Press, 1967.

393 394

210. THEATRE EXPERiENCES RESOURCES

PLAYWRITING PLAYWRITING

Discuss the playwright, Henrik Ibsen's apparent Baker,George Pierce. Dramatic Technique. New attitude towardthe characters in his playA York: Da Capo Press, Inc., 1919. Doll's House. Cassidy, Marshall. Playwritin Step by Step. Have students read a play by Eugene O'Neil such Saratoga, CA: Resource Publications, 1984. as Long Day's Journey into Night or The Iceman Cometh. Discuss the new devices, new iTf Cole,Toby. PlaywrightsonPlaywrighting. New expression he employs. York: Simon and Schuster, 1960.

Read one of George Bernard Shaw's plays such as Grebanier, Bernard D. Playwrighting: How to Pmalion. Did the playwright create characters Writefor theTheatre. New York: Thomas Y. with whom the audience could identify and Crowell, 1961. empathize? Explain. THEATRE-HISTORY Select a newspaper story that contains the basic elements of aplay. State the theme, describe Brockett, Oscar G. History of the Theatre. the setting, describe the characters, outline the Boston: Allyn and Bacon Publishers, Inc., 1970. plot, and then write the play. Cheney, Sheldon. The Theatre. New York: THEATRE-HISTORY Longmons, Green and Co., 1952.

Students select and read aloud in class excerpts Freedley, George and Reeves, J. A History of the from Oedipus the King, Electra, or Antigone to Theatre. New York: Crown Publish-Trig-Co., 1968. provide a taste of Greek-ITT6TE-writing. Hornblow, Arthur. A History of the Theatre in Trace the important role the church playedin America. Salem, N.Y., Ayer Co., .1919. early theatre history. Hughes, Glenn. A History of the American Theatre. Commedia dell' arte enjoyed success and esteem in New York: Samuel French, 1951. almost every European country for over a century. Research and report on its strengths and weaknesses.

Research theatre in the Renaissance period. Compare and contrast the theatres of the Italian Renaissance, theSpanish Renaissance, andthe French Renaissance.

211 395 396 THEATRE EXPERIENCES REFERENCES

STAGE SCENERY AND LIGHTING Compare and contrast aromantic comedy such as Cyrano de Bergerac with asentimental comedy such Fuchs, Theodore. Stage Lighting. New York: as I Remember Mama. Benjamin Bloom, 1963. write a synopsis of Select and read a play and Stage Properties and How to Make the structure, and statethe Kenton, Warren. the plot, outline Them. London: I. Pitman, 1964. theme. New York: Van Pilbrow, Richard. Stage Lighting. either.on stage or television. Have View a play Nostrand, 1970. the student write a paperdescribing whether or liked theplay, stating all possible not he Selden, Samuel. Stage Scenery and Lighting. New reasons for his reaction. Have him state any York: Appleton-Century Craft, 1959. ideas from the play whichwill have lasting value for him. Stoddard, Richard. Stage Scenery. Detroit: Gale Research Co., 1977. STAGE SCENERY AND LIGHTING

Antigone Select a scene froma playsuch as (perhaps the scene in whichAntigone exchanges dialogue with the chorus) andstage this scene as it would beperformedon a thrust stage, a proscenium stage, and on an arenastage.

Prepare a report on recentinnovations in theatre architecture. (Theatre Arts magazine would be a good source.)

List the major problems adesigner would have in for planning the first scenes of Peter Pan production in an outdoor theatre.

Discuss why most designers preferthejob of stage lighting tragedies tocomedies.

Collect swatches of fabric ofvarious color and texture. Record the student's emotional response to each color swatch.

Alliromm.IMIIMMINN. 212 397 398 THEATRE EXPERIENCES

Illustratethe variouseffects oflightupon colored fabrics and paints. Discuss how different colors affect the mood of a scene.

Select a play and draw a floor plan for one of the acts. Describe the scenery that would best fit its style, spirit and purpose.

Draw a scale flocir planof the stage in the school and prepare to discuss its good and bad features in staging various productions.

Select a play from the Victorian era and research the various period furniture, paintings, and decorative articles that would be appropriate as stage scenery.

Discuss the advantages and disadvantages of theatre-in-the-round.

399 TERMINOLOGY

ACTOR - a theatrical performer

ANTAGONIST - the hero's opponent, usually a leadingcharacter

BACKDROP - a large flat surface at the rear ofthe stage, painted to suggest locale and used with wings in seventeenth, eighteenth,and nineteenth centuries

BACKSTAGE - the part of the stage not seenby the audience; also the dressing rooms,waiting areas, and prop room

BLOCKING - the movements and locations of actorswithin a set

who CHORUS - in fifth-century Athens, the groupof from 15 to 50 male actor-dancers performed, usually as a unit in tragediesand comedies

CLIMAX - the high point in a play whenthe action culminates

and COMEDY - a play which ends happily for thehero, usually contains humorous dialogue, often deals with topics of currentinterest

COMMEDIA DELL' ARTE - a pantomime or dramawithout any set literary form

CONFLICT - the struggle underlying the plotof a play

COSTUME - a style of dress, including garments,accessories, and hair style

CRITIC - one who forms and expresses judgmentsof the merits and faults of anything

his CUE - the final words, business, or movementof one character before another begins own end of the DENOUEMENT - the events taking place from thechange in the hero's fortunes to the play

4.0.0 401

214 TERMINOLOGY

DUES EX MACHINA - an expression literallymeaning "god from a machine"; used today to describe any artificial device which resolves a problem

DICTION - selection and pronunciation of words and their combinationin speech

DIRECTOR - the man or woman who interprets the playwright's work in order to present aunified stage production

EXPRESSIONISM - a style of drama in which ideas and concepts are visualized, often by meansof distortion or sensationalism in staging

FANTASY - an unrealistic play, sometimes serious, sometimes comic, and frequently containing poetic dialogue

FARCE - an exaggerated comedy based on humorous characters and situations

FLAT - a piece of rigid upright scenery, a wooden frame covered with canvas

FLOOR PLAN - a drawing showing exactly how the scenery will be placed

FORM - the fundamental nature of a creation, as it can be defined by its peculiar characteristics

HAND PROPS - personal properties such as notebooks, glasses, or cigarette cases used by the individual players in the action of a play

IMPRESSIONISM - a style of theatrical production designed to enable the audience to actually feel and realize the emotions of characters

IMPROVISATION - the impromptu portrayal of a character or a scene

INTERLUDE - a short bit of numorous action, usually performed between serious medieval plays

LIGHT PLOT - diagrams showing the placing of the instruments and the plugging system, and the areas where the beams from all instruments fall

215 402 403 TERMINOLOGY

MELODRAMA - a play designed to arouse immediate and intense emotion by means of exaggeration and fast-moving action

MIME - nonverbal performer or performance seeking to represent or imitate actual experience

MIRACLE PLAY - a medieval dramatization of the life of a saint

MOOD - the mental or emotional state generated in an audience by a theatrical event or some aspect of it

MORALITY PLAY - an ethical, medieval drama peopled by symbolic characters who represent abstract qualities

MUSICAL COMEDY - a light story with spoken dialogue interspersed with music and dances

NATURALISM - an extremely realistic style of playwiting and production

PANTOMIME - 1 dramatic performance in which actors interpret a story without dialogue by means of significant actions, gestures, and facial expressions

PLAYWRIGHT - author of the play

PLOT - the main story of a play; the series of situations and incidents through which characters move, thereby telling a story

POINT OF ATTACK - that arbitrary point at which the writer has chosen to begin his script

PRODUCER - the individual or group who raises the money or underwrites the production financially

PROLOGUE - an explanatory speech preceding the opening of a play

PROPERTIES - all of the stage furnishings, including the furniture

PROTAGONIST - the hero or leading character with whom the audience sympathizes

REALISM - a style of drama which attempts to show life as it really is 404 405 TERMINOLOGY

SATIRE - revelation or degradation of error, folly, or vice by making it the object of laughter

SCENARIO - a detailed treatment of a story for motion picture production, showing its scene-by-scene development and giving the essential acting details

SCENERY - the painted backdrop on a theatrical stage

SET - the scenery for an act or scene

SOAP OPERA - a sentimental melodrama or comedy, popular today on radio and television

SOCIAL DRAMA - a play concerned with the problems of society

SOLILOQUY - a character's speech to himself

STAGE - any area in which actors perform

STAGECRAFT - the art and craft of putting on a production

STRUCTURE - the form, development, and method of presentation

STYLE - the way in which a play is written, acted, and produced

TEMPO - the speed with which speech and action move a play along

THEATRE IN THE ROUND - arena staging, with the audience completely surrounding the playing area

THEME - the basic idea of a play which the playwright dramatizes through the conflict of characters

WELL-MADE - term applied to scripts written in mid-nineteenth century that followed a set pattern or formula in their construction. Scribe and Sardou were most prominent exponents of this approach.

WING - the offstage area to the right or left of the set **4,444v*********************k*********k

DANCE ARESOURCE UNIT

408 before speech was used for communication. Man still communicates through movement. Excellent examples are foundin modern concerts, dances, dramas, and recreational dance forms.

As for physical exuberance, primitive man used dance and movement for strength, flexibility, and agility, abilities he needed for battle and to celebrate victories. An excellent example of this is the Highland Fling, a dance executed by the men of Scotland. This dance is essential- ly interpreted today as itwas intheearly centuries. Modern man uses physical exuberance for recreational purposes. Excellent examples of this can be seen in the popular disco and jazz dances, carnival balls, cotillions, and folk dances.

. Primitive societies used dance as a means Dance is one of the oldest art forms known to man of choosing mates. The dancesperformed were and had its beginnings far back in the Primitive ritual. Today, we find similarities in the many Society, 20,000-4,000 B.C. Today, twentieth debutante balls given eachyear and in the century society stilldances for the same basic "singles only" clubs where BOY meets GIRL. reasons that primitive man danced: for, magic and rituals, The Egyptians, 4,000-550 B.C., followed the communications, primitives. The purposes of their dances were to physical exuberance, and entertain and express religious emotion. Only sexual selection. slaves and peasants used dance for social recre- ation. There were three main kinds of dance:

. Primitive man used magic and rituals to (1) acrobatic--performed by professionals, bridge the gap between his world and the domain lo;' (2) religious--each temple had its dancers, and demons, spirits, and gods; modern man has formal (3) gesture - -a dance which told a story. rituals in churches and organized groups. The Egyptian style of dance was austere, much like their paintings. Only professionals were

. Primitive man'scommunication wasvery allowed to dance; even at funerals, the mourners simple with each tribe having its own dance were professional dancers. Drawings on walls, in gestures. The dances carried messages long tombs, and on pottery have recorded a picture of the ritualistic, expanded movements used in

219 409 410 Egyptian dance. tume, was in reality a swim dress designed for the Roman Bikini dancing girls. The Bikini Dances of the Hellenic Age (Greek), 550-201 B.C., dancers performed "water ballets" for their lusty had two purposes: Spartan dances, used for audiences in sealed flooded areas. During this developing agility and strength in men and women, period, the dance of the Christians ueveloped. and Athenian dances, performed for aesthetic The Bible is full of references to dance, "...and satisfaction and to express the ideals of beauty. David danced before the Lord..." The Greek dances fell into six categories: (1) religious--including dance-dramas based Dance during the Dark Ages, 476-1450 A.D., on legends and superstitions; consisted of ritualistic dances, which in reality (2) ritualistic/veil--honoring the gods; were processions. Dance was forbidden during the (3) athletic--imitative athletic activities, early part of the period but did not disappear performed only by men; completely; it was disguised under acloak of (4) war--toning the body for battle and for another color. Morality plays developed which victory celebrations; includedwhirling, dancingmovements. Social (5) theatrical--the beginnings of drama and dances were performed behind the protective walls including dances of comedy and of a reigning monarch. tragedy, burlesque, and satire. (6) social--recreations, rituals for funerals, The Renaissance period, 1450-1600 A.D., brought and choralnarrative dancing.The fresh relief to the arts. Everything in the arts Greeks sang while they danced and often performed began to change, as did the dance. During this group dances. These had a great variety of period, dance flowered as diversion and spectacle movement within a circular design, line proces- in the theatre and as social entertainment. sion, or labyrinth (maze). Aristophanes used the Three disciplines developed: "bird"dances as inspirationfor hiscomedies, (1) folk dance--executed by peasants, Birds and Storks. (2) court dance--performed by nobility, and (3) ballet--danced by professionals. Roman supremacy began in 201 B.C. and extended to Folk dances of this period were very spontaneous, 476 A.D. ',he Romans were people of practical and lively, and traditionalto the area. The cos- materialistic natures who had little fondness or tumes were simple, like the dress of the people. royal talent for dance. The Greek form of dance was The court dances were choreographed by the copied, but because the Romans were more inter- dancing masters and were elaborate floor peterns ested in power and self-indulgence than in aes- with complicated and affected movements. Special thetic expression, the dance in Rome degenerated court musicians composed the music tofit the The most intoa base form of entertainment performed by style and structure of a specific dance. professionals for the masses. Dance in the Roman famous court dances were the Pavanne, Landler, theatre degenerated into inane, lavish spectacles. Gavotte, Galliard, Courante, Gigue, andSaraband. The bikini, thought to be a twentieth century cos- The music structured for these court dances

220 411 412 developedthesuite. The musicalform of the brought dramatic realism and natural expression suite is stillused today even though the court to movement. She introduced the flowing drape dances are seldom performed. The term ballet modeled after that seen in Greek sculpture. means "complete work," a story that has a begin- Another leading performer was Francoise Prevost, ning, a development, and an ending--it is the art who was known for her lightness, precision, and form of the dance. The themes of earlier ballets dramatic interpretations. It is said that the were based on legends and myths;the movements Romantic period was the time of liberation of the were very stereotyped. Monsieur Arbeau, one of arts; it was a periodofoutward revolt, a the leading dancing masters of the late 1500's, generation of new artists with imagination and choreographed a stepcalled"reverence." This inspiration. Leading dance personalities of the step was used at the beginning and ending of all nineteenth centurywere Fanny Elssler, Marie the court dances of this period and is still used Taglioni, and Carlotta Grisi. Romantic ballets today to end all classical ballet classes. that remain beloved works of todayare Giselle, choreographed by Jules Perrot and Jean Coralliin In the period followingthe Renaissance, 1600 1841; La Sylphide, choreographed by Filippo B.C., classical ballet was divided into two Taglioni in 1832; and Swan Lake, choreographedin categories: Romantic Ballet and Classical Russian 1895 by Marius Petipa and L.I. Ivanov. Ballet. In the Romantic Ballet, technique developed into a set series of attitudes; thespirit The ClassicalRussian Ballet was subsidized by was romantic as in the other arts of this period. the government. During the seventeenth century, Ballet began in Italy but matured andcame to life Empress Ann founded the Imperial Ballet Academy in France during the reign of King Louis XIV. of Russia, which still survives today. She Louis not only promoted the dance but participated imported Monsieur Lande, a Frenchman, to direct in the ballets of the seventeenth century. Pierre theacademy. Catherine the Great,during the Beauchamp was the leading dancingmaster at this eighteenth century, imported an outstanding time and the teacher of the Sun King. Monsieur Frenchman, Le Picq and also an Italian, to Beauchamp's fundamental techniques of ballet are continue the school that began the century still stressed today, including the footpositions before. Emphasis was placed upon brilliance in which he has been credited with developing. execution. TheRussians believedthatdance, During the eighteenth century, men monopolized the music, costumes, and scenery were of equal organizational roles, and women began toassume importance in the finished performance. It the role of the star. Among the talented perform- should be pointed out that it was foreign per- ers were Marie Ann de Camargo who had light,gay, formersandchoreographerswhoinfluencedthe lusty, and vigorous movements. She also lifted Russian ballet duringthe nineteenthcentury. the heavy skirt to a shorter skirt and wore an Noted performers during this period included undergarment, whichis the predecessor of the Marie Talioni, Jules Perrot, Christian Johansson, ballet tights, anda soft slipper, which is the Charles Saint-Leon, Enrico Cecchetti, and Marius forerunner of the ballet slipper. Marie Salle' Petipa. Russian dance personalities were Serge Diaghilev and Vaslav Nijinsky.

221 413 414 All forms of art use a medium: dance uses move- both feet are off the floor simulta- A run is an extended walk at ment; music uses tone; painting utilizes color; neously. sculpture has stoneand clay; and literature a rapid pace. applies imagination, selection, and many elevation which involves principlesof composition. Fewpeoplecompose - Hopping is an taking off from one foot and landing on great dances, but everyone should have the There is no shift of opportunity and fun oftrying. To become a the same foot. performer or teacher, one must study many areas of weight in this movement. thedance. Technique,composition,history of - Jumping is anelevation which involves dance, human anatomy, kinesthetics, dance accompaniment, production, and costuming are some taking off from both feet and landing on both feet at the sametime. of the desired knowledges. The basic activity for a dance class is technique in a specific transfer of weight from one discipline. A dancer should strive for - Leaping is a otherexecuted with a experiencesin balance, coordination, endurance, foot to the increased range of movement, style, and quality of spring; the transfer of weight takes place in the air. A leap is an exten- movement. sion of a run. MOVEMENT In addition to the five fundamental locomotor It is important for a dancer to develop a movement movements, this cognitive area is further divided into locomotor movements which involve an uneven vocabulary tocommunicate a full knowledgeof dance as an art form. The human body is capable rhythm, creating simple dance steps. of locomotor and/or axial movement. The movement which takes the body through space resulting in a - Skippingis a combination of walk and a change of location is referred to as locomotor hop on the same foot performed in an uneven rhythmic pattern. movement. There are five basic locomotor- movements: - Sliding is awalk on one foot with a draw of the other foot up to the first and a - Walking is atransfer of weight from one Itis done quickly, foot tothe other withonefoot in shift of weight. contact with the floor at all times. unevenly and sideways. Walks may be taken in any direction with is a walk on one foot with a infinite variations. - Galloping draw of the other foot up to the first and a shift of weight. This is - Running is a transferof weight from one foot to the other during which time

222 415 416 performed in an uneven rhythmic pattern - Vibratory, where there are small releases and is a forward or backward slide. of energy that do not stop (quick- rapid)

These simple dance steps and the basic locomotor - Collapsing, which continues the release of moveroults may be combined in a variety of ways, controlled energy giving into the pull such as energy relrAsed, tempo, style, and direc- ofgravity (falls tions in space. forward,backward, The skip, slide, and gallopmay sideward) be combinedto composetraditionaldance steps such as the polka, schottische, waltz, two-step, It is possible for the dancer tocombine the and mazurka. Steps from folk kEFEes or any knowledge gained from both the locomotorand the tradidance may be usedas the basis of a axial movements to execute suchcombinations as a composition. First the step must be learned, put walk with percussive movements ofthe arms; a run into practice, and then abstracted. with sustained movement of thearms and head; or a skip with vibratory hands. The second category of movementwhich the body is capable of is a movement whichtakes place in one All movement should have form ofexecution plus spot around a central axis; thusthe term axial or form of structure. Movement form may be nonlocomotor movement is applied. approached through:

Knowledge of the five axial body movements allows - Space aspects of movement (design) the dancer to developmore sophisticated movements, such as: - Force aspects of movement (dynamics)

- Swing, consists of a slight impulse andan - Meaning (theme) unchecked follow through (pendulum flow) - Pre-Classic dance forms (Pavanne, Gigue) - Sustained, where the impetus and follow- throughare merged with each other, - Musical accompaniment producing smooth andcontrolled movements (slow) THE CREATIVE ASPECTS OF DANCE - Percussive, where there is a strongenergy release that is immediately checked so The educator usesdanceto developthe human that there is little or no follow body, improve skill and poise, and stimulatethe through (strike-thrust) emotions and the mind. Through experimenting and

417 223 41.8 r

-Dimension: large, small exploring in movement, individuals develop creativeness, the ability to invent orimprovise - Accent: normal, syncopated combinations of movements in relationship to space, time, and force. - Quality: staccato, legato, choppy, smooth In creative dance, composition istaught at the same time as technique. As soon as the student -Dynamics: strong, weak learns a very few movements, he/she isencouraged to putthem together in uniqueways. DDMR -- - Levels: low to high, high to low design, dynamics, motivation, andrhythm--are the basic elements of dance or movement. -Different Aspects: front, back, side, knee, elbow, etc. Design is the change in planes, levels, anu floor patterns.

Dynamics is the contrast of strong and weak SPACE movements. Space is a possibility for positionand dimension; for movement. Spatial Motivation is the reason for doing movement. an environment necessary design is the interrelationship ofdancers to each other and to the space throughwhich they are Rhythm is the energy that is measured moving. This refers both to the floor area,to (tempo). the space around the dancers,and to the shapes where the dancers were before theymoved. With a knowledge of DDMR,the student hasac- quired functional skills and is now able to use To become aware of therelationships between the the eight essential dance elements: position of the body and its pathsthrough space, imaginary designs forward, backward, the students explore patterns, Changes of - Direction: moving from one sideward, circling, made in the air or on the floor by These may also be referred to etc., designs in place to another. The major floor tracks, or space as floor tracks. patterns are: - Tempo: slow, fast, twice spiral as slow, twice as circular loop zig zag fast

224 419 420 right angles figure eight A plane of a stage isthe prospective of the straight lines connected by diagonals moving performer as viewed by the audience. Planes of forward or backward in one spot stage design consist of: Combination of any patterns one plane - facing front (downstage) Spatial directionis a term which can be loco- or facing back (upstage) motor axial or both, indicating relative lines of movement, such as: two planes - facing profile

up and down forward and backward three planes - facing on a diagonal side to side diagonal circular MUSIC VOCABULARY USED BY DANCE: The dancer uses body design as a means for expression, using an asymmetrical or symmetrical Rhythm - division of time into units movement as the one means of expression. Asym- and grouping of these units metrical movement, anunbalanced proportion in into a larger whole the design, creates dynamism or action. Motion is possible only when balance is disturbed. Content - meaning or essence; subject Asymmetry is informal balance. Symmetrical matter; theme ofthe music movement, a balanced, even design may suggest a and dance (sociological, feeling of stability, security, and comfort. satirical, gay, psychologi- Symmetry is formal balance. cal, etc.)

A dancer, like an actor, singer,or musician,'uses Form - pattern or structure of the the stage to perform and projectan art form to an dance or music; the organiza- audience. A good performer is aware of the strong tion; deals with space, time, and weak areas of the stage. Stage divisions are relationships in levels, as follows: direction, and focus upstage Pulse - continuous throb--an upstage right upstage left underlying beat that never center stage changes

downstage right downstage left Tempo - fast of slow rate of speed at downstage which pulses occur

225 421 422 A - Restatement of Meter - organizationof pulses into basic theme (may be groups sothat theycanbe with counted or accounted for choreographed variations of basic theme). Measure - one group; aunit of measure; the length ofmovements or music Theme and Variation A Al A2 A3 Coda A - Basic theme Al - Restatement of Accent - normalstress or emphasis on theme with one movement or note basic variations A2 - Restatement of Phrase - completethought in music or basic theme with dance variations A3 - Restatement of Time Signature - two numbers signifying the basic theme with number of counts in each measure; evaluation of the variations - Conclusion notes Coda

-- or -- STRUCTURAL FORM A Interlude A Interlude 1 A Interlude 2 A Interlude 3 All choreography must have structuralform just as does a work of architecture. A dance has A - Basic theme structural form that begins, develops, and Interlude - Bridge of movement concludes. into next A Repeat of basic Many choreographers use musicalstructureas a A - theme basic outline for their choreography. Interlude 1 - Bridge of movement with variation 2 part form AB A - Basic theme A - Repeat of basic B - Contrasting theme theme Interlude 2 - Bridge of movement 3 part form ABA A - Basic theme with variation B - Contrasting theme A - Repeat of basic theme

226 423 424 Interlude 3 - Bridge of movement Antiphonal movement--two groups opposed to each with variation other; group response, conversation, question leading to con- and answer clusion Responsorial movement--solo opposed to a group; RondoABACADA related to antiphonalbut has a solo/duet A - Basic theme figure B - Contrasting theme A - Repeat of basic Successional movement--group in succession, one theme after another; cadence; this device is used C - Another contrasting as a meansof surprise, using axial or theme locomotor movements A - Repeat of basic theme EVALUATION D - Another contrasting theme Choreography is the "art of making dances." A - Repeat of basic Nearly all dancers aspire to perform in classic theme with ending or contemporary ballet, such as "Giselle" or "AppalachianSpring,"and to someday become a Canon/Round great choreographer. Dancers,asdesigners of strict imitation using choreographic works, learnto make a critical two, three, or four analysis of their own work as wellas that of groups, as in "Row, Row, other composers. An observer of a dance Row your Boat" performance can evaluate the work by asking some of the following questions. SOCIMAZATION/TEXTURES OF ORCHESTRATION What did you like about the work? Aconcernof dance is todevelop interesting choreography. Awareness of movement structure What made it interesting to watch? (arrangement of dancers) is necessary when working with a group. How did the choreographer achieve variety?

Group in unison--simplest form and least How did the choreographer achieve unity? interesting; tocreateinterest,vary tempo, and/or meter; use locomotor Were the movements performed with conviction? and/or axial movement, etc. Skill? Excellence?

41101111V 221 425 426 Was there a recognition and use of tewo? Quality? Form?

Were the transitions smooth?

Was the theme clearly projected and the choice of movements suitable for the idea?

Was the meaning verbal, nonverbal, or literate?

Was your reaction a confused one?

Was the study well accepted?

Wasthe work interesting enough tosee a second time?

228 421 DISCUSSION/REACTION DANCE EXPERIENCES

What steps are used to choreograph a Choreograph a simple dance to AB structural form not to complete dance? Research and list. exceed 48 to 50 measures.

Are there commonly accepted rules of Write a post card using dance movements that illustrate choreography? the following sentence. "Having a wonderful time in What is the basic criterion for a Wish you were here!" "good dance"? Classmates should be able to guess the vacation spot through the dance illustrations. How does a choreographer use program notes, titles, narration, sets, Have the students create asymmetricaldesign using costumes, music, lights, and props their bodies. Create an asymmetrical design. There as part of a choreography? should not be any movement except the transition between the two designs. Will any of the above (music, title, costumes, etc.) clarify Design a study using each of the axial movements of: the meaning of a dance? swing collapse sustained percussive Will any of the above highlight vibratory or augment the movement of Each study should last at least 16 counts of movement. dance? Choreograph a combined study utilizing locomotor and Is all choreography creative? What axial movement. This study should be a minimum of 16 does "creative" mean? counts.

What are the characteristics of a Divide the class into groups. Have each group select a creative choreography? very simple folk dance (American or foreign) and try to interpret the written notations. What is the definition of dance as an art form? Stretch newsprint paper over the floor in rows. Have the class divide into groups of 6-8 for each column of Give a personal definition of paper. Ask each student to find a space by the paper choreography? and to follow the teacher's spoken direction.

Describe in as much detail as Have the students: possible a dance to be choreo- . lift the column of paper very slowly graphed. (Include the idea, design,

428 DISCUSSION/REACTION DANCE EXPERIENCES

lift the column of paper very rapidly quality, number of dancers, possible . lift the column of paper very slowly andextend title, program notes, costume, . bodies up as far as possible keeping the paperin the accompaniment, staging, etc.) air release the paper and let it float down tothe floor In choreographing a work,would you . rip the paper into large pieces use: . O Select a student from each group to act as amodel for Mime or pantomime? thatgroup. Takethe rippedpaper and stuffthe leotard of the model. See what kind of sculptured Natural or functional gesture? figure can be developed. Have the modelfrom each "new" figure. "Normal" movement to fit music? group display his/her Select a new model to dress in paper. Each group will Emotions or moods? design a"costume of paper." Have astyle show of Movement that is"tricky" and "paper clothes." is sure to be applauded for its O Using the paper scraps, have the class build a sparkle? "mountain" in space. This should be done insilence for in "silenceis tranquility." Have the mountain Can dance be developed by: in space erupt. This ends the exploration of awareness and the use of a prop with movement. Selecting a major movement theme and building from it? O Design a series of movements usingthe essentials of direction, tempo, dimension, accent,quality, Leaving movements to chance? dance: dynamics, etc. Each "bite sized" choreographyshould not be less than four measuresin 4/4 time. The dance Following the forms below? essentials may be presentedindividually or may use Theme and Variation combinations, e.g. changes of tempo orchange of tempo, Theme and Development accent and dimension. Theme and Contrast Rondo O Have students collect picturesfrom magazines, books, Suite in and newspaper illustrationsof groups of people seen Fugue successional unison, antiphonal, responsorial, and Canon the best designs. From the illustrations select examples of each category. Divide the class into

230 430 431 DISCUSSION/REACTION DANCE EXPERIENCES

Can choreography abstraction be groups and have each group choreograph astudy uti- approached by: lizing the tz.Ae shown in a picture. Each group will illustrate its choreographed designs. Identifying a universal or O common verbal meaning and then Select musicthathas a floating quality (example: reducing it to a movement Le Mer, Debussy; The Acquirien, Carnivalof Animals, theme? Tir Saens). Each studentshould be given large scarves of thin material. Have the student listen to Making variations on natural the music and then begin to move through space gesture? utilizing his/her scarf in different designs, qualities, tempo, and levels. Exploring the limits of mean- ingscommonly associated with O Form two large groups to take part in a weaving move- movement and then selecting ment. One group holds strips of paper, a student at from these? each end, like rows ina garden. These rows remain stationary. One at a time, pairs of dancers from the Keeping something of the shape, second group (one leading and one following) holding rhythm,or intent ofnatural each end of the paper strip willinterlace into the movement and then moving to the stationaryrows. Choose a movement and compatible outer limits? music for dancers to use.

Name other possibilities of ap- Weave the first strip over the even and under the odd proaching choreography abstraction. numbered rows. The second pair will go under the even and over the odd numberedrows. This movement is Without music or costume can a repeated untilthe weaving iscompleted. Place the particular country be identified by interwoven paper onthe floor and observe what has the dance itself? happened.

What ballet is presented at Christ- O Studentswill organize movements tothe rhythm and mas time? Describe this ballet. emphasis of their givenname and surname. After determining the number of syllables, the arrangement of If a dancer is dancing on his accents, and the general interpretation of how the name "tippey toes" what is this called? sounds, the student experiments with various motions that express the name. If the name has four syllables the improvised dance will have four movements with an emphasis of force (accent) on at least one movement.

231 433 432 DISCUSSION/REACTION DANCE EXPERIENCES

beside their own. What does the term "pas" mean?What Have students explore other names language is this? Have the students arrange several soundsin some order then explore movements that fit the sound. The reverse Who was the famous dancer that is also possible, organizing movementfirst introduced barefoot dancing? approach then creating sounds that support it. Research modern dance. Is there an O Students work with a partner and begin theactivity by underlying approach todancethat One student isthe initiator of well known modern dancers use? facing each other. movement, the other acts ashis mirrored image--one leads, the other follows. Moving simultaneously, the What Broadway musical/musicals have partners should remain sensitive toshapes. recently received awards?

For increased concentration andfluidity, the process Make a list of the styles of dance. student then the other each Categorize those that have similar- can continue by first one initiating two shapes and continuingto switch roles ities. after every two shapes without stopping between What type or style of dance do you designs. like? Explain whythis styleor O As a locomotor movement, havethe class move across the type of dance appeals to you. floor with six walking steps; onthe seventh walking figure eight,i.e., using coaches step, begin to move in a Football and basketball Repeat this activity across encourage their players toenroll in eight as a floor pattern. the floor changing directionof the figure eight each a class teachingdance or movement. Can you see why such a classmight time. be helpful? O Have the class research thebasic steps in "tap dance" and present such basic steps asthe shuffle, flap, Research the uses of dance or ballchange, etc., to the class. movement insports,daily living, entertainment, and as therapy. O Have the class research"clogging" and its variations. Demonstrate how it is used inround and square dance.

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232 TERMINOLOGY

ABSTRACT - a term that describes adancework where the artist takes a movement and changes, distorts, or rearranges the elements ofthe movement to create a new design

ADAGIO - slowly; sustained, smooth; at onetime, used in dance to indicate a duet between a man and a woman

BALLET - derived from allare, an Italian wordmeaning to dance; a completed work by a choreographer

BARN STEP - a running two step; a commonexecution in country /western dance; executed in 2/4 or 4/4 time; basic count quick, quick, slow

BARRE' - a horizontal, wooden (sometimesmetal) pole for practice of some dance techniques; may be attached to wall or be portable

CLASSICAL BALLET - a style of dance rather than a period;the "dance on toe"

DERIVED SKILL - developed from a specific source, i.e., awalk and a hop makes a simple dance step, the skip

FOCUS - center of attention; to see; dancers focus on a spot ordirection in the studio/stage as they move

categories of folk FOLK DANCE- traditionaldances that have been past from one generation to the next; two dance: foreign and American (square dance)

FORCE- energy exerted; causeof motion; to thrust; dynamics; all dance movements need a contrastof dynamics

FUNCTIONAL- reason forbeing; purpose; development of a larger whole

JAll- a particularstyle of music or dance, originally improvisational but now composed, characterized by syncopation, accented rhythms, dissonance, individualized tonaleffects

JETE'- leap

KINESIOLOGY- the study of the musclesof the body; the principles of mechanics and anatomy in relation to the human body

437 436 233 TERMINOLOGY

classical ballet MAZURKA - a traditional dance stepfrom Poland in 3/4 time; a character dance in

an abbreviated or partial notatingof the movement MOTIF - music: central theme or idea; notation:

PAS - step

PIROUETTE - a turn in place on one foot

PLIE - bending of the knees + 1 + 2 POLKA - a traditional dance step in2/4 time: hop, walk, close, walk; baiic count:

PREMIER - first time for a show, ballet,musical composition to be presented before an audience

the stage; a dance concert, PRODUCTION - something produced: product of artistic work; a work presented on music concert or art show

PROSCENIUM - the opening at the front of the stagethat forms a frame for the stage area

PROPS - objects handled or used while on stage

RELENE' - rising up onto the toes

SCHOTTISCHE - a traditional dance step in 4/4 time: walk, close, walk, hop; repeat on opposite foot; basic count: 1, 2, 3, 4

STRIKE - refers to taking down and storing stage sets,lights, curtains, and so on after a performance

SYNCOPATION - a shifting of the accent from thebeginning of a measure to other beats or notes

TWO STEP - a traditional "ballroom dance" in 2/4time; the basis for the Fox-Trot; basic count for the two step: quick, quick, slow

WALTZ - a traditional "ballroom dance" in 3/4 time;walk forward, close sideward, walk forward; repeat on opposite foot; basic count: quick, quick, quick

438 139 /11=1,Mi 234 RESOURCES

THEORY OF DANCE TECHNIQUE AND COMPOSITION Turner,Margery J. New Dance. Pittsburg, PA: University of Pittsburg Press, 1979. Amec, Jerry and Giegelman, Jim. The Book of Tap,Recovering America Long Lost Dance.New HISTORY AND GENERAL BACKGROUND York: David McKuz Co., Inc., 1977. Astaire, Fred. Steps in Time. New York: Da Capo Cheney, Gay and Strader, Janet. Modern Dance. Press, 1981. Boston, MA: Allyn and Bacon, Inc., 1975. Beaumont, Cyril W. Complete Book of Ballets. New Duggan, Anne Schley; Schlottmann, Jeanette; and York: Grosset and Dunlap Publishers, 1938. Rutledge, Abbie. The Teaching of Folk Dance. The FolkDance Library, vol. 1. New York: DeMille, Agnes. America Dances. New York: Ronald Press, 1948. Macmillan, 1980.

Duggan, Anne Schley; Schlottmann Jeanette; and DeMille, Agnes. The Book of Dance. New York: Rutledge Abbie . FolkDancesof the United Golden Press, 1963. States and Mexico. The Folk -Dance Library, vol. 5. New York: Ronald Press, 4948. Emery, Lynne Fauley. Black, Dance inU.S. From 1619 to 1970. Salem, N.Y.: Ayer Co., 1972. Hammond, Sandra N. Bernd the Basics. Palo Alto, CA: Mayfield Publishing Co., 1982. Kaegler, Hurst. The Concise Oxford Dictionary of Ballet. New York: Oxford University Press, 1982. . Hammond, Sandra N. Ballet Basics. Palo Alto, CA: Mayfield Publishing Co., 1984. McDonogh, Don. Complete Guide to Modern Dance. New York: Popular Library, 1977. Kraus, Richard. Square Dance of Today and How to Teach and Call Them. New York: A. S. Barnes Samochison, Dorothy. Lets Meet the Ballet. New and Co., 1950. York: Henry Samachson, 1951.

Marx, Trina. Tap Dance,A Beginner's Guide. Englewood Cliffs, N. J.: Prentice-Hall, 1983.

Sherbon, Elizabeth. On the Count of One: Modern Dance Method. Palo Alto, CA: Mayfield Publishing Co., 1982.

Z11 RESOURCES

Schlaich, Joan, and DuPont, Betty. Dance the Art Focus on Dance (published annually) of Production. St. Louis, MO: The C.V. Mosby National Dance Association with AAHPERD Co., 1977. 1900 Association Drive Reston, Virginia 22091 Terry,Walter. Ted Shawn, Father of America Dance. New York: The Dial Press, 1976. Vilris (published six times a year) P. O. Box 1226 Willis,John. Dance World. New York: Crown Denver, CO 80201 Publishers Inc., 1966.

PERIODICALS DANCE FILMS

Ballet News (published monthly) New dance films and videotapesappear yearly. 1865 Broadway For information on dance films and tapes, you New York, NY 10023 should obtain Dance Film Directory, an Annotated and EvaluativeGuide to Films on Ballet ii7i Dance Magazine (published monthly) 'o'ern 'ance, y ohn ue er, 'rinceton ook 1180 Avenue of the Americas Company. Mr. Mueller also offers to send a free New York, NY 10036 list of new films if a stamped, self-addressed envelope is sent to: Addendum, Dance Film Dance Magazine Annual (published yearly) Archive, University of Rochester, Rochester, NY 1180 Avenue of the Americas 14627. New York, NY 10036 Other sources of information: Dance News 119 West 57th Street Parker, David L., and Esther Siegel. The Guide New York, NY 10019 to Dance Films. Detroit: Gale, 1977.

Dance Scope (published semiannually) Dance Magazine includes frequent articles on new American Dance Guild, Inc. dance films. 1133 Broadway, Room 1427 of Dance New York, NY 10010 Dance Film's Association. Catalogue 250 West 57th Street, New York, NY TM.Films,

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236 This public document was published at a cost of51,133.44, 300 copies of this public document were published in this first printing at a cost of$1,133.44. The total cost of all printings of this Department document, including reprints, is $1,133.44. This document was published by the Louisiana requirements of La. of Education, P. 0. Box 94064, Baton Rouge,Louisiana 70804-9064, to fulfill the This material R.S. 17:24 (E) to develop and establishcurriculum standards for required subjects. established pursuant to was printed in accordance with thestandards for printing by state agencies R.S. 43:31.

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