Letter from the Education and Public Engagement Department
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Photography As Metaphor and Material Object in Victorian Culture
"MIRROR WITH A MEMORY": PHOTOGRAPHY AS METAPHOR AND MATERIAL OBJECT IN VICTORIAN CULTURE Sarah Worman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Piya Pal-Lapinski, Advisor Kim Coates © 2017 Sarah Worman All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor In the Victorian period, photography was associated with the ghosts of history, con artists in the streets of London, and cultural anxieties about the future of Victorian society. The Victorian practice of photographing ghosts, or spirit photography, showed how Victorians viewed the past, present, and future. By examining the cultural artifact of Georgiana Houghton’s Chronicles of the Photographs of Spiritual Beings (1882), it becomes clear how photography affected Victorian literature as well as Victorian culture. In the short stories, “Oke of Okehurst” (1886) and “A Wicked Voice” (1887), Vernon Lee compared Victorian produced art to art from history. For Lee, the fast paced and highly commercialized art, which was influenced by photography, was not as powerful as art with historical context. An earlier work, Thomas Hardy’s A Laodicean: A Story of To-Day (1881), also showed the connections between photography, history, and uncertainty. The characters try to use photography to try and preserve a crumbling medieval castle, but their attempts end in failure. While technology like telegraphs gives Paula a sense of power, the novel leaves her wishing she had a more stable connection to the past and the future. These examples of Victorian literature show that photography affected Victorian culture at a deeper level than previously thought. -
Teaching Guide: Area of Study 7
Teaching guide: Area of study 7 – Art music since 1910 This resource is a teaching guide for Area of Study 7 (Art music since 1910) for our A-level Music specification (7272). Teachers and students will find explanations and examples of all the musical elements required for the Listening section of the examination, as well as examples for listening and composing activities and suggestions for further listening to aid responses to the essay questions. Glossary The list below includes terms found in the specification, arranged into musical elements, together with some examples. Melody Modes of limited transposition Messiaen’s melodic and harmonic language is based upon the seven modes of limited transposition. These scales divide the octave into different arrangements of semitones, tones and minor or major thirds which are unlike tonal scales, medieval modes (such as Dorian or Phrygian) or serial tone rows all of which can be transposed twelve times. They are distinctive in that they: • have varying numbers of pitches (Mode 1 contains six, Mode 2 has eight and Mode 7 has ten) • divide the octave in half (the augmented 4th being the point of symmetry - except in Mode 3) • can be transposed a limited number of times (Mode 1 has two, Mode 2 has three) Example: Quartet for the End of Time (movement 2) letter G to H (violin and ‘cello) Mode 3 Whole tone scale A scale where the notes are all one tone apart. Only two such scales exist: Shostakovich uses part of this scale in String Quartet No.8 (fig. 4 in the 1st mvt.) and Messiaen in the 6th movement of Quartet for the End of Time. -
Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set). -
Symbolism of Surface and Depth in Edvard
MARJA LAHELMA want life and its terrible depths, its bottomless abyss. to hold on to the ideal, and the other that is at the same Lure of the Abyss: – Stanisław Przybyszewski1 time ripping it apart. This article reflects on this more general issue through Symbolist artists sought unity in the Romantic spirit analysis and discussion of a specific work of art, the paint- Symbolism of Ibut at the same time they were often painfully aware of the ing Vision (1892) by Edvard Munch. This unconventional impossibility of attaining it by means of a material work of self-portrait represents a distorted human head floating in art. Their aesthetic thinking has typically been associated water. Peacefully gliding above it is a white swan – a motif Surface and with an idealistic perspective that separates existence into that is laden with symbolism alluding to the mysteries of two levels: the world of appearances and the truly existing life and death, beauty, grace, truth, divinity, and poetry. The Depth in Edvard realm that is either beyond the visible world or completely swan clearly embodies something that is pure and beautiful separated from it. The most important aim of Symbolist art as opposed to the hideousness of the disintegrating head. would then be to establish a direct contact with the immate- The head separated from the body may be seen as a refer- Munch’s Vision rial and immutable realm of the spirit. However, in addition ence to a dualistic vision of man, and an attempt to separate to this idealistic tendency, the culture of the fin-de-siècle the immaterial part, the soul or the spirit, from the material (1892) also contained a disintegrating penchant which found body. -
Department of Art, Music, and Theatre
Department of Art, Music, and Theatre Professors: Michelle Graveline, Rev. Donat Lamothe, A.A. (emeritus); Associate Professors: Carrie Nixon, Toby Norris (Chair); Assistant Professors: Scott Glushien; Visiting Assistant Professors: Peter Clemente, Lynn Simmons; Instructors, Lecturers: Jonathan Bezdegian, Elissa Chase, Bruce Hopkins, Susan Hong-Sammons, Jon Krasner, Gary Orlinsky, Michele Italiano Perla, Joseph Ray, Peter Sulski, Margaret Tartaglia, Tyler Vance. MISSION STATEMENT The department aims to give students an understanding of the importance of rigorous practical and intellectual formation in stimulating creative thought and achieving creative expression. We also strive to help students appreciate Art, Music and Theatre as significant dimensions of the human experience. Studying the history of the arts brings home the central role that they have played in the development of human thought, both within and outside the Judeo-Christian tradition. Practicing the arts encourages students to incorporate creative expression into their wider intellectual and personal development. In forming the human being more completely, the department fulfills a fundamental goal of Catholic education. MAJORS IN THE DEPARTMENT MAJOR IN MUSIC (11) The major in Music covers the areas of Music Theory, Music History, and Performance with the opportunity for development of individual performance skills. Studies develop musicianship, competency in the principles and procedures that lead to an intellectual grasp of the art, and the ability to perform. The major in Music consists of 11 courses: MUS 122 History of Music I MUS 124 History of Music II MUS 201 Music Theory I MUS 301 Music Theory II MUS 330 Conducting MUS 193 Chorale or MUS 195 Band or MUS 196 Jazz Ensemble or MUS 197 String Camerata (six semesters at 1 credit per semester, equivalent to two 3-credit classes) Four additional courses from among program offerings (not to include MUS 101 Fundamentals of Music). -
What Classical Music Is (Not the Final Text, but a Riff on What
Rebirth: The Future of Classical Music Greg Sandow Chapter 4 – What Classical Music Is (not the final text, but a riff on what this chapter will say) In this chapter, I’ll try to define classical music. But why? Don’t we know what it is? Yes and no. We’re not going to confuse classical music with other kinds of music, with rock, let’s say, or jazz. But can we say how we make these distinctions? You’d think we could. And yet when we look at definitions of classical music—either formal ones, in dictionaries, or informal ones, that we’d deduce by looking around at the classical music world—we run into trouble. As we’ll see, these definitions imply that classical music is mostly old music (and, beyond that, old music only of a certain kind). And they’re full of unstated assumptions about classical music’s value. These assumptions, working in the background of our thoughts, make it hard to understand what classical music really is. We have to fight off ideas about how much better it might be than other kinds of music, ideas which—to people not involved with classical music, the very people we need to recruit for our future audience—can make classical music seem intimidating, pompous, unconvincing. And so here’s a paradox. When we expose these assumptions, when we develop a factual, value-free definition of classical music, only then can we find classical music’s real value, and convincingly set out reasons why it should survive. [2] Let’s start with common-sense definition of classical music, the one we all use, without much thought, when we say we know what classical music is when we hear it. -
The Decline of Improvisation in Western Art Music
The Decline of Improvisation in Western Art Music: An Interpretation of Change Author(s): Robin Moore Source: International Review of the Aesthetics and Sociology of Music, Vol. 23, No. 1, (Jun., 1992), pp. 61-84 Published by: Croatian Musicological Society Stable URL: http://www.jstor.org/stable/836956 Accessed: 23/07/2008 16:04 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=croat. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org R. MOORE,THE DECLINEOF IMPROVISATION...,IRASM 23 (1992)1, 61-84 61 THE DECLINEOF IMPROVISATIONIN WESTERNART MUSIC: AN INTERPRETATIONOF CHANGE ROBINMOORE UDC: 781.65 OriginalScientific Paper University of Texas, Izvorniznanstveni rad AUSTIN, Texas, USA Received:March 28, 1992 Primljeno:28. -
Introduction to Art Music MUS 140.001 Summer 1 2014
Introduction to Art Music MUS 140.001 Summer 1 2014 INSTRUCTOR: Dr. Scott LaGraff OFFICE: Music 280 E-MAIL: [email protected] OFFICE HOURS: By appt. PHONE: 468-4206 TIME: MTWR 12:30-2:25 SFA School of Music LOCATION: Music 153 Wright Music Building COURSE DESCRIPTION: For non-music majors or minors only, focusing on listening, understanding, and appreciating music literature of the Western and American musical heritage. REQUIRED TEXT: Kamien, Roger. Music: An Appreciation. Eighth Brief Edition (with CONNECT digital content). Boston: McGraw-Hill, 2015. (available at Barnes & Noble in Student Center) NOTE: This text includes a code for digital materials required for the course. Additional CDs need not be purchased. I will post links to any additional required music. GRADING: SCALE: Exams 40% 100 – 90 (A) 89 – 80 (B) LearnSmart/Quizzes 40% 79 – 70 (C) 69 – 60 (D) Concert Report 10% 59 – 0 (F) ATTENDANCE: The official University policy is that students are expected to attend all of their scheduled University classes. Students will, however, be excused from classes for university events and other causes at the discretion of the instructor, provided that they supply appropriate documentation. Each student will be allowed ONE unexcused absence; final grades will be reduced by two points for each subsequent unexcused absence. However, three points will be added to the final grade for perfect attendance! Students who are not present when attendance is taken will be marked absent. Exams missed during unexcused absences will not be made up. Exams missed during excused absences will be made up at the instructor’s supervision. -
Western Art Music
Western Australian Certificate of Education ATAR course examination, 2016 Question/Answer booklet MUSIC: Please place your student identification label in this box WESTERN ART MUSIC Student number: In figures In words Time allowed for this paper Reading time before commencing work: ten minutes Working time : two and a half hours Materials required/recommended for this paper To be provided by the supervisor Number of additional This Question/Answer booklet answer booklets used (if applicable): Score booklet Personal listening device (PLD) PLD number Headphones To be provided by the candidate Standard items: pens (blue/black preferred), pencils (including coloured), sharpener, correction fluid/tape, eraser, ruler, highlighters Special items: nil Important note to candidates No other items may be taken into the examination room. It is your responsibility to ensure that you do not have any unauthorised material. If you have any unauthorised material with you, hand it to the supervisor before reading any further. Copyright © School Curriculum and Standards Authority 2016 Ref: 16-062 WESTERN ART MUSIC 2 Structure of the examination The Music ATAR course examination consists of a written component and a practical (performance and/or composition portfolio) component. Structure of this paper Suggested Number of Number of Percentage working Marks Section questions questions to of written time available available be answered examination (minutes) Section One 6 6 50 57 36 Aural and analysis Section Two Cultural and historical analysis Part A: Analysis 1 1 20 11 Part B: Short response 55 (i) Compulsory area of study 1 1 26 11 (ii) Non-compulsory area of study 1 1 16 12 Section Three 3 3 45 51 30 Theory and composition Total 100 Instructions to candidates 1. -
Modern Art Music Terms
Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation. -
Jw-8507 the Artistic Presentation of Scientific
Project Number: JW-8507 THE ARTISTIC PRESENTATION OF SCIENTIFIC RESEARCH AS A MEANS TO INCREASE PUBLIC AWARENESS An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirement for the Degree of Bachelor of Science By ____________________________ Ian Anderson ____________________________ Andres Lopez ____________________________ Mark Lindblad Date: April 24, 2008 _____________________________________ Professor George Pins, Major Advisor _____________________________________ Professor Jennifer Wilcox, Co Advisor _____________________________________ Professor Andrew Klein, Co advisor 1 Acknowledgements We thank the all the researchers at WPI who shared their time and knowledge with us and with out whom this exhibit wouldn‟t have been possible. They devoted time to interviews and email correspondence with students whom for the most part they had had no previous contact. This is a testament to the quality and enthusiasm of the faculty at WPI and their generosity in sharing their research and labs with us made this project the success that it was. The guidance of our advisors throughout the conception and execution of the project kept the team productive and on track. Their enthusiasm and support helped the team persevere through the tremendous workload an exhibit and project of this nature requires. We also would like to thank: Vangy Tool Co., Worcester,MA National Glass Works, Worcester MA D.B. Cotton, Putnam, CT EcoTarium, Worcester, MA A special thanks goes to -
La Lorraine Artiste: Nature, Industry, and the Nation in the Work of Émile Gallé and the École De Nancy
La Lorraine Artiste: Nature, Industry, and the Nation in the Work of Émile Gallé and the École de Nancy By Jessica Marie Dandona A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Darcy Grimaldo Grigsby, Chair Professor Anne Wagner Professor Andrew Shanken Spring 2010 Copyright © 2010 by Jessica Marie Dandona All rights reserved Abstract La Lorraine Artiste: Nature, Industry, and the Nation in the Work of Émile Gallé and the École de Nancy by Jessica Marie Dandona Doctor of Philosophy in History of Art University of California, Berkeley Professor Darcy Grimaldo Grigsby, Chair My dissertation explores the intersection of art and politics in the career of 19th-century French designer Émile Gallé. It is commonly recognized that in fin-de-siècle France, works such as commemorative statues and large-scale history paintings played a central role in the creation of a national mythology. What has been overlooked, however, is the vital role that 19th-century arts reformers attributed to material culture in the process of forming national subjects. By educating the public’s taste and promoting Republican values, many believed that the decorative arts could serve as a powerful tool with which to forge the bonds of nationhood. Gallé’s works in glass and wood are the product of the artist’s lifelong struggle to conceptualize just such a public role for his art. By studying decorative art objects and contemporary art criticism, then, I examine the ways in which Gallé’s works actively participated in contemporary efforts to define a unified national identity and a modern artistic style for France.