...The Effectiveness of Music Therapy in Treating Children with Autism: A Literature Review Abstract This literature review explores the use of music therapy in children with Autism Spectrum Disorder and its degree of effectiveness in helping children to better develop social and communication skills. All of the sources discussed used improvisational music therapy to conduct different types of studies that address the usefulness of music therapy. Researchers used different methods of measuring children’s responsiveness to music therapy. A majority of the authors claim music therapy has a considerably positive effect in treating children with autism; however, some results indicated there is not enough evidence to confirm music therapy has a significant impact or that it is the best form of treatment for autistic individuals. There is a need for further research in order to determine whether or not music therapy is the most effective form of therapy. Future studies may be more strategically designed to minimize the difficulty in analyzing such complicated results. In addition, there should be studies that have clinical value and contain a larger number of participants so that the results may be better generalized. Introduction For years, scientists, doctors, psychiatrists, and several others have been trying to determine the cause of autism as well as a cure for the disease. Autism is a type of Pervasive Developmental Disease that is characterized by an inability...
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...In Keith Waters’ progressive analysis on The Studio Recordings of the Miles Davis Quintet: 1965-68, he gives examples of analytical strategies related to the quintet’s studio recordings compositions and improvisations. Waters focuses on a set of studio recordings, calling attention to details in the music through description and transcriptions in argue for another way of hearing the music. Throughout, Waters distinctively displays the collaborative element of the group’s ongoing musical motives during improvisation. The interactions between each player during the transition of each passage, gives way to the combined musical practice, in which one improvised solo evolves to the next. Waters demonstrates how the Quintet’s recordings embrace the group’s connection between hard bop and avant-garde. The combining of these two genres played a huge role in the definitive influence of the Quintet’s music. Waters also explores various improvisational and accompaniment techniques through the use of motives, structure and form in improvisation....
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...610-269-8900 web: www.cbmt.org From Practice Analysis Study, 2008 | Effective April 1, 2010 I. Assessment and Treatment Planning: 40 items A. Assessment 1. Observe client in music or non-music settings. 2. Obtain client information from available resources (e.g., documentation, client, other professionals, family members). 3. Within the following domains (e.g., perceptual, sensory, physical, affective, cognitive, communicative, social, and spiritual), identify the client’s: a) functioning level. b) strengths. c) areas of need. 4. Identify client’s: a) active symptoms. b) behaviors. c) cultural and spiritual background, when indicated. d) issues related to family dynamics and interpersonal relationships. e) learning styles. f) manifestations of affective state. g) music background, skills. h) preferences. i) stressors related to present status. 5. Document intake and assessment information. 6. Evaluate the appropriateness of a referral. 7. Identify the effects of medical and psychotropic drugs. 8. Review and select music therapy assessment instruments and procedures. 9. Adapt existing music therapy assessment instruments and procedures. 10. Develop new music therapy assessment instruments and procedures. 11. Create an assessment environment or space conducive to the assessment protocol and/or client’s needs. 12. Engage client in music experiences to obtain assessment data...
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...people get famous Welcome to the world Of show-biz arrangements Where "lights, camera, action" Is the language. -Jurrasic 5 Performance studies in the last few years has begun to reject essentialist notions of live performance as ontologically distinct from the influence of recorded media, or mediatization. Philip Auslander deconstructs the traditional binary of live versus mediatized forms in his recent study, Liveness: Live Performance in a Mediatized Culture. Since hiphop culture and rap music originated in a post-industrial urban setting, they have always been inherently mediatized to some degree. However, if there is no unmediatized performance in hiphop culture, a huge premium is still placed on immediacy. Since the appearance of rap records in the late seventies and MTV rap music videos in the mid-eighties it has become increasingly easier for rap artists to achieve success without having to first build a local following. In response to this phenomenon, music critic Nelson George has made a political analogy: recorded media "has made rap more democratic--but is democracy good for art? Hiphop was, at one point, a true meritocracy"(George 113).i Hiphop culture struggles between its status as meritocracy and its status as democracy, and this dichotomy has created an aesthetic division, manifested both in the lyrics and in the critical response. For those who see hiphop as a meritocracy, respect as an artist necessarily precedes commercial success, and the ...
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...Carnatic Music: A dying art form Structured Languages Assignment Report Ryan Rodricks ( WE School MIM IV – Roll no 67) Carnatic Music: A dying art form | 1 Table of Contents 1. Executive summary ............................................................................................ 2 2. Secondary study ................................................................................................. 4 Origin ................................................................................................................. 4 Nature ................................................................................................................. 6 Sources ............................................................................................................... 6 3. Design of survey ................................................................................................ 7 3.1 Goal of the survey ......................................................................................... 7 3.2 Sample (Demographics) ................................................................................ 7 3.3 Questions ...................................................................................................... 7 3.4 Survey collection details ............................................................................... 8 4. Questionnaire ..................................................................................................... 9 5. Data collection...
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...Taiesha Abrams Dance 132S Instructor: Purnima Shah Analysis of Twyla Tharp’s Eight Jelly Rolls Twyla Tharp has influenced the field of American postmodern dance for over four decades. Her work and philosophy has had a continuing impact on the growth and development of dance by consistently delivering a unique approach, independent of the traditional techniques of modern and the antitechnical works of the avant-garde. She used the strong technique gained by ballet training to bring forth broken pirouettes and contorted bodies. She used rhythmic music to create movement that disagreed with the natural flow of the music. This paper surveys the creative process behind Twyla Tharp’s piece Eight Jelly Rolls. It explores some of the activities used to mentally and physically prepare Tharp dancers for her work. Most importantly, it aims to not only bring light to the significance and importance of the process, but to identify how the authenticity of a choreographer’s piece can be lost if the creative development of the piece is somehow altered or entirely disregarded. As her first piece choreographed and married to music, Eight Jelly Rolls is a masterpiece, full of energy, laughter, and excitement. This paper will bring some light on how these elements were brought to the stage. A Brief Introduction To understand Tharp’s work, you must first understand her dance and musical background paired with her choreographic experience prior to the conception of Eight Jelly...
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...The effects of music on children and young people. 1. The effect of music on IQ Campabello, Nicolette; De Carlo, Mary Jane; O'Neil, Jean; Vacek, Mary Jill Music Enhances Learning. Dissertations/Theses; Tests/Questionnaires. 2002 An action research project implemented musical strategies to affect and enhance student recall and memory. The target population was three suburban elementary schools near a major midwestern city: (1) a kindergarten classroom contained 32-38 students; (2) a second grade classroom contained 23 students and five Individualized Education Program (IEP) students; and (3) a fifth grade classroom. Students exhibited difficulty recalling facts and information in a variety of subject areas evidenced through an inability to gain mastery of grade level skill areas. Research suggests that young students have difficulty understanding concepts and lack the ability and desire to learn. A successful program needs to be developed to teach these concepts. A review of solution strategies suggests that the following musical techniques proved to be helpful for increasing student recall because the songs helped with phonemic training, mnemonics, setting desired skills to familiar tunes, and linking connection to cultural themes. Research has shown that preschool children taught with an early exposure to music through games and songs showed an IQ advantage of 10 to 20 points over those children taught without exposure to the songs. In the same study, students at age...
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..."In the first two seconds of looking –in a single glance – they were able to understand more about the essence of the statue than the team at the Getty was able to understand after fourteen months . . . Blink is a book about those first two seconds." Gladwell begins his introduction with the story of a kouros – an ancient Greek sculpture of a young naked male – that was acquired by the J. Paul Getty Museum in 1983. Kouroi are very rare. As a result this particular kouros was being sold for $10 million. Because of the hefty price tag, the Getty Museum was very careful when testing to see if the kouros was a forgery. However, after 14 months of analysis, the Getty determined that the kouros was in fact real, and bought the statue. Many scholars did not agree that the kouros was real. To them, something about the statue didn’t look right. When Thomas Hoving, the former director of the Metropolitan Museum of Art in New York, looked at the statue the first word that came to his mind was “fresh”. When Angelos Delivorrias, director of the Benaki Museum in Athens, first laid eyes upon the statue he felt a wave of immediate disgust. For a long time the validity of the kouros was hotly debated. Finally, the Getty’s case began to fall apart. As it turned out, a lot of the documents used to prove the statue’s authenticity were forged. Also, as experts began to examine the statue in great detail, they came to the realization that it used a hodgepodge of styles from many different places...
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...Journal of American Studies, 45 (2011), 1, 113–129 f Cambridge University Press 2010 doi:10.1017/S0021875810001271 First published online 19 July 2010 Jazz as a Black American Art Form : Definitions of the Jazz Preservation Act JEFF FARLEY Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation’s most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician’s individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example...
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...different ways of justifying creative dance may prove contradictory. “Creative dance” is a particular form of dance. This form is typically taught in elementary schools because unlike other dance forms, it does not require years of training. Basically, creative dance involves the use of movement elements to express thoughts and feelings. Dimondstein (1974) expands on this definition when she considers dance to be “the interpretation of a child’s ideas, feelings, and sensory impressions expressed symbolically in movement forms through the unique use of his body” .Creative dance teachers may suggest particular ideas or feelings they want their students to express through movement. Alternatively, they may provide a stimulus— for example, a piece of music, a poem, a painting— which they want students to interpret and express through the medium of movement. The medium of movement can be further defined using the...
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...LSCM Assignment-2 On Case Studies Comparison Sudhakar Varada Roll No: 133307 SOM Assignment-3 On News Articles Summary Sudhakar Varada Roll No: 133307 SOM Assignment-2 On Service Company Sudhakar Varada Roll No: 133307 Hard Rock Café The first Hard Rock Cafe opened its doors to the public on June 14, 1971, in London, England. Founded by Isaac Tigrett and Peter Morton, two enterprising and music-loving Americans, beginning with a guitar, it is only a joke among the friends at first, later on founder of the band -Cream and Derek & the Dominoes sent a guitar of his here, and has booked a desk for a longtime. From then on, the other guitars were sent here continually, have not stopped at all times. Hard Rock Cafe was an instant classic, attracting droves of customers with its first-rate, but moderately priced casual American fare, warm service and ever-present rock 'n' roll music and sensibility. At that time it has been doing things its own way. It was initially decorated with an eye toward eclectic American. What started as an American dinner in the heart of London has blossomed into a way of life. Hard Rock In 2007, Hard Rock was sold to the Seminole Tribe of Florida, and is headquartered in Orlando, Florida. Currently, there are 191 Hard Rock locations in 59 countries including 145 cafes, 21 hotels and 10 casinos. Mission: “To spread the spirit of rock ‘n’ roll by creating authentic experiences that rock.” To spread the spirit of Rock 'n Roll...
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...Cultural Moves AMERICAN CROSSROADS Edited by Earl Lewis, George Lipsitz, Peggy Pascoe, George Sánchez, and Dana Takagi 1. Border Matters: Remapping American Cultural Studies, by José David Saldívar 2. The White Scourge: Mexicans, Blacks, and Poor Whites in Texas Cotton Culture, by Neil Foley 3. Indians in the Making: Ethnic Relations and Indian Identities around Puget Sound, by Alexandra Harmon 4. Aztlán and Viet Nam: Chicano and Chicana Experiences of the War, edited by George Mariscal 5. Immigration and the Political Economy of Home: West Indian Brooklyn and American Indian Minneapolis, by Rachel Buff 6. Epic Encounters: Culture, Media, and U.S. Interests in the Middle East,1945–2000, by Melani McAlister 7. Contagious Divides: Epidemics and Race in San Francisco’s Chinatown, by Nayan Shah 8. Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934–1990, by Lon Kurashige 9. American Sensations: Class, Empire, and the Production of Popular Culture, by Shelley Streeby 10. Colored White: Transcending the Racial Past, by David R. Roediger 11. Reproducing Empire: Race, Sex, Science, and U.S. Imperialism in Puerto Rico, by Laura Briggs 12. meXicana Encounters: The Making of Social Identities on the Borderlands, by Rosa Linda Fregoso 13. Popular Culture in the Age of White Flight, by Eric Avila 14. Ties That Bind: The Story of an Afro-Cherokee Family in Slavery and Freedom, by Tiya Miles 15. Cultural Moves: African Americans and the Politics of...
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...BELHAVEN UNIVERSITY Jackson, Mississippi A CHRISTIAN UNIVERSITY OF LIBERAL ARTS AND SCIENCES FOUNDED IN 1883 CATALOGUE 2014-2015 EFFECTIVE JUNE 1, 2014 Directory of Communication Mailing Address: Belhaven University 1500 Peachtree St. Jackson, MS 39202 Belhaven University 535 Chestnut St. Suite 100 Chattanooga, TN 37402 Belhaven University 7111 South Crest Parkway Southaven, MS 38671 Belhaven University – LeFleur 4780 I-55 North Suite 125 Jackson, MS 39211 Belhaven University 15115 Park Row Suite 175 Houston, TX 77084 Belhaven University Online 1500 Peachtree St. Box 279 Jackson, MS 39202 Belhaven University 1790 Kirby Parkway Suite 100 Memphis, TN 38138 Belhaven University 4151 Ashford Dunwoody Rd. Suite 130 Atlanta, GA 30319 Belhaven University 5200 Vineland Rd. Suite 100 Orlando, FL 32811 Traditional Admission Adult and Graduate Studies Admission – Jackson Atlanta Chattanooga Desoto Houston Memphis Orlando Alumni Relations/Development Belhaven Fax Business Office Campus Operations Integrated Marketing Registrar Student Life Security Student Financial Planning Student Development Online Admission Online Student Services (601) 968-5940 or (800) 960-5940 (601) 968-5988 or Fax (601) 352-7640 (404) 425-5590 or Fax (404) 425-5869 (423) 265-7784 or Fax (423) 265-2703 (622) 469-5387 (281) 579-9977 or Fax (281) 579-0275 (901) 896-0184 or Fax (901) 888-0771 (407) 804-1424 or Fax (407) 367-3333 (601) 968-5980 (601) 968-9998 (601) 968-5901 (601) 968-5904 (601) 968-5930 (601) 968-5922...
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...THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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