Matching Items (2)
Filtering by
- Genre: Art--Technique.
- Genre: Music--Social aspects--Brazil--Salvador.
- Creators: Arizona State University
Description
Geography, and the social sciences more broadly, have long operated within what is arguably a paradigm of the visual. Expanding the reach of geographical consideration into the realm of the aural, though in no way leaving behind the visual, opens the discipline to new areas of human and cultural geography invisible in ocular-centric approaches. At its broadest level, my argument in this dissertation is that music can no longer be simply an object of geographical research. Re-conceptualized and re-theorized in a geographical context to take into account its very real, active, and more-than-representational presence in social life, music provides actual routes to geographic knowledge of the world. I start by constructing a theoretical framework and methodological approach for studying music beyond representation. Based on these theoretical and methodological arguments, I present four narratives that unfold at the intersections of race and music in the northeast Brazilian city of Salvador. From the favelas of Rio de Janeiro to the troubled neighborhood of the Pelourinho, from the manic tempos of samba to the laid back grooves of samba-reggae, and in the year-round competition between the oppressive forces of ordinary time and the fleeting possibility of carnival, music emerges as a creative societal force with affects and effects far beyond the realm of representation. Together, these narratives exemplify the importance of expanding geographical considerations beyond a strictly visual framework. These narratives contribute to the musicalization of the discipline of geography.
ContributorsFinn, John C (Author) / McHugh, Kevin (Thesis advisor) / Lukinbeal, Christopher (Committee member) / Bolin, Bob (Committee member) / Price, Patricia (Committee member) / Arizona State University (Publisher)
Created2011
Description
In times of fast paced technology, the ability to differentiate quality differences between a reproduction and an original work of art has new urgency. The use of digital reproductions in the classroom is a useful and convenient teaching tool, but can convey visual distortions specifically in regards to texture, size, and color. Art educators often struggle to achieve a balance between incorporating the use of digital technology and fostering an appreciation for experiences with original artworks. The purpose of this study was to examine the ways in which Dewey's theory of experiential learning explains how thoroughly high school students differentiate between a reproduction and original artwork. This study also explored the influences of painting style (realistic or semi-abstract) and sequence on a student's ability to identify the differences and select a preference between the reproduction and original artwork. To obtain insight into how a student is able to differentiate between a reproduction and an original artwork, this study engaged 27 high school student participants in viewing a digital reproduction and the respective original artwork of one realistic and one semi-abstract painting at the ASU Art Museum. Analysis of qualitative and quantitative data suggests that sequence influences a student's ability to differentiate between a reproduction and original artwork. Students who saw reproductions before viewing the originals, demonstrated a more comprehensive understanding of the differences between the two presentation formats. Implications of this study include the recommendation that art educators address definitional issues surrounding the terms original and reproduction in their teaching, and consider collaborative ways to prepare students for meaningful experiences with original artworks.
ContributorsUscher, Dawn (Author) / Erickson, Mary (Thesis advisor) / Stokrocki, Mary (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2011