Word Count: 2778
(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)
Word Count: 10316
(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)
Word Count: 12322
(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)
Word Count: 24045
(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)
A Brief Survey of World Music
Short Description:
A short and engaging introduction to music around the world
Long Description:
Listen to the world. Explore music from around the globe. Acquaint yourself with a variety of international music styles and traditions. Investigate issues in popular music from both a social perspective (such as race, religion, language, economics, gender, diaspora, and politics), as well as an intrinsically musical position (beat, pitch, meter, rhythm, form, timbre, texture). Learn about how music reinforces values and negotiates tradition with innovation; how rural and urban contexts inform musical experiences; how soundscapes shape identity. Learn how to collect sounds and ask questions: what is this instrument’s name, how is it played and built; who plays it, why, and for whom? Why do all civilizations sing, play, and perform music? Like storytelling, like transcendence, spirituality, and religion, like politics and societal hierarchies shaped by taste, music is an intrinsic part of humanness. So, listen to world.
Word Count: 39418
(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)
This is a textbook meant for use within The Living Arts (FINE 101) -- Chapters include introductions to Painting, Sculpture, Architecture, Theatre, Music, and Dance.
Course Description: An interdisciplinary survey of human creative efforts as they relate to each other. The visual and performing arts are compared with similarities stressed.
Looking at Light is an introductory text for theatre lighting designers. It is an appropriate resource for students at the college or university level who are interested in learning about lighting design at a fundamental level.
While the resource is designed as an introductory lighting design program for University students, it may also be useful to high school students who are interested in technical theatre, adults who are involved in community theatres, high school teachers who find themselves being responsible for lighting (even though they have little training in the area), or professionals and amateur theatre and dance practitioners from non-lighting areas.
This is a design-based course, and while there is some effort to explain the technology involved with theatrical lighting, it is not meant to be a resource to learn how to be an electrician or programmer.
Art as a Tool for Creating Change
Short Description:
Students present their reflections on the politics and practice of making. Individually, each essay and letter addressed to a historical artist is full of valuable information and great insights. Collectively, these are also an honest and valuable document of the moment: Us, wrestling with the realignment of past, present, and future of why and how to make objects, how to find freedom within tradition, and how to reimagine a more conscientious making practice for ourselves and a more meaningful life for our objects.
Long Description:
Twenty students from a wide variety of majors, including the sciences, humanities, health and medicine, as well as engineering, architecture, and design comprised our vibrant and engaged learning community. We started the quarter by imaginary visits to two important art schools, the German Bauhaus (1919-1933) and the Black Mountain College, located near Asheville, North Carolina (1933-1957). The students co-created participatory collaborative exercises based on the experiential learning principles developed by and practiced at these schools.
Throughout the course, we considered craft and art not as nouns, but as verbs, related the practiced maker’s hand to the process aided by technological tools, and focused on the language of the materials, and the personal, cultural, historical narratives that they help to reveal. We contemplated how individual threads hold the fabric together and transform that, and how individual narratives coalesce into larger histories that signify and hold together communities. We strived to explore and understand both the historical past and the innovative present and future by specifically focusing on needlework (sewing, embroidery, and quilts) during the 1920 and ‘30s (women suffrage movement), the 1970s and ‘80s (second wave of feminism, LGBTQ rights and HIV/AIDS crisis), and in the present. We also considered how new technologies, such as parametric design and 3D printing, introduce new paradigms for solving problems, designing, producing, and using objects. Of course, the effect of technology was inescapable for us in the class too, as it was for billions around the world during this global pandemic.
We made two projects. One, using needlework techniques and textile processes to tell a personal story of Waiting, and a second one, using Computer Aided Design (CAD) to create a Time Capsule which would be opened one hundred years from now. Throughout the quarter, the students researched a Bauhaus or Black Mountain College artist they had picked with the goal of reflecting on the artist’s work, biography, creative process, and ideas about making by drawing parallels to those of their own.
Word Count: 50553
(Note: This resource's metadata has been created automatically as part of a bulk import process by reformatting and/or combining the information that the author initially provided. As a result, there may be errors in formatting.)
Short Description:
The book examines the work of Terence Grieder, an early pre-Columbian art historian of wide-ranging interests and often provocative stances. His students and other intellectual descendants discuss his major ideas through examples drawn from their own work. The work of those he mentored is in the end the most important testament to his continuing influence in the field.
Word Count: 77114
(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)
A 25th Anniversary Gift from the Board of the Friends of the Beach Museum of Art
Short Description:
The e-book MARIANNA KISTLER BEACH MUSEUM OF ART: PEOPLE AND SPACES was created by the Board of the Friends of the Beach Museum of Art and published by New Prairie Press of Kansas State University in 2021. The purpose of the book is to celebrate the 25th anniversary of the art museum’s opening on the K-State campus in October 1996. It includes articles about the people who are honored by named spaces in the museum. Their contributions allowed the museum to become a reality, including an addition to the building that opened in 2007. When Jon Wefald became president of K-State in 1986, the university was the only institution in the Big 8 Conference without an art museum. First Lady Ruth Ann Wefald took the lead in obtaining the supporters and funds to establish a home for the institution’s impressive art collection. The most notable contribution came from Ross and Marianna Kistler Beach whose generous financial support made the building possible. In 1991 they provided the lead gift for an art museum that would be named in honor of Marianna to commemorate the couple’s 50th wedding anniversary. After the book’s introduction by Linda Duke, the museum’s executive director, Ruth Ann summarizes the difficult journey to establish an art museum. It is followed by an account of Marianna’s many accomplishments. The remainder of the publication contains 23 articles — written by board members of the Friends of the Beach Museum of Art — devoted to the people for whom spaces in the building are named. Photographs are included of those who are honored and spaces in the building including galleries, educational wing, theater, offices, and work and storage locations. The diverse group of people and their contributions have made the museum what it has become during its 25 years — a vibrant place for the collecting, studying, caring for, and presenting the visual art of Kansas and the region. Editors of the e-book are Anthony R. Crawford, Marla Day, Martha Scott, and Marlene VerBrugge, board members of the Friends of the Beach Museum of Art.
Word Count: 17796
ISBN: 978-1-944548-39-1
(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)
Math for Visual Arts is a collection of open-source slideshows mostly written in a textbook format using Google Slides so that it can be embedded into the Canvas (digital) version of our own courses. You may post the slideshows as is or edit them to your liking. A PDF version of each slideshow can be downloaded.
Adapted version of Compact Anthology of World Literaure II: Volume 6
Short Description:
Adapted Anthology of OER World Literature readings
Long Description:
Book cover “The library” by ♔ Georgie R is licensed under CC BY-ND 2.0
Word Count: 80043
(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)
After careful consideration of Moving Pictures: An Introduction to Cinema by Russell Sharman (CC BY-NC-SA), its content, and format, it has been suggested that instructors may wish to use only Part I. An Introduction to Cinema for the course. Please note that a remixed version of the OER is available which omits Part II.
Multimodal Musicianship is an open educational resource for learning music theory and ear training. The content engages concepts related to tonal harmony, suitable for a two- or three-semester music theory and ear training curriculum in a liberal arts college or other higher education setting. This collection of materials offers multiple modes of engaging content—with text, musical examples, audio examples, video content, application activities, and links to supplemental content—designed for users to learn and reinforce their knowledge according to their learning styles and needs.
This text covers basic elements and vocabulary of music; appreciation and understanding of diverse styles of music past and present; developing listening skills. Includes opportunities for experiencing music (recorded and/or live).
I. Music Fundamentals
II. History of Western Music before 1600
III. History of Western Music after 1600
IV. Music of the 20th and 21st Centuries
V. Listening to Genres
VI. Music of Louisiana, the Americas, and the World
Music, Dance and the Archive reimagines records of performance cultures from the archive through collaborative and creative research. In this edited volume, Amanda Harris, Linda Barwick and Jakelin Troy bring together performing artists, cultural leaders and interdisciplinary scholars to highlight the limits of archival records of music and dance. Through artistic methods drawn from Indigenous methodologies, dance studies and song practices, the contributors explore modes of re-embodying archival records, renewing song practices, countering colonial narratives and re-presenting performance traditions. The book’s nine chapters are written by song and dance practitioners, curators, music and dance historians, anthropologists, linguists and musicologists, who explore music and dance by Indigenous people from the West, far north and southeast of the Australian continent, and from Aotearoa New Zealand, Taiwan and Turtle Island (North America).
This collection is the first of five dealing with the rudiments of music.
This collection is the second of five dealing with the rudiments of music.
Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.
Music Theory for the 21st–Century Classroom is an openly–licensed online four–semester college music theory textbook. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. In my opinion, this led to students having difficulty with creating melodies, since the training they are given is typically to write a “melody” in quarter notes in the soprano voice of part writing exercises. When the assignments in those texts ask students to do more than this, the majority of the students struggle to create a melody with continuity and with appropriate placement of harmonies within a phrase because the text had not prepared them to do so.