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Sea Blue Sea: The Creation and Performance of Educational Children's MusicCashman, Kevin 24 October 2014 (has links)
The making of Sea Blue Sea began in August, 2013 with the creation of the albums first song Blue Whale and was completed in March, 2014. The projects scope was broad, including a ten-track album about endangered marine wildlife.
I researched endangered marine wildlife, including eleven endangered marine species were chosen as subjects for songs, I began the writing process.
I wrote six songs with minimal outside assistance and collaborated with The Whizpops for the remainder of the ten tracks included on the album.
We fundraised through a Kickstarter campaign. In order to do so, we created a short film which served as a tool to engage would-be supporters of the project. When we had raised the necessary funds, we recorded the songs and held a CD release party.
The Whizpops and I experienced many expected and unforeseen challenges throughout this project, including financial obstacles, time constraints and philosophical differences. This paper illustrates ways in which we overcame those challenges to create music that we hope will inspire future generations of artists and
conservationists!
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O cantor emancipado : coro cênico como transformador do movimento coral no sul do Brasil / The emancipated singer: Scenic Choir as a choral movement in southern Brazil transformerMüller, Cristiane 02 December 2013 (has links)
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Previous issue date: 2013-12-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is addressing the study of Scenic Choir (Coro Cênico)
as a modality which transforms the choir movement in Brazilian Music
and aims to research the history of the innovation of the Scenic Choir in
Brazilian Music. The research question was formed from
transformations occurring in vocal groups and choirs throughout the
twentieth century in Brazil: what were the consequences of the process
of creation and systematization of the scenic choir in music production
in Rio/São Paulo and later in the southern region of the country. From a
historical perspective, the elements which contributed for the arising of
this choral singing modality were addressed: Canto Orfeônico and vocal
groups between the thirties and the sixties that developed a new
edification in the arrangements of Brazilian Popular Music; the cultural
landscape in the second half of the twentieth century with the
movements of the Counterculture, Festivais da Canção (song festivals),
Tropicalism, Experimentalism and the Vanguarda Paulista (São Paulo
vanguard), which were, among others, responsible for the introduction
of the experimental music in choral singing. The conceptions of Scenic
Choir and integrated arts, which aggregated theater and dance within
choral singing, are exposed through the testimony of its principal agents.
In this process, the need for readjustment of group singing assumes a
central function. This new function of the singer is discussed from the
perspective of the "emancipated singer", which must incorporate
knowledge in the areas of physiology and vocal technique, music in
general scope, theater and movement, thereby supplying the needs this
art requires. As an object of study, three vocal groups from the southern
Brazil were chosen Vocal Brasileirão , from Curitiba/PR, Expresso
25 , from Porto Alegre/RS and the group Aretê , from Itajaí/SC - with
analytical emphasis in the latter, of which the creative process of the
show Aretê, o boi , was studied in detail. / Esta dissertação tem como tema o estudo do Coro Cênico como uma
modalidade transformadora do movimento coral no Brasil e, como
objetivo principal pesquisar a história da renovação do canto coral na
música brasileira. A questão de pesquisa se constituiu a partir das
transformações ocorridas nos grupos corais e vocais ao longo do século
XX no Brasil: quais foram os reflexos do processo de criação e
sistematização do coro cênico na produção musical do eixo Rio/São
Paulo e posteriormente na região Sul do país. Em uma perspectiva
histórica, são abordados os elementos que contribuíram para o
surgimento desta modalidade de canto coral: o Canto Orfeônico e
grupos vocais entre os anos de 1930 e 1960 que desenvolveram uma
nova edificação nos arranjos de Música Popular Brasileira; o panorama
cultural na segunda metade do século XX com os movimentos da
Contracultura, os Festivais da Canção, Tropicalismo, Experimentalismo
e a Vanguarda Paulista, que foram, entre outros, responsáveis pela
introdução da música experimental no canto coral. As concepções de
Coro Cênico e artes integradas, que agregam o teatro e a dança dentro
do canto coral, são expostas através do depoimento de seus principais
agentes. Neste processo, a necessidade de readequação do canto em
grupo assume um papel central. Esta nova função do cantor é discutida a
partir da perspectiva do cantor emancipado , que deve incorporar
conhecimentos nas áreas de fisiologia e técnica vocal, música num
âmbito geral, teatro e movimento, suprindo assim as necessidades que
esta arte exige. Como objeto de estudo, foram escolhidos três grupos
vocais do Sul do Brasil Vocal Brasileirão de Curitiba/PR, Expresso
25 de Porto Alegre/RS e o grupo Aretê de Itajaí/SC com ênfase
analítica neste último, do qual o processo criativo do espetáculo Aretê,
o boi foi estudado detalhadamente.
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An Analytic-critical reflection on an integrated arts education curriculum in a multicultural South AfricaNevhutanda, Ntshengedzeni Alfred 12 1900 (has links)
The structure of an education system and its curricula reflects the influence of a specific
paradigm. Since the onset of colonial rule and apartheid in South Africa about
everything in the South African society, including the education system and curricular
issues in particular, have been shaped in accordance with the macro paradigm: the
modern Western paradigm.
The emergence of a new paradigm: the postmodern paradigm, created the possibility
of a new order of thinking which influenced all societal domains and aspects and
propelled the society into the new millennium. Since 1994 a new approach forms the
corner stone of all the new South African policy documents on education. It is for this
reason that the issue of an arts education curriculum is investigated from a
paradigmatic point of view with reference to the modern, the postmodern and the
African paradigms.
Various components, roles and dynamics of educational curricula cast in the modern
paradigm framework are compared with characteristics of their counterparts in the
postmodern paradigm framework, and how they can influence the design of curricula,
especially arts education. The contribution of an African paradigmatic perspective is
accounted for.
A new approach to curriculum development based on the ideals of a learner-centred
education approach, an outcomes-based education approach and the integration of
subjects into specific learning areas has officially been adopted as the approach for
transforming education and curricular issues, resulting in the present Curriculum 2005.
Within the context of the Arts and Culture learning area of this Curriculum, the study
concentrates on and emphasises the integration of the four art forms of dance, drama,
music and visual art in order to overcome the legacy of fragmentation of a curriculum.
The study culminates in a proposed integrated arts education outline for curriculum
development that defines the rationale and vision for South African arts education. The
researcher contends that there is sufficient scope for arts education to contribute its
unique aesthetic values to the new national curriculum in South Africa and that
integration of these art forms does not in any way diminish the unique character of
each. / Didactics / D. Ed. (Didactics)
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An Analytic-critical reflection on an integrated arts education curriculum in a multicultural South AfricaNevhutanda, Ntshengedzeni Alfred 12 1900 (has links)
The structure of an education system and its curricula reflects the influence of a specific
paradigm. Since the onset of colonial rule and apartheid in South Africa about
everything in the South African society, including the education system and curricular
issues in particular, have been shaped in accordance with the macro paradigm: the
modern Western paradigm.
The emergence of a new paradigm: the postmodern paradigm, created the possibility
of a new order of thinking which influenced all societal domains and aspects and
propelled the society into the new millennium. Since 1994 a new approach forms the
corner stone of all the new South African policy documents on education. It is for this
reason that the issue of an arts education curriculum is investigated from a
paradigmatic point of view with reference to the modern, the postmodern and the
African paradigms.
Various components, roles and dynamics of educational curricula cast in the modern
paradigm framework are compared with characteristics of their counterparts in the
postmodern paradigm framework, and how they can influence the design of curricula,
especially arts education. The contribution of an African paradigmatic perspective is
accounted for.
A new approach to curriculum development based on the ideals of a learner-centred
education approach, an outcomes-based education approach and the integration of
subjects into specific learning areas has officially been adopted as the approach for
transforming education and curricular issues, resulting in the present Curriculum 2005.
Within the context of the Arts and Culture learning area of this Curriculum, the study
concentrates on and emphasises the integration of the four art forms of dance, drama,
music and visual art in order to overcome the legacy of fragmentation of a curriculum.
The study culminates in a proposed integrated arts education outline for curriculum
development that defines the rationale and vision for South African arts education. The
researcher contends that there is sufficient scope for arts education to contribute its
unique aesthetic values to the new national curriculum in South Africa and that
integration of these art forms does not in any way diminish the unique character of
each. / Didactics / D. Ed. (Didactics)
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