Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York.

Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York. New Cycle Theatre performing at Cerridwen Salon.

Gloria Orenstein at the Woman's Salon

Inscription: Verso: The Woman's Salon, New York. Gloria Orenstein, founder.

ANÁLISIS DE LA PRÁCTICA PEDAGÓGICA EN UN SALON DE CLASES: UNA CONTRASTACIÓN DESDE UNA PERSPECTIVA SOCIOHISTÓRICA

Este trabajo es producto del interés común de los autores por incursionar en la Teoría Sociohistórica, desarrollada por Lev Seminonvich Vygotsky y su aplicación en el campo de la educación. Ese interés también deviene de una temática que surge y reta cotidianamente el quehacer ordinario de la mayoría de quienes directa o indirectamente se convierten en actores del proceso educativo. En tal sentido, se procurará ofrecer una experiencia que no pretende juzgar ni concluye categóricamente en sus apreciones y comentarios, sino aportar un estudio provisional. Como podrá observarse en su momento, se conjugan y contrastan algunas reflexiones a la luz de una teoría y una realidad complejas, al amparo de la meta de despertar.

Online nail art application : proceeding of the project development

Online Nail Artist (ONA) project aims to create a web-based application for nail salon customers. The application will help customers to customize their hands virtually and find suitable nail colors. The main research question is to reconfigure user experience in relation to product service in terms of customization of user needs. As results, the key function of the application will be to customize a virtual hand image by selecting a matched skin tone, a nail length, and a nail shape in accordance with their hands. The objectives of the project proceeding are to 1) identify customers’ experience in relation to the product features through preliminary research on existing products; 2) create a conceptual framework of the project development in order to reflect the user experience identified; and 3) present a mock up which include key features of the ONA for the future development.

Imagining social justice

This paper examines how creativity and the arts can assist teachers who teach from a social justice perspective, and how knowledge built through meaningful experiences of difference can make a difference. Just as imagining is central to visual arts practice, so too the capacity to imagine is a necessity for social justice. The authors ask what art can do, and how art can work, to bring about greater understandings and practices around social justice and the early years. A ‘recognitive justice’ (Fraser, 1997, 2000; Cazden, 2012) requires the capacity to be sensitive to the multiple voices that need to be heard, and the ability to imagine how lives might be lived differently. The arts can provide powerful means for thinking social justice, and the experiences described in this paper can have application in addressing social justice in the professional preparation of prospective teachers. Three teacher educators who teach from a social justice perspective apply a collective biography methodology to their stories of art activity. Data were collected from three sites: transcripts, notes and digital images from a salon evening; ethnographic observations, field notes and artefacts from a school classroom; and a/r/tographic data generated in a university art classroom. Data were analysed using Foucault and the conceptual work of other post-structuralist philosophies, to explore how aesthetic and creative artistic activity could excite imaginations and open up multiple possibilities for richer forms of educational outcomes – for teacher educators, their students, and ultimately for young children.

Jeff Wall photographs

This review assesses a survey of Jeff Wall's photographs at the MCA in Sydney. It analyses works such as "The Destroyed Room", "A Sudden Gust of Wind", and "A View from an Apartment". It also situates Wall as a preeminent early postmodern artist, post-photographer, and salon style maker of images.

Minnie’s Bow-Toons seasons 2 and 3

Minnie’s Bow-Toons follows the adventures of Minnie Mouse and her best friend Daisy Duck as they run Minnie's Bow-tique, a specialty shop stocked only with colorful bows and bowties. In the third season Minnie, Daisy and their assistant Cuckoo Loca opens a pet grooming salon adjacent to the Bow-tique. In the fourth season Minnie, Daisy and Cuckoo Loca travel around the world, visiting cities like London, Venice and Tokyo.

Memoirs : Heida Hermanns Holde /

The author's mother Alice Goldschmidt was a gifted piano player, who studied with Carl Maria Breithaupt and became his most talented student. Childhood recollections. Early musical awakening. Outbreak of World War One. Recollections of air raids and scarceness of food. Inflation and political instability in post-war Germany. Piano lessons by her mother from an early age. Heida made her debut at age fourteen with the Wiesbaden Symphony under the conductor Carl Schuricht, who became a close mentor and friend. Close relationship to her mother, who had a great influence on her professional career. Heida had a number of outstanding teachers, among them Artur Schnabel, Karl Leimer and Egon Petri. Heida was accepted as a student of Petri at the "Hochschule fuer Musik" in Berlin, where she studied between 1922-1925. Salon at her aunt's house with guests such as the playwright Georg Kaiser and Siegfried Wagner. Her sister Elsie received her Ph.D. in economics and moved to Berlin as well. Heida graduated from the "Hochschule" in 1925. Soon after she won an international piano competition in Berlin. Engagements with various conductors such as Max Fiedler and Otto Klemperer. Private lessons with Arthur Schnabel and Carl Friedberg, the co-founder of Juilliard. Due to occasional experiences of antisemitism during her music career Heida decided to change her name from Goldschmidt to Hermanns. Position at the "Hoch Conservatory" in Frankfurt. Encounter with the music critic Artur Holde, Heida's future-husband. Engagement and wedding in 1932. Move to Berlin.

Accents of Chopin anniversaries in territories annexed by Prussia

This article discusses the way in which the Chopin Year of 1910 was celebrated in Wielkopolska. It presents a script prepared in the nineteenth century and shows similarities with celebrations of Mickiewicz and other Polish heroes and artists. Invariably used in such commemorations was a “symbolic capital” that made it easier to create an intergenerational code, thereby disseminating knowledge of national culture and history. A significant role was played in 1910 by a centenary panel, which produced “Guidelines for popular Chopin celebrations” and also many occasional, popular materials. Chopin’s induction into the national pantheon involved the use of audio material (vocal and instrumental concerts), verbal material (articles, poems, lectures and brochures) and also a visual code (anniversary window stickers, tableaux vivants or tableaux illuminés). Illuminated pictures – recommended by a catalogue of slides produced in Poznań – stimulated the imagination of the masses and served as a guide through the composer’s life and work, and their impact was enhanced by a commentary. Most of the living pictures were probably inspired by Henryk Siemiradzki’s canvas Chopin grający na fortepianie w salonie księcia Radziwiłła [Chopin playing the piano in Prince Radziwiłł’s salon] and Józef Męcina Krzesz’s painting Ostatnie akordy Chopina [Chopin’s last chords]. This combination of codes made it possible to create a model adapted to the times and to the expectations of a mass audience. The Chopin anniversary, in which admiration was inseparably intertwined with manipulation, was a pretext for strengthening the national identity.

SELECTED NINETEENTH CENTURY VARIATIONS FOR PIANO

The beauty and artistry of the variation form were fully developed and represented in the nineteenth century. The treasures of nineteenth century piano variations are a significant part of the total piano repertoire. The main goal of this dissertation is to show how various composers of the nineteenth century used the variation form to project their imagination and coloring of a simple melody. They used many different techniques to vary melodies and create their own music. Beethoven's Piano Sonata No. 12 in A-flat Major Op. 26 breaks with the conventional sonata design by using variation form instead of sonata-allegro form for the first movement, and having no movement in sonata-allegro form. Chopin's Variations Brillantes on "Je Vends des scapulaires" Op. 12 and Henri Herz's Variations on 'Non piu mesta" from "La Cenerentola" shows how they applied their art to composing variations on opera themes. Mendelssohn's Variations Serieuses Op. 54 was a reaction against the salon music in the 19" century. Schubert applies the variation form to his Impromptus in B-flat D. 935 No. 3. Schurnann's Symphonic Etudes represents a perfect example of the arts of variation, using counterpoint, and special coloring; and Faure's Theme and Variations Op. 73 represents one of the most outstanding nineteenth-century works in variation form. As a traditionalist in the nineteenth century, Brahms favored the variations over other classic forms. I have performed three of his most important sets of variations: including Variations on a theme by Schumann Op. 9, Variations on a Theme by Handel Op. 24, and Variations for two pianos on a Theme by Haydn Op. 56b. The variations listed above were divided into three recitals. These variations represent a very important part of the piano music of the nineteenth century. By discovering, preparing, and performing these wonderful works, I have grown, both as a pianist and as a musician.

THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from “Cinderella” shows an ascetic approach to piano texture - a common characteristic in Prokofiev’s late works. The Third Concerto is Prokofiev’s masterpiece in the genre. One of the 20th century’s most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky’s The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky’s gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff’s Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff’s reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era’s musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from "Cinderella" shows an ascetic approach to piano texture - a common characteristic in Prokofiev's late works. The Third Concerto is Prokofiev's masterpiece in the genre. One of the 20th century's most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky's The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky's gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff's Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff's reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era's musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

El hombre metrosexual como Narciso contemporáneo: el papel del discurso publicitario actual en la construcción de la masculinidad

Existen diferentes definiciones del concepto de masculinidad. Por un lado están las normativas, que la entienden como lo que los hombres deberían ser y, por otro, los enfoques semióticos, que la definen como no-feminidad. Partiendo de este último enfoque y teniendo en cuenta que la feminidad ha evolucionado en los últimos años junto con la sociedad desdibujando la frontera entre lo que forma parte del rol femenino y lo que no, se puede afirmar que han surgido a partir de los renovados modelos de feminidad, diferentes y nuevas masculinidades entre las que se encuentra la del hombre metrosexual. Es en este tipo de masculinidad en concreto en la que se centra la presente investigación y en cómo se construye la narración de dicha masculinidad en el discurso publicitario actual recurriendo a la figura mítica de Narciso. Así, a partir de una revisión bibliográfica y de un análisis de contenido, se pretende analizar la influencia de la publicidad en la aparición del hombre metrosexual como nueva masculinidad en respuesta a la transformación de la feminidad, a la par que confirmar la presencia de la figura de Narciso como recurso en la construcción de la masculinidad en la publicidad actual.

Los nuevos territorios de la gráfica: imagen, proceso y distribución

La gráfica se encuentra en un proceso de simbiosis con la cultura visual en el que la tecnología de la imagen, la descentralización de la matriz y la adaptación del formato expositivo se funden con el resto de las actividades artísticas. El análisis de las comunidades formadas alrededor de esta práctica configura un puzzle, aparentemente bien encajado, que se divide entre el formalismo y el conceptualismo y entre la idea y el proceso. Las bienales y trienales, a la vanguardia del discurso, cuestionan cualquier concepto que se haya podido asentar con solidez: ante la decadencia del proceso artesanal el mensaje se profundiza nutriéndose de la invectiva provocada por las contradicciones sociales, territoriales y medioambientales para convertirse en un reflejo de la sociedad contemporánea. Comprender la gráfica actual pasa por un ejercicio de aperturismo y un proceso de adaptación al cambio técnico e iconográfico de los sectores implicados. El grabado es ahora un territorio en el que la integración de todas las artes permite cruzar sus fronteras con fluidez.