An analysis of visual arts or music

An analysis of visual arts or music Order Description Exploration of Humanities (UG, C100, UXT1*-1215) Task #2: UXT Task 2 EXPLORATION OF HUMANITIES Competencies: 129.1.1: Foundations of Humanities - The graduate assesses the development of humans through the study of key concepts, disciplin" rel="nofollow">ines, and primary in" rel="nofollow">influences of the humanities. 129.1.2: Classical Period - The graduate analyzes the primary contributions and characteristics of humanities durin" rel="nofollow">ing the classical period. 129.1.4: Renaissance - The graduate analyzes the primary contributions and characteristics of humanities durin" rel="nofollow">ing the Renaissance. 129.1.6: Neoclassicism - The graduate analyzes the primary contributions and characteristics of humanities within" rel="nofollow">in the neoclassical and Enlightenment period. 129.1.7: Romanticism - The graduate analyzes the primary contributions and characteristics of humanities durin" rel="nofollow">ing the romantic period. 129.1.8: Realism - The graduate analyzes the primary contributions and characteristics of humanities durin" rel="nofollow">ing the realism movement. ________________________________________ Introduction: “Technology alone is not enough—it’s technology married with the liberal arts, married with the humanities, that yields us the results that make our heart sin" rel="nofollow">ing.” – Steve Jobs, in" rel="nofollow">introducin" rel="nofollow">ing the iPad 2 in" rel="nofollow">in 2011 (Min" rel="nofollow">indEdge, Inc., 2014) From your studies, you have seen how culture, belief systems, and exposure to the arts affect the way people view the world. Learnin" rel="nofollow">ing about these differences in" rel="nofollow">in perspective helps us to have a better understandin" rel="nofollow">ing of what it means to be human. When we understand and value the humanistic poin" rel="nofollow">int of view, we brin" rel="nofollow">ing creative solutions and fresh new ideas to the challenges we face in" rel="nofollow">in our personal and professional lives. We are schooled in" rel="nofollow">in the fundamentals of close analysis, critical thin" rel="nofollow">inkin" rel="nofollow">ing, and teasin" rel="nofollow">ing out the complexities of issues which have no simple right or wrong answer. In task 1, you wrote an analysis on a piece of literature. In this task, you will write an analysis (suggested length of 3–5 pages) of one work from the disciplin" rel="nofollow">ines of visual art or music. Choose one work from the list below: Classical Period Art: •? Exekias, Achilles and Ajax Playin" rel="nofollow">ing a Dice Game (Athenian black-figure amphora), ca. 540?530 BCE • Praxiteles, The Aphrodite of Cnidus (Knidos) c. 350 BCE • Alexandros of Antioch, Venus de Milo, between 130?100 BCE • Apollodorus of Damascus, Trajan’s Column, c. 107 CE • After Leochares, Apollo Belvedere, c. 120 CE • Agesander, Athenodorus, and Polydorus of Rhodes, The Laocoön Group, Late 2nd Century Renaissance Art: • Leonardo da Vin" rel="nofollow">inci, Annunciation, c. 1472 • Titian, Bacchus and Ariadne, c,1520 • Hans Holbein" rel="nofollow">in the Younger, The Ambassadors, 1533 • Marcus Gheeraerts the Younger, Queen Elizabeth I (Ditchley Portrait), c. 1592 Music: • Josquin" rel="nofollow">in des Prez, Mille Regretz (French Chanson), c. 1521 • Giovanni Pierluigi da Palestrin" rel="nofollow">ina, Sicut Cervus (motet), c. 1581 • Thomas Morley, Now is the Month of Mayin" rel="nofollow">ing, 1595 • John Farmer, Fair Phyllis (English Madrigal) 1599 NeoClassical (Art) / Classical (Music) Art: • Antonio Canova, Psyche Revived by Cupid’s Kiss, c. 1777 • Jacques Louis David, The Death of Socrates, 1787 • Sir John Soane, Bank of England, 1788–1833 • Ingres, La Grande Odalisque, 1814 Music: • W.A. Mozart, Piano Concerto No. 20 in" rel="nofollow">in D Min" rel="nofollow">inor, K. 466 – “Romanze” (second movement), 1785 • W.A. Mozart, Overture to The Marriage of Figaro K. 492, 1786 • Franz Joseph Haydn, Symphony No. 94 in" rel="nofollow">in G Major (Surprise), 1792 • Ludwig van Beethoven, Symphony No. 5 in" rel="nofollow">in C Min" rel="nofollow">inor, Op. 67,”Allegro con brio” (first movement), 1804–1808 Romanticism Art: • Henry Fuseli, The Nightmare, 1781 • John Constable, The Hay Wain" rel="nofollow">in, 1821 • Eugene Delacroix, The Death of Sardanapalus, 1827 • J.M.W. Turner, Slave Ship, 1840 Music: • Franz Schubert, Erlkin" rel="nofollow">ing D.328 (Lied), 1815 • Hector Berlioz, Dream of the Witches’ Sabbath from Symphonie fantastique, 1830 • Clara Schumann, 4 pieces fugitives, Op.15, 1853 • Bedrich Smetana, The Moldau from Má Vlast, 1874 Realism Art: • Gustave Courbet, The Stone Breakers, 1849 • Rosa Bonheur, The Horse Fair, 1852-1855 • James Whistler, Arrangement in" rel="nofollow">in Grey and Black, No.1: Portrait of the Artist's Mother, 1871 • Édouard Manet, A Bar at the Folies-Bergère, 1882 Music: • Stephen Foster, Old Folks at Home,1851 • John Philip Sousa, The Stars and Stripes Forever, 1896-97 • Giacomo Puccin" rel="nofollow">ini, Madama Butterfly, 1904 • Julia Ward Howe, The Battle Hymn of the Republic, 1862 Use the lin" rel="nofollow">ink near the bottom of this page to access direct lin" rel="nofollow">inks to the works listed above. Once you have selected and viewed the work, you will create a paragraph of descriptive writin" rel="nofollow">ing with your personal observations about the work. This paragraph must be written before you do research on the work, the artist or composer, and the period it comes from. You will need to be detailed in" rel="nofollow">in your description of the work. The next step will be to research the work, the life of the artist, and the period. You will then be ready to create your analysis. This process of analysis will require you to discuss the historical context of the work, pertin" rel="nofollow">inent aspects of the artist’s or composer’s biography, themes and/or stylistic characteristics of its historical period and fin" rel="nofollow">inally, the relevance of this work for audiences today. The fin" rel="nofollow">inal requirement of the task will be to reflect on this process and describe how the analysis in" rel="nofollow">informed or altered your perception of the work. Requirements: Your submission must be your origin" rel="nofollow">inal work. No more than a combin" rel="nofollow">ined total of 30% of the submission and no more than a 10% match to any one in" rel="nofollow">individual source can be directly quoted or closely paraphrased from sources, even if cited correctly. Use the Turnitin" rel="nofollow">in Origin" rel="nofollow">inality Report available in" rel="nofollow">in Taskstream as a guide for this measure of origin" rel="nofollow">inality. You must use the rubric to direct the creation of your submission because it provides detailed criteria that will be used to evaluate your work. Each requirement below may be evaluated by more than one rubric aspect. The rubric aspect titles may contain" rel="nofollow">in hyperlin" rel="nofollow">inks to relevant portions of the course. A. Record your in" rel="nofollow">initial reaction to the work (suggested length of 1 paragraph or half a page) by doin" rel="nofollow">ing the followin" rel="nofollow">ing: 1. Describe your in" rel="nofollow">initial thoughts and/or feelin" rel="nofollow">ings about the work. 2. Describe in" rel="nofollow">in detail at least one aspect of the work that most in" rel="nofollow">interests you. B. Analyze the work (suggested length of 2–4 pages) by doin" rel="nofollow">ing the followin" rel="nofollow">ing: 1. Describe the historical context of the period in" rel="nofollow">in which the work was written. 2. Discuss in" rel="nofollow">insights in" rel="nofollow">into the work that can be gain" rel="nofollow">ined from the author’s biography. 3. Analyze how this work explores a particular theme and/or stylistic characteristic from its period. 4. Explain" rel="nofollow">in the relevance of this work for today’s audiences. C. Discuss how the deeper knowledge you gain" rel="nofollow">ined through your analysis has in" rel="nofollow">informed or altered your thoughts and/or feelin" rel="nofollow">ings about the work (suggested length of 1 paragraph or half a page). D. When you use sources to support ideas and elements in" rel="nofollow">in a paper or project, provide acknowledgement of source in" rel="nofollow">information for any content that is quoted, paraphrased or summarized. Acknowledgement of source in" rel="nofollow">information in" rel="nofollow">includes in" rel="nofollow">in-text citation notin" rel="nofollow">ing specifically where in" rel="nofollow">in the submission the source is used and a correspondin" rel="nofollow">ing reference, which in" rel="nofollow">includes the followin" rel="nofollow">ing: • author • date • title • location of in" rel="nofollow">information (e.g., publisher, journal, website URL) Note: The use of APA citation style is encouraged but is not required for this task. Evaluators will offer feedback on the acknowledgement of source in" rel="nofollow">information but not with regard to conformity with APA or other citation style. For tips on usin" rel="nofollow">ing APA style, please refer to the APA Resources web lin" rel="nofollow">ink found under General Information/APA Guidelin" rel="nofollow">ines in" rel="nofollow">in the left-hand panel in" rel="nofollow">in Taskstream. Reference List: Note: This reference list refers only to direct citations in" rel="nofollow">in the assessment above and may be different from those you need to complete the assessment. Consult your Course of Study for a list of suggested learnin" rel="nofollow">ing resources. Min" rel="nofollow">indEdge, Inc. (2014). Introduction to the humanities. Waltham, MA: Min" rel="nofollow">indEdge, Inc. Web Lin" rel="nofollow">inks: 1. Direct Lin" rel="nofollow">inks to the works listed abovelin" rel="nofollow">ink opens in" rel="nofollow">in new win" rel="nofollow">indow