Despite the strong image factor, the West still makes and sells this kind of music successfully across the globe. Thus, music is a Western construct because the West “makes” music according to its own definitions and classifications of it.
Music and/or dance can do things that are different from visual art by using properties that the latter does not contain and by involving couple, group, or community performance. Barnett (2012) provided five propositions of what music is, which does not only set it apart from other forms of noise, but from visual art as well. Music is organized sound, which is different from the organized hues of visual art (Barnett, 2012, p.7). The audience consumes music through their ears, and sometimes through their ears and eyes, while visual art is entirely for the eyes. Moreover, dance is a performance that sometimes requires two or more people participating in its production. The social aspect of its production sets it apart from visual art that can be very single-artist-driven in construction. Dance can also serve several social functions. Dance and its accompanying music act as a “lens” through which people can find social celebration and community solidarity (Barnett, 2012, p.23). Dance can refer to rituals and other dances that serve diverse individual and social functions. Individually, people can dance to express themselves or to heal or curse others. Dance and music are common staples in social events too, such as weddings, birthdays, and funerals. Thus, dance and music operate at a different level than visual arts and can also be very social in its production and outcomes.
Tango is an important music and dance in Argentina culture, precisely because it originated from Buenos Aires, Argentina. The urban poor developed tango during the 1890s and because of the socioeconomic conditions of its makers, tango was danced more frequently in brothels during this time (Morales, 2003, ...
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The author conducts visual analyses, in order to show how art represents people’s sexual norms during the thirteenth century. These norms signify desire as malicious, even between married people. An example is the image of the vice of Luxuria, which castigates kissing between unmarried people as immoral and will result to a painful punishment in Hell.
This thesis is clearly identifiable in the paper. The author bases his argument on the political context of Rome, which affected the meaning of the placement and direction of David. His arguments are convincing because he considers what the statue could have meant when placed in either of the two favored locations.
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In addition, Utnapishtim saves not only his family, but also a lot of different animals. In order to make sure that the water has receded, the hero releases birds. After the flood, Utnapishtim makes sacrifice and so on. On the other