As A Way Of Experiencing The Humanities Beyond Your C 862638 ✓ Solved

As A Way Of Experiencing The Humanities Beyond Your Classroom Compute

As a way of experiencing the Humanities beyond your classroom, computer, and textbook, you are asked to do a certain type of “cultural activity” that fits well with our course and then report on your experience. Your instructor will require you to propose an activity and get instructor approval before you do it and report on it. Every effort should be made to ensure that this is a hands-on experience (not a virtual one), that this activity fits the HUM 112 class well, and that the activity is of sufficient quality for this university course. The two key types of activities are a museum visit or a performance. This must not be a report on the same activity or the same report as done for another class, like HUM 111.

For instance, you might visit the same museum as for HUM 111, but your HUM 112 report should focus on entirely different works and displays. Attend a museum or gallery exhibition or a theater, dance, or musical performance before the end of Week 10. The activity should have content that aligns with our course. Write a 2-3 page report describing your experience, including details about the event location, date, attendees, your initial reactions, and specific descriptions of at least two works. Summarize the event, describe your overall reaction, and connect observations to course material and the class text. Use at least the class text as a reference (additional sources are optional unless required).

Submit your cultural activity proposal to the instructor for approval before the end of Week 5. Find a suitable activity that fits the course; seek guidance from the instructor if needed. Visiting a museum involves exploring current exhibitions, prioritizing those that relate to the period 1600 AD to present. Museums with fine arts collections are preferred over history museums. If questions arise about the activity's suitability, approval is at the instructor’s discretion. Alternative activities outside the listed options may be approved for students with disabilities or other limitations.

When visiting a museum, prioritize works that interest you, and carefully observe at least two pieces or exhibits. If the museum caught fire, which two pieces would you save? Why? Take notes and accept any pamphlets for reference later. Focus on quality of experience rather than quantity of artworks viewed. The most meaningful insights typically come after examining a few works deeply with leisure and reflection.

Attending a performance involves checking for free or low-cost college or professional recitals—such as symphonies, operas, jazz concerts, or stage dramas—excluding high school or amateur events like school plays, fairs, or children's recitals. Dress appropriately for the venue. Bring a pen and the program for note-taking. Turn off your phone and refrain from recording music or photos during the performance. Note specific details, such as particular pieces or instrument sounds, that stand out positively or negatively. Record your impressions of what you enjoy or find lacking.

If unable to attend in person due to legitimate circumstances, submit a request for an online equivalent by Week 5. Most activities are affordable, and many offer free days or discounts for students and veterans. Contact your instructor for low-cost options if needed. Follow the detailed formatting guidelines: typed, double-spaced, Times New Roman size 12, with one-inch margins. A cover page and references are required but do not count toward the page length. Use APA format for citations and references. Additional resources for APA style are available in your course.

Sample Paper For Above instruction

On March 15, 2024, I attended a performance of the college symphony orchestra held at the City Hall Auditorium. The event drew a diverse group of attendees, including students, faculty, local residents, and classical music enthusiasts. As I entered the venue, I felt a sense of anticipation and curiosity. The auditorium was elegantly decorated, and the atmosphere was formal but inviting.

The concert commenced promptly at 7:00 pm with the piece "The Four Seasons" by Antonio Vivaldi. The orchestra members appeared professional and prepared, and the conductor’s baton movements were precise and energetic. During the first movement, I was struck by the clarity of the violin lines and the lively tempo, which vividly evoked images of spring. The second piece was Beethoven’s Symphony No. 5, also performed with powerful dynamics and emotional depth, illustrating the profound influence of the Romantic period on the orchestra’s interpretation.

Throughout the performance, I observed the different instrumental sections. The strings produced a warm, lush sound that contrasted sharply with the crisp, resonant brass and wind sections. I particularly appreciated the subtle balance maintained by the conductor, ensuring that no single instrument dominated the performance. The intermission allowed me to reflect on the pieces I had just experienced and to consider the historical context of the compositions, which spanned from the Baroque to the Romantic era, roughly aligning with the course coverage from 1600 AD onward.

My overall reaction to the performance was highly positive. The musicians demonstrated technical proficiency and expressive playing, which made the music feel alive and compelling. I found myself especially drawn to the expressive melodies of Vivaldi’s "Spring," which seemed to connect directly with listeners’ emotions. The performance reinforced my understanding of how music from different historical periods reflects broader cultural, religious, and socio-economic influences discussed in class. For example, the grandeur of Beethoven’s symphony mirrored the political upheavals and nationalistic sentiments of 19th-century Europe, themes that align with the course content.

In conclusion, attending this symphony was a rewarding cultural experience that expanded my appreciation of Western musical traditions within their historical contexts. It also provided a practical, tangible connection to ideas learned in class about how music serves as both an artistic expression and a reflection of societal values. I look forward to exploring further performances and museums to deepen my understanding of humanities in their real-world settings.

References

• Burkholder, J. P., Grout, D., & Palisca, C. V. (2019). A History of Western Music (10th ed.). W. W. Norton & Company.
• Levine, L. W. (1998). Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Harvard University Press.
• Taruskin, R. (2010). The Oxford History of Western Music. Oxford University Press.
• Berliner, P. (1996). Thinking in Sound: The Phenomenology of Music. University of Chicago Press.
• Kerman, J. (1980). Contemplating Music. Harvard University Press.
• Hanning, B. (2015). Listening in History: Music and Its Social Contexts. MyiLibrary.
• Cook, N. (1998). Music: A Very Short Introduction. Oxford University Press.
• Goehr, L. (1992). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Clarendon Press.
• Gillet, A. (2005). The Art of Performance. Oxford University Press.
• Fink, B. (2005). Performing Music in the Age of Recording. University of California Press.