Livros: "Harvard University. Department of Fine Arts"

1

Mass.). University Prints (Winchester. A Special study set of fine art reproductions: Harvard VES 163, Modern architecture. Winchester, Mass: University prints, 1985.

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2

Mass.). University Prints (Winchester. A Special study set of fine art reproductions: Harvard VES 169, twentieth century architecture. Winchester, Mass: University prints, 1985.

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3

Julia, Boffey, Edwards, A. S. G. 1942- e University of Colorado, Boulder. Dept. of Fine Arts., eds. Medieval manuscripts: In the Norlin Library & the Department of Fine Arts at the University of Colorado at Boulder : a summary catalogue. Fairview, N.C: Pegasus Press, 2002.

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4

Harvard University. Library. Department of Printing and Graphic Arts. Spanish and Portuguese 16th century books in the Department of Printing and Graphic Arts: A description of an exhibition and a bibliographical catalogue of the collection. Cambridge, Mass: Houghton Library, Harvard College Library, 1985.

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5

Hall, Rachel. Iconographic index to New Testament subjects represented in photographs and slides of paintings in the visual collections, Fine Arts Library, Harvard University: Christian devotional paintings of the Italian school. New York: Routledge, 2020.

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6

Harvard University. Fine Arts Library., ed. Iconographic index to Old Testament subjects represented in photographs and slides of paintings in the visual collections, Fine Arts Library, Harvard University. New York: Garland Pub., 1987.

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7

1905-, Hall Rachel, e Harvard University. Fine Arts Library., eds. Iconographic index to New Testament subjects represented in photographs and slides of paintings in the visual collections, Fine Arts Library, Harvard University. New York: Garland Pub., 1992.

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8

University of Florida. University Gallery., ed. Southern fires: Ceramic sculpture in Florida : November 5-December 12, 1993, University Gallery, Department of Art, College of Fine Arts, University of Florida, Gainesville, Florida. Gainesville, FL: The Gallery, 1993.

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9

Harvard College Library. Department of Printing and Graphic Arts. Philip Hofer as a collector: A symposium in conjunction with the exhibition of the Philip Hofer bequest to the Department of Printing and Graphic Arts : the Houghton Library, Harvard University, 10 November 1988. [Cambridge. Mass.]: Houghton Library, 1988.

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10

Museum, Arthur M. Sackler, e Montreal Museum of Fine Arts., eds. Landscape in perspective: Drawings by Rembrandt and his contemporaries : Arthur M. Sackler Museum, Harvard University, Cambridge, February 20-April 3, 1988, the Montreal Museum of Fine Arts, April 15-May 29, 1988. Montreal, Quebec, Canada: Montreal Museum of Fine Arts, 1988.

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11

Buckner, Paul. Thirty-three years of sculpture with Paul Buckner: [works by Paul Buckner and outstanding former students from the Department of Fine and Applied Arts, School of Architecture and Allied Arts, University of Oregon : October 3 to November 16, 1996]. [Portland, Or: Chetwynd Stapylton Gallery, 1996.

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12

1898-1986, Moore Henry, University of Leeds. Fine Art Department. e Leeds Art Galleries, eds. British modernism: Henry Moore and his circle in Hampstead in the thirties : an exhibition organised by BA Honours students attending TheHistory of The Fine and Decorative Arts Course in The Fine Art Department, Leeds University, held at Leeds City Art Gallery, 22 February-26 August 1990. Leeds: University of Leeds, 1990.

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13

Boston, Art Institute of. Sketch, mix, draw, paint: Recent work by the Fine Arts Department painting and drawing faculty of the Art Institute of Boston at Lesley University : Anthony Apesos, Ken Beck, Michael David, Liza Folman, Santiago Hernandez, Tim Peck, Sarah Slavick, Amy Sudarsky. Boston: Art Institute of Boston at Lesley University, 2008.

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14

Art of Curating: Paul J. Sachs and the Museum Course at Harvard. Getty Publications, 2018.

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15

Harvard University Dept of Fine Arts. Catalogue with Notes of Studies and Fac-Similes from Examples of the Works of Florence and Venice: And of Fac-Similies and Original Studies to Be Used As Exercises in Drawing Belonging to the Fine Arts Department of Harvard University ... Exhibited by The. Creative Media Partners, LLC, 2023.

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16

Unearthing Ancient Nubia: Photographs from the Harvard University-Boston Museum of Fine Arts Expedition. MFA Publications, 2018.

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17

Card Catalog of the Rubel Asiatic Research Collection, Harvard University Fine Arts Library: 8 Volume Set. Bowker, 1989.

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18

Hall, Rachel, e Helene E. Roberts. Iconographic Index to New Testament Subjects Represented in Photographs and Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University: Christian Devotional Paintings of the Italian School. Taylor & Francis Group, 2020.

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19

Hall, Rachel, e Helene E. Roberts. Iconographic Index to New Testament Subjects Represented in Photographs and Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University: Christian Devotional Paintings of the Italian School. Taylor & Francis Group, 2020.

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20

Markowitz, Yvonne J. Egypt in the Age of the Pyramids. MFA Publications, 2002.

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21

Preforming Arts Reources vol.20. Theatre Library Association, 1996.

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22

Roberts, Helene. Iconographic Index to Old Testament Paintings Represented in Photographs & Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University ... Reference Library of the Humanities). Routledge, 1987.

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23

Hall, Rachael, e Helene E. Roberts. Iconographic Index to Narrative New Testament Subjects in the Italian School: Represented in Photographs and Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University. Taylor & Francis Group, 2023.

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24

Hall, Rachael, e Helene E. Roberts. Iconographic Index to Narrative New Testament Subjects in the Italian School: Represented in Photographs and Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University. Taylor & Francis Group, 2023.

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25

Hall, Rachael, e Helene E. Roberts. Iconographic Index to Narrative New Testament Subjects in the Italian School: Represented in Photographs and Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University. Taylor & Francis Group, 2023.

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26

Iconographic Index to New Testament Subjects Represented in Photographs and Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University: ... Reference Library of the Humanities). Routledge, 2001.

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27

Hall, Rachael, e Helene E. Roberts. Iconographic Index to Narrative New Testament Subjects in the Italian School: Represented in Photographs and Slides of Paintings in the Visual Collections, Fine Arts Library, Harvard University. Taylor & Francis Group, 2023.

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28

Manieson, Victor. Accelerated Keyboard Musicianship. Noyam Publishers, 2021. http://dx.doi.org/10.38159/npub.eb20211001.

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Resumo:

Approaches towards the formal learning of piano playing with respect to musicianship is one that demands the understanding of musical concepts and their applications. Consequently, it requires the boldness to immerse oneself in performance situations while trusting one’s instincts. One needs only to cultivate an amazing ear and a good understanding of music theory to break down progressions “quickly”. Like an alchemist, one would have to pick their creative impulses from their musical toolbox, simultaneously compelling their fingers to coordinate with the brain and the music present to generate “pleasant sounds”. My exploration leading to what will be considered Keyboard Musicianship did not begin in a formal setting. Rather it was the consolidation of my involvement in playing the organ at home, Sunday school, boarding school at Presec-Legon, and playing at weekly gospel band performances off-campus and other social settings that crystalized approaches that can be formally structured. In fact, I did not then consider this lifestyle of musical interpretation worthy of academic inclusivity until I graduated from the national academy of music and was taken on the staff as an instructor in September, 1986. Apparently, what I did that seemed effortless was a special area that was integral to holistic music development. The late Dr. Robert Manford, the then director of the Academy, assigned me to teach Rudiments and Theory of Music to first year students, Keyboard Musicianship to final year students, and to continue giving Piano Accompaniment to students – just as I have been voluntarily doing to help students. The challenge was simply this; there was no official textbook or guide to use in teaching keyboard musicianship then and I was to help guide especially non-piano majors for practical exams in musicianship. What an enterprise! The good news though was that exemplifying functionalism in keyboard, organ, piano, etc. has been my survival activity off campus particularly in church and social settings.Having reflected thoroughly and prayerfully, it dawned on me that piano literacy repertoires were crafted differently than my assignments in Musicianship. Piano literacy repertoires of western music were abundant on campus but applied musicianship demanded a different approach. Playing a sonata, sonatina, mazurka, and waltzes at different proficiency levels was different from punching chords in R&B, Ballard style, Reggae, Highlife or even Hymn playing. However, there are approaches that can link them and also interpretations that can categorize them in other applicable dimensions. A “Retrospective Introspection” demanded that I confront myself constructively with two questions: 1. WHAT MUSICAL ACTIVITIES have I already enjoyed myself in that WARRANT or deserve this challenging assignment? 2. WHAT MUSICAL NOURISHMENT do l believe enriched my artistry that was so observable and Measurable? The answers were shocking! They were: 1. My weekend sojourn from Winneba to Accra to play for churches, brass bands, gospel bands and teaching of Choirs – which often left me penniless. 2. Volunteering to render piano accompaniment to any Voice Major student on campus since my very first year. 3. Applying a principle, I learnt from my father – TRANSFER OF LEARNING – I exported the functionalism of my off-campus musical activities to compliment my formal/academic work. 4. The improvisational influences of Rev. Stevenson Alfred Williams (gospel jazz pianist), Bessa Simmons (band director & keyboardist) and at Ghana Broadcasting Corporation, Mr. Ray Ellis “Afro Piano Jazz Fusion Highlife” The trust and support from lecturers and students in the academy injected an overwhelming and high sense of responsibility in me which nevertheless, guided me to observe structures of other established course outlines and apply myself with respect to approaches that were deemed relevant. Thus, it is in this light that I selected specific concepts worth exploring to validate the functionalism of what my assignment required. Initially, hymn structures, chords I, IV, V and short highlife chordal progressions inverted here and there were considered. Basic reading of notes and intense audiation were injected even as I developed technical exercises to help with the dexterity of stiff fingers. I conclude this preface by stating that, this “Instructional guide/manual” is actually a developmental workbook. I have deliberately juxtaposed simple original piano pieces with musicianship approaches. The blend is to equip learners to develop music literacy and performance proficiencies. The process is expected to compel the learner to immerse/initiate themselves into basic keyboard musicianship. While it is a basic book, I expect it to be a solid foundation for those who commit to it. Many of my former and present students have been requesting for a sort of guide to aid their teaching or refresh their memories. Though not exhaustive, the selections presented here are a response to a long-awaited workbook. I have used most of them not only in Winneba, but also at the Callanwolde Fine Arts Center (Atlanta) and the Piano Lab (Accra). I found myself teaching the same course in the 2009 – 2013 academic year in the Music Department of the University of Education, Winneba when Prof C.W.K Merekeu was Head of Department. My observation is that we still have a lot of work to do in bridging academia and industry. This implies that musicianship must be considered as the bloodline of musicality not only in theory but in practice. I have added simplified versions of my old course outlines as a guide for anyone interested in learning. Finally, I contend that Keyboard Musicianship is a craft and will require of the learner a consistent discipline and respect for: 1. The art of listening 2. Skill acquisition/proficient dexterity 3. Ability to interpret via extemporization and delivery/showmanship. For learners who desire to challenge themselves in intermediate and advanced piano, I recommend my book, “African Pianism. (A contribution to Africology)”

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