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What music do you listen to (if you're able to) when you work with clay? For my part it's usually the new age genre. I make my own mix tapes when possible when I can catch a radio show, but since there don't seem to be any around since I moved, and I get sick of my vast collection of cassettes, these days I mostly type an artist into Youtube and let it roll with minor adjustments. Here's a link I use repeatedly for Brian Eno: https://www.youtube.com/watch?v=WPOLT2veHNE&list=RDWPOLT2veHNE&t=2
Hello, newbie here! Not too long ago, I decided I wanted to make a sculpture for my public library as a part of a Christmas decoration. I have my wooden dowel skeleton fixed up, putting it at 1'-2', and I'm using air dry clay. Problem is that it has been a while since I last used clay, and I don't know where to start WRT applying the clay on the skeleton. I tried putting slabs on it but it was too chunky on the legs and when I got up to the torso, it kept tilting over until it just broke off completely. Now, I added more dowels to the legs and spine, and will be adding more for the torso and violin, but I also need some tips on how to apply the clay, such as: Is it best to bulk it with foil or cotton balls and tape instead of clay? Which sculpting method is best? And should I do more than one? Which parts should I use coiled clay, and which parts should I use slab clay and pinch clay? Is this something I should do in parts for each day, or is there a different timely process? Thank you for the help!
I need to pick the collective genius of the CAD family on a concept for a Junior Cornerstone course for higher ed students. Briefly, cornerstone courses are team taught, interdisciplinary, and cross-curriculum. The courses are generally a full semester long and intended to challenge students to stretch beyond their particular major/minor area of study. Note: the institution is Belmont University with a strong music, music business, and entrepreneurial business programs. Here is the concept. A class/community of students would do research on the history of ceramic musical instruments, select instruments (i.e. (drum,flute, udu, rattle, water whistle, etc.) to construct, actually build/fire their ceramic instruments, compose a musical work using only their projects, and would either record their work or perform it publicly (or both). The rubric for the course would evaluate the research (writing), technical skill (building the ceramic instrument - recording the work), creativity (the instrument & the musical score), musical composition (the score), and the individual and/or collective recorded music. The likely textbook would be Barry Hall's From Mud to Music. My questions: Does this sound (no pun intended) like a fun/challenging course? What would you add to the course to make it more interesting? What challenges would you anticipate,particularly the ceramics process? Is there already a course syllabus that someone is using at another institution? Thanks all! Paul
ChenowethArts posted a topic in Studio Operations and Making WorkMost of the time when I am working in the studio it is just me. And, most of the time, the radio is the second thing that gets turned on after the light switch. What (if any) do you have playing while you work? Music? Radio? TV News? iPod Playlist? Or, do you prefer to work in the relative silence of your own thoughts? Is other stuff too distracting? For me, it is a local radio station that plays a respectable rotation of oldies (i.e. 60's music)...'guess that tells on me a bit. How about you? -Paul