Three-dimensional Musical interpretationTo create a three-dimensional representation of a musical work.To as close as possible with the given materials andallotted time, accurately reproduce/realize what is visualizedin your head after listening to a chosen musical selection.The finished work must be three-dimensional, up-right,free-standing and in-the-round. A sculptural work.MaterialsA musical selection, song or passage (NO LYRICS), post asap to work in progress.Materials and tools used to represent your musical image….Unlimited. You will only be limited by your ability and creativity.Chose music with no lyrics (spoken words). Avoid music with baggage.This project is 100% dependent upon the music selection wherein when listened to, your visualization of an image, form, structure or story can be represented. To retain the ideas, sketches should be drawn readily. For additional preparation, research of existing found art artist will enlighten you to some of the material possibilities. A partial list of distinguished artists follows:Arman, Joseph Beuys, Greg Colson (Links to an external site.), Joseph Cornell (Links to an external site.), Tony Cragg (Links to an external site.), Salvador Dalí (Links to an external site.),Mark Divo (Links to an external site.), Marcel Duchamp (Links to an external site.), Tracey Emin (Links to an external site.), Tom Friedman (Links to an external site.), Damien Hirst (Links to an external site.), Lonnie Holley (Links to an external site.), Jeff Koons (Links to an external site.), Matthieu Laurette (Links to an external site.), Lennie Lee (Links to an external site.), Sarah Lucas (Links to an external site.), David Mach (Links to an external site.), Michael Craig Martin (Links to an external site.), Cornelia Parker (Links to an external site.), Giuseppe Penone (Links to an external site.), Francis Picabia (Links to an external site.), Pablo Picasso (Links to an external site.), Robert Rauschenberg (Links to an external site.), Man Ray (Links to an external site.), Joe Rush (Links to an external site.), Leo Sewell (Links to an external site.), Daniel Spoerri (Links to an external site.), Kurt Schwitters (Links to an external site.).Two of the most popular ways you can go about illustrating your vision:Rhythm – regular or ordered repetition of dominant and subordinate elements within adesign. A recurrence, a visual measure – such as a tempo or beat. A regular pattern of shapes, colors, etc.Tone – A colors level of intensity.Form – Refers to the design of a composition, its repeated and cont5rasting parts.Harmony – Simultaneous sounding of two or more tones.Melody – A succession of single tones varying in pitch and rhythm and having arecognizable musical shape.Movement – The rhythmic character or quality of a musical composition. A distinctstructural unit or division having its own key, rhythmic structure andthemes and forming part of an extended musical composition.Tempo – Speed of the underlying beat.Assemblage – Coined by artist Jean Dubuffet to describe his collage compositions. Sculpture using pre-existing (found) objects that may or may not contribute their original identities to the total content of the work.Appropriation – The taking of imagery, style, technique, content, or other aspect of the work of others, whether it be the realm of fine or applied arts. The borrowing of imagery from recognizable works adds existing meaning to the viewers consciousness (objective baggage), hence altering the content of the new work.Readymade – A functional manufactured object that is displayed as a work of art for its unintentional aesthetic qualities.Mixed media – The combination of two or more media in a single work.Avant-garde – French for “advanced guard” or “vanguard”. In art, its that small group of artists who, without fear, take artistic risks and challenge the boundaries of what is acceptable. Considered leaders, and often radicals, in the invention of new concepts.Combines – Refers to Rauschenberg’s work from 1954 to 1962. Critics originally viewed the Combines in terms of the formal aspects of art, shape, color, texture, and the composition and arrangement of these. Critics and art historians saw the Combines as carrying codified messages difficult to decipher because there was no apparent order to the presentation of the objects.
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