I dated this work April 1st as finished (seen in the image below) then realized that I forgot the finishing touches. In the video I mention those still-to-do-things calling them Incidentals. My term is broader than the musical notation term Accidentals that only cover sharps, flats, and naturals. My term Incidentals covers those items and everything else, not my notes.
All of my projects, including these music boxes, are built from my cover sheet music. This sheet is used to create the project guide and music for the artwork. Of course, out of necessity and choice, I separate these artworks from sheet music, eliminating as many pieces of notation as possible, leaving this arts foundation, the up and down flow of the music. I then have the option, for artistic reasons, of putting back parts of my cover sheets’ information. For example, in the finished image above, I have added two eighth note rests. I rarely do this anymore. I included them in this project, for no other reason, then visual interest.
I am surprised by the sound quality of this Music Box, considering the smaller size of the speaker boxes. Besides improving box design, what may contribute to the better sound quality are my production skills. Those improvements in my understanding of the software I use comes slowly. On average, my time spent on each project is around four weeks, with my actual music production taking only a few of those days. I did have a start date of March 8th for this Beethoven piece, which is a quicker turnaround time only because of the visual part of this project comprised only nine notes. Here is the finished music for this project.
The final music box music for Beethoven 5th Allegro non brio
This is the project Just Another Day, with the artwork music in place. I changed the original design by dropping the bottom canvas lower, which allows easier access for attaching the music.
I have found the inspiration for this artwork in the architecture of Frank Gehry. It is his freedom from standard architectural rules, made possible through computer software, that allows him to create the buildings that match his imagination. His accomplishments give me the encouragement to break completely from any of my own artificial limitations I made up for this art. Now what works for me, I will make work for these artworks. That sounds simple, but the getting to this understanding has taken years.
The definition of this art starts with sheet music and accordion lessons when I was seven. My appreciation of music has grown ever since, including the grasping of music theory and my interest in learning to play different musical instruments. It was knowing the fundamentals of reading sheet music that I discovered a unique painting technique.
Before I started painting music, I searched “art in music” and what I found were paintings of people playing musical instruments, or abstract images given a title of a song. I chose a different way to paint music by using the up and down flow of a song seen in its sheet music. I felt I could paint this approach if I kept this art to only representing this movement. I wanted the viewer to visualize the music in an artwork built around a song’s pitch changes, and not a painting of sheet music. Now, with Frank Gehry’s creative push over-the-ledge, I am letting go of those artistic restraints that have forever defined these music works. It just took me forever to get to this point of seeing the value of Gehry’s designs, along with a little help from Bach.
I see Gehry’s finish, especially his commercial projects, as high craft, especially in his use of speculator materials like titanium. I do not consider my artwork high craft and do not present them that way. I understand the beauty and high craftsmanship of great art that is favored. I just think it is a waste of time and has little to do with my message. I see my approach, for example, in the varied model pictures of Frank Gehry’s “the Dancing House.” I feel these models harmonize better with my artistic style. Add to that a little help from a rediscovered 2020 Bach project.
This Bach artwork was experimental, for it allowed me to slide the music sections about using mounted arms. Those two white mounted arms in the lower middle of the artwork are examples of what I used to connect the music to with bolts and wing nuts. When loosen, this then allows the music to slide up and down those arms. This Bach work is the first attempt at what I now take for granted. The problem back then was how to secure the arms of the artwork, which turned out to be not reliable.
It was the CVA show the summer of 2021, that this Bach artwork got the worse of it, coming home with pieces of it in a tote. This artwork was a mess, and an irritation that I ignored for months. The worse issue was the mounting arms that pushed out the music a lot further from the canvas. This exposure and the weakness of the mounts resulted in more parts of the artwork being loosened or even falling off at the show and breaking loose on the U-Haul truck rental drive home. Eventually to store, I repaired the damaged from the CVA show. It surprised me I was only missing one small piece. Although still fragile to the touch, I took what I have learned since its build to strengthen the attachment of the artwork to the canvases.
After the repairs were done, I took another look at this work, and how the music stood out three inches from the canvas surface. This distance creates an amazing look of depth lost in a picture. Also, the beautiful curved white shapes give a superior strong look of motion across the artwork.
Taking my current mood, the depth and style of the Bach’s work, and Gehry’s let-it-all-hang-out style, the results are in. Just another Day’s looks results from the largest canvas being painted like the look of corrugated sheet metal, the curving of wood pieces, and an eighteen-inch steel plate, resulting in an artwork with a depth of six inches.
I believe in my early days of group exhibitions, I could only find one standard art genre name that fit somewhat, which was Mixed Media. When I added a push button to play the music, the artwork was portraying, I then went all-art-genre-in and came up with the description of Interactive constructive sculpture. I now have simplified this genre down to Sculptural Music box. We will see how long that lasts.
Up next, I will work on the installation of the stereo system, which will complete this music box project.
Your Song, which I started with composing the cover music on December 26th, is now finished.
The piano is the foundation that carries the cover music for Your Song. While the violin, viola, flute and the added clarinet are the voices of this music. I have decent four inch speakers, but with so many instruments competing to be heard, the music sounded a little muddy. It needed clarity. I found the issue probably was with a narrow band of the lower mid range. I improved what I could after first removing all my questionable equalizer settings. I then adjusted the master volume headroom, and finished with small volume tweaks here-and-there. That all helped enough to get to this final music version posted below.
I am a little amazed by how much the audio for this music boxes has continuously improved with each new project. As my understanding of music and this art has deepened over the years, I have also noticed a change in me. I am today hard wired to music and art that would have been beyond my dreams as a youngling when I started painting music in early 2006.
I feel blessed that my Guardian Angel saved me, which made possible the growth of my determination that sprang from a heritage starting with my Grandpa Casper first coming to America and his hard work to build a life in the cheese business, my father’s determination to create his own version of the great American business executive, and my Mothers sparkling, and enlightening personality. They laid out the foundation. They showed the way. I found the path.