Archive for the ‘Ceramic Musical Instruments’ Category

Sculpture in Music?


2011
02.28

Ocarina - Clay Musical InstrumentDeb and I have both laughed at the influence that “Davey Jones” from Pirates of the Caribbean: Dead Man’s Chest may have had on this particular piece.  I had mentioned something about the remarkable make-up job and the animation of Davey’s tentacles while watching the movie just recently.  I can accept that there may have been a seed planted, but I’d really like to think that this particular clay musical instrument, an ocarina, is an exploration of sculpture.

So many traditional brass instruments are remarkable works of functional, sculptural art and for the most part are admired only as a delivery system for music, and not as works of art that stand on their own merit.  Flutes and tone sculptures from numerous ancient civilizations are highly decorated, well formed works of art that are celebrated in museums across the globe.  Somewhere along the industrial revolution time line, we lost the celebration of the artist-craftsman-instrument-maker and the products of their hands. This Oca-regal is simply an effort to add attention to the sculptural qualities of a simple, ceramic flute.  This is a variation on a theme from my previous projects, but I am thinking this direction may have some merit for instruments that are intentionally made to be displayed rather than locked up in an instrument case.

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Ceramic Musical Instruments in First Art Exhibit


2011
02.18

Clay/Ceramic OcarinasBelmont University’s Third Annual Alumni Art Exhibit includes several of my latest efforts at producing ceramic musical instruments.   Two separate areas of the exhibit display Escape Series percussion instruments and ocarinas.  Eight Belmont alumni are showing works that range from traditional oil paintings to a personally published/printed children’ s book to pen/ink graphic sketches. The show is located in Gallery 121 in Belmont University’s Leu Center for the Visual Arts and will run through March 3, 2011.

Thursday afternoon, I was invited to talk to students and visiting alumni about the instruments in a brief gallery talk.  Many in the group seemed surprised that the ocarinas actually play full scales and other seemed fascinated by the goat skin drum heads.  Although neither a drummer or a flautist, I was able to demonstrate the traditional Udu’s, the experimental Doumbeks, and several of the ocarinas.  It may be time to expand my flute repertoire beyond a feeble version of  This Old Man that I learned in a third grade song flute class.

Ceramic Udus and DoumbeksMy general nervousness of showing ceramic work for the first time in an exhibit was erased early by compliments from other instructors.  Belmont is such a supportive place for creative endeavors… I should have anticipated the encouraging words.  Many thanks to Belmont’s Office of Alumni Relations for their faith in me for pulling together the alumni exhibit!

The body of work continues to grow.  In the next two months, I anticipate production of a new series of instruments with a heavy historical context, elements of sculpture, more experimentation in functions, and perhaps a nod to the traditional face jugs of Appalachia.

Here are a few Flickr.com images from the exhibit.

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Clay Ocarina – “Escape” Series


2011
01.30

Clay Ocarina - Ceramic Musical InstrumentWhile I am patiently waiting for all of the new Udu’s to dry, I have ventured back to a familiar friend for a new series of ocarinas.  Changes in the way that I construct and assemble the airway tubes made things much more predictable for extending the tonal range of these pinch pot construction ceramic musical instruments.  New to this series is the addition of facial features embossed on the front surface of the ocarina.  These gnome-like faces are figuratively escaping the bonds of the clay but do not reveal themselves in complete detail.  They are a metaphor for the music that also escapes the hollow body of the instrument, reaching the human ear only when someone (musician) is there to force the music to leave.

This limited series is hand built from a small batch of recycled stoneware that I have been hoarding for over a year.  During that period, the aging process produced a very plastic and workable clay perfect for pinch pot construction.  So far, there are 5 of these ocarinas completed and ready for firing.  Ocarina Detail - Sculptural FaceEach has been designed for display as a wall-hung sculpture and each one is a fully functional single octave+ flute that employs typical penny whistle or song flute fingering.  Construction generally takes about 3-4 hours for each, excluding time needed between construction and carving phases to allow the clay partial drying.

With a little luck and a happy reduction firing schedule, the Escape Series will make it into the gallery in about three weeks.

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Experimental Ceramic Drums


2011
01.13

Experimental UduI would love to give someone else credit for the inspiration of this piece.  I looked at so many images of UdusDoumbeks, and Directional Conga drums.  Somehow, this assembled mixture of parts is the result of numerous sketches and several great ideas from other artists.

First of all, the stoneware drum is assembled from 6 wheel-thrown parts.  The upper-most portion is designed to accept a stretched, goat skin head that will be secured just below the lower lip of the top opening.  A ring-hole that references the side hole of traditional Udu drums is one of two outlet holes that come into play when the drum head is played…it could also be played, using this hole, like a Udu.

The lower portion of the drum is a closed bowl resting on a permanent ring stand.  This is probably a no-no for the percussion community, but this piece is intended more for display than actual use and I wanted the vertical display to be the only option.

The bell-shaped piece connects to the upper drum-bowl and is a funcional outlet for sound, much like a directional Conga.  The sculpted face has been pushed/altered from the wheel thrown piece to imply a human element attempting to escape the bonds of the ceramic musical instrument.  That aspect may be emphasized at the glazing/staining stage to relate the bell-horn shape with the trapped face.

To provide interest on what might be a plain back to this instrument, two wheel-thrown rings are attached that might function as strap connectors… I am a bit shaky on that thought at the moment but will wait to get a feel of the overall weight and strength of the piece before determining if these rings will provide a function other than decoration.

Four other experimental clay drums are currently drying in hopes that some of these will be ready in time to be featured in the upcoming Alumni Art Exhibit at Belmont University’s Homecoming next month.

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Saggar Construction


2010
12.22

This is a bit off-topic for my normal ceramic musical instrument theme, but some of my newer ocarinas are destined to find a place in a newly constructed saggar.   Saggars have been around since the Chinese used them to protect wares from ashes in a wood firing  that would otherwise land on a piece and alter the intended look of the glaze.  Oddly enough, saggars today are used primarily to create unusual firing atmospheres within a kiln to protect the kiln and the other wares from being altered by the vapors created within a saggar. Go figure.

Saggar - Approximately 10 in. clear on the interiorThose who know me won’t be shocked that my saggar creations include a touch of whimsy.  Each new saggar is topped with my own version of a kiln god… generally (in my style) a Nordic-looking dude with a menacing facial expression.  It is a tradition among potters to set kiln gods of varying creatures atop a kiln during the firing process to appease the immensely powerful flames within the kiln to be kind and produce beautiful works.  Don’t go all fundamentalist on me with the kiln god references…it is just me having some fun with a new (to me) clay used for saggar construction.  I am seeing some potential for future sculptural projects that may be born from the saggar womb of  Sagar the Glazinator.

saggar kiln god saggar kiln godsaggar kiln god

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New Ocarinas and a MugPhlute


2010
11.21

Ocarinas & MugPhluteThe last batch of glaze tests included a few pinch pot ocarinas and a MugPhlute.  The natural look of the reduction fired stoneware with minimal glaze accents seems to work well. The pieces in this image are all high-fired stoneware with red iron oxide  brushed into the textured and stamped features.  The glaze is St. John’s Black, applied with a brush.  The Bailey gas kiln, loaded with these clay instruments as well as student projects from this semester, was fired to cone 10.

This semester’s wheel-throwing course pulled me away from making the usual quantity of ceramic musical instruments, but it has also opened new avenues to explore.  Having a respectable palette of stamping, texturing, and glazing combinations will make future project planning easier and, hopefully, more predictable.

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From Mud to Music


2010
11.04

From Mud to Music by Barry HallBarry Hall’s book, From Mud to Music, was given to me as a birthday present just about three years ago. After three years, I still refer to the book for information and inspiration. Last year I reviewed the book for Amazon.com and stand by my recommendation and commentary.  I am also thinking that there is something more that is worthy of exploration…

I would like to believe that there are many others who can describe their personal musical journeys as something that began in elementary school and progressed in some manner as an instrumentalist in high school or college and/or beyond.  Living in a home with a musical genius father, I was fortunate to be exposed to all sorts of instruments and the constant repairs and constructions that go into keeping a band/orchestra functioning.  I have my doubts that many students appreciate the history of their instruments, much less the skills involved in transforming raw materials into something that allows musicians to play together collectively/harmoniously.

Enter the book, from Mud to Music. Even if it is on a primitive scale, exposing a student to the complete process of taking a lump of clay and transforming it into a playable instrument is something that I believe would be fascinating and self-gratifying.  After reading of historical instrument constructions that are thousands of years old, I found it humbling to think that less technical/advanced/pre-industrial revolution artists worked with very similar raw materials to those available today and successfully constructed playable devices…artistic works  that actually play, beautifully. Amazing.  I have asked myself several times, “What would a semester-long course look like that engages students in a cross-curricula study of  ancient ceramic instrument history, clay instrument construction, musical composition, and perhaps musical performance?”   With complete respect for Mr. Hall’s book, the working title for my concept/course is From Clay to Concert…part historical research, part clay construction/experimentation, part musical composition, and part performance.  I may just be spit valve full, but with the right students this could be an awesome class.  If  this is ever going to materialize, it is time for Mud to Music inspiration to move from paper to proposal.