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Arts & Music


Art is a Craft or Skill that
Someone may Possess



To grasp the idea of how music has developed and grown over time we must first have an understanding of the different influences. To better understand how music works, let’s use an analogy. If you can visualize a music composition is somewhat like a tree. It must have roots, trunk, branches and leaves. Tree of Music consists of:

Source- Seed or the Composers background
Rhythm- Pulse , the heart or the beat of the music
Form- The Trunk of the Tree , that which Carries the structureMelody; Simplicity capturing your attention!
Harmony- Twigs, the smaller branches that fills out the melody Tone- Tone:That which colors and enriches

So obviously the source affects the kind of fruit that is produced, the forces that influence and motivate the composer to write the type of style of Music, whether it be Rock, Pop, Blues, Rap, Rhythm and Blues, Soul Jazz, Gospel or Classical. Harmony is the relation of notes to notes and chords to chords as they are played simultaneously. Harmonic "patterns" are established from notes and chords in successive order. Melodic intervals are those that are linear and occur in sequence, while harmonic intervals are sounded at the same time. Whether or not a harmony is pleasing is a matter of personal taste, as there are consonant and dissonant harmonies, both of which are pleasing to the ears of some and not others.

Music history tells us that the definition of harmony has evolved over a period of time as different music forms have developed. In the Middle Ages, harmony was simply a two-note combination. During the Renaissance, three-note harmony was popular with the introduction of the triad. The Romantic Era expanded chords into four-part harmonies. The only method or technique for music endings was to resolve into a tonic chord built on the 1st and 5th notes of the scale in that key. Contemporary music has broadened the meaning of harmony to accept dissonant chords that never resolve into tonics of the key.

About the Museum of Contemporary Art

The permanent collection of the Museum of Contemporary Art San Diego, includes more than 3,000 works created after 1950, representing all media and genres: painting, sculpture, works on paper, photography, video, film, and installation. MCASD is known for collecting works by promising emerging artists and under-recognized mid-career artists, as well as by major figures in contemporary art. Among the greatest strengths of the MCASD Collection are minimalism and Pop art of the 1960s and 70s, conceptual art from the 1960s to the present, installation art, Latin American art, and art from California and the San Diego/Tijuana region. Many works in the collection are the result of artists' residencies or works commissioned for MCASD exhibitions. The Museum continually seeks to enhance its strengths and to expand the representation of artistic trends in its Collection in response to new developments in art locally, nationally, and internationally. At the same time, MCASD preserves, presents, documents, and interprets its holdings for current and future audiences.

The Museum of Contmporary Art San Diego (MCASD) actually has two locations, one in La Jolla and one in downtown San Diego, which together house more than 3,000 works representing every major art movement of the past half-century. A range of innovative programs illustrate the museum's dedication to the exploration and preservation of contemporary art.Holdings include paintings, sculptures, installations, drawings, prints, photographs, video and multimedia works, with a strong representation by California artists.

The museum's main location in La Jolla occupies the landmark Ellen Browning Scripps house, California architect Irving Gill's 1916 triumph. A complete renovation in 1996 resulted in a venue boasting a distinctive architectural design and stunning ocean views. The museum's second facility in downtown San Diego is part of the Helmut Jahn-designed America Plaza. Free group tours with admission are available at both MCASD locations.

 
 
 
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