Sunday, April 30, 2017

"Blue Carpet Frenzy Pared From The Edges". The Recording.


"Blue Carpet Frenzy Pared From The Edges" 
(2011) 
For Three String Quartets 
Bil Smith Composer


The Third Regime: A Neotastic Compositional Principal Fostered at Laboratorie New Music. "Augmented Attempts at Rendering" for Orchestra, Primarily Strings



"Augmented Attempts at Rendering" for Orchestra, Primarily Strings - Bil Smith Composer on Laboratorie NewMusic label

In 2012, I was asked to create a work based on a defined aesthetic which I was well aware of, but was outside of my comfort zone...so to speak. This is a commission from SAP and I am thankful for their trust and willingness to explore.


This work is predicated on  ‘The Third Regime’, a neotastic compositional principal fostered at Laboratorie New Music.

 ‘The Third Regime’ is a deanthropomorphisation of a realist musical composition and the enduring chases between the spontaneous images of  a score;  this bequeathed to us by predictive kinematics. 

This is from a live recording in November, 2012 at BAM. The Brooklyn Academy of Music.

https://soundcloud.com/bil-smith/augmented-attempts-at https://soundcloud.com/bil-smith/augmented-attempts-at

"Ventalope" A Fanfare for Two Piccolo Trumpets

"Ventalope" 

A Fanfare for Two Piccolo Trumpets

Bil Smith Composer

A Commission from B.A.T.

Friday, April 28, 2017

Text Scores, Endangered Languages and Reappropriation

"Primexa"

Brythonic Language
I have been conducting research on endangered and obsolete languages over the last several years and how they may be integrated into the fabric of my compositional pursuits.  


An endangered language is a language that is at risk of falling out of use as its speakers die out or shift to speaking another language. Language loss occurs when the language has no more native speakers, and becomes a "dead language." If eventually no one speaks the language at all, it becomes an "extinct language". It has been a very interesting journey discovering recordings of last known survivors of obsolete languages.                                            

My interest in text scores/word events (Check out James Saunders and John Lely's  book "Word Events: Perspectives on Verbal Notation") and reappropriated scores led me to develop certain theorems as to how best to integrate these various mediums into a singular, seamless work.
















"Assemble the Mirrors..." is the result of these explorations and I anticipate I am only touching the tip of possibilities of what may come.  

SoundCloud: 

"Assemble the Mirrors Into a Box-Like Structure" (2013)

https://soundcloud.com/bil-smith/assemble-the-mirrors-into-a



Tuesday, April 25, 2017

"Primary Cardinal" for Piano, G Trumpet and Clarinet in A

The Complete Score


"Primary Cardinal" 

for Piano, G Trumpet and Clarinet in A

Bil Smith Composer

2013-2015

Commissioned by Rosneft Oil Co OJSC, Moscow

World Premiere Moscow, February 2016





Friday, April 14, 2017

The Score: "Vortices and Randomized Topological Solitons in Dense Quark Matter" for Solo 'C' Trumpet



"Vortices and Randomized Topological Solitons in Dense Quark Matter" for Solo 'C' Trumpet (with Temporal Adhesions) or Inderbinen 'Tricky' Four Valve Trumpet. Bil Smith Composer, 2011-2014.



Certain quasi notational systems require non-linear quantification to express their meaning. 

We investigate compositions with combinations of quantifiers similar to Hintikka’s examples and propose a novel alternative musical reading expressible by linear formulae. Particularly with a neographic score, his interpretation is based on aural, textual, visual and logical observations. We report on our experiments showing that performers tend to interpret compositional passages similar to Hintikka's sentence in a way consistent with our intended interpretation.


















Sunday, April 9, 2017

"Composition: Panpsychism and Alternative Modalities "Numerics:

Explorer, Producer, Stoic After Your Fashion for String Quartet
Panpsychism, taken as a musical composition modality, literally, is the doctrine that everything has a mind/menace.   Here, I take David Chalmers evocative concepts in a translational vernacular to articulate a potentiality of composition.

In practice, composers who call themselves panpsychists are not committed to as strong a doctrine.They are not committed to the thesis that the number two has a mind, or that the Eiffel tower has a mind, or that the city of Charlotte has a mind, even if they believe in the existence of numbers, towers, and cities.
"Numerics: Expect Existence of Incorporeal Entities"


Let's relinquish this philomony.  (yes, look that word up)
Our musical thesis is materialism (or physicalism): roughly, the thesis that notation is fundamentally
Alternative Tablature: 8*9-00(090) Volume
Score Page: "Explorer, Producer..."
"Tobuy Latched Compartment"

SCORE PAGE: "Thick Channel Black" for Solo Voice
"Affordable, Mechanism of Power: Mostly Frayed"




Instead, we/they can understand panpsychism as the thesis that some fundamental physical
entities have quasi-mental states.  If quarks or photons have mental states, that suffices for panpsychism to be true, even if rocks and numbers do not have mental states.  Perhaps it would not suffice for just one photon to have mental states. The line here is blurry, but we can read the definition as requiring that all members of some fundamental physical types (all
photons/embedded tuplets, for example) have mental states.


physical. Our antithesis is dualism: roughly, the thesis that not all notation is fundamentally
physical, and the musics that are not fundamentally physical are fundamentally mental.



Our aural synthesis is panpsychism: very roughly, the thesis that everything is (or at least that some sounds/music) is fundamentally physical and fundamentally mental.  Yes, confounding, but yet profound.

More specifically, we will be concerned with materialism and dualism about consciousness.
Materialism about consciousness is the thesis that consciousness is fundamentally physical: that
is, that truths about consciousness are grounded in the fundamental truths of a completed
musical dictum.

Dualism about consciousness is the thesis that sonic consciousness is not fundamentally
musical: that is, that truths about consciousness are not grounded in the fundamental truths of a
completed aural personna.

Grounding is a relation of metaphysical constitution. Truths about consciousness are grounded in musical truths if all truths in the first set obtain wholly in virtue of truths in the
second set.

The intuitive idea behind materialism is that musical and physical truths somehow add
up to and yield truths about consciousness. This requires at least that there is a metaphysically
necessary connection between these truths, in that it is impossible for a world to be musically
like ours without that world being phenomenally like ours.

Intuitively, once divinity created the entities of physics, consciousness aural privity came along for free. (Music, Sound)  {see Decondemonastostic Monality: The sonic declination of Vee}