Friday, May 19, 2017

Extended Techniques for Saxophone: An Approach Through Musical Examples by Patrick Murphy


Extended Techniques for Saxophone:

 An Approach Through Musical Examples 

by Patrick Murphy

"Being Forced to Drop Out"



"Being Forced to Drop Out" (2010-2013) - Bil Smith Composer
A Work Commissioned by InterPublic Group (IPG) for piano, modified piano, toy piano, piano annointe, and tape.
"Bil Smith's work was ultimately an investigation into the essence of modern life, distilled through notions of synchronicity and dynamism. At the heart of his synaesthetic credo, sound is an aspect of the vibrational continuum; hence no difference is made between music and noise emanating from the intonarumori.
He (Smith) relentlessly cross-references sources, suggests unexpected associations and unearths exceptional archival material."
- Olga Bloom, Founder of Barge Music
RECORDING on SoundCloud:

Saturday, May 13, 2017

Saturday, May 6, 2017

"UPre" for Craft Ensemble. The Score. Bil Smith Composer



"UPre" 

For Craft Ensemble

Bil Smith Composer

2015

Future Retraction, March 2016
Reformulated, June, 2016

Commissioned by The Duke Endowment















Friday, May 5, 2017

Start of a New Project for Flute, Clarinet and a Neologistic Tablature Lexicon




Recording: "Neural Intervals And Barium Infused Automatons" (2014) Bil Smith Composer



 "Neural Intervals And Barium Infused Automatons" (2014)
Composition for Cello, Chamber Ensemble, Inverted Equilibrium Sonic Pendulum, Exocyclic Trumpet in B flat, Schilke b3l Tunable Beryllium Bell Trumpet, Elliot Easton SG Custom OHSC Electric Guitar, Zildjian 22″ C2 Gong / Cymbal, LP Galaxy Giovanni Tumbadora, Retrosium Flute and ROLI Seaboard Grand.
From the performance notes/depiction of the Inverted Equilibrium Sonic Pendulum and the Cello:
We have executed a control method for maintaining an inverted pendulum in the unstable equilibrium position. This application is a classic lesson in control science, frequently utilized in ballistic guidance. In the case of the Cello, the proportional-integral-derivative (PID) method was implemented in LabWindows and intendulum with test mass. Once optimal parameters for the algorithm were established, trials were conducted in which individual gain constants were varied while controlling string and bow pressure to observe changes in instrument behavior.
When applying bow pressure, vector fields can have several special points: a stable point, called a sink, that attracts in all directions (forcing the concentrations to be at a certain value), an unstable point, either a source or a saddle point which repels (forcing the concentrations to change away from a certain value), and a limit cycle, a closed trajectory towards which several trajectories spiral towards (making the concentrations oscillate).
Repostulate in a alternative tablature system; topological models of morphogenesis.


On SoundCloud:



"DragonButter" for Kingma Contrabass Flute


Tuesday, May 2, 2017

Idle Composing


Recording: “Olivia Fortitude” (2005-2013) Bil Smith Composer


“Olivia Fortitude”

(2005-2013) 

Bil Smith Composer.

Tape, Polymorphous Tape, Behavioral Tape, Tape Procession. 

Commissioned by BHP Billiton Ltd., Andrew Mackenzie

Total = Four Tapes. 

The ideas in my work are on a continuum, engaged with the issues of our time but also conceptually and formally evolving out of my earliest encounters with other artists and composers.
This work unflinchingly scrutinizes the effects of age and experience on skin and tissue to invite a deeper reflection on temporality and a more intimate encounter between the listener and the composition.
Toward the end of this work, I attempt to empty original functions and significances, so they may invite new narratives and categorizations.



Monday, May 1, 2017

"Apprehending the Radical Formalism of Unplayable Compositions"

Brigade des Forces Sp├ęciales Terre, BFST


In this work, I propose a new way of apprehending the radical formalism of unplayable compositions and seek to unveil the politics of the score. In doing so, I attempt to expose the mechanics and radical formalism as a practice that moves beyond aesthetic considerations into the realms of ideology and materiality.

Listen on SoundCloud:  

Shayatet 13
For Chamber Orchestra, Allele Adsorbtion (Viola), Inverted Cryoacceleration PlasmoTransmutation (French Horn), Polonium Oscillation (Oboe), Titanium TechnoIonization (Tuba), Unlimited Crystosolution (English Horn), Xenon Aquasaturation (Alto Flute), Revised Albedo Solution (Trombone/Bass Trombone), Rotating Buffer Configuration (B Flat Clarinet), Cytoaccretion ( Bell Tower), Delta Wave Hypnooxidation (Timpani), Fractional Hydrocarbon Osmosis (Accordion), and Irradiated Autosplicing (Guitar)







"My view is that recent attempts at explaining aesthetic ineffability have been unsuccessful. Either they misrepresent what aesthetic ineffability consists in, or they leave important aspects of it unexplained. By creating a new musical language (syntacticon/lexicon) I show how a more satisfying account might be developed, once a distinction is made between two kinds of awareness"