Saturday, July 29, 2017
Sunday, July 23, 2017
Saturday, July 22, 2017
Thursday, July 20, 2017
Saturday, July 15, 2017
"The Assumptions of the Propulsion Phase" (Compaction Music) - Bil Smith Composer
for Paramorphic Vibraphone, Rectocele Pocket Trumpet, Inderbinen Basstrompete Basso, LP Cajon Castanets, High Pitch; Chromium Gravitic Wood Flute and Dewanatron Swarmatron.
Listen on SoundCloud:
"CatchTrigger" (A Compaction Piece)
for Female Chorus, Chamber Ensemble, Reductive Cellular Automata, and Negative Re-Synthesis Based on the Karplus-Strong Algorithm
Recording on SoundCloud:
Friday, July 14, 2017
Thursday, July 13, 2017
Technical Exercise for Violin or Viola.
Bil Smith Composer
An Elemental Study
A Request from Jay Pulliam and Supported by the Pulliam Foundation
Sunday, July 9, 2017
"Essentially, music is a contract...a form of legislation. For any form of notation to be effective, there must be an agreed set of components or elements."
"Small can be complex:
Consciousness is valuable to us. Indeed, it is arguably the most valuable thing of all: it is what allows us to enjoy our interactions with the world, and it is what confers moral status upon us.
If consciousness was not preserved by the mind-uploading process, it is difficult to see why we would care. So consciousness is a necessary condition for a valuable form of mind-uploading. That does not, however, make it a sufficient condition.
So is the "Irrational Enterprise" a real compositional idealism?"
Saturday, July 8, 2017
Music for Solo Trumpet and Electronics:
A Repertoire Study
by Michael Edwin Barth
This dissertation examines the repertoire for solo trumpet and electronics through a study of the genre as a whole and discussions of four compositions that represent its main stylistic approaches.
An obscure but fascinating genre, current research in this area is limited to discussions of a few of its compositions in other dissertations and lecture recitals. By investigating this music, this dissertation will contribute to an area that has so far seen little research while promoting new repertoire that greatly expands the musical possibilities of solo trumpet performance.
Based on the List of Compositions for Solo Trumpet and Electronics compiled by the author, several aspects of this repertoire are described in Chapter Two, including its development from 1965 to 2009 and the relative popularity of its different compositional approaches. The primarily academic background of this repertoire’s composers is discussed as well as the diverse nationalities they represent. The relative obscurity of this repertoire is suggested by the number of compositions for solo trumpet and electronics that have been published and recorded.
A discussion of the aesthetic, qualitative and practical aspects of the repertoire is presented in Chapter Three. Based on interviews with leading performers of this repertoire and the composers of the pieces examined in this dissertation, this music is discussed from the perspective of musicians who have significant experience in this field. Their interviews illuminate several important issues that may not be apparent to musicians who are unfamiliar with this repertoire.
Chapters Four through Seven discuss four representative compositions from the List. An overview of each piece is given, along with biographical information about its composer, a description of its electronic components, discussion of relevant performance techniques, and formal analysis of the composition.
Conclusions based on this investigation and suggestions for future research are suggested in Chapter Eight.
-Michael Edwin Barth
Thursday, July 6, 2017
Monday, July 3, 2017
"Models of Interaction in Works for Piano and Live Electronics"
by Xenia Pestova
Link to PDF Document:
This document is written from a performer’s perspective, and focuses on three works for piano and computer-based live electronics: Cortazar, ou quarto com caixa vazia by Silvio Ferraz (Brazil), ZellenLinien by Hans Tutschku (Germany), and Song from the Moment by Bryan Jacobs (USA).
These pieces are placed in an historical context of the growing field of electronic music performance, particularly involving acoustic instruments and computer-based live electronics. The basic concepts of interaction in live electronic music are introduced through a review of literature and repertoire related to the field.
The three pieces are then examined in terms of the electronic transformations used, synchronization methods with the computer, and performance practice issues. The author introduces “Models of Interaction” in order to illustrate comparisons with traditional performance practice.
The results of this research show that performers working on live electronic repertoire must integrate new approaches in addition to building on existing skills. For composers, the creative process of writing for instruments and live electronics can entail working closely with performers in order to exploit the expressive possibilities of the instrument and successfully incorporate physical aspects of instrumental writing with technology.
The final observations are aimed at both performers and composers wishing to develop an approach to integrating piano and live electronics.
- Xenia Pestova