Thursday, September 28, 2017

“Lucent Confitage” For Ensemble Viola Deora. Allinity Troupe Cornet in D, Calibrium Banjo, Alto Flute (Mars Hill Tuning), Fulcanelli Concept Oboe Bil Smith Composer

“Lucent Confitage”

For Ensemble

Viola Deora

Allinity Troupe Cornet in D

Calibrium Banjo

Alto Flute (Mars Hill Tuning)

Fulcanelli Concept Oboe

Bil Smith Composer


A Commission From Discovery Communications

Friday, September 15, 2017

Unknown Composition

The 3D Printed Flute by Amit Zoran

Link to PDF Article, The 3D Printed Flute

This paper considers the controversy of modern acoustic instruments, which may have come to an evolutionary impasse, due to its high standardization that makes it difficult to explore design modifications. A new approach for the design and fabrication of an acoustic instrument is presented, using digital fabrication technologies, and specifically 3D printing, which has the potential to influence new designs, and to lead to new acoustics and ergonomic innovations. This paper describes the key concepts of this approach, presenting the development process of such a 3D printed instrument—a prototype of a 3D printed concert flute, some other 3D printed elements, and a conceptual example of an innovative trumpet—discussing the potential of the new technology in fabricating and designing of musical instruments.

Tuesday, September 12, 2017

Saturday, September 9, 2017

Macaronic Composition

Macaronic Composition refers to the mixing of notational systems, sometimes whole passages of more than one musical language, most often for comic or satiric effect though sometimes (and more recently) with serious intent.

Strictly speaking, a macaronic composition (as with Macaronic Verse in literature) in its original sense, entails not inserting foreign notational systems but giving notation of the composer’s native tongue the inflectional endings of another musical language.

Sunday, September 3, 2017

Composition is a Singular Becoming. There is No Eternal Definition.

Composition is a singular becoming. 

Not only is it impossible to reduce composition to something other than itself, but every definition, within a given epoch, is relative to that epoch—that is to say, to the history that gives rise to it. There is no eternal definition. 

To speak of composition is always to remake music. This becoming seems to be autonomous; it seems possible for the composer to find beneath the historical accidents a necessary consecution: the notions introduced were necessitated by the solution to a problem—and by virtue of their sole presence amongst the notions that already existed, they pose, in their turn, new problems. 

There really is a becoming: the composer embarks upon an adventure which can be arrested only arbitrarily, every moment of which endows it with a radical novelty.