Sunday, October 29, 2017

"The Bare Lathes Intertwined with Creeper and Wire-Moss" Recording



"The Bare Lathes Intertwined with Creeper and Wire-Moss" 

Bil Smith Composer

Recording:


Commission from Pemex (Petróleos Mexicanos)for Chamber Orchestra, a work predicated on 'Compositional Bounding Theory', a theory about the locality of movement. The main principle of Bounding Theory is the Subjacency condition, which forbids movement across more than one bounding node (i.e. tablature).
for Chamber Orchestra; Coloratura Soprano (Obstruent Phonology); Soubrette (Siblancy: Fricative speech sounds with high frequency); Spinto Soprano (Strict Cyclicity); IGT Wild Cherry Spinning Wheel Slot; IGT 2x3x4x5x Red Hot 7s™ Spinning Reel Slot; IGT Hot Roll® Ca$h Ca$h Ca$h™ Video Slots; IGT Megabucks® Crystal Sevens® Slot; WMS Dashing Dolphins Slot; Wicks Century 5 Pipe Organ; Paiste 24' Venus Gong; Waldorf Blofeld Synthesizer; Hellfire Modulator, an analog, tube-based distortion rack-module; Formanta Polivoks Synthesizer; ESP jeune fille X Gips -Cross Ray- Moi dix Mois MANA Signature Model Electric Guitar.

"Emblematic Suctusstupratio" for Orchestra" The Recording




"Emblematic Suctusstupratio" for Orchestra"  The Recording 
Bil Smith Composer.
This commission from a private sponsor was dictated by a strict adherence to a "Prescribed Multidimensional Network."
The pertinacious intent was to create a redundancy abject diverse procedural element. In the score, there is a complexity represented through moments of extreme sonic and physical activity as well as a a high degree of timbral diversity. In consideration of the score and the performance, I wanted to portray an enormous illuminated painting, unsettled, however with an intense detail.

Saturday, October 28, 2017

"Noche". For String Trio. PDF Link To The Full Score.



"Noche"

For String Trio.

Cello, Viola, Violin.

Bil Smith Composer

2015-2016

A Commission from Icelandic Water

Link: The Full Score

“Immobile Glorious and Eternal” for Solo Flute

“Immobile Glorious and Eternal”

for Solo Flute

(The score is the dominant; the performance, submissive)

Bil Smith Composer

2017

Commissioned by Veolia & TF1 Group

Excerpts from the 84 page score
























"Neural Intervals And Barium Infused Automatons" . The Recording



"Neural Intervals And Barium Infused Automatons" 

The Recording:


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.

"Ian Monk" for Prescript Chamber Ensemble: A Compaction Music. The Recording






"Ian Monk" for Prescript Chamber Ensemble (Oulipo Posentante)
The Recording:
In 2010, I was approached by a unique individual by the name of Bernard Charron (not sure it was his real name). He asked me about my music and we moved onto the subject of literature and writing. This led to a lengthly discussion about the Oulipo and our respective opinions about their oeuvre. Some months later he contacted me and asked if I would be interested in writing short musical 'vignettes' as he described them, mimicking the Oulipian aesthetic utilizing my "compaction music" techniques.
About The Oulipo...
By"working under constraint" they have raised their level of consciousness because -- their dictum -- if an author does not define his or her constraint, the constraint will in turn define their work for them.

Such a level of consciousness controls how they are perceived, and received. Their relationship with the past, their work with literary genres, and their capacity to shape their own reception,outlines a relationship with literature with which postmodern theorists ought to be acquainted.

"Forgotten Algebra Of The Random Sky" The Recording


Excerpt from the score

"Forgotten Algebra Of The Random Sky"
The Recording:

for Orchestra and Melodaphone Hyperbare, Membrane de Platine Tronquée, Néodyme Accéléré Trompette à Coulisse, Résonance des Hydrocarbures, Hadril Isotopique, Transparent Chambre de Cloud Peresium Bols, Yttranium non Conducteur et Opaque Rhodogen
Bil Smith Composer (2013)
A Commission from Électricité de France (EDF)


Sunday, October 1, 2017

Polysemy, Aporia, Irony and Indeterminacy



Polysemy, Aporia, Irony and Indeterminacy

Polysemy connotes a multiplicity of meanings in a given compositional notation referring at once to multiple contexts for interpretation. Perhaps the most inclusive category of its kind, polysemy indicates the coincidence of multiple and sometimes contradictory meanings under the same notation, as opposed to irony, a discrepancy between two meanings or interpretations; aporia, a logical impasse; or indeterminacy, an indecision with regard to meaning.

There are two fundamental paradigms by which one can think about the occurrence of polysemy in musical composition; referential and differential.

The referential paradigm assumes that notation has the basic function of referentiality, i.e., it points to things that exist outside it; accordingly, polysemy would be understood as a trait of certain notational passages in which signs do not function ordinarily (having one or two referents at most) but bear multiple relational associations, so that such a notational passage becomes a reverberating echo chamber of meanings.

Nevertheless, these intricate webs of meanings and associations do not occur spontaneously but are aligned along the same axis of symbolical associations. A sign in a given polysemous composition will bear multiple relational meanings, while certain unassociated meanings will remain excluded from consideration.


Even though each signifier will have more than two signifieds, polysemy under the referential paradigm will always remain a polysemy of controlled meanings— confined, as it were, to the rule of association.