Saturday, April 28, 2018

Friday, April 20, 2018

On Composer's and Appropriation...



Appropriation, following a visual arts model, lifts musical passage in its entirety, reframing it in a score. 

There is very little intervention and editing; the intention begins and ends with the lifting. 

As such, textual appropriation often involves issues of quantity: how much untreated composition is grabbed determines the action. 

Let's look at poetics - if something — say a haiku — is appropriated in its entirety, then the amount of language is small. 

If, on the other hand (as suggested in recent comments to these posts), the Gutenberg Bible is transposed, then the amount of language is enormous. Referring to Marjorie Perloff’s idea of Benjamin’s Arcades Project as a precursor to conceptual poetics, that book deals in complete chunks of pre-existing texts, often running untouched for up to ten pages. 

If we compare this to Pound’s Cantos, we’ll see the difference between the whole and the fragment, a very different project, indeed.

The visual arts began this practice in the twentieth century with Duchamp’s appropriation of a urinal and found its legacy in the consumerist photographic critiques of the 1980s, particularly in the works of Sherrie Levine’s re-photographing of modernist masters and Richard Prince’s and Jeff Koons appropriations of unaltered advertisements. 

Today, of course, appropriation is old hat in the art world. 

But composing — with its reception still fifty years behind visual art — is just beginning to struggle with these issues.  But it is fun.

Thursday, April 12, 2018

The Computational Tablature. The Numerics Archetype



The purpose of this compositional archetype is to create a contextualized system of numerical nomenclature for category driven, modified cellos.

These systems, or ‘archetypes’ will incorporate the primary arithoretic, descriptors, variants, identifiers and sub-numeric elements of the numerical concept nomenclature.


Intra-category, many of the descriptor numeric candidates may be interchangeable with others.









The defining mathematical descriptor

process designation (primary parameters) provenance designation 
(conflicting strands and anti-crucial undercurrents)










Monday, April 9, 2018

"Clear Evidence of Continued Recovery" for Harp, Cello, Tuba and English Horn.

"Clear Evidence of Continued Recovery" 2013.  (Score Excerpt) 

 Bil Smith Composer 

 by Glencore PLC 

Sunday, April 8, 2018

Lodestar One. Bil Smith Composer








Where there is so much talk of liberation there are sure to be very disturbing reverberations within the world of established, acceptable criteria. The liberation of words, objects, sounds, etc., should be seen as different from the confusions surrounding the idea of making them free. They are already free, before anyone ever thinks of using them. The idea of them being liberated is relative to the use that they have been put to (and enslaved by) in the past.

They cannot be more free than they are, but they can be liberated from their conceptual inheritance, and we from ours. That is the point at which we can realize that we are already as free as words, objects, and sounds are. Everything is then free to move in all directions to all meanings.

Earle Brown, 1965