Sunday, May 27, 2018

"Premier Hitters" for Contrabass Sarrusophone

Contrabass Sarrusophone

“Acknowledging The Equinox In A White Suit And Panama Hat” for Tuba

“Acknowledging The Equinox In A White Suit And Panama Hat”

For Tuba

Bil Smith Composer


A Numerics Tablature

Published by LNM Editions

""Exit Velocity"
 For Piano

"Exit Velocity"

For Piano

Bil Smith Composer


A Commission from Harrison Hayes, LLC

Published by LNM Editions

"Moody 14 Year Old". For Five (5) Mallets: Marimba

Friday, May 25, 2018

"Semio": A Reappropriation of Mathias Spahlinger's "128 Erfüllte Augenblicke" for Voice, Clarinet and Cello. Bil Smith Composer.

"Semio"  Bil Smith Composer

"Semio": A Reappropriation of Mathias Spahlinger's "128 Erfüllte Augenblicke" for Voice, Clarinet and Cello. Bil Smith Composer.  Various pages of the score.

"Semio"  Bil Smith Composer
To reappropriate a musical composition, a deliberate intervention is made into its common or hegemonic (for the cultural studies majors amongst us) usage. This common usage as a music of oppression, hurt or victimization is challenged and reevaluated. 

The composition may attain a neutral or acceptable connotation and become absorbed into broader cultural use. It may even attain a positive connotation within informed and aware groups.

Mathias Spahlinger

"Semio"  Bil Smith Composer
Music and language (text) reappropriation usually takes place within the oppressed community affected by the music's original meaning.  Often, performance of the composition outside that community retains its derogatory meaning.  

Thomas Demand, Photographer

Musical meaning is decoded within a context – how it’s conveyed, by whom, when, where and why all have effects on the intent and receipt of a composition.

"Identical Indented Comments" for Contrabassoon and Soprano Saxophone

"Identical Indented Comments"

 for Contrabassoon and Soprano Saxophone

Bil Smith Composer

A new musical tablature attempting to base a workable theory of aural syntax on concrete tokens.
I have a suggestion to expand the scope of experimental tablatures. Philosophers use a range of tools. To mention just a few, these include logic, probability, game theory, economic modeling as well as computer simulations.
What if, as enlightened composers, we begin using the tools of cognitive science and experimental psychology to examine philosophical music questions. My suggestion with this composition, and moving forward, is to add data science to the catalogue of compositional tools.
-Bil Smith

The Horizontally Held Fan Cleaves The Air. For Piano. The Score Link. (5 Pages)

"The Horizontally Held Fan Cleaves The Air"

For Piano

Bil Smith Composer

The Score Link.

"Helen Was In The Bedroom; I Had Exactly A Minute Left"

Sunday, May 20, 2018

As many have witnessed, often, a new music composer's career is rarely made on one composition

As many have witnessed, often, a new music composer's career is rarely made on one composition, rather it’s the long and slow accrual of published scores, performances, recordings, activities, community service, and so forth that firmly establish one’s reputation.
And yet, we now live in a moment of the bounce, where Google Alerts are triggered at the mere mention of a composer's name or work, or tweets can ricochet information about a performance to thousands of followers in an instant.
It’s certainly gratifying for composers — often working alone — to know minute-to-minute that someone out there is engaging with the work.
And it can be addictive.
In the new information landscape, it’s the re- gestures (the retweet, the reblog) that seem to carry the most weight. For example, the popular blog Boing Boing doesn’t create anything: they simply point at cool things. And the gesture of Boing Boing pointing at something always trumps the thing at which they are pointing, making us aware that the new power-base is in the filtering, distribution and management of information, not in the original creation of it.
For example, If I tweet something that I know takes a long time to digest — say, a lengthy experimental abstract composition score — a minute later, I find that it’s been retweeted by dozens of people. Now while many may be familiar with that work, most aren’t. 
And most haven’t even engaged with it. But rather, it’s the name-check and the cool-factor of the information combined with the passion for sharing it, which creates a bounce. 
The citation, the act of moving that information, has more cache than the object to which its referring.
All of this is to point out the new quandary that composers — whose notions of composing and performance were forged in the age of the slow roll — face in the age of the bounce. 

To construct a career as a composer based on the ephemerality of the meme is at once thrilling and terrifying. 

Embracing it is like jumping off a cliff and freefalling, throwing away the script that we’ve come to know so well. Yet it seems inevitable; it’s clearly the next move; it will happen. The question is how it will happen and how much human intervention will be necessary to successfully sustain it as a viable compositional practice. 

I think you’d be hard-pressed to find a composer who doesn’t have their eye on the bigger picture; I can’t name a composer — even the most radical and “uncreative” — who would choose the model of a bouncy meme over the slow roll of music history. 

But that too will soon be changing.