Wednesday, August 29, 2018

"Mask, Tube and Flippers"
 For Trumpet, Flute and Piano. Bil Smith


"Mask, Tube and Flippers"
 

For Trumpet, Flute and Piano

Bil Smith (2015-2016)

A Commission from Aldi






"Breaking Ball" for Flute, Violin, Clarinet, Cello and Piano







Page from "Fountainhead"


"White Pumice Fossilizing The Dusty Heat Trap". Bil Smith Composer for Two Violas (Score Excerpt)

"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)
"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)
Cover



"White Pumice Fossilizing The Dusty Heat Trap" 

for Two Violas 

Bil Smith Composer 
(Score Excerpt)

World Premiere SER Conference August 26, 2015
Manchester, U.K.

Commissioned by GE Wind Turbines 
for the 6th World Conference on Ecological Restoration.

Recording on Laboratorie New Music "Graphene' Label
Release, January, 2016
"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)
Copyright Laboratorie New Music



"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)

"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)

"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)

"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)

"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)

"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)

"White Pumice Fossilizing The Dusty Heat Trap".  Bil Smith Composer for Two Violas (Score Excerpt)

Tuesday, August 28, 2018

"Compositional Surrogates: Translating a Theoretical Treatise"

“A Series of Storms” Bil Smith Composer (2012-2013)



"Compositional Surrogates: Translating a Theoretical Treatise"

SCORE: “A Series of Storms” Bil Smith Composer (2012-2013)

For Benedikt Eppelsheim Contrabass Saxophone (conversely Contrabass Clarinet); Tambourine: Retresium Trumpet in ‘A’; Inderbinen Wood Flugelhorn,: Eva Kingma Contrabass Flute; Celestonite Modified ‘A’ Clarinet with Slide ‘Pirix’ designed by Richard Fulbright; Angh, and Maser 2 Snare Drum.

In this work ("Series of Storms"), translating this theoretical treatise under this very broad definition; systems like Morse code, Ventisma, Fortola Codex, flag semaphore, secret speech, and other types of signals that share little in common could also be included. Tristan Murail has used the term “talking musical instruments,” which provides a clearer set of fundamental boundaries.

Even this term highlights a significant cultural bias. For many of the cultures studied under this lens, speech and music are not so easily partitioned.

In this work, “A Series of Storms”, I attempt to articulate the theatrical ambivalence towards these theorems, yet with great respect, illustrate a ritualistic musical tablature which has been buried.

In the words of Elliot Fereder, speech surrogates are the “conversion of human speech into equivalent sounds for transmission in vestigial systems”. 

He goes on to define percussive and whistle languages as well as surrogates played on other musical instruments.

The term “drum and whistle languages” has been used by several authors when describing systems that are neither drummed nor whistled but rather played on musical instruments. 

In this work, the customized Maser 2 Snare Drum, Tambourine and Angh are aligned with this evidentiary platform.

Drum and whistle languages and talking musical instruments share an important feature: the conversion of speech into a musical medium. The signal is based on pitch, rhythm, timbre, and other characteristics shared by speech and music, but it is performed by musical means—drums, whistling, flutes, etc.

Perhaps the best term to describe these related phenomena is “musical speech surrogates,” which has been used by Jeremy Blaise and Todd Reese among others.




Sunday, August 26, 2018

Performance Notes Excerpt for New String Quartet





"Twice Daily Recon". For Tuba


The Conceptualization of Uncertain Compositional Devices is an Enduring One.


A conceptualization of uncertain compositional devices as a set of possibilities; 
each assigned a notational value—a performance schema which draws on the circumstances that originally occasioned it, namely the game of chance, the
die and its faces—is an enduring one.

Within indeterminate composition
the ‘occasional cause’, the
spontaneous metaphysics of the performer/gambler continue to
exert an intuitive hold on thinking concerned with
uncertain eventualities, coloring its interpretation
and its application to diverse situations.

Stripped of
these semantics, the meaning of composition remains
as enigmatic as ever: an idealized construct that neutralizes
contingency by integrating infinite ‘trials’;
or a real property, propensity, or ‘random generator’

As a Composer, the asymmetry of the wager is dramatized in the
figures of the naive punter (performer) who faces every roll of the
die as a hazardous adventure, and the casino manager (composer)
who controls the long game and never loses.

On one hand chance may be figured as subjective epistemological
shortfall, on the other as the object of technical knowledge. This tension between 
musical knowledge and contingency is conceptually condensed in the notion
of probability and latterly in that of risk—a concept belonging to a relatively recent compositional history, but one with immense consequences for modernity.