Thursday, November 15, 2018

"A Series of Storms"



"A Series of Storms"

Compositional Surrogates: Translating a Theoretical Treatise
Bil Smith Composer (2012-2013)

For 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 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.

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. 

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.

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.

"Complacent" For Soprano Saxophone


Technical Exercise For Cello


"Up The Soft Slope" 
For Solo Violin



 "Up The Soft Slope"

For Solo Violin

Bil Smith Composer

2017

Commissioned by China Construction Bank

Published by LNM Editions

(Laboratorie New Music)




Sunday, November 11, 2018

Thursday, November 8, 2018

"A Hand of Patience on the Floor of the Pool" (2012-2013). The Recording




"A Hand of Patience on the Floor of the Pool" (2012-2013). 
Bil Smith Composer.
LISTEN on SoundCloud  

https://soundcloud.com/bil-smith/a-hand-of-patience-on-the

Flute 2
 Bruised mouth, plane of intersection



Flute 3 

Supine forearm extended across a candlewick bedspread



Tape 1

Alto Flute; Handhold of Reality


Non-Tape Alto Flute 2
Hand beneath her knees and gripped her/his right thigh




Tape Ex

Independent existence , the phenomenology of the pre-Cambrian trilobite

Flute 1
Whirled-down draught; defective tape 

A Clarinet
Sonic pegged down too firmly...fluid backward to the poet of drainage

"Gan Harlequin Syndrome" for Solo Piano. First of 317

"Gan Harlequin Syndrome" for Piano.  The first of a series of solo piano vignettes to be performed in sync.

Saturday, November 3, 2018

"Detlin's Baby"...for Bass Flute and Celeste. Bil Smith Composer






"Detlin's Baby"...for Bass Flute and Celeste. Bil Smith Composer An Ideographic, hand drawn score utilizing deconstructionist fundamentals.

"If we interpret erasure as graffiti, the erasure is an 'enigmatic surplus' to the original drawing. Although it could also be seen as an attempt to re-clean the background, to move it towards the blank sheet which is more 'suitable for performance interpretation'. However, the thought it prepares the way for is inevitably polluted by the traces of the background that is never successfully cleaned. 

The erasure moves the background into a state which is more suitable to a musical realization, but only an interpretation in relation to itself. This can be seen as an extension of my earlier argument that the erasure invites a departure that is founded on the original compositional drawing."

Paul Crowther writes:

"...to Deconstruct history or texts in the style of Derrida or Foucault is to make evident that play of difference - that ungraspable network of relations, which sustains but is concealed by claims to self-presence. It is, in other words, to offer an insight into, or partial presentation of, a totality which as a totality is unpresentable. This, as Derrida remarks, "gives great pleasure" (Crowther in Papadakis (ed.), 1989, p.99)

Thursday, November 1, 2018

L'impossible, Clavicorde Bolcheviste. Bil Smith Compositeur




"Fetishistic Splits" (see Zizek) Bil Smith Composer



Zizek talks about fetishistic splits, in which subjects – especially late modern subjects  (The Clavichord)– has specific knowledge but behave as if they don’t. 

This dynamic is one side of the “what counts as a belief” coin for Zizek, who would insist that beliefs that don’t affect action are in a sense not “genuine” beliefs. 

The other side of the coin is that suppressed beliefs which do affect action are real beliefs, even if they’re hard to fit into traditional epistemological frameworks because they’re inaccessible to the subject...hence, the clavichord.

Definition of the Day...

"Compositional Multimodality ... in the broadest sense, composition which contain a multitude of semiotic modes. 

Multimodal scores call for new systems of analysis proficient in realizing and describing the rapport between expressive modes."