Wednesday, May 29, 2019

Saturday, May 18, 2019

"Alphabet of Sensation" for E Flat Sopranino Saxophone (Anthony Braxton)

"For a Brief Moment The Secret Formulae of the World Around Us, But…"

"For a Brief Moment The Secret Formulae of the World Around Us, but…"
Bil Smith Composer
For Chamber Orchestra, String Quartet, Solo Violin, Solo Viola, Seven Metallophones Formulae, Time Valued Contained Tape , Auto-Nader Model Sonificis, and QuarterCello Intevallis, Trans-liberated Pudenda of Cage Tapes.
Recording available for a limited time on SoundCloud:

Touch My Pride. The Full Score.

"Touch My Pride"

Bil Smith Composer

For Chosen Ensemble


A Commission From Telemundo

Friday, May 17, 2019

Recording: "Trattoria degli Apostoli (dodici)" for Chorus and Electronics

"Trattoria degli Apostoli (dodici)" for Chorus and Electronics utilizing exotic spectrum transformations that manipulate the Gabor matrix; Polarons; Robotic granulation transformations and Acoustic Holography.

This work commissioned by an institutional patron, received its premiere on March 17, 2013 at The Robert J. Hurst Gallery at the Whitney Museum in New York in a private performance. This composition and performance were made possible from a grant from British Airways.  
Inspiration for this work from Michelangelo Pistoletto, Enrico Castellani, Gabrielle Basilico, and Gerhard Richter's "Strips."
Bil Smith Composer

"Viceland" for Viola

"FearLine" for Guitar

Friday, May 3, 2019

Thursday, May 2, 2019

Rethinking a Piano Tablature

"Predictive Predication" for Cello

Breaking New Ground Developing Compositional Tablatures with Big Data

"Spectrant Codes" for Cornet and Bass Flute.  Bil Smith Composer

Circos is a novel software program  for visualizing data and information. It visualizes data in a circular layout — this makes Circos ideal for exploring relationships between objects or positions. Circos was initially designed for displaying genomic data (particularly cancer genomics and comparative genomics) and molecular biology.

Beginning in 2012, composers at Laboratorie New Music have been working on modifications of the Circos program to create a systematic, fluid tablature system to facilitate compositional structure.  The notion to explore this powerful visualization tool came about from a separate study we were conducting on the implications of 'Big Data' on outcomes relating to visualization and experimental musical tablatures.

The potential of big data is immense.  Eliminate constraints on the size, type, source and complexity of relevant data, and composers can ask bolder questions. Technology limitations that once required sampling or relied on assumptions to simplify high-density data sets have fallen to the march of technology. 

Partial element (utilizing Circos) from one of the pages of the score for "Partitions: Cambics Alive in Sensient Amplules" for Chamber Septet.  World Premiere, April, 2014 with Renee Baker and The Chicago Modern Orchestra

Protracted processing times and dependencies on batch feeds are being replaced by on-demand results and near real-time visibility.  As we see it from a musical perspective, this transformation not only changes the questions that we can ask, but it also requires new tools and techniques for composers to get to the answers.

"A variety of crucial, and still most relevant ideation about nothingness or emptiness in music has gained profound philosophical prominence in the history and development of complex notation. These traditions share the insight that in order to explain both the great mysteries and mundane facts about our performance experience as composers, ideas of ‘nothingness’ must play a primary role. Contrarian to this theorem, I present this architecture that is at once interpretative and constructive."

- Bil Smith Composer
Full page of score from Partitions: Cambics..." utilizing Circos

Wednesday, May 1, 2019

The Compositional Palimpsest

"Detlin's Baby" for Celeste and Bass Flute
A compositional palimpsest always enacts a double play of concealment and revelation, erasing one notational passage to inscribe another and then suppressing the latter to display the first. 

The compositional palimpsest obstructs to make a view possible. 

Appropriately, the word means both a document that has been erased as well as one on which composition appears, and it records that doubling notational etymologically. “Palimpsest,” from the classical Latin palimpsestus (paper or parchment that has been written on again), derives from the Hellenistic Greek παλίμψηστος (scraped again) and παλίμψηστον (a parchment from which writing has been erased), which in turn ultimately derive from the ancient Greek πάλιν (again) plus ψηστός, from the verb “to sand.” 

Blanchot’s verbal doubling explains itself. The marked repetition of “sable coulant et s’écoulant” not only mimes the doubled layering of sounds described in the passage, but it also encrypts a palimpsest— literally, “to re-sand,” “to sand again”— as the literary analogue of the silence that reveals sound, the breathing that both masks and permits speech. 

Bringing into view by erasing, the compositional palimpsest is a parchemin ablué: composition that has undergone both a cleansing removal and a restoration. 

Ablution, that restorative cleansing or cleaning of a surface, here attracts its near twin “ablation,” another word associated, as it happens, with sand. “Ablation” can of course denote any removal, as in the surgical excision of a body part, but it most commonly refers to removal of the surface layer of an object by sanding, or sometimes, specifically, the removal of sand itself (as by wind).