Radically Disruptive Compositional Tools: Graphetics, Case Syncretisms and Prototype Theory

"Delinquent Spirit of A Drowned City" for Piano
World Premiere, Paris France.  Palais de Tokyo.  Nicolas Horvath Piano.

There will be a new series of upcoming posts discussing alternative and experimental compositional methodologies, disruptive tablature design, WET scores, numerics and interdisciplinary construction tools for the documentation of musical events.

"EV 30"  Experimental Ideation in Visio-Graphetic Tablatures (Felicity Conditions/Finite State Markov Process Control and Case Syncretism)

Here we look at Part 1 of "Graphetics and Symbology" and their role in providing instruction for the vocal and the instrumental practitioner.

Experimental Ideation in Graphetics Tablatures ('Echo-Word Determiners)

Grapheticists are practitioners of Graphetics which is a branch of linguistics concerned with the analysis of the physical properties of shapes used in writing. It is an etic study, meaning that it has an outsider's perspective and is not concerned with any particular writing system. It is contrasted with the related emic field of graphemics, the study of the relation between different shapes in particular writing systems.  Graphetics is analogous to phonetics; graphetics is to the study of writing as phonetics is to the study of spoken language.

Experimental Ideation in Graphetics Tablatures ('Concatenation, Prototype Theory)

As such, it can be divided into two areas, visual graphetics and mechanical graphetics, which are analogous to auditory and articulatory phonetics, respectively. Both printed and handwritten language can be the subject of graphetic study.

Neologisms with Lexical Rule:  Excerpt from the score "Explorer, Producer, Stoic After Your Passion" for String Quartet.  Bil Smith Composer. 

Score Page Section from "Acta Combinatorial" for Solo Cello: Utilization of Neologism as Performance Cues.

RECORDING:  "Thrones De Los Cantares" (A Micro-Opera) 

https://soundcloud.com/bil-smith/thrones-de-los-cantares-a

As such, it can be divided into two areas, visual graphetics and mechanical graphetics, which are analogous to auditory and articulatory phonetics, respectively. Both printed and handwritten language can be the subject of graphetic study."

For 27 Voices (inclusive of Coloratura Soprano, Lyric Soprano, Heldentenor, Contralto, Baryton-Noble, Basso Buffo, Dugazon Soprano), Grapheticist*, and Chamber Ensemble. (Synthesis by Transient Drawing and Particle Cloning).

"Past the Tan Silence" for Double Bell Bass Trombone. Bil Smith Composer, 2021

 

The Spirit

 

"MetaMaterials" - Furthering Explorations for a Manifesto of a New Musical Lexicon

Furthering Explorations for a Manifesto of a New Musical Lexicon

Metamaterials are an amalgamation of artificial structural elements, designed to achieve advantageous and unusual electromagnetic properties.

Actually such a flexible definition is incomplete on the one hand, and too strict, on the other. It is helpful to draw the following analogy: Metamaterial is composed of its elements in the same sense as matter consists of atoms. But these structural elements themselves are made of conventional materials, i.e., finally, of normal atoms.

Accordingly, metamaterial represents the next level of structural organization of matter.

So the question begs...how do we apply this in a musical/compositional/auditory context?

Archetype IV of the score "Red Lounge: Zero Theorem Tracheal Splint" for Mixed Choir. Extended application of Metamaterials.

"HellHound" For Tuba

"Vysteon" for viola and cello

"Recounter" for Alto Flute, Violin and Percussion

"Recounter" for Alto Flute, Violin and Percussion

"And the Guilded Spirit Was Declining" For Three Organs. The Recording.

"And the Guilded Spirit Was Declining" 

for Three Organs.

Recorded and Premiered March 9, 2013, San Giovanni Degli Eremiti, Palermo Italy.

A New Recording on the Laboratorie New Music Record Label.

On Soundcloud:

https://soundcloud.com/bil-smith/and-the-guilded-spirit-was

"Ovus Qyno" for Inderbinen 'Tricky' B Flat Trumpet

About Commissions for Composers.

I find it entertaining when people suggest that when I, or another member of Laboratorie New Music cite a commission for our compositions on this website, for a score, a performance or in one of our published works, that some individuals find this impossible and untrue.

I decided to help on this matter by explaining a few key points.

First, if I ever cited a commission from a sponsor company that was untrue, the type of companies who are our generous sponsors, would have an army of trademark and intellectual property attorneys all over us.

The fact is that these corporate attorneys have web crawlers that identify when, and if, the corporate name and logo are used at anytime and anyplace.  If you use their name or logo/symbology in an unauthorized manner, you get this joyful "cease and desist" letter.

We don't have any of these letters in our archives.

So let's move past this...

"How on earth do we get these large, rich companies to sponsor our compositions?"

Let's think in a business-like manner...or even better, let's just use common sense.

When I teach, I find it fascinating that students/composers feel that they are entitled to receiving monies for their creative efforts. Yet, they dismiss the one key life lesson...if you want something (i.e. an advance commission for your work), you need to give the sponsor something back in return.

In Advance.

Now I am not speaking of the final work, I am speaking of what can you give them in advance to let them know you are sincere. If it is Ford or Petrobras or HSBC, you have to ask yourself...what's in it for them?

If you still do not buy into this, go ahead and research me.  I have another job.  Just like Brian Ferneyhough has his Stanford gig, Pierluigi can turn down Columbia to stay put, and most teach in esteemed universities to pay the bills.

For me, and a few others, I choose to take a bit of a different path, but I feel lucky because what I do is imminently more interesting than Ives (Insurance).

My job is that I make up name for products...yes just the names.  You use them everyday...Xbox, Outlook, Excel, Aeron, Escalade.

OK...enough.  But through this experience dealing with the largest companies in the world, I learned a bit about how to win them over.

Over the next few weeks I will share some tips on how this is done.  If you are interested, tune in.  It will not be the 'Golden Key',  but a few tips will be forthcoming and it is up to you to make them work.

Bil

“Vilio” For Viola Teoma-Codexus (Trey Calivan, IRCAM Instrument Designer)

"Jackpot" For Viola

“Invisium Vertice” for Saff B Flat Clarinet (or) C Trumpet

“Invisium Vertice” for Saff B Flat Clarinet (or) C Trumpet

Thanks to Danaher Corp.  

Two performances.  

Both Instruments.  

January 16th at 19 Reade Street Theater

"Collapse To Icons" for Snare Drum