"Parabola". for Violin.

Further Explorations of a New Tablature for a Piano Work, 2021

 

Instrumental Reasoning Can Be Explained ...Bow, Arch, Strings, Resin, Pain.

Reasons-motives internalism is the appealingly boring view that unless an agent is, or could be, inspired to act in a certain way, he has no normative reason to act in that way. 

Thus, according to reasons-motives internalism, facts about an individual’s motivational psychology constrain what is rational for that agent to do what? 

Here, the agent is a bassist; a violinist; a vibraphonist constructing and delivering a most persuasive argument against external reasons proceeding through a rationalist restriction.

Instrumental reasoning can be explained — either in terms of it being constitutive of the very notion of having an end, or solely in terms of instrumental considerations. Improvisation, perspectivisation and elementary birthing… Twice…and probably not enough.

At least since the middle of the twentieth century, philosophers have tended to identify weakness of will with akrasia—i.e. acting, or having a disposition to act, contrary to one’s judgments about what is best for one to do. However, there has been some recent debate about whether this captures the ordinary notion of weakness of will.

This page of the score from Violin II is to shed light on what in the world the concept of weakness of will is. Is there an ordinary notion here?

If so, is it disjunctive and how will it be interpreted? 

Violin II resolution-violation are indeed among these features.  However, neither is sufficient on its own for an ascription of weakness of will; and other features also play a role, such as the moral valence of the action. 

Bow, arch, strings, resin, pain.

"A Maze of White Plastic Convolutions"

A Maze of White Plastic Convolutions

For String Trio

Bil Smith Composer

A Commission From LG Electronics

2016

"Homestretch" for Alto Trombone

Recording: "Huge Cinemas Turned Away Up A Damp Conclave Slope"

"Huge Cinemas Turned Away Up A Damp Conclave Slope" 

(2009-2011) 

Bil Smith Composer

for Three Orchestras.

LISTEN on SoundCloud:

https://soundcloud.com/bil-smith/huge-cinemas-turned-away-up-a

This work was a commission from Finnair in 2008 and performed by Ensemble ∞Playce on August 15, 2013 in a world premiere at the Moscow International Performing Arts Center.

"Huge Cinemas retains a sense of beatific optimism throughout. a magical environment is created: half unprocessed, half electricity. The work evokes a grimy, quinine tinted special category of cytoplasmic coma. The strings mimic a dark cloud pressed beyond the bliss, reflecting an age of other dimensions, arctic paradises with the burden of mutually assured destruction ever lifted."

- Clive Bell

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