"Predictive Alliterations." A Vocal Technical Exercise for Coloratura Soprano

"Xontic Arroyo (Absentia Portrait)" for Trombone, Cello and Piano. Bil Smith Composer

"Xontic Arroyo (Absentia Portrait)"

for Trombone, Cello and Piano.  

Bil Smith Composer

Link to Full Score (PDF)

https://drive.google.com/file/d/1wjvY86hdHKDxwxRyMCAsKh4WmPkQhT4F/view?usp=sharing

In contemplating the notational lexicon found within the score of "Xontic Arroyo (Absentia Portrait)" for Trombone, Cello, and Piano, I introduce a certain defiance of traditional figuration, offering a case study in the ethical and philosophical dimensions of musical notation

The decision to eschew immediately legible figuration in favor of a more complex, compound notational lexicon is not merely an aesthetic choice but a principled stance against what I deem to be an inherently regressive adherence to traditional notation systems. Such systems carry a reactionary gravity from which no subject—no matter how ostensibly critical or subversive—can truly escape.

"Xontic Arroyo" thus serves as both a record and a provocateur, engaging in an emerging discourse that seeks to illuminate and challenge the contextual changes, challenges, and possibilities that the discipline of music, and perhaps society more broadly, has thus far preferred to ignore.

The composition invites the performers to consider the notational system not as a neutral tool but as a locus of power, one that shapes the creation, interpretation, and experience of the work.

The composition's challenge to the performers underscores the importance of disciplinary awareness and reflexivity.

 

"Semio": A Reappropriation of Mathias Spahlinger's "128 Erfüllte Augenblicke" for Voice, Clarinet and Cello. Bil Smith Composer.

"Semio"  Bil Smith Composer

"Semio": A Reappropriation of Mathias Spahlinger's "128 Erfüllte Augenblicke" for Voice, Clarinet and Cello. Bil Smith Composer.  Various pages of the score.

To reappropriate a musical composition, a deliberate intervention is made into its common or hegemonic (for the cultural studies majors amongst us) usage. This common usage as a music of oppression, hurt or victimization is challenged and reevaluated. 

The composition may attain a neutral or acceptable connotation and become absorbed into broader cultural use. It may even attain a positive connotation within informed and aware groups.

Mathias Spahlinger

"Semio"  Bil Smith Composer

Music and language (text) reappropriation usually takes place within the oppressed community affected by the music's original meaning.  Often, performance of the composition outside that community retains its derogatory meaning.  

Musical meaning is decoded within a context – how it’s conveyed, by whom, when, where and why all have effects on the intent and receipt of a composition.

"Triumphant Incantation". The Score for Tenor Flugelhorn (A Fanfare)

My "Fanfare" compositions embrace a hyper-temporal semiology, focusing on tactile interpretations which represent a departure from conventional music notation. Instead of relying solely on visual symbols to convey musical ideas, these scores incorporate a physical, tactile dimension. 

I use a unique combination of materials – wax crayon mimicking chalk and housepainter’s gray paint – to create a score that is as much about the physical act of drawing and erasing as it is about the music itself.

A key aspect of these scores is the dynamic process of creation and erasure – the "writing" and "rewriting." The wax crayon, which appears to be chalk, breaks down and fuses with the paint, adhering to the grainy surface of the score. This physicality of the score is not just a means of notation but an integral part of the composition process, allowing for continual revision and evolution of the piece.

The tactile aspect of these scores introduces a new semiological dimension to music. It invites performers to engage with the score not just visually but physically, interpreting the texture and materiality as part of the musical experience. This tactile interpretation adds a layer of depth and complexity, opening up new avenues for creative expression.

The fusion of wax crayon and paint in the score is symbolic of a larger theme in these compositions – the blending of different elements to create something new and transformative. This material fusion is not just a stylistic choice but a statement about the nature of music and art as evolving, dynamic entities.

Epistemic Abstraction

When applied as an interpretive tool for musical notation, "epistemic abstraction" refers to an approach that uses abstract concepts and systems, often derived from disciplines like mathematics and linguistics, to guide performers towards a deeper, more tactile level of musical expression and interpretation

Emphasis on Diagrams and Graphs: Musical ideas are represented through diagrams, graphs, and other visual abstractions. These might indicate dynamics, rhythm, or even emotional tone, but not through standard musical notation. They require the performer to interpret these visual cues in a tactile, experiential way.

Modular and Serial Structures: The use of repetitive and standardized sequences or structures, often drawn from mathematical concepts, guides the performer in creating patterns or sequences in music. These structures might dictate the progression of a piece or the repetition of certain themes or motifs.

Delineations Against Measuring Devices and Templates: Precision and measurement play a key role. The music might be structured around specific temporal or rhythmic measurements, but these are conveyed through non-traditional means, such as spatial diagrams or proportional graphs.

Utilization of Mathematics and Linguistics Universals: Abstract concepts from mathematics and linguistics are used to convey musical ideas. For example, geometric shapes might represent specific musical phrases, or linguistic syntax might be used to suggest the flow and structure of the music.

Signification of Art-Relatedness Through Studio Referents: The use of traditional artistic tools (like pencils, chalk, paper, and blackboards) in creating the score bridges the gap between abstract, theoretical concepts and the tangible act of musical performance. These tools become part of the interpretive process, adding a tactile dimension to the understanding and performance of the music.

In this approach, the performer interacts with the music at a more intuitive, interpretive level. The tactile experience of interpreting these abstract symbols and structures invites a deeper engagement with the music, encouraging the performer to explore beyond the literal and delve into a more personal, expressive interpretation. This method of notation challenges traditional paradigms of musical performance, offering a unique and innovative way to experience and create music.

"Vibrave" for Guitar. Bil Smith Composer

 

New Composition Tablatures With Circos

"Some Nebulous Northern Realm"
For Cadential Trombone, Alto Flute and Timpani

"The Cyclone Fence Enclosing Us"
For Piano, Celeste, Spring Drum and Quito (Conga)

"Farthest From Hideous Old"
For Tuba, Spinet Piano and Harp

"Safe Negatives"
For English Horn and Flugelhorn

"They Passed A Clean White Truck Which Was A Wall of Perfect Cream"
For String Trio

"Repulse Bay"
For Oboe

"Listening To Truck Thuds On The Concrete Over My Head"

For Trombone Trio

"Complex Antecedent" for Alto Trombone