"Sound Morphology" (Bil Smith Composer): November 2015

Wednesday, November 18, 2015

"Disciplinary Mechanisms" . Louise Wei, Composer.

"Disciplinary Mechanisms"

Louise Wei Composer

2015

For Soprano, Two Baritones, Bass and Piano

A Commission from Hua Xia Bank, Beijing China

"Dedicated Schlesinger" for Flute. Bil Smith Composer

Dedicated Schlesinger for Flute. Bil Smith Composer

"The contrast lies in the notation and performance and is discrete across all three ranges. There is no telling how much of the performance outcome is due to real kinship with the score or how much is due to musical ingenuity and luck coincidence."

- Collated inferences

- Notational ontology recapitulates philology

Saturday, November 14, 2015

RECORDING WITHDRAWN: "X Distinguishes Itself Unilaterally From Y Without Y Distinguishing Itself From X in Return"

"X Distinguishes Itself Unilaterally From Y Without Y Distinguishing Itself From X in Return"

RECORDING WITHDRAWN

Nondecisional immanence, which allows itself to be posited as already given without decisional positing, is an immanence that does not even need to be liberated from decisional transcendence: it is precisely as that which is already separated (without separation) from the decisional coconstitution of given and givenness, immanence and transcendence, that it conditions its own positing as already given.

Friday, November 13, 2015

"Inequitable Genders and Deer Populations Continue To Thrive" - Laboratorie New Music. (2014). Midnight, August 3, 2014.

"Inequitable Genders and Deer Populations Continue To Thrive" - Laboratorie New Music. (2014).

Midnight, August 3, 2014.

Composition for:

Violin I,II
Viola I,II
Clarinet
Oboe
Bassoon
Bass Trumpet
Double Bass
Horn
Piano

Adjuncts

from the Performance Notes:

“What is necessary is to overcome painting, sculpture, poetry and music. We need a more comprehensive art that meets the requirements of the new spirit.”

- Lucio Fontana

This unprecedented spirit indicates the characteristics of the algorithm and its usurpation of media specificity. This combinatory aspect of his thought is what makes Fontana’s shredding of the classical modernist flat picture plane far more than an art historical curiosity (or modern tragedy).

...with Fontana, the grand, elegant slashing of monochromatic canvases with a razor blade, far from an act of desperation, symbolizes a subordination of place to space typical of most tribal rituals. It is an invitation to mentally move beyond the surface of reality into an unconditioned reality. It is a conceptual act of access into the overwhelming infinite; an act more spatial than psychological.