Friday, December 15, 2017

“Eseltelle Genève” for 2 Orchestras. Bil Smith Composer. Recording on Laboratorie New Music Label: Comment by Bansky


“Eseltelle Genève” for 2 Orchestras. 
Bil Smith Composer
                                          Commissioned by Boston Scientific and RyanAir.                                                                                                                                                                                                             RECORDING on SoundCloud: 



“Eseltelle Genève” for 2 Orchestras: setting for Orchestra II.  Bodø, Norway
At a lecture, overheated and exhausted I begin to explain how music is “formally evil.”   In music, a subject picks out another imperfect subject to raise above all else; everything in the universe is forfeit for the sake of the object of music (as in ‘love’).


In this work the reduced orchestral landscapes demand the large ensembles (Orchestras) to achieve a result that lies at the higher end of acoustical preoccupation. As I am a ‘soundcologist’ surrounded in an environment that is constantly accelerating in a perception of time, I advocate pausation…in the emptiness and silence we encounter ourselves …an absence of sound, and thought.
Bil Smith
The concept of "universal music’ (aka: 'Love) is banal” and the only proper attitude towards the world of sonic phonomorphisis is hatred or apathy.  In a previous essay, I suggested a kind of radical violence, which cuts universally, is necessary to break through the false sense of universal music, of vacuous tolerance that dominates current discourse.
The response to this tolerant and empty form of universal music should not be an ethical violence, but more music.  The sentimentality of a kind of ethical music takes the form of a superegoic demand of the fetishist universe of composers.   ‘Love every music!’

"Bil Smith's critics—and there are many of them—have accused the master of deliberate obscurantism and misinterpretation of his sources—if not outright leg-pulling."
Banksy

Wednesday, November 29, 2017

Monday, November 13, 2017

"Fundamental Overture" and Performativity

"Fundamental Overture" 
Bil Smith Composer
Performativity is the hallmark of thinking in accordance with immanence.
Agree?: {Clap along if you feel like a room without a roof}
It provides the cri­terion for an important contrast between the self­ sufficient or musical practice of composition and its empirical activity whose claim to theoretical legitimacy is only ever assured through its performance.
{I know that I'm carrying on, never mind if I'm showing off...I was just frontin'}.
It may be that this Fundamental Overture's crisp, sharply delineated mode of abstraction turns out to be far more concrete than those nebulous abstractions which composers try to pass off as instances of concretion.
Agree?: {Clap along if you feel like that's what you wanna do }
In other words, the criteria for evaluating the worth of 'Non-Compositional'­ function are not available to composers, who know not what they do.
In 'Non-Composition', radical axiomatic abstraction gives rise, not to a system or doctrine inviting assent or dissent, but to an immanent methodology whose function for music no one is in a position to evaluate as yet.
{Clap along if you feel like happiness is the truth}
Ultimately, then, 'Non-Composition' can only be gauged in terms of what it can do.
And no one yet knows what 'Non-Composition' can or cannot do.
Clap+

Monday, November 6, 2017

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)



Experimental Tablatures Utilizing Relevance Theory and Reflexification
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) 

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).