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 suf´Čücient 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.

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).

Friday, November 3, 2017

Short Etude for Tuba

Logical Composition Has Been Truncated.

Logical composition has been truncated.

It has tried to begin and end in the middle, with the result that it has ended in the air.

Composition presents the curious anachronism of a science which attempts to deal with its subject-matter apart from what it comes from and what comes from it.  The objection that such a chapter on the conditions and genesis of the operations of knowing belongs to composition, only shows how firmly fixed is the discontinuity we are trying to escape.

As we have seen, the original motive for leaving this account of genesis to composition was that the act of knowing was supposed to originate in a purely psychical mind. Such an origin was of course embarrassing to compositional logic, which aimed to be musical. 

The old opposition between origin and validity was due to the kind of origin assumed and the kind of validity necessitated by the origin. One may well be excused for evading the question of how ideas, originated in a purely psychical mind, can, in Kant's phrase, "have objective validity," by throwing out the question of origin altogether.  Whatever difficulties remain for validity after this expulsion could not be greater than those of the task of combining the objective validity of ideas with their subjective origin.

Intellectual advance occurs in two ways. At times increase of knowledge is organized about old conceptions, while these are expanded, elaborated and refined, but not seriously revised, much less abandoned.

At other times, the increase of knowledge demands qualitative rather than quantitative change; alteration, not addition. Men's minds grow cold to their former intellectual concerns; ideas that were burning fade; interests that were urgent seem remote.

Composers and performers face in another direction; their older perplexities are unreal; considerations passed over as negligible loom up. Former problems may not have been solved, but they no longer press for solutions. 

Composition is no exception to the rule. But it is unusually conservative--not, necessarily, in proffering solutions, but in clinging to problems. It has been so allied with theology and theological morals as representatives of composer’s chief interests, that radical alteration has been shocking.

Composers activities took a decidedly new turn, for example, in the seventeenth century, and it seems as if composition was to execute an about-face.  The association of composition with academic teaching has reinforced this intrinsic conservatism. Scholastic composition persisted in universities after composer’s thoughts outside of the walls of colleges had moved in other directions. In the last hundred years, like composition,  intellectual advances of science and politics have in like fashion been crystallized into material of instruction and now resist further change. I would not say that the spirit of teaching is hostile to that of liberal inquiry, but a composition which exists largely as something to be taught rather than wholly as something to be reflected upon is conducive to discussion of views held by others rather than to immediate response.

Composition when taught, inevitably magnifies the history of past thought, and leads composers to approach their subject-matter through its formulation in received systems. It tends, also, to emphasize points upon which composers have divided into schools, for these lend themselves to retrospective definition and elaboration.

Consequently, compositional discussion is likely to be a dressing out of antithetical traditions, where criticism of one view is thought to afford proof of the truth of its opposite (as if formulation of views guaranteed logical exclusives). Direct preoccupation with contemporary difficulties is left to literature and politics. 

If changing conduct and expanding knowledge ever required a willingness to surrender not merely old solutions but old problems it is now. I do not mean that we can turn abruptly away from all traditional issues. This is impossible; it would be the undoing of the one who attempted it. Irrespective of the professionalizing of composition, the ideas composers discuss are still those in which Western civilization has been bred. They are in the backs of the heads of educated people.

But what serious-minded composers not engaged in the professional business of composition most want to know is what modifications and abandonments of intellectual inheritance are required by the newer ‘Big Data’ analytics movement.

They want to know what this new movement means when translated into general ideas. Unless professional composition can mobilize itself sufficiently to assist in this clarification and redirection of composer's thoughts, it is likely to get more and more sidetracked from the main currents of contemporary life. 

"D'coder" for Hohner Echo Harmonica

Technical Studies for Viola

Breakthrough Music Tablature Experiments Continue with Circos.

"A Tactical Comparison of the Net and Cutlass"  Bil Smith Composer

"A Tactical Comparison of the Net and Cutlass" Bil Smith Composer. 2011 & 2014. 

Score Excerpt...for Bass Flute 'Implicatio' and Soprano Trombone 'Meta-Induction'

"Angelita Vorkink, Piliphiliac"  The Score:  Bil Smith Composer

Score Excerpt (Flute) from"Partitions: Cambics Alive in Sensient Amplules"  Bil Smith Composer

"Phenodynamic A-Life Thesis"

"Spectral Codes" for Cornet and Bass Flute