"Huwor". The Final Fanfare for Cornet. The Right of The Embedded Score.

"Huwor" 

The Final Fanfare for Cornet.  

The Right of The Embedded Score.

Bil Smith Composer

Commissioned for the Opening of 56 Leonard St.

A Herzog & de Meuron Project

"Verses". For Wellendorf Flute (Composition In Progress)

"Slatelet"

"She Was Pleated Like A Slate Grey Musty Accordion" For Flute and Clarinet

Excerpt: New Work For Electric Guitar

"Branch Chains". A Contact Exercise for Clarinet. Bryce Mays Composer

"A Hand of Patience on the Floor of the Pool" (2012-2013). The Recording

"A Hand of Patience on the Floor of the Pool" (2012-2013). 

Bil Smith Composer.

LISTEN on SoundCloud  

https://soundcloud.com/bil-smith/a-hand-of-patience-on-the

Flute 2

 Bruised mouth, plane of intersection

Flute 3 

Supine forearm extended across a candlewick bedspread

Tape 1

Alto Flute; Handhold of Reality

Non-Tape Alto Flute 2

Hand beneath her knees and gripped her/his right thigh

Tape Ex

Independent existence , the phenomenology of the pre-Cambrian trilobite

Flute 1

Whirled-down draught; defective tape 

A Clarinet

Sonic pegged down too firmly...fluid backward to the poet of drainage

"Gan Harlequin Syndrome" for Solo Piano. First of 317

"Gan Harlequin Syndrome" for Piano.  The first of a series of solo piano vignettes to be performed in sync.

L'impossible, Clavicorde Bolcheviste. Bil Smith Compositeur

"Fetishistic Splits" (see Zizek) Bil Smith Composer

Zizek talks about fetishistic splits, in which subjects – especially late modern subjects  (The Clavichord)– has specific knowledge but behave as if they don’t. 

This dynamic is one side of the “what counts as a belief” coin for Zizek, who would insist that beliefs that don’t affect action are in a sense not “genuine” beliefs. 

The other side of the coin is that suppressed beliefs which do affect action are real beliefs, even if they’re hard to fit into traditional epistemological frameworks because they’re inaccessible to the subject...hence, the clavichord.

Definition of the Day...

"Compositional Multimodality ... in the broadest sense, composition which contain a multitude of semiotic modes. 

Multimodal scores call for new systems of analysis proficient in realizing and describing the rapport between expressive modes."

"Polygon(e) Epistle" . The Recording

"Polygon(e) Epistle" 

for Chamber Ensemble, Choir, Scalable Sub-Choir (via InterCloud, Analogous Heat Mediated Strata, and Narrated Sub-Plot (compounded events). 

Bil Smith Composer 

2012-2013

Recording available for a limited time on SoundCloud:

https://soundcloud.com/bil-smith/polygon-e-epistle-for-chamber 

"The New Simplexity" (Flute, Bass Clarinet, Alto Sax, Percussion and Piano)

"Rest" For Solo Harp.

New Work for Solo Violin (Excerpt)

New Work for Solo Violin (Excerpt)

A Commission from Walgreens Boots Alliance

2018

Calibrium, A Synthetic Etude for Violin

"Spomata- Freemano" A Compaction Music. (Recording:13 seconds)

"Spomata-Freemano"

A Compaction Music

Bil Smith Composer

Listen on SoundCloud

https://soundcloud.com/bil-smith/spomata-freemano-14-000908

Reductionists are those who take one theory or phenomenon to be reducible to some other theory or phenomenon. For example, a reductionist regarding mathematics might take any given mathematical theory to be reducible to logic or set theory. 

Or, a reductionist about biological entities like cells might take such entities to be reducible to collections of physico-chemical entities like atoms and molecules. 

The type of reductionism that is currently of most interest in metaphysics and philosophy of mind involves the claim that all sciences are reducible to physics. This is usually taken to entail that all phenomena (including mental phenomena like consciousness) are identical to physical phenomena.

"Uniformed Handlers Fooling Elaborately With Their Whiskers"

"Twose" for Piccolo and a Word on 'Trauma Theory'

"Twose" for Piccolo

Compositional skepticism, whether of the anarchic or the methodical kind, has challenged the possibility of certain knowledge. 

Trauma theory introduces a psychoanalytic skepticism as well, which does not give up on sounds but suggests the existence of a traumatic kind, one that cannot be made entirely conscious, in the sense of being fully retrieved or communicated without distortion.

We have only a beginning, something like a hyper-community of musical explorers. The theory derives mainly from psychoanalytic sources, though it is strongly affected by compositional practice. 

It recasts, in effect, an older question: what kind of music is art, or what kind of music does it foster?

The theory holds that the music of trauma, or the music which comes from that source, is composed of two contradictory elements. One is the traumatic event, registered rather than experienced. It seems to have bypassed perception and consciousness, and falls directly into the psyche. 

The other is a kind of memory of the event, in the form of a perpetual troping of it by the bypassed or severely split (dissociated) psyche.

Curious 4

"Vortices and Randomized Topological Solitons in Dense Quark Matter" for Solo 'C' Trumpet (with Temporal Adhesions). Bil Smith Composer

"Vortices and Randomized Topological Solitons in Dense Quark Matter" for Solo 'C' Trumpet (with Temporal Adhesions). Bil Smith Composer, 2011-2014.

World Premiere: Norwood Club, New York, NY.  August 27, 2014.

Commissioned and Sponsored by Altria Group, Inc. and Dickstein Shapiro, LLC.

New Office for Laboratorie New Music and LNM Editions

 Laboratorie New Music and LNM Editions (our publishing arm) are excited about our new location in Tribeca

Our New Location

The  Neighborhood

The  Neighborhood

New Work for Viola: Excerpt

Performance Notes Excerpt for New String Quartet