Sunday, November 18, 2018

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

Flatten Your Vanity. Bil Smith Composer

"Flatten Your Vanity"

Bil Smith Composer

For Pedal Steel and Cello


3' 02"

Commissioned by LafargeHolcim

World Premiere: The Norwood Club, Chelsea, New York City

Published on LNM Editions

Thursday, November 8, 2018

"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

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.

Thursday, November 1, 2018

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."