As many have witnessed, often, a new music composer's career is rarely made on one composition, rather it’s the long and slow accrual of published scores, performances, recordings, activities, community service, and so forth that firmly establish one’s reputation.
And yet, we now live in a moment of the bounce, where Google Alerts are triggered at the mere mention of a composer's name or work, or tweets can ricochet information about a performance to thousands of followers in an instant.
It’s certainly gratifying for composers — often working alone — to know minute-to-minute that someone out there is engaging with the work.
And it can be addictive.
In the new information landscape, it’s the re- gestures (the retweet, the reblog) that seem to carry the most weight. For example, the popular blog Boing Boing doesn’t create anything: they simply point at cool things. And the gesture of Boing Boing pointing at something always trumps the thing at which they are pointing, making us aware that the new power-base is in the filtering, distribution and management of information, not in the original creation of it.
For example, If I tweet something that I know takes a long time to digest — say, a lengthy experimental abstract composition score — a minute later, I find that it’s been retweeted by dozens of people. Now while many may be familiar with that work, most aren’t.
And most haven’t even engaged with it. But rather, it’s the name-check and the cool-factor of the information combined with the passion for sharing it, which creates a bounce.
The citation, the act of moving that information, has more cache than the object to which its referring.
All of this is to point out the new quandary that composers — whose notions of composing and performance were forged in the age of the slow roll — face in the age of the bounce.
To construct a career as a composer based on the ephemerality of the meme is at once thrilling and terrifying.
Embracing it is like jumping off a cliff and freefalling, throwing away the script that we’ve come to know so well. Yet it seems inevitable; it’s clearly the next move; it will happen. The question is how it will happen and how much human intervention will be necessary to successfully sustain it as a viable compositional practice.
I think you’d be hard-pressed to find a composer who doesn’t have their eye on the bigger picture; I can’t name a composer — even the most radical and “uncreative” — who would choose the model of a bouncy meme over the slow roll of music history.
Composition for Cello, Chamber Ensemble, Inverted Equilibrium Sonic Pendulum, Exocyclic Trumpet in B flat, Schilke b3l Tunable Beryllium Bell Trumpet, Elliot Easton SG Custom OHSC Electric Guitar, Zildjian 22″ C2 Gong / Cymbal, LP Galaxy Giovanni Tumbadora, Retrosium Flute and ROLI Seaboard Grand.
From the performance notes/depiction of the Inverted Equilibrium Sonic Pendulum and the Cello:
We have executed a control method for maintaining an inverted pendulum in the unstable equilibrium position. This application is a classic lesson in control science, frequently utilized in ballistic guidance. In the case of the Cello, the proportional-integral-derivative (PID) method was implemented in LabWindows with test mass.
Once optimal parameters for the algorithm were established, trials were conducted in which individual gain constants were varied while controlling string and bow pressure to observe changes in instrument behavior.
When applying bow pressure, vector fields can have several special points: a stable point, called a sink, that attracts in all directions (forcing the concentrations to be at a certain value), an unstable point, either a source or a saddle point which repels (forcing the concentrations to change away from a certain value), and a limit cycle, a closed trajectory towards which several trajectories spiral towards (making the concentrations oscillate).
Repostulate in a alternative tablature system; topological models of morphogenesis.
It is at this level that the notions of honesty and impartiality meet. An action, a method or a type of reasoning is fair if it rejects arbitrary preferences, undue favor, or partiality and it does not aim to win out by dishonest means or force. "Fair Play" refers to a respect for the rules of the game.
Polysemy connotes a multiplicity of meanings in a given compositional
notation referring at once to multiple contexts for interpretation. Perhaps the
most inclusive category of its kind, polysemy indicates the coincidence of
multiple and sometimes contradictory meanings under the same notation, as
opposed to irony, a discrepancy between two meanings or interpretations;
aporia, a logical impasse; or indeterminacy, an indecision with regard to
There are two fundamental paradigms by which one can think
about the occurrence of polysemy in musical composition; referential and
The referential paradigm assumes that notation has the basic
function of referentiality, i.e., it points to things that exist outside it;
accordingly, polysemy would be understood as a trait of certain notational
passages in which signs do not function ordinarily (having one or two referents
at most) but bear multiple relational associations, so that such a notational
passage becomes a reverberating echo chamber of meanings.
Nevertheless, these intricate webs of meanings and
associations do not occur spontaneously but are aligned along the same axis of
symbolical associations. A sign in a given polysemous composition will bear
multiple relational meanings, while certain unassociated meanings will remain
excluded from consideration.
Even though each signifier will have more than two
signifieds, polysemy under the referential paradigm will always remain a
polysemy of controlled meanings— confined, as it were, to the rule of