Friday, December 31, 2021

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)

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).

"Past the Tan Silence" for Double Bell Bass Trombone. Bil Smith Composer, 2021


"Unicycles Flashing Like Jeweled Lances" For Solo Tuba

"Unicycles Flashing Like Jeweled Lances" 

For Solo Tuba

Bil Smith Composer

Link To PDF Score:

A Commission from Yamato Holdings

"Pumper Wired Alambrada" for Cello. The Score

"Pumper Wired Alambrada"

For Solo Cello

The Score:  32" X 14"

Bil Smith Composer

A commission from ENI SpA

Premiere:  January 12, 2016.  New York, NY

Full Score

Thursday, December 30, 2021

"Valentina Gabor: Fairy Godmother". Bil Smith Composer

"Valentina Gabor: Fairy Godmother".  Bil Smith Composer.

for Viola, Pardessus de Viole, Alto Guitar, Pedal Steel Guitar, Archlute and Mandocello.

Premiere Performance April 15, 2015.

MIPTV.  Palais des Festivals, Cannes, France

Commissioned by Foxtel

Publisher: Laboratorie New Music

"Locked Transit" for Flute and Bassoon. Red Fradler Composer.

"Locked Transit" for Flute and Bassoon

"Locked Transit" for Flute and Bassoon.  

Red Fradler Composer


Published by LNM Editions

(Laboratorie New Music)

"An Aggregation of Dipsomaniacs..." A New Recording for Orchestra. (Commentary from Ai Weiwei)

"An Aggregation of Dipsomaniacs (The Facile Identification of People by the Floors On Which They Lived)"

Bil Smith Composer.

For Orchestra.

In the program notes we read:  I’D LIKE YOU / TO CONSUME PART(S) / I PROMISE

"This is a manifestation of Smith's open-ended approach, and a suggestion of intimacy between the composer and his performers.

With its many layers, "An Aggregation..." successfully undermines the exiguous, cause/effect trajectory between the performative act and its archiving:  execution, conception, and documentation were collapsed and then restacked.

Smith's repetition is relentless yet evolving, approaching a point of excess well suited to the context of a club scene.   Energy drinks appeared in piles around the performers were imbibed during the performance (part of the performance directives)—a mischievous nod, perhaps, to performance art’s tests of endurance, and one that effectively dislodged the cliché of that practice’s discipline and orthodoxy.

Smith's work deals with stamina, but his vision is fortified by late-night “performance” enhancers: Going to the club is about “letting go,” and here the ostensible rigor of the Judsonesque improvised gesture is nudged toward a caffeinated, youth-cultural counterpart."

-Ai Weiwei

Wednesday, December 29, 2021

"Ave Maria" for Two Sopranos

"Ave Maria"

For Two Sopranos

Bil Smith Composer

World Premiere: Saint Peter's Roman Catholic Church
22 Barclay Street
New York, NY

October 18, 2015

Publication on LNM Editions

"Detlin's Baby"...for Bass Flute and Celeste. Bil Smith Composer

"Detlin's Baby"...for Bass Flute and Celeste. Bil Smith Composer An Ideographic, hand drawn score utilizing deconstructionist fundamentals.

"If we interpret erasure as graffiti, the erasure is an 'enigmatic surplus' to the original drawing. Although it could also be seen as an attempt to re-clean the background, to move it towards the blank sheet which is more 'suitable for performance interpretation'. However, the thought it prepares the way for is inevitably polluted by the traces of the background that is never successfully cleaned. 

The erasure moves the background into a state which is more suitable to a musical realization, but only an interpretation in relation to itself. This can be seen as an extension of my earlier argument that the erasure invites a departure that is founded on the original compositional drawing."

Paul Crowther writes:

" Deconstruct history or texts in the style of Derrida or Foucault is to make evident that play of difference - that ungraspable network of relations, which sustains but is concealed by claims to self-presence. It is, in other words, to offer an insight into, or partial presentation of, a totality which as a totality is unpresentable. This, as Derrida remarks, "gives great pleasure" (Crowther in Papadakis (ed.), 1989, p.99)