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

Thursday, December 30, 2021

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

"Locked Transit" for Flute and Bassoon



"Locked Transit" for Flute and Bassoon.  

Red Fradler Composer

2016-2017

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:

"...to 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)

Friday, December 17, 2021

"MetaMaterials" - Furthering Explorations for a Manifesto of a New Musical Lexicon


Furthering Explorations for a Manifesto of a New Musical Lexicon

Metamaterials are an amalgamation of artificial structural elements, designed to achieve advantageous and unusual electromagnetic properties.





Actually such a flexible definition is incomplete on the one hand, and too strict, on the other. It is helpful to draw the following analogy: Metamaterial is composed of its elements in the same sense as matter consists of atoms. But these structural elements themselves are made of conventional materials, i.e., finally, of normal atoms.

Accordingly, metamaterial represents the next level of structural organization of matter.

So the question begs...how do we apply this in a musical/compositional/auditory context?






Archetype IV of the score "Red Lounge: Zero Theorem Tracheal Splint" for Mixed Choir. Extended application of Metamaterials.

"HellHound"
 For Tuba


Wednesday, December 8, 2021

About Commissions for Composers.


I find it entertaining when people suggest that when I, or another member of Laboratorie New Music cite a commission for our compositions on this website, for a score, a performance or in one of our published works, that some individuals find this impossible and untrue.

I decided to help on this matter by explaining a few key points.

First, if I ever cited a commission from a sponsor company that was untrue, the type of companies who are our generous sponsors, would have an army of trademark and intellectual property attorneys all over us.

The fact is that these corporate attorneys have web crawlers that identify when, and if, the corporate name and logo are used at anytime and anyplace.  If you use their name or logo/symbology in an unauthorized manner, you get this joyful "cease and desist" letter.

We don't have any of these letters in our archives.

So let's move past this...

"How on earth do we get these large, rich companies to sponsor our compositions?"

Let's think in a business-like manner...or even better, let's just use common sense.

When I teach, I find it fascinating that students/composers feel that they are entitled to receiving monies for their creative efforts. Yet, they dismiss the one key life lesson...if you want something (i.e. an advance commission for your work), you need to give the sponsor something back in return.

In Advance.

Now I am not speaking of the final work, I am speaking of what can you give them in advance to let them know you are sincere. If it is Ford or Petrobras or HSBC, you have to ask yourself...what's in it for them?

If you still do not buy into this, go ahead and research me.  I have another job.  Just like Brian Ferneyhough has his Stanford gig, Pierluigi can turn down Columbia to stay put, and most teach in esteemed universities to pay the bills.

For me, and a few others, I choose to take a bit of a different path, but I feel lucky because what I do is imminently more interesting than Ives (Insurance).

My job is that I make up name for products...yes just the names.  You use them everyday...Xbox, Outlook, Excel, Aeron, Escalade.

OK...enough.  But through this experience dealing with the largest companies in the world, I learned a bit about how to win them over.

Over the next few weeks I will share some tips on how this is done.  If you are interested, tune in.  It will not be the 'Golden Key',  but a few tips will be forthcoming and it is up to you to make them work.

Bil



"Product Of My Velocity" for Piano