Friday, August 26, 2022

Thursday, August 25, 2022

"An Approach to Standardizing Pedagogy for Extended Techniques on Tuba" by Sean Kennedy


"An Approach to Standardizing Pedagogy for Extended Techniques on Tuba" 

By Sean M. Kennedy

 A Document In Tuba Performance 


ABSTRACT by Sean Kennedy :

The purpose of this document is to examine and attempt to standardize a pedagogical method for extended techniques for the tuba. This document will pull from various source materials including repertoire for the tuba and an examination of various documents on extended techniques for other instruments. 

This document will include common existing extended techniques for the tuba and will attempt to introduce new extended techniques that can be adapted for the tuba. Each technique will be described from a proposed sound concept. Notational examples from the repertoire will be included to aid in understanding the function of the sound concept. 

"Cadmium Plate Riff" For Renee Baker, Viola


"Cadmium Plate Riff"

For Renee Baker, Viola

Link to Score PDF Download:


Bil Smith Composer



The Score Published on LNM Editions

(Laboratorie New Music)








Essentially, Music is a Contract...A Form of Legislation.






"Essentially, music is a contract...a form of legislation. For any form of notation to be effective, there must be an agreed set of components or elements." 



"Small can be complex:

Consciousness is valuable to us. Indeed, it is arguably the most valuable thing of all: it is what allows us to enjoy our interactions with the world, and it is what confers moral status upon us.
If consciousness was not preserved by the mind-uploading process, it is difficult to see why we would care. So consciousness is a necessary condition for a valuable form of mind-uploading. That does not, however, make it a sufficient condition.
So is the "Irrational Enterprise" a real compositional idealism?"

Wednesday, August 24, 2022

Polysemy, Aporia, Irony and Indeterminacy



Polysemy, Aporia, Irony and Indeterminacy

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 meaning.

There are two fundamental paradigms by which one can think about the occurrence of polysemy in musical composition; referential and differential.

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 association.