Friday, March 24, 2023

"Similar Monomania" For Orchestra and Seven Pianos. Bil Smith Composer

                                                                                                                                                             

  "Similar Monomania" For Orchestra and Seven Pianos.   
Bil Smith Composer                   

THE RECORDING: on SoundCloud

  https://soundcloud.com/bil-smith/similar-monomania-for                                                                                                               

"Remarkably comfortable with causation, he seems to be moving through some ritual process that explodes into life threatening chaos at any moment.

It's tempting to talk about shamanic journeys. The absence of a prevailing stylistic orthodoxy is striking"



- Clive Bell on Bil Smith's "Similar Monomania" for Wire 





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"Personico Antiqua" For Percussion Ensemble and Live Electronics.

"Personico Antiqua" 
For Percussion Ensemble and Live Electronics. 
Bil Smith Composer 
On Soundcloud:

Thursday, March 23, 2023

Wednesday, March 22, 2023

The Trumpet Fanfares. Bil Smith Composer

 

"Mirador"  A Fanfare for B Flat Trumpet

"Nabokov's Wearisome Cleverness" For C Trumpet


"Picador" For B Flat Trumpet


"Fanfare Labor" For B Flat Trumpet



Tuesday, March 21, 2023

"Thrones De Los Cantares". A Micro-Opera. The New Recording


"Thrones De Los Cantares" (A Micro-Opera)

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).


*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.
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.
The recording:



Every semiotic segment produced by the contemporary composer must meet and match innumerable other semiotic segments in order to form the combinatory frame of the sonic commodity, musico-capital.
Musico-capital puts neuro-psychic energies to work, submitting them to mechanistic speed, compelling cognitive activity to follow the rhythm of networked performance. As a result, the emotional sphere linked with aural comprehension is stressed to its limit. ​

Friday, March 3, 2023

Wednesday, March 1, 2023

Many composers compose pieces like they’re writing movies in a superhero franchise.


Many composers compose pieces like they’re writing movies in a superhero franchise: all really similar, entertaining enough, but we’re bored.

In a figurative sense, the relationship between a musical composition and a musical instrument could be likened to that of a canvas and any marks it bears. This relationship is both multifaceted and causal: for example, the textured surface of a canvas can affect the nature of the material it sets forth (cf. the pencil-on-canvas work of Agnes Martin).
The musical instrument offers the same function to a composition; the relationship between the body of the performer and their instrument defines an ecology with which the musical work necessarily interacts.
This interaction could be one of compliance – the idiomatic writing of a Paganini caprice – or subversion - the impossible glissandi employed within Xenakis’s Mikka (1971). Between these two extremes is a music that sets out to exploit the aberrant characteristics of an instrument. In the case of the baroque violin, extreme bow pressure or severe detuning (amongst other techniques) will produce unpredictable sonic responses to otherwise identical physical impetuses.