Telemetry. For 48" Zildjian Gong.

"Saracta Manufactory; A Left Zygomatic Arch" for Solo Situationist Soprano." - The Performers and Performances

"Saracta Manufactory; A Left Zygomatic Arch" for Solo Situationist Soprano."

Amanda DeBoer Bartlett. Soprano

"Saracta Manufactory; A Left Zygomatic Arch" for Solo Situationist Soprano."

Anna Netrebko. Soprano. Premiere Performance.

"The more types of empirical evidence supporting the idea that composers intuitions about hypothetical scenarios are not especially well grounded, the more general pressure there is against those who think composer's intuitions about such scenarios have special epistemic merit. 

Purist extremism on either side seems unwarranted: Almost everyone would agree, that composers are subject to many of the same epistemic vices as everyone else in some respects and have some special skills in other respects. 

So the question becomes: What are the boundaries of compositional expertise? I believe that those boundaries might be narrower than one would have thought."- M. Ades

"In 'Saracta', it may be that the performer, having resisted the idea that the intimate combination of free verse, traditional notation and unusual typography could be coded, now resists the idea that the code could be seriously put into doubt." 

- Amanda DeBoer Bartlett

"Against the formless continuum of life, I posit the need for radical discontinuity; against the false modesty of finitude, pleading for the mathematical infinity of everyday situations; against the lure of ultraleftism, this music vindicates the dilettante Sopranista."

-Anna G. Smith

Guided by a small set of fundamental questions concerning the nature of the voice, the event, the subject, and truth, I push to an extreme the polemical force of lyrical nomenclature.

"Florida Fantasy". For Echo Cornet. Bil Smith Composer

"Florida Fantasy": A Lacuna of Auditory Reverberations

Review, Analysis and Commentary Provided by Claes Oldenburg

"Florida Fantasy" is an ontological rupture in the fabric of auditory experience.

In this enigmatic composition, the Echo Cornet serves as both the vessel and the medium, a conduit for transmitting the uncanny resonances of a Florida dreamscape.

But what is the Echo Cornet if not a Lacanian objet petit a, an object of desire that tantalizingly evades full comprehension? Its echoes reverberate not only in the realm of sound but also in the caverns of our unconscious, conjuring up specters and echoes of sensations long forgotten.

"Florida Fantasy" plunges headfirst into the chasm of visual iconography, an encrypted codex of signifiers and signifieds that beckon us to decipher their enigmatic message. Here, we are confronted with the gaze, the symbolic inscription that hints at truths beyond mere notes and chords. The score becomes a theater of semiotic insurgency, where traditional musical semiotics meet their untimely demise.

But what, you may ask, is the significance of "Florida Fantasy" in the grand schema of cultural discourse? In this age of simulacra and hyperreality, where music has been commodified and packaged for mass consumption, this composition emerges as a radical insurgency, a sonic guerrilla warfare against the status quo. It is a salvo fired against complacency, inviting us to dismantle the very foundations of our auditory certainties.

In the universe of "Florida Fantasy," the Echo Cornet becomes an interlocutor of contradictions, an instrument that embodies the dialectic of absence and presence, of resonance and dissonance. It reminds us that the auditory experience is never linear; it is a rhizomatic entanglement of echoes that traverse the depths of our collective unconscious.

The score carves a trajectory that transcends the constraints of the sonic realm. It breaches the boundaries of what is sonically permissible and ventures into the domain of the Real, where the echoes of our desires and anxieties collide. It is a sonic eruption that shatters the fragile veneer of auditory reality, exposing the underlying fissures and fractures that have been obscured by the symphonic façade.

"Aftonian Sequenza" For Solo Instrument

"Aftonian Sequenza"

For Solo Instrument

Bil Smith

I’m really interested in examining not only the status of the notation as a potential form of agency in and of itself, but also the question of what the figure of agency is in composition; and trying to somehow work through this ideal of interpretation in music composition.

The combinatorial visualized score of "Aftonian Sequenza" defies the confines of conventional notation, embracing a language of juxtaposed symbols, intersecting lines, imagery and layered textures. This visual language embodies the very essence of combinatorial exploration, where the performer's role extends beyond the confines of a traditional interpreter .

As we venture deeper into the score's enigmatic terrain, we encounter a dialectic of agency and interpretation. The notion of agency, once rooted in the hands of the composer, now becomes a collaborative effort between composer, performer, and the score itself. The score assumes agency by inviting the performer to navigate its intricate visual syntax, where each element serves as a signpost pointing toward a multitude of sonic possibilities.

Interpretation, in this context, transcends the mere execution of written notes. It becomes an act of engagement with the visualized score, a dance between the performer's intuition and the score's encoded provocations.

The score's design draws inspiration from the urban landscape as it absorbs influences from a myriad of artistic disciplines. The score's visual eclecticism engages with interdisciplinary collaboration, where architecture intersects with philosophy, art, and technology. The composition weaves threads of various artistic languages, forging a holistic experience that transcends traditional musical boundaries.

"Jester Queen" for Euphonium

 

"Jester Queen"

For Euphonium

Bil Smith Composer

Published by LNM Editions

In the world of contemporary music composition, the creation of a score is akin to the construction of an architectural marvel—a melding of sound, structure, and expression. In "Jester Queen" for Euphonium, delves deep into the intricacies of this score, examining how notational archetypes and visual dynamics intertwine to create a transformative auditory experience.

At its core, "Jester Queen" embraces the ethos of complex compositional techniques. The score navigates the territory of notational archetypes which are akin to an architectural blueprint, guiding the performer through a labyrinth of sound, texture, and expression.

The incorporation of a tablature as a broad direction in "Jester Queen" echoes my aspiration for transformative design. The tablature serves as a compass, orienting the performer within the sonic landscape that unfolds. This approach to notation resonates with compositional design as a form of intellectual exploration, where structure becomes a vessel for expression.

However, "Jester Queen" goes beyond the tablature. It engenders specific notions of desire across various disciplines, blending aesthetics with functionality. The score becomes a microcosm of artistic endeavors— a testament to the interplay between different modes of expression. This novel notation shapes the musical environment forging connections between the tangible and intangible.

Characterized by fragmentation, interference, and deconstruction, the score becomes a palimpsest of notational representation, woven together with threads of visual dynamics. This design sensibility disrupts orthodox composition methods and redefines the boundaries of exploration of materiality. The illegible and hardly readable elements embody the spirit of deconstructivism, inviting the performer to uncover hidden layers of sound and meaning. This tactile quality imbues the score with a human touch: a medium of human interaction and experience.

Yet, the score of "Jester Queen" goes beyond mere tablatures. It sets forth specific notions of desire—ambitions that transcend musical genres and disciplines. This musical opus embraces the total spectrum of human emotions and artistic yearnings.  The Euphonium is a vessel that resonates with a penchant for weaving complex allegories that reflect the myriad facets of human experience.

At its core, the visual compositional language of "Jester Queen" mirrors the fragmentation and reconstruction which becomes a tapestry of contrasts—worn and textured, often illegible yet imbued with an innate sense of human warmth and touch.

The Score: "Vortices and Randomized Topological Solitons in Dense Quark Matter" for Solo 'C' Trumpet

"Vortices and Randomized Topological Solitons in Dense Quark Matter" for Solo 'C' Trumpet (with Temporal Adhesions) Bil Smith Composer

Certain quasi notational systems require non-linear quantification to express their meaning. 

We investigate compositions with combinations of quantifiers similar to Hintikka’s examples and propose a novel alternative musical reading expressible by linear formulae. Particularly with a neographic score, his interpretation is based on aural, textual, visual and logical observations. We report on our experiments showing that performers tend to interpret compositional passages similar to Hintikka's sentence in a way consistent with our intended interpretation.

"Standard Violation". A John Haynie Exercise for Trumpet

"Standard Violation"

A John Haynie Exercise for Trumpet

Bil Smith Composer

In Memoriam 

"Risk Mitigation" for Claves and Vibra-Slap

"Chroma Blast" for four pianists and seven pianos. Bil Smith, Bernhard Gander, Virgil Schindler: A Particularization of Peter Parker

Chroma Blast for four pianists and seven pianos.

Bil Smith Composer, Bernhard Gander Composer, Virgil Schindler, PVC

A Particularization of Peter Parker

Recording on Soundcloud:

https://soundcloud.com/bil-smith/chromablast

Premier, 58-60 Leonard Street SiteSpec adjacent to the new Herzog and de Meuron (architects) designed '56 Leonard' Project.

The premiere made possible with the generous support of A.P. Moller–Maersk Group.

This performance of the eve of a separate performance of the original 'Peter Parker' for solo piano at Centralstation (Halle and Saal)on the final evening of the Darmstadt Summer Courses.

Reinfactional Recording:

Pianists:

Sulayman Agmundr

Adria Jaki

M. Buolo Partidgis

Rebbecah Lesly

"Stray Radiation". For Solo Harp. The Score.

"Stray Radiation"

For Solo Harp

The Score

Bil Smith Composer

Commissioned by Brand Acumen

The Full Score (29 Pages: PDF)

https://drive.google.com/file/d/1DDcV_P_M8IlHT32-htv4X4ZOvhzxluoB/view?usp=sharing

Cardew's Treatise: Graphism as a Transformational Interpretive Paradigm

Cardew's Treatise: Graphism as a Transformational Interpretive Paradigm

In the annals of music history, Cornelius Cardew's monumental work "Treatise" emerges as a harbinger of a radical transformation in the realm of musical notation. Much like The Critique of Pure Reason ushered in a paradigm shift in philosophy, Cardew's opus redefines the nature of musical communication.

Sensuous Synthesis

Transcendental idealism posits that human cognition synthesizes sensory data into meaningful experiences. In a parallel vein, "Treatise" synthesizes the visual and auditory realms into a multidimensional musical encounter.  Just as I assert that our perceptions are shaped by the interaction of sensibility and understanding, Cardew's graphical notations merge the sensory perception of symbols with the interpretive understanding of sound.

Intuition and Imagination

My distinction between intuition and imagination resonates with "Treatise's" innovative approach. Graphical elements in Cardew's composition become intuitive markers, inviting performers to engage their imaginative faculties.  My notion that intuition is an immediate perception of sensory content finds correspondence in the direct apprehension of visual symbols in "Treatise," which then guides the performer's imaginative journey through sound.

Unity in Diversity

My compositional theorem which places an emphasis on synthetic unity amidst diversity finds resonance in "Treatise's" mosaic of graphical elements. Just as I contend that the mind imposes unity on diverse sensory data to create coherent experiences, Cardew's composition invites performers to synthesize disparate visual symbols into a coherent musical narrative. 

Aesthetic Judgment

Today's aesthetics center on subjective aesthetic judgment, where the observer's perception becomes integral to the aesthetic experience. Similarly, "Treatise" calls upon performers to exercise their interpretive judgment to create an aesthetic journey. A composer's assertion that aesthetic judgments are not based on concepts but rather on subjective feeling aligns with the interpretive freedom "Treatise" bestows upon performers.

A Priori and A Posteriori Knowledge

The distinction between a priori and a posteriori knowledge finds analogs in "Treatise's" duality of visual-auditory understanding. While traditional Western notation relies heavily on a priori knowledge acquired through musical education, "Treatise" introduces an a posteriori mode of engagement. Performers navigate the graphical landscape, deriving insights a posteriori, unlocking new dimensions of musical cognition.

Critique of Traditional Notation

'New Graphism Composers' critique of metaphysical claims informs our understanding of how "Treatise" critiques traditional Western notation."Treatise" dismantles the metaphysical authority of conventional notation. It invites performers to engage in an embodied critique, challenging the rigid hierarchies and preconceived meanings entrenched in traditional notation.

Sublime and Aesthetic Ideas

Today's contemporary composers concept of the sublime resonates with the experiential dimension of "Treatise." The sublime is an aesthetic idea that exceeds the bounds of representation. Similarly, "Treatise" transcends the representational limitations of traditional notation, invoking the sublime through its graphical richness. The performer encounters the aesthetic idea that defies neat definitions.

A Paradigm Shift

Cornelius Cardew's "Treatise" stands as a profound paradigm shift in musical notation.  Graphism, within the context of "Treatise," evolves into a transformative interpretive tool, surpassing the confines of traditional Western notation. Just as Kant's philosophy led to a Copernican revolution in epistemology, "Treatise" enacts a Copernican revolution in musical interpretation. It challenges performers to become co-creators, shaping musical narratives through their interpretive choices. In a manner reminiscent of earlier critique of metaphysical speculation, "Treatise" critiques the metaphysical rigidity of traditional notation. Thus, "Treatise" stands as a bellwether, heralding a new era where graphism and interpretive freedom supplant the rigidity of established norms, and where musical expression takes on a transformative and dynamic dimension.

'Explorer, Producer, Stoic After Your Fashion". The Extracted Metallic Score.

'Explorer, Producer, Stoic After Your Fashion". The Extracted Metallic Score.

for String Quartet

Bil Smith Composer

Shown Here: 

Seven (7) 20" X 16"pages of a total of 19 pages + One Page 64" X 50"

All mounted on Diasec® from source transparencies.

Materials: 

Wellington Blue oil, blow torch, charcoal, Channel Black oil (Robert Doak), mica powder, copper shavings, awl, 'Grid System' (Carsten Nicolai), rubber bayer, acrylic resin, Unbleached Titanium (Robert Doak).

"Now The Maid Scours The Moths" for Flute

"Now The Maid Scours The Moths"

for Flute

Bil Smith Composer

Published by LNM Editions

Link to Hi-Res PDF Score:

https://drive.google.com/file/d/1J-J4HpDc1o6eOTrRpQjf2xdcsIcGSGnt/view?usp=sharing

Compositional Obstructionist Theories of Otto Werner (1927-2008)

Compositional Obstructionist Theories of Otto Werner (1927-2008), Professor of Music at Colorado State University.

Werner shared a profound theoretical manifesto only to his students (and never to external practitioners) based on Sebastiano Timpanaro and Jeremy Benthem's Panopticon writings. I studied with him for two years.

His outstanding gifts of textual criticism took the form of adversaria and punctual annotations that eventually yielded over a thousand pages of meticulous dissection of musical passages.

Werner cites a “plurally fraught metaphysical universe,” and a refusal of an authoritative “panoptic vision” of the world, spoiled both his own attempts at composition and the efforts of music critics looking for a tidy interpretive framework through which to engage and explain him. But as students of Werner, we echo his intent of a loose definition of young composers, the so-called “speculative realists.”

From Professor Werner... "the Panopticon is not merely, as Foucault thought, “a vicious, ingenious cage” (Werner misquoted this), in which subjects collaborate in their own subjection, but much more—constructing the Panopticon produces not only a prison, but also a god within it. The Panopticon is a machine which on assembly is already inhabited by a ghost."

Timpanaro

Werner's Redactionist approach to composition and performance was revolutionary and an absolute inspiration to a small, intimate group of composers.

Here is my response to my teacher/mentor...a purely Wernerian work employing all of his compositional coordinates.

This work of mine, "Organization Interpenetrate" for Obstructionist Solo Organ (Duration 1:43:34"), has been reviewed as "vexatious, galling, maddening, impossible, antagonistic, mundane, irritating, plagued, pestiferous :: subversive, insurrectionist, profound, political, extremist, 'provocateurian', hilarious, brilliant and untouched."

"Organization Interpenetrate" for Obstructionist Solo Organ on Soundcloud.

https://soundcloud.com/bil-smith/organization-interpenetrate