tag:blogger.com,1999:blog-54708863748431324512024-03-17T20:02:02.708-07:00"Sound Morphology" (Bil Smith Composer)The next word on new music.Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.comBlogger1547125tag:blogger.com,1999:blog-5470886374843132451.post-37829532845211732252024-03-17T07:12:00.000-07:002024-03-17T14:24:52.768-07:00"Debita Spissitudo" for Alto Clarinet, Flugelhorn and Euphonium<div class="separator" style="clear: both; text-align: center;">
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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">"Debita Spissitudo" </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">for Alto Clarinet, Flugelhorn and Euphonium</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Bil Smith Composer</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Link to PDF Hi-Res Score</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div>
<div style="text-align: center;"><a href="https://drive.google.com/file/d/1nmWvkQLUQ1F5AG1v9GV7Ftj43euBMYda/view?usp=sharing"><span style="color: #2b00fe; font-family: times; font-size: x-large;">https://drive.google.com/file/d/1nmWvkQLUQ1F5AG1v9GV7Ftj43euBMYda/view?usp=sharing</span></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">In the notational system of "Debita Spissitudo" for Alto Clarinet, Flugelhorn, and Euphonium, the performers are immediately struck by the pervasive sense of 'suspension' that characterizes its approach to musical transcription and interpretation. This suspension operates not merely at the level of the notes and rhythms inscribed within the score but extends into the very essence of how identity, history, and meaning are negotiated within the musical text. It is a feature that simultaneously invites and disavows association, embodying a unique phenomenological stance that beckons for a closer philosophical investigation.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">My notation consists of a cyclo-quantive system and its unique incorporation of cyclical symbols, a feature that profoundly impacts the conceptualization and execution of the composition. Unlike linear notational systems that progress from left to right, suggesting a teleological movement towards resolution, the cyclo-quantive system embraces the notion of recurrence and perpetual motion. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">The cyclical notational lexicon is not merely decorative but serves a critical functional purpose, encoding information about the temporal and dynamic aspects of the music in a manner that encourages both performers and listeners to engage with the piece as a fluid, ever-revolving entity. Each cycle within the score symbolizes a return to a thematic or motivic origin, yet with each iteration, subtle variations are introduced, creating layered experiences of thematic development and transformation.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">The score of "Debita Spissitudo" can be said to exist in a state of ontological flux, a condition where multiple identities and definitions are not just acknowledged but are fundamentally integral to the work's conception and execution. This condition of multiplicity is not accidental but is inscribed within the notational system itself, which, through its innovative use of symbols, gestures, and directives, creates a space where varied interpretations and understandings can coexist. This system, both literally and figuratively suspended, operates as a liminal domain where the traditional boundaries that delineate musical identity and meaning become porous, allowing for a tapestry of historical and cultural associations to permeate the work.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">The notational devices employed in "Debita Spissitudo" are emblematic of this suspension. They function not as definitive commands but as invitations to explore the potentialities inherent in the musical material. These invitations, however, carry with them a paradoxical directive: to acknowledge that any single association or interpretation is, by necessity, incomplete. In this way, the score becomes a site of perpetual negotiation, a space where the act of musical interpretation is both constrained and liberated by the possibilities engendered by the notational system.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">This dynamic of invitation and disavowal is further complicated by the presence of attending histories within the score. Each notational decision resonates with a multiplicity of historical and cultural references, suggesting a depth of context that informs the reading and performance of the work. Yet, the suspended state of the notational system ensures that these histories remain in flux, present but never wholly definable, contributing to the work's intertextuality.</span></p></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><br /></div><br />
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<br />Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-67017246234283405432024-03-17T07:05:00.000-07:002024-03-17T07:05:52.812-07:00“Lucent Confitage” For Ensemble Viola Deora. Verity Troupe Cornet in D, Calibrium Banjo, Alto Flute (Mars Hill Tuning), Fulcanelli Concept Oboe Bil Smith Composer<br />
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<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">“Lucent Confitage”</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">For Ensemble</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Viola Deora</span></div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
<div style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Verity Troupe Cornet in D</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Calibrium Banjo</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Alto Flute (Mars Hill Tuning)</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Fulcanelli Concept Oboe</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Bil Smith Composer</span></div>
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Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-90503935775676697902024-03-16T15:29:00.000-07:002024-03-16T15:29:02.712-07:00"Xontic Arroyo (Absentia Portrait)" for Trombone, Cello and Piano. Bil Smith Composer<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEips7KBGMuHlP1pGx3jCY3t-Dvlu_PKIYUk8i_CVylot_txRUcO77b0q-ep3dq4Hc6fVMmEm84dJFR6s_Ucvu51oYY-gRiUMRlWbjAv3X-9JX1Z6W-Cbxa3-e-3qCqv_Jkz_kkXAghQttvpc79jFh0CdqRGALVL99_XqHFkF0yuq8K7ZIV37nlf2uINSRmz/s13063/Xontic%20Arroyo%20-%20Absentia%20Portrait%20for%20Trombone,%20Cello%20and%20Piano_Page_1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="9505" data-original-width="13063" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEips7KBGMuHlP1pGx3jCY3t-Dvlu_PKIYUk8i_CVylot_txRUcO77b0q-ep3dq4Hc6fVMmEm84dJFR6s_Ucvu51oYY-gRiUMRlWbjAv3X-9JX1Z6W-Cbxa3-e-3qCqv_Jkz_kkXAghQttvpc79jFh0CdqRGALVL99_XqHFkF0yuq8K7ZIV37nlf2uINSRmz/w640-h466/Xontic%20Arroyo%20-%20Absentia%20Portrait%20for%20Trombone,%20Cello%20and%20Piano_Page_1.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">"Xontic Arroyo (Absentia Portrait)"</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">for Trombone, Cello and Piano. </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Bil Smith Composer</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Link to Full Score (PDF)</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><a href="https://drive.google.com/file/d/1wjvY86hdHKDxwxRyMCAsKh4WmPkQhT4F/view?usp=sharing"><span style="color: red;">https://drive.google.com/file/d/1wjvY86hdHKDxwxRyMCAsKh4WmPkQhT4F/view?usp=sharing</span></a><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">In contemplating the notational lexicon found within the score of "Xontic Arroyo (Absentia Portrait)" for Trombone, Cello, and Piano, I introduce a certain defiance of traditional figuration, offering a case study in the ethical and philosophical dimensions of musical notation</span></p><div class="separator" style="clear: both; text-align: center;"><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The decision to eschew immediately legible figuration in favor of a more complex, compound notational lexicon is not merely an aesthetic choice but a principled stance against what I deem to be an inherently regressive adherence to traditional notation systems. Such systems carry a reactionary gravity from which no subject—no matter how ostensibly critical or subversive—can truly escape. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">"Xontic Arroyo" thus serves as both a record and a provocateur, engaging in an emerging discourse that seeks to illuminate and challenge the contextual changes, challenges, and possibilities that the discipline of music, and perhaps society more broadly, has thus far preferred to ignore. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The composition invites the performers to consider the notational system not as a neutral tool but as a locus of power, one that shapes the creation, interpretation, and experience of the work.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The composition's challenge to the performers underscores the importance of disciplinary awareness and reflexivity.</span></p></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmOR48gCH3MQlssPCi4u78DuRoaeI2k8ClyiDJs1iVrUYEBADg9TFP_JsKI92Ayu8uGsz8J66C5GbiqUXvID-8-qwS5ElkvYoBTlmpTG-XPr3aC88kKClsoCo8WuGqXDixckVRsM8isF49pvnAeAVAdUBLj_r2eUmPUYy3Nx29IRf5lVBSErz5frXXlRyc/s4406/Xontic%20Arroyo%20-%20Absentia%20Portrait%20for%20Trombone,%20Cello%20and%20Piano_Page_2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3206" data-original-width="4406" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmOR48gCH3MQlssPCi4u78DuRoaeI2k8ClyiDJs1iVrUYEBADg9TFP_JsKI92Ayu8uGsz8J66C5GbiqUXvID-8-qwS5ElkvYoBTlmpTG-XPr3aC88kKClsoCo8WuGqXDixckVRsM8isF49pvnAeAVAdUBLj_r2eUmPUYy3Nx29IRf5lVBSErz5frXXlRyc/w640-h466/Xontic%20Arroyo%20-%20Absentia%20Portrait%20for%20Trombone,%20Cello%20and%20Piano_Page_2.png" width="640" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw0wQ9r-KDc4eVkAjMiTXIRX0tP7pa3ziXN8oxIgurISu1XUKnCFGwOZZzp5sUNm-iznt_jUtFPO_FLdfu5oSq3RzigpOJAufSrEKeaHF7PpMWli8f8A9sZflefbhEGmh9fnjLpnQUMiDdsVab5kdpaF16ECs2L9bSaoqyalEL1giv3kRQbNr-dANJu3j6/s4406/Xontic%20Arroyo%20-%20Absentia%20Portrait%20for%20Trombone,%20Cello%20and%20Piano_Page_6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3206" data-original-width="4406" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw0wQ9r-KDc4eVkAjMiTXIRX0tP7pa3ziXN8oxIgurISu1XUKnCFGwOZZzp5sUNm-iznt_jUtFPO_FLdfu5oSq3RzigpOJAufSrEKeaHF7PpMWli8f8A9sZflefbhEGmh9fnjLpnQUMiDdsVab5kdpaF16ECs2L9bSaoqyalEL1giv3kRQbNr-dANJu3j6/w640-h466/Xontic%20Arroyo%20-%20Absentia%20Portrait%20for%20Trombone,%20Cello%20and%20Piano_Page_6.png" width="640" /></a></div><br /> <p></p>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-58034099848222566112024-03-16T08:07:00.000-07:002024-03-16T08:07:51.852-07:00"Dimidius" for Solo Piano<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-z6ZAD_kYBUU/WiHmmKu1qFI/AAAAAAAAPFU/6cNiLFuytdgVfet5Jw5IbHRuuEKIZ43YQCLcBGAs/s1600/Dimidius%2Bfor%2BPiano.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1228" data-original-width="1600" height="490" src="https://4.bp.blogspot.com/-z6ZAD_kYBUU/WiHmmKu1qFI/AAAAAAAAPFU/6cNiLFuytdgVfet5Jw5IbHRuuEKIZ43YQCLcBGAs/s640/Dimidius%2Bfor%2BPiano.png" width="640" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">"Dimidius"</span></div>
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<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">For Piano</span></span></div>
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<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">Bil Smith Composer</span></span></div>
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<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">Commissioned by Scapa Group PLC</span></span></div><div style="background-color: white; clear: both; color: #666666; text-align: center;"><span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div><div style="background-color: white; clear: both; color: #666666; text-align: center;"><span style="font-size: large;"><span><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times;">Utilizing an encapsulated tranche system, the notation for "Dimidius" segments motifs through the strategic implementation of bounding boxes. This approach elucidates the nuanced interplay of shifting coalitions of forms as they manifest in the performer's interpretations across temporal shifts. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times;">Through a series of concepts, graphic protocols, and notations, "Dimidius" serves as a visual framework, delineating distinct motifs and shifting coalitions of forms and their perceptual manifestations over time. The use of bounding boxes as a notational device underscores the fluidity of perception and the multifaceted nature of artistic expression, highlighting the inherent dynamism of the compositional process.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-family: times, "times new roman", serif; font-size: inherit; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><br style="box-sizing: inherit;" /></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background: var(--artdeco-reset-base-background-transparent); border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-family: times, "times new roman", serif; font-size: inherit; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><br style="box-sizing: inherit; color: rgba(0, 0, 0, 0.9); font-family: -apple-system, system-ui, "system-ui", "Segoe UI", Roboto, "Helvetica Neue", "Fira Sans", Ubuntu, Oxygen, "Oxygen Sans", Cantarell, "Droid Sans", "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Lucida Grande", Helvetica, Arial, sans-serif; font-size: 20px; text-align: left; white-space-collapse: preserve;" /></p></span></span></div>
Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-54504802511699813042024-03-15T15:14:00.000-07:002024-03-15T15:14:59.527-07:00WIP (Work In Progress)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJeGPj_1_o3FFNcJipcaIQGzU3YUhTh_OgcyRA289QltrXLrL5Uk8lKCjjXTM389gCdUrre-BcvGAHTm0yKjgQ9UWfvEpkJB82DBXrVLBjdiGoNQvmErk9xDws7oUvvatVsXXYu3sExHf9hqM0YCSua_9f2VA1gbbcZRgS3bmrDNIHgAqhZfeMnUFJvoDP/s1954/Screen%20Shot%202024-03-15%20at%205.58.32%20PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1380" data-original-width="1954" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJeGPj_1_o3FFNcJipcaIQGzU3YUhTh_OgcyRA289QltrXLrL5Uk8lKCjjXTM389gCdUrre-BcvGAHTm0yKjgQ9UWfvEpkJB82DBXrVLBjdiGoNQvmErk9xDws7oUvvatVsXXYu3sExHf9hqM0YCSua_9f2VA1gbbcZRgS3bmrDNIHgAqhZfeMnUFJvoDP/w640-h452/Screen%20Shot%202024-03-15%20at%205.58.32%20PM.png" width="640" /></a></div><br /> <p></p>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-43318117195982575602024-03-15T14:25:00.000-07:002024-03-15T14:26:12.696-07:00Thoughts on "Dynamic Perspectivisation" as a New Compositional Ontology. <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUzIq8ogf95uEQEiPf4QAV1rvqhKo-L2gcMgZwl9s24vH8fyJ8oR8_bp2tmA79Gm6gAPBf55_mzvo5Sbvz3v6ht_r-8ZRPJBJLnhg_34QlDwZeCqlkypa4ez8_wgnFJXLj7uRA3OJ4-EMnQ4tZPTHhxemdTt9zUV7PO6aqLpe8cTUsabFAlI1WDkQQdhRU/s2024/Screenshot%202023-09-30%20at%206.50.29%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1170" data-original-width="2024" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUzIq8ogf95uEQEiPf4QAV1rvqhKo-L2gcMgZwl9s24vH8fyJ8oR8_bp2tmA79Gm6gAPBf55_mzvo5Sbvz3v6ht_r-8ZRPJBJLnhg_34QlDwZeCqlkypa4ez8_wgnFJXLj7uRA3OJ4-EMnQ4tZPTHhxemdTt9zUV7PO6aqLpe8cTUsabFAlI1WDkQQdhRU/w640-h370/Screenshot%202023-09-30%20at%206.50.29%20PM.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">"Gaming the Chronotope" </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">for Trombone</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Bil Smith Composer</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">PDF Link</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://drive.google.com/file/d/1eALc6CrX4KLrbWjUG2m4mDatyphT-aCM/view?usp=sharing"><span style="color: red; font-family: times; font-size: x-large;">https://drive.google.com/file/d/1eALc6CrX4KLrbWjUG2m4mDatyphT-aCM/view?usp=sharing</span></a><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">My compositional archetype, coined with the term "Dynamic Perspectivisation," provides a salient and provocative concept, denoting a paradigmatic shift in the very ontology of musical notation.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">Drawing upon a diverse array of interdisciplinary methodologies, including symbology, iconography, elements of photography and photo-realism, typography, and found and unfound imagery, this dynamic approach fundamentally alters our understanding of the compositional process and the reception of musical works.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">At its core, Dynamic Perspectivisation challenges the hegemony of traditional notation systems by foregrounding the dynamic interplay between visual and auditory elements. Rather than conceiving of music as a purely sonic phenomenon, composers and performers now recognize the intrinsic relationship between musical structures and visual signifiers. By integrating symbology and iconography into the notational framework, composers imbue their works with layers of meaning and interpretation, inviting listeners to engage with the music on a multisensory level.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">Moreover, the incorporation of elements of photography and photo-realism expands the boundaries of musical representation, allowing composers to capture the ephemeral qualities of sound and texture in visual form. Through the use of intricate imagery and meticulous detail, as a composer, I can evoke a sense of immediacy and presence, heightening the listener's experience of the music.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">Central to the ethos of Dynamic Perspectivisation is the concept of found and unfound imagery, which encourages composers to draw inspiration from a diverse array of sources, ranging from historical artifacts to everyday objects. By incorporating these disparate elements into the compositional process, composers enrich their works with layers of cultural and historical resonance, transforming the act of musical creation into a dynamic dialogue with the world around them.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">By embracing the visual dimension of music, composers can reshape our understanding of the art form, forging new connections between sound, image, and meaning in the process.</span></p></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="w-full text-token-text-primary" data-testid="conversation-turn-117" style="--avatar-color: #19c37d; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; 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box-sizing: border-box; display: flex; flex: 1 1 0%; font-size: 1rem; gap: 0.75rem; line-height: 1.5rem; margin-left: auto; margin-right: auto; max-width: 48rem; padding-left: 1.25rem; padding-right: 1.25rem;"><div class="relative flex w-full flex-col agent-turn" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; display: flex; flex-direction: column; position: relative; width: 692px;"><div class="flex-col gap-1 md:gap-3" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; flex-direction: column; gap: 0.75rem;"><div class="flex flex-grow flex-col max-w-full" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; display: flex; flex-direction: column; flex-grow: 1; max-width: 100%;"><div class="min-h-[20px] text-message flex flex-col items-start gap-3 whitespace-pre-wrap break-words [.text-message+&]:mt-5 overflow-x-auto" data-message-author-role="assistant" data-message-id="f8ef2c79-80c1-4799-96cb-b259765489e8" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; align-items: flex-start; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; display: flex; flex-direction: column; gap: 0.75rem; min-height: 20px; overflow-wrap: break-word; overflow-x: auto; white-space-collapse: preserve;"><div class="markdown prose w-full break-words dark:prose-invert light" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-prose-body: var(--text-primary); --tw-prose-bold: var(--text-primary); --tw-prose-bullets: var(--text-tertiary); --tw-prose-captions: var(--text-secondary); --tw-prose-code: var(--text-primary); --tw-prose-counters: var(--text-tertiary); --tw-prose-headings: var(--text-primary); --tw-prose-hr: var(--border-xheavy); --tw-prose-invert-body: var(--text-primary); --tw-prose-invert-bold: var(--text-primary); --tw-prose-invert-bullets: var(--text-tertiary); --tw-prose-invert-captions: var(--text-secondary); --tw-prose-invert-code: var(--text-primary); --tw-prose-invert-counters: var(--text-tertiary); --tw-prose-invert-headings: var(--text-primary); --tw-prose-invert-hr: var(--border-xheavy); --tw-prose-invert-lead: var(--text-primary); --tw-prose-invert-links: var(--text-primary); --tw-prose-invert-pre-bg: rgba(0,0,0,.5); --tw-prose-invert-pre-code: #d1d5db; --tw-prose-invert-quote-borders: #374151; --tw-prose-invert-quotes: var(--text-primary); --tw-prose-invert-td-borders: #374151; --tw-prose-invert-th-borders: #4b5563; --tw-prose-lead: var(--text-primary); --tw-prose-links: var(--text-primary); --tw-prose-pre-bg: #1f2937; --tw-prose-pre-code: #e5e7eb; --tw-prose-quote-borders: #e5e7eb; --tw-prose-quotes: var(--text-primary); --tw-prose-td-borders: #e5e7eb; --tw-prose-th-borders: #d1d5db; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: var(--tw-prose-body); font-size: 1rem; line-height: 1.75; max-width: none; overflow-wrap: break-word; width: 692px;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; margin: 0px 0px 1.25em;"><br /></p></div></div></div></div></div></div></div></div></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /> <p></p>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-62374522890412618982024-03-14T09:00:00.000-07:002024-03-14T09:00:21.762-07:00WET Scores Invite a Reconsideration of Traditional Pedagogical Approaches<div style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; margin: 1.25em 0px; text-align: left; white-space-collapse: preserve;"><div style="text-align: justify;"><span style="font-family: times; font-size: x-large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiqcO_WKrH_9RbOB-h_R90MEIqt-XnCmjjrKunsoqaL3gkY-E7s12OQBM9oEYX6sUjL6sVsJkXim-pUezYzYbh5RRRwPNWNDgRJykIhp1s9qtzf-0YkfhedVAVUSXcgndh6dLjNawwaUaVuOQxYuIGVvXdgOD_1sCLBAwQk-n4rGsDrBA0vRZeNRO55OKB/s1978/Screen%20Shot%202024-03-14%20at%2011.57.55%20AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1120" data-original-width="1978" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiqcO_WKrH_9RbOB-h_R90MEIqt-XnCmjjrKunsoqaL3gkY-E7s12OQBM9oEYX6sUjL6sVsJkXim-pUezYzYbh5RRRwPNWNDgRJykIhp1s9qtzf-0YkfhedVAVUSXcgndh6dLjNawwaUaVuOQxYuIGVvXdgOD_1sCLBAwQk-n4rGsDrBA0vRZeNRO55OKB/w640-h362/Screen%20Shot%202024-03-14%20at%2011.57.55%20AM.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Craters" A WET Score for Solo Soprano Voice</td></tr></tbody></table><br /></span></div><span style="font-family: times; font-size: large;"><div style="text-align: justify;">In the discourse of musical notation, traditionally demarcated by the unequivocal employment of conventional symbols—notes, rests, and the like—the introduction of what I term 'WET' scores (an acronym standing for Words, Events, Text) heralds a deviation towards a more linguistically oriented method of musical transcription and interpretation. </div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsk4wWpZW4GZT5GJXHGBBNodeXfJaq19gfotnRHK5dS_fQPN9DDOL4j72JrPzXFErqYQoNT16pHQ3VbtHb_Vj1D7gR3JFQDC0AR0-th9Mn4YE-YwCXw9pfP9d3gvshx3-pQO8z-kHn4pm3K_Mxt-YeYLlTw1-rdRtoT-SmR_kgLCNXnxsRAcMR3CwJdAxQ/s1986/Screen%20Shot%202024-03-14%20at%2011.58.09%20AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1986" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsk4wWpZW4GZT5GJXHGBBNodeXfJaq19gfotnRHK5dS_fQPN9DDOL4j72JrPzXFErqYQoNT16pHQ3VbtHb_Vj1D7gR3JFQDC0AR0-th9Mn4YE-YwCXw9pfP9d3gvshx3-pQO8z-kHn4pm3K_Mxt-YeYLlTw1-rdRtoT-SmR_kgLCNXnxsRAcMR3CwJdAxQ/w640-h344/Screen%20Shot%202024-03-14%20at%2011.58.09%20AM.png" width="640" /></a></div><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">This deviation, it seems, aligns closely with Wittgenstein's linguistic philosophy, particularly his exploration of language games, by suggesting a foundational shift in how music might be notated and understood. The proposition at hand posits a thought experiment: Suppose music notation, from its inception, had been rooted in language—both written and spoken—rather than in the established symbols of musical tradition. The implications of such a conjecture are indeed vast, prompting a reevaluation of the role of language in music culture and education.</div><div style="text-align: justify;"><br /></div></span><span style="font-family: times; font-size: large;"><div style="text-align: justify;">The essence of WET scores lies in their capacity to reframe musical composition and performance within the context of linguistic communication. By doing so, they challenge performers to engage with music on a level that transcends traditional notational boundaries, encouraging a dialogue with the score that is as much about interpretation as it is about execution. This reorientation towards a linguistic-based system of notation compels us to reconsider the nature of musical meaning, suggesting that it may be more fluid and context-dependent than previously acknowledged.</div><div style="text-align: justify;"><br /></div></span><span style="font-family: times; font-size: large;"><div style="text-align: justify;">Wittgenstein's philosophical inquiry into the nature and function of language offers a pertinent framework for understanding the radical potential of WET scores. Just as he proposed that the meaning of words is inherently tied to their use within specific language games, so too might we consider that the meaning of musical phrases—and indeed, the notation by which they are represented—can only be fully understood within the context of their performance and interpretation. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">This perspective challenges the notion of music as a language of absolute meanings, suggesting instead that its significance may be as variable and nuanced as that of spoken and written language.</div><div style="text-align: justify;"><br /></div></span><span style="font-family: times; font-size: large;"><div style="text-align: justify;">By proposing the adoption of language as the primary means of conveying musical ideas, WET scores invite a reconsideration of traditional pedagogical approaches. This shift implies a more integrative view of music education, one that recognizes the inherent interconnectivity between linguistic and musical expression. The question then arises: Could the teaching of music benefit from a closer alignment with the teaching of language, in which sound, emotion, and performance are conveyed through the nuances of linguistic expression?</div><div style="text-align: justify;"><br /></div></span><span style="font-family: times; font-size: large;"><div style="text-align: justify;">The implications of this thought experiment extend beyond the realm of music notation and education, touching upon broader philosophical debates about the nature of meaning, interpretation, and communication. WET scores, by blurring the distinctions between the linguistic and the musical, challenge us to consider the ways in which these domains might enrich and inform one another. In doing so, they not only offer a novel approach to musical composition and performance but also contribute to a deeper understanding of the complexities of human expression.</div></span></div><div style="text-align: justify;"><br /></div>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-20450232328266360562024-03-13T08:48:00.000-07:002024-03-13T08:48:32.573-07:00"The Illusion Of Control" For Bass Flute. Bil Smith Composer<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVwvthwu1MDH8wiVqxammBP3kK4TJ-Q4hNyduT6QN0uLf2R1SauPORtKxSkbIpzFF4yjVYNmPu_Sftz6dmHBx95QQINIF9jKgulS59imB9B8mnzepky_1Y0EyAaE424j1eUPNn4EsUFfckP34PYV2GfjWxrdUFPM1ESt0dKAVccPzwYRlLTsKB8DzcmASY/s2754/Screen%20Shot%202024-03-13%20at%2011.46.50%20AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1028" data-original-width="2754" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVwvthwu1MDH8wiVqxammBP3kK4TJ-Q4hNyduT6QN0uLf2R1SauPORtKxSkbIpzFF4yjVYNmPu_Sftz6dmHBx95QQINIF9jKgulS59imB9B8mnzepky_1Y0EyAaE424j1eUPNn4EsUFfckP34PYV2GfjWxrdUFPM1ESt0dKAVccPzwYRlLTsKB8DzcmASY/w640-h238/Screen%20Shot%202024-03-13%20at%2011.46.50%20AM.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;">"The Illusion Of Control"</span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;">For Bass Flute</span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;">Bil Smith Composer</span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;">32" X 12"</span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;">Link to PDF</span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div style="text-align: center;"><a href="https://drive.google.com/file/d/1vJqyL2O-EBbeXxdBGLiIB41UtXF7lO0b/view?usp=sharing"><span style="color: red; font-family: times; font-size: x-large;">https://drive.google.com/file/d/1vJqyL2O-EBbeXxdBGLiIB41UtXF7lO0b/view?usp=sharing</span></a><br /></div><p><br /></p><p></p><div style="text-align: justify;"><span style="font-family: times; font-size: large;">"The Illusion of Control" for bass flute inspired by Leonora Carrington is a product of my compositional bounding theory and augmented notational archetypes. It is an exploration of the multidimensional sound-world of the bass flute, a defined space within which I can move rationally. Through this work, I aim to create a sonic landscape that is both distinctive and transformative, building upon the rich legacy of physical perceptions and cultural traditions that have shaped the bass flute over time.</span></div><span style="font-family: times; font-size: large;"><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Leonora Carrington is a writer whose imaginative worlds have inspired generations of creative thinkers. Her unique vision of the world, infused with a sense of mystery and wonder, serves as a powerful backdrop for my exploration of the bass flute's sonic potential.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">At the core of my compositional approach is an emphasis on listening to the particularity and differences of the instrument. I seek out possible points of contact and connections between dimensions that retain their autonomy, exploring the boundaries of my own models of representation to discover new facets of sound. This process requires a level of vigilance and sensitivity, as every detail can constitute an illuminating difference or remarkable connection.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">This piece is not simply a representation of the bass flute's sound-world, but a transformation of it. Through the performer's concrete actions, the practice and intelligence of the sound are inscribed upon the body and the space in the ritual and impersonal dimension of the common listening. Sound, body, listening, space, and community cannot be separated, and each element plays a critical role in shaping the final sonic landscape.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The bass flute, with its unusual distribution of sound sources and audience, offers a unique opportunity to create a complex, visionary multiphony. The dishomogeneity and dispersive potential of the instrument's attack become the power center for articulated relationships, creating forms and degrees of resonances that are apparent in their peculiarities. The resulting sound fills the entire space, stimulating a constantly unbalanced, asymmetrical mode of listening.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In creating this work, I rely heavily on augmented notational archetypes. These archetypes allow me to explore the full range of sonic possibilities offered by the bass flute, pushing the boundaries of traditional notation to create new forms of representation. By augmenting traditional notation with a range of graphical and symbolic elements, I am able to capture the unique characteristics of the bass flute's sound and translate them into a visual language that speaks to the imagination and the intellect.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">At the same time, my work is grounded in a compositional bounding theory that emphasizes the importance of defined spaces and boundaries. By working within the constraints of these boundaries, I am able to create a sense of structure and coherence that allows the work to unfold in a meaningful way. The boundaries serve as a guide, allowing me to explore the full potential of the bass flute while still maintaining a sense of discipline and control.</div></span><p></p></div>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-68736042505148830912024-03-10T10:16:00.000-07:002024-03-10T15:00:12.667-07:00"The Criminality On The Staircase" For Solo Tuba. Bil Smith Composer<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAS0ylB2p7M_6g873t1AA6179Ktu1rbNspxk4h65Tl86KRnZyEIDZ8RlvrVJCcCMHRSQVuy-akJBcggK8ItVq2TltC2nXqu8lJJC-kP7d-p1hEAEFdMjGoSHeadZOGRmByIkIpfpoorXrF485tsG1ELYN8SriNZ-cyQgLxQuA9_-Tt4tMdG5wUewvflg/s3206/The%20Criminality%20On%20The%20Staircase%20for%20Tuba_Page_2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1206" data-original-width="3206" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAS0ylB2p7M_6g873t1AA6179Ktu1rbNspxk4h65Tl86KRnZyEIDZ8RlvrVJCcCMHRSQVuy-akJBcggK8ItVq2TltC2nXqu8lJJC-kP7d-p1hEAEFdMjGoSHeadZOGRmByIkIpfpoorXrF485tsG1ELYN8SriNZ-cyQgLxQuA9_-Tt4tMdG5wUewvflg/w640-h240/The%20Criminality%20On%20The%20Staircase%20for%20Tuba_Page_2.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">"The Criminality On The Staircase" </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">For Solo Tuba. </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Bil Smith Composer</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Published by LNM Editions</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Link To Full Score (PDF)</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">(Note; When downloading, be patient as this is a large file)</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><a href="https://drive.google.com/file/d/1kacGONytgxJgoTiQKHG6nqlA8oX6aiQq/view?usp=sharing"><span style="color: red;">https://drive.google.com/file/d/1kacGONytgxJgoTiQKHG6nqlA8oX6aiQq/view?usp=sharing</span></a><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">My score for "The Criminality On The Staircase" for Solo Tuba presents an example of a multimodal, maximalist compositional lexicon which is underpinned by a notational ontology that navigates the complex interplay between geometric forms and musical interpretation. It mirrors a continuum that extends from the concrete to the abstract, from the geometrically symmetric to the asymmetric, and onwards to the intricacies of knotted and woven morphologies.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The notational system employed here is as revolutionary as it is ancient, drawing inspiration from the mathematical explorations of Archimedes who, in his pursuit of pi, utilized recursively truncated polygons to approximate the circle's curvature. Similarly, the score's notational framework employs a number code based on the traversal of vertices in polygonal shapes—be they convex or non-convex, symmetric or asymmetric. This traversal can occur in a clockwise or anti-clockwise direction, initiating a cycle of numbers that not only defines the shape in question but also allows for the transformation of one polygon into another through the manipulation of this code. Such a system underscores a philosophical and aesthetic inquiry into the nature of form and transformation, suggesting a fluid continuum between different states of symmetry and asymmetry, convexity and non-convexity, and extending this exploration to the realm of knotted and woven structures.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The number code, an arcane lexicon that allows for the manipulation from one polygonal shape to another, is not just notation but a narrative in itself. It tells of transformations, of the shifting landscapes of musical geometry where polygons serve not merely as symbols but as the very building blocks of composition. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">This code, a cipher of sorts, speaks to the adventurous, beckoning them to alter the course of musical currents with the mere adjustment of sequences, a power that blurs the lines between composer and alchemist.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">Within this esoteric framework, Pentiles—a concept borrowed from the architectural domain—find new life on curved hypersurfaces and hyperstructures, suggesting applications far beyond the scope of mere notational elements. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">Yet, what of the tuba, you might ask? This humble instrument, often relegated to the background, becomes in "The Criminality On The Staircase" the vessel for this grand experiment. It is through its brass voice that the complex interplay of geometry and sound is manifested</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-size: inherit; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><br style="box-sizing: inherit;" /></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-size: inherit; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><br style="background-color: white; box-sizing: inherit; color: rgba(0, 0, 0, 0.9); font-family: -apple-system, system-ui, "system-ui", "Segoe UI", Roboto, "Helvetica Neue", "Fira Sans", Ubuntu, Oxygen, "Oxygen Sans", Cantarell, "Droid Sans", "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Lucida Grande", Helvetica, Arial, sans-serif; font-size: 20px; text-align: left; white-space-collapse: preserve;" /></p></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-iLtRhcSKFY2iQiD_WLFZpaLnQ0-cwNMbTHQuRIEaMgiTGCcPXUOuR4c0Y9XE8XvVd0QSwJZKQoAnjSRG7tCeI-AxSuBEqGXuR5yGJElxwz-X8HOLOgU6gDWKtlSFJoBCynsqUWrQGEYda_DiPy4ZAD10UzYBiLU4T3nI18FxpNSoPNlLIXtiBiEQCg/s3206/The%20Criminality%20On%20The%20Staircase%20for%20Tuba_Page_3.png" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" data-original-height="1206" data-original-width="3206" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhag_ECgDwLKL60YD85dnEkZAqms-wxHEc2ZdlAPTwe_x3G6H3ftc86uXQpLYdo0MRrEC-BO7-aTZhr_TOrLmD6DlLu0s7Ytc3gErkMgY6oQnnsyQrqIhl0sGFlOG5rg3Rm_LY9_wtSgucHoRSX-H1Zq5nkKIZACyDZknCgLaA_FTz6xiFBU99FykFhQ/w640-h240/The%20Criminality%20On%20The%20Staircase%20for%20Tuba_Page_1.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /> <p></p>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-40332140599868110282024-03-08T14:21:00.000-08:002024-03-08T14:21:50.756-08:00Fundamental Assumptions and Forgotten Lore” For Piccolo Oboe. Bil Smith Composer<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtSXCce5D2VfM1cvpJEzb6qBnVnHR_L0V9IFQRtitFUzWF62yQ_oRkI9eaSkT4hBakZMVQosNUvFuU1EzvEMAgwuUtUpfJLTIbadAnBYyEkT3M-cUzDwdK7KT8b7Lke-oJQvxlPfOzDa1f5y92ucWwRSbh4WFpRwqt8Kb4Ygf_fqZsWP0Jrue663jQdux2/s3308/Fundamental%20Assumptions%20and%20Forgotten%20Lore%20for%20Piccolo%20Oboe_Page_01.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2339" data-original-width="3308" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtSXCce5D2VfM1cvpJEzb6qBnVnHR_L0V9IFQRtitFUzWF62yQ_oRkI9eaSkT4hBakZMVQosNUvFuU1EzvEMAgwuUtUpfJLTIbadAnBYyEkT3M-cUzDwdK7KT8b7Lke-oJQvxlPfOzDa1f5y92ucWwRSbh4WFpRwqt8Kb4Ygf_fqZsWP0Jrue663jQdux2/w640-h452/Fundamental%20Assumptions%20and%20Forgotten%20Lore%20for%20Piccolo%20Oboe_Page_01.png" width="640" /></a></div><p style="text-align: center;"><span style="font-family: times; font-size: large;">Fundamental Assumptions and Forgotten Lore” </span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">For Piccolo Oboe</span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">Bil Smith Composer</span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">Link to Full Score PDF</span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;"><a href="https://drive.google.com/file/d/1W4pbc91kOjsInli9jZEfkDSlGO1KXXFt/view?usp=sharing"><span style="color: red;">https://drive.google.com/file/d/1W4pbc91kOjsInli9jZEfkDSlGO1KXXFt/view?usp=sharing</span></a><br /></span></p><p><br /></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="color: rgba(0, 0, 0, 0.9); white-space-collapse: preserve;"></span></p><div style="text-align: justify;"><span style="font-family: times; font-size: large;">In the composition "Fundamental Assumptions and Forgotten Lore" for Piccolo Oboe, we encounter a score that invites the performer into a complex, hyper-maximalist world with its compound visualizations.</span></div><div style="text-align: justify;"><span style="font-family: times; font-size: large;"><br /></span></div><p></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">The score's foundation in liminality—its inherent resistance to being confined within the precise, well-defined borders of traditional notation—serves as a critical point of departure for understanding its essence. To fully engage with this piece is to embrace a fluidity and ambiguity that traditional musical analysis often seeks to circumvent. This embracive attitude toward the liminal allows this work to exist in a state of continuous conversation across a myriad of categorical divides, thereby challenging the performer to consider the piece not only as a composition but as a dialogue with the broader world of art and ideas.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">The visualizations are not mere adornments but are integral to the piece's structure, offering a cinematic collage that intertwines with the music to create a multisensory experience. The score's engagement with complex concepts such as diasporic Blackness and theorizations of the Global South provides a fulcrum for its wide-ranging explorations, positioning the piece not merely as a musical work but as a scholarly investigation into the intersections of culture, identity, and history.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">This approach to composition and notation—where the score becomes a site of interdisciplinary inquiry—reflects a broader trend in contemporary art toward the dissolution of boundaries between artistic mediums. "Fundamental Assumptions and Forgotten Lore," in its refusal to adhere to the conventional limitations of its form, invites us to reconsider the potential of the musical score as a vessel for conveying complex, nuanced ideas. The piece's reliance on visual and conceptual elements to complement and complicate its musical content encourages a mode of engagement that is both intellectual and emotional, demanding of its audience not passive consumption but active participation in the work's multifaceted dialogue.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">This is not music as known to ears that crave the comfort of resolution, nor is it art to eyes that seek the solace of clarity. It is, rather, an aesthetics of imperfection, a deliberate pursuit of the unfinished, where the value lies not in the answers provided but in the questions posed, in the improvisation that unravels composition, in the contingency that unravels certainty, in the openings that defy closure.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">This composition, in its refusal to adhere to the dictates of form, in its celebration of the unfinished, poses a challenge to the very notion of understanding. It demands a relinquishment of the desire for completion, an acceptance of the perpetual state of incompletion, as the truest expression of the spirit. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); 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<br />Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-56980184151160399602024-03-05T13:45:00.000-08:002024-03-05T13:45:49.937-08:00Luciano Berio: Bil Smith. Sequenza XIVb for Contrabasso<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Sequenza XIVb</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">For Contrabasso</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Luciano Berio</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Bil Smith</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Repurposed Composition Commissioned by Mediobanca S.p.A.</span></div>
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<br />Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-40900517143757811232024-03-03T07:06:00.000-08:002024-03-03T07:51:12.871-08:00"Artifice and Pretense" for Solo Piano<p> </p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWtK-xEbXrljvUZLUD8-IYRl_nmnxyMYND76H44lGIR1370sHg2Oz3dfjyAtBzm2ZDKv7lqD89BYps9xiXyWDQ6Ez8gSa9ighC_o_rSWQh8q4fL7KjcW9FY-83C-OqLT10lW-8fzahvvEIe0pGL21V_bdgBdOdqHYO2ruDQzK828yzIcgu7x8sShePWtRv/s5206/Artifice%20and%20Pretense%20Complete%20for%20Piano_Page_1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3206" data-original-width="5206" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWtK-xEbXrljvUZLUD8-IYRl_nmnxyMYND76H44lGIR1370sHg2Oz3dfjyAtBzm2ZDKv7lqD89BYps9xiXyWDQ6Ez8gSa9ighC_o_rSWQh8q4fL7KjcW9FY-83C-OqLT10lW-8fzahvvEIe0pGL21V_bdgBdOdqHYO2ruDQzK828yzIcgu7x8sShePWtRv/w640-h394/Artifice%20and%20Pretense%20Complete%20for%20Piano_Page_1.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">"Artifice and Pretense" </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">for Solo Piano</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Bil Smith Composer</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">2024</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Link To Large Format PDF Score</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><a href="https://drive.google.com/file/d/14huALFf8FFZrIGY8zP37zUT8He19PTm5/view?usp=sharing"><span style="color: red;">https://drive.google.com/file/d/14huALFf8FFZrIGY8zP37zUT8He19PTm5/view?usp=sharing</span></a><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><br class="Apple-interchange-newline" /></p><div style="text-align: justify;"><span style="font-family: times; font-size: large;"><span style="color: var(--color-text); font-weight: var(--artdeco-reset-typography-font-weight-normal);">"Artifice and Pretense," is a piece crafted with a paratonal notation system. Much like a message from a distant world, encoded in symbols that flirt with the edge of comprehension, t</span><span style="color: var(--color-text); font-weight: var(--artdeco-reset-typography-font-weight-normal);">he pianist, faced with the diminutive inscriptions of the score, finds themselves at the threshold of an insurmountable task. To engage with each note is to attempt to decipher a language without a key, where each symbol, each gesture, holds the promise of revelation and the threat of further obfuscation. This meticulous scrutiny, while revealing the microcosm of complexity within each notational element, simultaneously obscures the grandeur of the composition as a whole. It is a paradoxical pursuit, emblematic of the human condition: the more one seeks to understand, the more elusive understanding becomes.</span></span></div><p></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">Alternatively, for the Pianist to absorb the piece in its entirety from a distance is to grapple with the inverse dilemma. One might capture the essence, the overarching structure, but in doing so, the individual nuances, the intricate details that give the piece its soul, evaporate. This detachment, a necessary sacrifice for the sake of comprehension, mirrors the alienation of the individual from the intricacies of existence, where the whole can never truly be grasped without losing sight of the parts that constitute it.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The introduction of a new progeny of musical expression, through the banishment of quasi-atmospheric modulations and the embrace of vertical runoffs, represents a rebellion against the constraints of tradition. Yet, this rebellion is not without its own contradictions. The gravitational pull of these runoffs, designed to liberate the gestures of the notation, instead imposes a new form of confinement. The score, with its thick pools of architectural diagrams, suggests an order, a system of coordinates that promises orientation within the chaotic sprawl of the music. But this system serves only to ensnare further, to heighten the sense of disorientation.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The performer, standing alone before the piano, becomes a figure of tragic heroism, engaged in a Sisyphean task where the act of performance is both an assertion of agency and an admission of its futility.</span></p></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_cLwmWqtdmmijH9H0wJ6QtiXyUGPTycMvb7xmoU5Kj2tvmnOU7iREpLVW9CjwPpYHJs2NhRJbs5-l3oD6SKAQu8J5_4z9El8sr2ok70yL8bBJgGF5IrjuRK433Z89kHpmNO9zkPYLLqP-1NDKtQg3peiuCW7ApDQnmGBl2YPcr90wsTH7SdixS9ZGr6Lq/s5206/Artifice%20and%20Pretense%20Complete%20for%20Piano_Page_3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3206" data-original-width="5206" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_cLwmWqtdmmijH9H0wJ6QtiXyUGPTycMvb7xmoU5Kj2tvmnOU7iREpLVW9CjwPpYHJs2NhRJbs5-l3oD6SKAQu8J5_4z9El8sr2ok70yL8bBJgGF5IrjuRK433Z89kHpmNO9zkPYLLqP-1NDKtQg3peiuCW7ApDQnmGBl2YPcr90wsTH7SdixS9ZGr6Lq/w640-h394/Artifice%20and%20Pretense%20Complete%20for%20Piano_Page_3.png" width="640" /></a></div><br /><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="3206" data-original-width="5206" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3xmS2AB-aw6vA7J4enR10cqe1CK6w9hH2s7sYyVzKNQHpa_KU-qcZ6qJZqyRoHly4zuykmPt3at3bHFhyphenhyphen_FS-CDsgRORaUWUOOB1LNo94PY5Ktq1dSZLRtlfzniUEtcSNdHqKkDW1wtVOqj1E9CznVZRvGSGY1RIO_T1lsSvTsqOGzgUkJVxxXhWYqJ4d/w640-h394/Artifice%20and%20Pretense%20Complete%20for%20Piano_Page_4.png" width="640" /></a></div><br /><p></p>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-12807879670895138872024-03-03T07:00:00.000-08:002024-03-03T08:51:38.871-08:00"Under The Volcano: Reflections on Exile" for Solo Oboe<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHb-wNWyRxfZTwQzfYF3z9YtntD9ajAesBvrsur7jpa0Cd8gYsqlJAwjTs0mALzM_6Myrsm3yL-QXHeA_dSVKQBgnZo3zhoPMduwe-iR-wpRRNKR66aPwPVYOvT9jf0XryzCpduj1x8zvytw-czhxKDJKZbwShuusv-VaRwAPXNo4IaORQ3KrA4wp7Edci/s3744/Under%20The%20Volcano%20Reflections%20on%20Exile_Page_1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2304" data-original-width="3744" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHb-wNWyRxfZTwQzfYF3z9YtntD9ajAesBvrsur7jpa0Cd8gYsqlJAwjTs0mALzM_6Myrsm3yL-QXHeA_dSVKQBgnZo3zhoPMduwe-iR-wpRRNKR66aPwPVYOvT9jf0XryzCpduj1x8zvytw-czhxKDJKZbwShuusv-VaRwAPXNo4IaORQ3KrA4wp7Edci/w640-h394/Under%20The%20Volcano%20Reflections%20on%20Exile_Page_1.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">"Under The Volcano: Reflections on Exile" </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">for Solo Oboe</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">2024</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Bil Smith Composer</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;">Link to Large Format Score</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><a href="https://drive.google.com/file/d/1RQmpSvbVOkqF1v5bb7Ou5cj6VIWY7sNa/view?usp=sharing"><span style="color: red;">https://drive.google.com/file/d/1RQmpSvbVOkqF1v5bb7Ou5cj6VIWY7sNa/view?usp=sharing</span></a><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">This composition, with its nuanced deployment of the oboe's singular voice, opens a dialogue not just within the realms of music but across the multifaceted dimensions of cultural and linguistic displacement, echoing the complex interplay of identity and loss.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">In this score I present a paradoxical blend of minimalism and complexity, its notational system weaving a dense tapestry of emotional and thematic depth that belies its surface simplicity. The notational elements present a nuanced understanding of form as a vehicle for meaning in my approach to musical syntax and structure. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">Page one from the score eschews traditional notation for a series of fragmented structural motifs, each serving as a sonic mirror to the fragmentary nature of exile itself. Here, the oboe becomes not merely an instrument but a voice, its timbre and tone modulating between the plaintive and the assertive, encapsulating the myriad emotions that accompany displacement.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">The thematic core of "Under The Volcano: Reflections on Exile" is reflected in its title, evoking Malcolm Lowry's novel with its own exploration of dislocation and despair. Yet, the score transcends mere literary homage, engaging with the concept of exile as both a physical and metaphysical state. Through its hyper-complex notational language, the piece invites the oboist to consider the spaces between notes, the silences that speak volumes about the isolation and alienation inherent in the exilic condition. </span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">Critically, the piece does not allow itself to be constrained by the melancholy that so often accompanies discussions of exile. Instead, it employs the oboe's capacity for lyrical beauty as a counterpoint to its themes of loss, suggesting moments of beauty and transcendence that can emerge even in the most desolate of circumstances. This dialectical tension between loss and beauty, despair and hope, forms the emotional crux of the composition, challenging the listener to engage with the complexities of the exilic experience.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">From a critique perspective, one might argue that the piece's strength—its thematic and formal complexity—could also be perceived as a barrier to accessibility. The fragmented motifs and atypical structure require of the performer and listener, not just a passive reception but an active engagement, a willingness to traverse the emotional and intellectual terrain it maps.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;"><br style="box-sizing: inherit;" /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; background-color: white; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: rgba(0, 0, 0, 0.9); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline); white-space-collapse: preserve;"><span style="font-family: times; font-size: large;">The new progeny of musical ontology suggested by this score speaks to a broader shift in the arts towards embracing complexity and ambiguity. In a world where the experience of exile can no longer be encapsulated by simple narratives or straightforward melodies, this composition offers a new language, one capable of articulating the disjunctions and dislocations of contemporary existence. The abstract iconography, then, serves as a bridge to this new realm of expression, inviting us to consider not just what music can be but what it can do, how it can act in the world.</span></p></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijEzddpC0x1PWPnvzNWiDriwosgR5ZzTrKAd36WLwVeZaCVPDfyD4j747gxypK5sw4YWiRlMl9VgbHagVCRutYHxxV0G9525bUrIcgnsZQ18asFnA9JEv-zt4VzET37Fotixh0j2ZTIZuStwmO0hyphenhyphenaYkSjt2F5BWOlpvbrcVZmz7X2I967u1LCioPh9zDT/s5206/Under%20The%20Volcano%20Reflections%20on%20Exile_Page_2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3206" data-original-width="5206" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijEzddpC0x1PWPnvzNWiDriwosgR5ZzTrKAd36WLwVeZaCVPDfyD4j747gxypK5sw4YWiRlMl9VgbHagVCRutYHxxV0G9525bUrIcgnsZQ18asFnA9JEv-zt4VzET37Fotixh0j2ZTIZuStwmO0hyphenhyphenaYkSjt2F5BWOlpvbrcVZmz7X2I967u1LCioPh9zDT/w640-h394/Under%20The%20Volcano%20Reflections%20on%20Exile_Page_2.png" width="640" /></a></div><br /><br /><p></p>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-63971749850680970592024-03-02T13:09:00.000-08:002024-03-03T10:29:11.006-08:00"no matter how controvertible, the present cannot be anything other than a tumble". for Voice and Flute<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: times; font-size: x-large;">"no matter how controvertible, the present cannot be anything other than a tumble". </span></div>
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<span style="font-family: times; font-size: x-large;">for Voice and Flute</span></div>
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<span style="font-family: times; font-size: x-large;">Bil Smith</span></div>
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<span style="font-family: times; font-size: x-large;">A Commission from AXA (Paris, France)</span></div>
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<br />Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-19878129348623930712024-03-02T10:19:00.000-08:002024-03-03T10:19:59.933-08:00"Zugassent". For Ensemble. A Commission from New York Fashion Week<div class="separator" style="clear: both; text-align: center;">
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<br />Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-46699537985214794242024-03-02T06:50:00.000-08:002024-03-02T07:26:19.495-08:00"Surfaces For Inscription". For String Quartet. The Full PDF Score<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZJGbqYf47p4zV4eOOhVT-ypNJj4NcCQOUK5cVBPETGl6FGFA4C0Gd1FYhCLpbUtmQ-rGBu6wq4QPOPdPkyZlAo6OkggfBUDyEWkfH1N9O1WsmDen9b-bdtVFLNLCVq_WG1hqcj5uLdc0_dcUqrkUI2OiiIzJWkov02M4MngPPs-US0aY26Pmf8Jv2Bpq/s2339/2025%20Surfaces%20For%20Inscription_Page_22.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1653" data-original-width="2339" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZJGbqYf47p4zV4eOOhVT-ypNJj4NcCQOUK5cVBPETGl6FGFA4C0Gd1FYhCLpbUtmQ-rGBu6wq4QPOPdPkyZlAo6OkggfBUDyEWkfH1N9O1WsmDen9b-bdtVFLNLCVq_WG1hqcj5uLdc0_dcUqrkUI2OiiIzJWkov02M4MngPPs-US0aY26Pmf8Jv2Bpq/w640-h452/2025%20Surfaces%20For%20Inscription_Page_22.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">"Surfaces For Inscription"</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"> For String Quartet</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Bil Smith Composer</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">A Commission from Royal Mail PLC</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Published on LNM Editions</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Link To The Full PDF Score</span></div>
<div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://drive.google.com/file/d/1ZrnuLR-loZdBMC-RrO9gv4Gg7p15w6MZ/view?usp=sharing"><span style="color: red; font-family: times; font-size: large;">https://drive.google.com/file/d/1ZrnuLR-loZdBMC-RrO9gv4Gg7p15w6MZ/view?usp=sharing</span></a><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">In the exploration of "Surfaces For Inscription" for String Quartet, crafted with a paratonal notation system, the performers delve into the intricate play between power, knowledge, and the aesthetics of musical discourse. This piece, a convergence of symbols and sounds, becomes a fertile ground for the analysis of how musical texts govern the practices of interpretation and performance, shaping the very ontology of music itself.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The notation system, with its diminutive inscriptions, surrenders to the minuscule, thereby challenging our habitual desire to apprehend the work in its entirety. This act of reading, an exercise in disciplinary power, constrains the quartet within a framework of detailed scrutiny that paradoxically limits the comprehension of the piece's holistic essence.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">This limitation is not a mere oversight but a deliberate strategy that engages the performer and the audience in a complex play of visibility and invisibility. By necessitating a choice between the granular and the gestalt, the notation system enacts a form of control, directing the attention and thereby the interpretative practices of its beholders. It becomes a panopticon of sorts, where the observed - the notation - exerts a reverse surveillance, dictating the terms of its own visibility.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span style="font-family: times; font-size: large;">The banishment of quasi-atmospheric modulations, produced by the abundance of vertical runoffs, represents not merely a technical innovation but a radical reconfiguration of the musical landscape. These vertical runoffs, rather than arresting the motion of the notation, magnify the dynamism inherent in the paratonal system. This is a metaphor for the relation between power and resistance, where the apparent constraints of the notation system serve not to freeze but to catalyze the gestural potential of the music.</span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span color="var(--color-text)" style="font-family: times; font-size: large; font-weight: var(--artdeco-reset-typography-font-weight-normal);"><br /></span></p><p style="--artdeco-reset-typography_getfontsize: 1.6rem; --artdeco-reset-typography_getlineheight: 1.5; border: var(--artdeco-reset-base-border-zero); box-sizing: inherit; color: var(--color-text); counter-reset: list-1 0 list-2 0 list-3 0 list-4 0 list-5 0 list-6 0 list-7 0 list-8 0 list-9 0; cursor: text; font-weight: var(--artdeco-reset-typography-font-weight-normal); line-height: var(--artdeco-reset-typography_getLineHeight); margin: 0px; padding: 0px; text-align: justify; vertical-align: var(--artdeco-reset-base-vertical-align-baseline);"><span color="var(--color-text)" style="font-family: times; font-size: large; font-weight: var(--artdeco-reset-typography-font-weight-normal);">The thick pools of notation, corresponding point by point to the musical structure, create a discursive field where meanings are constructed, deconstructed, and reconstructed, always within the bounds of the system's logic.</span></p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW6m97mOYFvSEmPDrHH9UB8_wEqTc0ILKoFVQsfUt_9-MFQXCf-N9mjFtt5od4wYpCgg8IdlFZ2AjwlGXyg30rw3Q8oNHxOKJmavw7c2cqanNtDzkkB5nzc84rp_cPvSR70rt9XR9HoZFQ-KcR9SoKpHkBtriyrkZfRc2WyWemj8ePSMtvZF5R9M3YAfbH/s2339/2025%20Surfaces%20For%20Inscription_Page_03.png" style="margin-left: 1em; 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Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-73188703955157053732024-03-01T06:00:00.000-08:002024-03-03T11:36:49.410-08:00"The Most Widely Sold Elixir In Our Pharmacopoeia Of Expectations For The Poor". The Score<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-el2Nu9gPJik/Vp51vlcMeAI/AAAAAAAAJZU/dN11mq_PBeo/s1600/Cokkie_Snoei.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="513" src="https://3.bp.blogspot.com/-el2Nu9gPJik/Vp51vlcMeAI/AAAAAAAAJZU/dN11mq_PBeo/s640/Cokkie_Snoei.jpg" width="640" /></a></div>
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<span style="font-family: times; font-size: x-large;">"The Most Widely Sold Elixir In Our Pharmacopoeia Of Expectations For The Poor"</span></div>
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<span style="font-family: times; font-size: x-large;">For oboe, bass flute and bassoon</span></div>
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<span style="font-family: times; font-size: x-large;">Bil Smith Composer</span></div>
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<span style="font-family: times; font-size: x-large;">The Full Score Link:</span></div>
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<a href="https://drive.google.com/file/d/0ByXT8veODB_TbzY2RWFsZUwwVWs/view?usp=sharing" target="_blank"><span style="color: red; font-family: times; font-size: x-large;">https://drive.google.com/file/d/0ByXT8veODB_TbzY2RWFsZUwwVWs/view?usp=sharing</span></a><br />
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<tr><td class="tr-caption" style="text-align: center;">Score Excerpt</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Score Excerpt</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Score Excerpt</span></td></tr>
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<a href="https://4.bp.blogspot.com/-OVG18T78xB0/WB31OY3UoMI/AAAAAAAAM-4/Z5FN37QgB4MRC8PwMCfw0o-bUY5rYJYqACLcB/s1600/Screen%2BShot%2B2016-11-05%2Bat%2B11.03.00%2BAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="452" src="https://4.bp.blogspot.com/-OVG18T78xB0/WB31OY3UoMI/AAAAAAAAM-4/Z5FN37QgB4MRC8PwMCfw0o-bUY5rYJYqACLcB/s640/Screen%2BShot%2B2016-11-05%2Bat%2B11.03.00%2BAM.png" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-s34ISRT_Ue8/WB31OZj3M3I/AAAAAAAAM-8/Fb1qw0hdjBsxmkHtD1aYo-9X1vvs0PX9QCLcB/s1600/Screen%2BShot%2B2016-11-05%2Bat%2B11.03.12%2BAM.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://4.bp.blogspot.com/-s34ISRT_Ue8/WB31OZj3M3I/AAAAAAAAM-8/Fb1qw0hdjBsxmkHtD1aYo-9X1vvs0PX9QCLcB/s640/Screen%2BShot%2B2016-11-05%2Bat%2B11.03.12%2BAM.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Score Excerpt</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Score Excerpt</span></td></tr>
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Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-78070044015037535362024-02-29T07:06:00.000-08:002024-02-29T07:06:01.205-08:00"Tawhid." Wadada Leo Smith<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq3MO8Q65tmUW_Ip8pwLlpQNgrVLGJNZGc0cPITA-Bh6xjUz7k0Fd-pL_vp5Y5XW7YDMOY6PVEHwaCEd4s2bWJ3OI-NMD0nr8xG-37OjH5ao19ugQugD1z7Ltw152TWN_TTlGqQbkzs1xp49tmsNQiUiJtsJCy5P_Z6LuuyURoiiubYt3q8KTvve9hDF59/s769/Tawhid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="769" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq3MO8Q65tmUW_Ip8pwLlpQNgrVLGJNZGc0cPITA-Bh6xjUz7k0Fd-pL_vp5Y5XW7YDMOY6PVEHwaCEd4s2bWJ3OI-NMD0nr8xG-37OjH5ao19ugQugD1z7Ltw152TWN_TTlGqQbkzs1xp49tmsNQiUiJtsJCy5P_Z6LuuyURoiiubYt3q8KTvve9hDF59/w640-h416/Tawhid.jpg" width="640" /></a></div><br /> <p></p>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-74893627643650765092024-02-27T04:25:00.000-08:002024-02-27T04:25:52.896-08:00"Circa Club for Viola" Bil Smith Composer (2022)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgdEPVvkwhfT95YBFNbANr11qlCSb824TnDDTIMZgxeMphpbk0GyXbcOMpYgGLL7VcZhi1ZQMtFFokCuGajsLpcD52V1dHc5aJa3lkTqwjVu9VnZn89YKHo-0wU05Ja8fC3RkH94Zp80RpqaXSSCE8UKomlOraRK52cg31u0RtikClipaz4JW002jeLGw=s3800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3800" height="505" src="https://blogger.googleusercontent.com/img/a/AVvXsEgdEPVvkwhfT95YBFNbANr11qlCSb824TnDDTIMZgxeMphpbk0GyXbcOMpYgGLL7VcZhi1ZQMtFFokCuGajsLpcD52V1dHc5aJa3lkTqwjVu9VnZn89YKHo-0wU05Ja8fC3RkH94Zp80RpqaXSSCE8UKomlOraRK52cg31u0RtikClipaz4JW002jeLGw=w640-h505" width="640" /></a></div><span style="font-size: large;"><br /></span><div style="text-align: center;"><span style="font-family: times; font-size: large;">"Circa Club"</span></div><p></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">for Solo Viola</span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">Bil Smith Composer</span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">2022</span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">Published by LNM Editions</span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">Score 19" X 15"</span></p><p style="text-align: center;"><span style="font-family: times; font-size: large;">Link to PDF Score File</span></p><p style="text-align: center;"><a href="https://drive.google.com/file/d/176KSbBpB3WFukfj082pYTRF7k5eS8L0X/view?usp=sharing"><span style="font-family: times; font-size: large;">https://drive.google.com/file/d/176KSbBpB3WFukfj082pYTRF7k5eS8L0X/view?usp=sharing</span></a><br /></p>Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-43597771935150647142024-02-27T04:24:00.000-08:002024-02-27T04:24:42.163-08:00"Certain of These Balloonists" for Tuba<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-SnaRfBeWn4A/W4hiGGbG0_I/AAAAAAAAP64/7G6JmboDaVUADjGkfRevG9sQfmzq_mSXQCLcBGAs/s1600/Certain%2Bof%2BThese%2BBalloonists.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1132" data-original-width="1600" height="450" src="https://3.bp.blogspot.com/-SnaRfBeWn4A/W4hiGGbG0_I/AAAAAAAAP64/7G6JmboDaVUADjGkfRevG9sQfmzq_mSXQCLcBGAs/s640/Certain%2Bof%2BThese%2BBalloonists.png" width="640" /></a></div>
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<span style="font-family: times; font-size: large;">"Certain of These Balloonists" </span></div>
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<span style="font-family: times; font-size: large;">Bil Smith Composer</span></div>
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<span style="font-family: times; font-size: large;">Published by LNM Editions</span></div><div style="text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: large;">Link to PDF Hi-Res Score</span></div><div style="text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: large;"><a href="https://drive.google.com/file/d/1XXNuQ1ezp3B0qVgHD-QdpliMsJ9n12yo/view?usp=sharing"><span style="color: #2b00fe;">https://drive.google.com/file/d/1XXNuQ1ezp3B0qVgHD-QdpliMsJ9n12yo/view?usp=sharing</span></a><br /></span></div>
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<span style="background-color: white; color: #33302e;"><span style="font-family: times; font-size: large;">In terms of starting a new composition, an important fact for me is that it’s not genre-specific. It doesn’t reflect back to a particular genre. And that’s what’s engaging to me about it, it’s a very speculative assumption: that one can think about producing a musical score, and making meaning, at the same time understanding that there’s no absolute and stable benchmark to rely on for the stable production of that meaning.</span></span></div>
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Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-73979785325463457532024-02-25T14:54:00.000-08:002024-02-25T14:54:55.781-08:00"Avertive" for Trombone<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-FxS6KtZ_3Aw/XoiwB8LQwwI/AAAAAAAAQdg/TS124H2kQIsfn_myndcMQ5hspWjOVlhwACLcBGAsYHQ/s1600/Avertive%2Bfor%2BTrombone_Page_1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1132" data-original-width="1600" height="452" src="https://1.bp.blogspot.com/-FxS6KtZ_3Aw/XoiwB8LQwwI/AAAAAAAAQdg/TS124H2kQIsfn_myndcMQ5hspWjOVlhwACLcBGAsYHQ/s640/Avertive%2Bfor%2BTrombone_Page_1.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;">"Avertive" for Trombone</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;">Bil Smith Composer</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;">Published by LNM Editions</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;">Link to Full PDF Score:</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://drive.google.com/file/d/1L-4kB-Qjl9hznNOfdJYLH7rbigksq7h1/view?usp=sharing"><span style="color: #2b00fe; font-family: times; font-size: large;">https://drive.google.com/file/d/1L-4kB-Qjl9hznNOfdJYLH7rbigksq7h1/view?usp=sharing</span></a><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-l0_f3lFf48uAyMOKQJIMoo8YkpLFM84_SrI1A7IAc90wzEViiypIuYn-2wLI9nY4J5jWzC4w2QjwXeAH62zMXrLecs46DHnOxhcBqyNKbHlWYhun84wz5nP_QKFnsKauM2qUou6MXy6rsbBNnMsj3IMgrIVFRwTdPRZhnPErhtd_gH6R89IEuQg28w/s3309/Avertive%20for%20Trombone_Page_2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2339" data-original-width="3309" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-l0_f3lFf48uAyMOKQJIMoo8YkpLFM84_SrI1A7IAc90wzEViiypIuYn-2wLI9nY4J5jWzC4w2QjwXeAH62zMXrLecs46DHnOxhcBqyNKbHlWYhun84wz5nP_QKFnsKauM2qUou6MXy6rsbBNnMsj3IMgrIVFRwTdPRZhnPErhtd_gH6R89IEuQg28w/w640-h452/Avertive%20for%20Trombone_Page_2.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLswE2hUZL5TvKJemiJVcDEQ-PDKUpqNNeK8An-sHv_qcJ5R7ZL-TGp-1rreqbyOiNWzLtrjwKjU_ZFF979YtnwF7T7jH76Ua7YaW1rT6i5PRaX-L2Q5XjGn_aHn1Etsd3bxZGnPoD3esuDjePf0YGTgpYy3-MP75r3vEnXAwI2z1QcgOORe4e1mScjQ/s3309/Avertive%20for%20Trombone_Page_3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2339" data-original-width="3309" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLswE2hUZL5TvKJemiJVcDEQ-PDKUpqNNeK8An-sHv_qcJ5R7ZL-TGp-1rreqbyOiNWzLtrjwKjU_ZFF979YtnwF7T7jH76Ua7YaW1rT6i5PRaX-L2Q5XjGn_aHn1Etsd3bxZGnPoD3esuDjePf0YGTgpYy3-MP75r3vEnXAwI2z1QcgOORe4e1mScjQ/w640-h452/Avertive%20for%20Trombone_Page_3.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>
<br />Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-20156343687711392812024-02-25T07:11:00.000-08:002024-02-25T07:11:16.661-08:00"Evagile" For Snare Drum<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-a7APUjtS5Tk/WCJvZOTlbGI/AAAAAAAANB8/vdvz-gS1EVwN6OtFBUgJariT86deHNOQACLcB/s1600/%2522Evagile%2522%25E2%2580%25A9For%2BSnare%2BDrum_Page_1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://4.bp.blogspot.com/-a7APUjtS5Tk/WCJvZOTlbGI/AAAAAAAANB8/vdvz-gS1EVwN6OtFBUgJariT86deHNOQACLcB/s640/%2522Evagile%2522%25E2%2580%25A9For%2BSnare%2BDrum_Page_1.png" width="452" /></a></div>
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<span style="font-family: times; font-size: x-large;">"Evagile" </span></div>
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<span style="font-family: times; font-size: x-large;">For Snare Drum</span></div>
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<span style="font-family: times; font-size: x-large;">Bil Smith</span></div>
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<span style="font-family: times; font-size: x-large;">A Commission from Dexia</span></div>
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<a href="https://1.bp.blogspot.com/-UJPaWwPXsO8/WCJvZOKWFyI/AAAAAAAANB4/sztHzriBkFs-ztqyjpu73TegbRFE_cMYwCLcB/s1600/%2522Evagile%2522%25E2%2580%25A9For%2BSnare%2BDrum_Page_2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://1.bp.blogspot.com/-UJPaWwPXsO8/WCJvZOKWFyI/AAAAAAAANB4/sztHzriBkFs-ztqyjpu73TegbRFE_cMYwCLcB/s640/%2522Evagile%2522%25E2%2580%25A9For%2BSnare%2BDrum_Page_2.png" width="452" /></a></div>
<br />Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0tag:blogger.com,1999:blog-5470886374843132451.post-54475655370029623362024-02-25T07:05:00.000-08:002024-02-25T07:05:01.188-08:00"Pression" For Viola & Cello. A Commission from Waters PLC.<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-QpOhXIyITIQ/V0BxAZZupaI/AAAAAAAAK0o/fJYYb5wSRbw9W2NjF4GEnCykKovjJUnjwCLcB/s1600/Screen%2BShot%2B2016-05-21%2Bat%2B10.26.57%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="452" src="https://3.bp.blogspot.com/-QpOhXIyITIQ/V0BxAZZupaI/AAAAAAAAK0o/fJYYb5wSRbw9W2NjF4GEnCykKovjJUnjwCLcB/s640/Screen%2BShot%2B2016-05-21%2Bat%2B10.26.57%2BAM.png" width="640" /></a></div>
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<br />Bil Smithhttp://www.blogger.com/profile/00368425211437311887noreply@blogger.com0