"Sound Morphology" (Bil Smith Composer)

Sunday, August 30, 2015

"Analogous to a Synthetic Geology" for Three Voices + Altitonant Devices

"Analogous to a Synthetic Geology"

for Three Voices

(each with Altitonant Devices hung above the performers and manipulated by a controller).

Bil Smith Composer. (2014).

Performance and composition made possible by the kind support of Blaupunkt GmbH.

If what I write sometimes is too much to absorb, which I have been challenged about in my writing, let's think about breaking this down.

Let's focus on one point here..."truth value".

Where is our 'station' when we create music?

Must it be relevant?

What defines our ability or inability to induce new syntactic musical messages?

Sunday, August 16, 2015

“Olivia Fortitude * Images of Polyperverse Behavior” (2005-2013) Bil Smith Composer

CD Cover Art for "Olivia Fortitude" on Laboratorie New Music Label

NEW: “Olivia Fortitude Images of Polyperverse Behavior”

(2005-2013) Bil Smith Composer

Tape, Polymorphous Tape, Behavioral Tape, Tape Procession. Total = Four Tapes.

LISTEN on SOUNDCLOUD:

https://soundcloud.com/bil-smith/olivia-fortitude-2012-bil

Tuesday, August 11, 2015

"Johannes Kreidler: Disruptor"

Johannes Kreidler is documenting a vast assortment of graphic music scores on his essential new music blog:

http://www.kulturtechno.de/

Don't miss his music either. He is a disruptively, radical thinker. He has a game changing mind set which is evocative and essential.
http://www.youtube.com/watch?v=cUIzq52kuP4

This is an important catalog for all interested in finding a different voice in compositional construction.

Many of these scores, I have not been exposed to and I have been sharing them with others from his postings. This is great work and a unique service and gesture to all of us interested in our unique path of musical endeavors.

http://www.kulturtechno.de/?p=12314

Sunday, July 26, 2015

Who Put The 'Fer' in Ferneyhough?

Ferneyhoughism

Perspectivisation Modeling and Ferneyhoughism: The Nash Equilibrium

Emotive Theory.

The main philosophical questions posed by compositional metaphor are the following:

How is “compositional metaphorical meaning,” broadly construed?

By what mechanism is such meaning conveyed?

How do hearers/listeners/aural repositories/suck up listeners grasp the meaning, given that what they hear is only a musical whose literal meaning is something different?

The Subplexivists (Dick Barrett, Richie Barrett, 'Rikki Don't Lose That Number Barrett) offered a single brutal answer to each of those questions: There is no such thing as “metaphorical meaning” if by “meaning” one means 'Vanity' or even unintentional meaning; there is only emotive or affective significance.

Nor is there any “mechanism” by which metaphorical significance is conveyed, if by “mechanism” one means a cognitive score or Opening of the Mouth.
Nor is there grasp of meaning; there is only the psychological effect that hearing a metaphorical utterance has on one’s feelings and attitudes. Call this the Emotive theory of metaphor, as in the Emotive theory of ethics.

Again...'Vanity'

The Emotive view is hard to accept. First, as Helmut Friedrich Lachenmann points out, it implies that the only relevant difference between good metaphors and nonsense strings such as “Blue why procrastination the the when of after dumbwaiter dumbwaiter” is that for whatever reason, metaphors generate affect that word salad does not.

Hellie states again ... 'Vanity'

Work on your shit.

IG says...I'm his new bitch...spending his new cash. It's the same shit. Walk a man in the Louboutin's Rick.