Sunday, February 19, 2017

Genesis Of A New Instrumentarium



"Delictis: Overnight Cold Air" - Single Page Graphic Score for Elemental Clarinet and Friends (Optional)




Composition for an Elemental Clarinet lasting precisely 4 minutes and 12.8 seconds.  


An additional C Trumpet may be allowed, but only for a period on 12.9 seconds and may be introduced at any juncture, but never to exceed 12.9" in total performance time.  

Elemental Clarinet may be accompanied by a Coloratura Soprano who will interpret the score in it's contextual format (determinate intoning).  

The Coloratura Soprano ( Male or Female, but preferably Male) must adhere to the visual structure of the score and accept the lead of the Elemental Clarinetist.

It may be performed for less than the prescribed 12.9" or be present for the performance and not perform at all.  

The C Trumpet may not perform beyond the performance of the Elemental Clarinetist.


Bil Smith Composer



Thursday, February 9, 2017

Extended Orchestra




On SoundCloud:


Extended Orchestra refers to an expansion of instrumentation beyond the traditional orchestral modicum. In this piece it involves adding a prescribed number (in this performance 18) of non-traditional orchestral instruments. While the score for the instruments is carefully notated, the instrument selection is left up to the key stakeholders of the performance.
“Form and referent coincide, and response rarely goes beyond the initial frisson. In creating a score of this magnitude, it is not the immediate, visceral reaction but the critical reception, the work’s potential to generate independent thinking, that matters.

"Adjacent Akron" for Organ


"Adjacent Akron"

For Organ

Bil Smith Composer

A Commission from Clariant Ltd.

World Premiere:  November 9, 2015

Ronald Darling, Organ


Cage said that his audience was perpetually students, reason being that students grow up, leave the academy to enter the real world, the result being that, consumed with practical matters, they drift from art and music.




"Obvious Gambling" for Viola and Piano


Wednesday, February 8, 2017

The Post-Conceptual Composer and Institutional Composition


The work of the post-conceptual composer is a contradiction intended to surprise both the listener and infinity. Ideas are the way a listener will refer to this surprise. The composer will state the idea as ludicrously infinite. 
Successful completions generally have been found to mitigate infinity. I predict we will see one such mitigation via Institutional Composition. This is a newly minted term meant to function as a post-conceptual commentary on infinity as well as the various institutions and assumed normalities of composing and/or a radical disarticulation of the institution of composition (radical is notationally understood in its relation to radix which means to get to the root of something). 




For instance, assumptions about the supposed aesthetic autonomy or neutrality of science fiction and fantasy are often explored as a subject in the field of literature, and are then historically and socially mapped out (i.e., ethnographically and or archaeologically) as discursive formations, then (re)framed within the context of The Infinite Library itself. 


As such, Institutional Composition seeks to make visible the historically and socially constructed boundaries between inside and outside, public and private.  Institutional Composition is often critical of the false separations often made between distinctions of taste and supposedly disinterested aesthetic judgment, and affirms that taste is an institutionally cultivated sensibility that may tend to differ according to the class, ethnic, sexual and gender backgrounds of music's audiences. 




The resulting work is meant to sound good. Sometimes the work suggests the form of the composer. I am grateful for the way a score presents itself as an autobiographical product of its creator and his/her place in the infinite. And yet, I have found this gratefulness tends to go awry in expressionist composition. 

It looks better when the score may more easily become a metric time element, a kind of objective tool that is an intrinsic part of the composer who is out to avoid subjectivity. This type of work is free even to be a belief, something that shows the size of a metric time element as representative of a belief.  The composition is representative of that belief.








Thursday, February 2, 2017

Exercise for Schilke Beryllium Tuning Bell Trumpet


Preview of a New String Quartet Utilizing a New Choriamb Tablature System

Excerpt



"A Dative of Form." For E Flat Bass Trumpet

E Flat Bass Trumpet (Thein)




Detail

Detail

Detail

Detail


"I feel the best critique of any music is to let it speak for itself"



I feel the best critique of any music is to let it speak for itself. 

I feel that the interpretation of music is always subjective and that no amount of arm-twisting will change anybody’s mind, hence my hands-off approach. 

I find that composition contains enough morality, or lack thereof, that we don’t really need to do much with it; we’re working with explosive material here. 

I’m not interested in a hierarchical approach to composition; I’m not interested in judgments or moralizing — I don’t feel qualified for such actions. 

Rather, I’d prefer to reframe, repackage and recapitulate that which is already existing.  (OK...Johannes Kreidler​ makes this point, Darmstadt, 2012)

In that way, my writing is able to surprise me constantly, for I often write works I don’t agree with.

Bil Smith​