Saturday, July 30, 2016

"Imperial Astronomical Institute" for Bass Clarinet, Tuba & Piccolo.



"Imperial Astronomical Institute" for Bass Clarinet, Tuba & Piccolo. Bil Smith Composer Page 1 of the score.

Commissioned by Xi'an Aircraft Industrial Corporation for the 10th anniversary of AVIC I, June, 2009.

Part Two: Provocations From The Composers of Laboratorie New Music

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Friday, July 29, 2016

Composition: Asemic Tablatures (WET Scores?)


Can an asemic writing/compositional aesthetic be a valid compositional lexicon? 

 I look to Ariel González Losada, Gustavo Chab, and Anat Pick for their keen insight. I think of Hans Robert Jauss, being the key figure associated with 'Reception Theory.' Mikhail Bakhtin's 'Dialogic Criticism', and Hervé Le Tellier, member of the international literary group Oulipo as guideposts of thought.

Ariel González Losada

Gustavo Chab
Anat Pick
Ariel González Losada










































My idea is to create a new system of notation embedded with apparent contradictions, but is itself based on the recognition that contradiction is the fundamental starting point of all musical departure, indeed all thought. 

The real kernel of ideation in this abstruse speculation is about the process involved in getting from nowhere to nothing. 

From the brilliant mind of Gustavo Chab...

Gustavo Chab   "Asemic writing is a wordless open semantic form of writing. The word asemic means "having no specific semantic content".[1] With the non-specificity of asemic writing there comes a vacuum of meaning which is left for the reader to fill in and interpret. All of this is similar to the way one would deduce meaning from an abstract work of art. The open nature of asemic works allows for meaning to occur trans-linguistically; an asemic text may be "read" in a similar fashion regardless of the reader's natural language. Multiple meanings for the same symbolism are another possibility for an asemic work.

Some asemic writing includes pictograms or ideograms, the meanings of which are sometimes, but not always, suggested by their shapes. Asemic writing, at times, exists as a conception or shadow of conventional writing practices. Reflecting writing, but not completely existing as a traditional writing system, asemic writing seeks to make the reader hover in a state between reading and looking.

Asemic writing has no verbal sense, though it may have clear textual sense. Through its formatting and structure, asemic writing may suggest a type of document and, thereby, suggest a meaning. The form of art is still writing, often calligraphic in form, and either depends on a reader's sense and knowledge of writing systems for it to make sense, or can be understood through aesthetic intuition.

Asemic writing can also be seen as a relative perception, whereby unknown languages and forgotten scripts provide templates and platforms for new modes of expression. It has been suggested that asemic writing exists in two ways: "true" asemic writing and "relative" asemic writing.[2] True asemic writing occurs when the creator of the asemic piece cannot read their own asemic writing. Relative asemic writing is a natural writing system that can be read by some people but not by everyone (e.g. ciphers). Between these two axioms is where asemic writing exists and plays



The Asemic Continuum

Influences on asemic writing are illegible, invented, or primal scripts (cave paintings, doodles, children's drawings, etc.). But instead of being thought of as mimicry of preliterate expression, asemic writing may be considered to be a post-literate style of writing that uses all forms of creativity for inspiration. Other influences on asemic writing are xeno-linguistics, artistic languages, sigils (magic), undeciphered scripts, and graffiti.

Asemic writing occurs in avant-garde literature and art with strong roots in the earliest forms of writing. A modern example of asemic writing is Luigi Serafini's Codex Seraphinianus. Serafini described the script of the Codex as asemic in a talk at the Oxford University Society of Bibliophiles held on May 8, 2009."




Monday, July 25, 2016

Part Five: Provocations From The Composers of Laboratorie New Music









































"Different Phenomena..." For Orchestra, Guitar, Mezzo-Soprano, Alpha Spheres, and Audio Cubes



"Different Phenomena; The Luminous Dragon-Green Sea" (2014) Bil Smith Composer.


For Orchestra, Guitar, Mezzo-Soprano, Alpha Spheres, and Audio Cubes


Compositional structure based on W.V.O. Quine's theories of Holophrastic indeterminacy, or "indeterminacy of musical performance translation". This is one of two kinds of indeterminacy of performance interpretation to appear in his writings.

According to Quine, "there is more than one correct method of interpreting (translating) notations where the two interpreters differ not merely in the meanings attributed to the sub-sentential parts of sounds but also in the net import of the whole composition.

It is holophrastic indeterminacy (Cage) that underlies Quine's argument against synonymy, the basis of his objections to Rudolf Carnap's analytic/synthetic distinction.

The Iconic Robert Ashley on "Condensation of Chromium Culture"


From the late Robert Ashley -

"This work of Smith's is a behemoth; this a music engulfed in a torrent of noisy, yet partially restored, small transformations. 

Perhaps I can evoke the appropriate sense of quizzical reaction as follows. Mathematicians may conceivably be said to be somewhat rational and not necessarily two-legged, and cyclists necessarily two-legged and not rational. 

But what of an individual that counts his eccentricities both mathematics and cycling? A small digression, but poignant all the same if you are able to withstand the duration of this work. 

Spherical, elongated and a spectacle of musical geometry. Time invested wisely."

-Robert Ashley



Recording on SoundCloud:






Sunday, July 24, 2016

PolyTenor. A Large Format Score for Piano {Four Hands}

PolyTenor


Score Detail A,09



Score Detail Bi(8)


22.+



Interre 8




Veeste  .-9




Nomina Se                         @7






OP-08