Monday, January 30, 2017

“Impact Tilting: Clumps of Dried Air Weed Spinning Against Its Terminal Pier and Covered with Gnomic and Meaningless Graffiti” Bil Smith Composer




“Impact Tilting: Clumps of Dried Air Weed Spinning Against Its Terminal Pier and Covered with Gnomic and Meaningless Graffiti”
Bil Smith Composer; 1998 and 2013. 
1.0 and 2.0. Commissioned in 1999 by Bell Atlantic and originally performed by Barth Ensemble Musik Fabrik, Stern Auditorium / Perelman Stage. This performance from 1999. Details follow in Compositional Architecture Section.
The Recording on SoundCloud:



Monday, January 23, 2017

"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera" for Solo Organ


"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"


"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"

"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"


"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"

"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"

"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"

"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"

"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"
"A Browning Automatic Pistol: A GlassGlimmer Object Resembling The Interior Of His Parents Cine-camera"

Sunday, January 22, 2017

"Twose" for Piccolo and a Word on 'Trauma Theory'

"Twose" for Piccolo

Compositional skepticism, whether of the anarchic or the methodical kind, has challenged the possibility of certain knowledge. 

Trauma theory introduces a psychoanalytic skepticism as well, which does not give up on sounds but suggests the existence of a traumatic kind, one that cannot be made entirely conscious, in the sense of being fully retrieved or communicated without distortion.




We have only a beginning, something like a hyper-community of musical explorers. The theory derives mainly from psychoanalytic sources, though it is strongly affected by compositional practice. 

It recasts, in effect, an older question: what kind of music is art, or what kind of music does it foster?

The theory holds that the music of trauma, or the music which comes from that source, is composed of two contradictory elements. One is the traumatic event, registered rather than experienced. It seems to have bypassed perception and consciousness, and falls directly into the psyche. 

The other is a kind of memory of the event, in the form of a perpetual troping of it by the bypassed or severely split (dissociated) psyche.


Thursday, January 5, 2017

"Locked Transit" for Flute and Bassoon. Red Fradler Composer.

"Locked Transit" for Flute and Bassoon



"Locked Transit" for Flute and Bassoon.  

Red Fradler Composer

2016-2017

Published by LNM Editions

(Laboratorie New Music)


Monday, January 2, 2017

Prelude Guidance and Performance Regime (19 seconds per page). A Preview from a New String Quartet Commissioned by SinoPharm


Prelude Guidance and Performance Regime (19 seconds per page)

"Gamble Through One Of Those Narrowing Gaps"  

A Preview from a New String Quartet Commissioned by SinoPharm