Sunday, July 26, 2015

Who Put The 'Fer' in Ferneyhough?


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.   


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 whatev
er 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.  

Saturday, July 25, 2015

Carnegie Hall Premiere of "Delinquent Spirit...". January 9, 2015. Nicolas Horvath, Piano.

Nicolas Horvath, Pianist with the score to “Delinquent Spirit of a Drowned City” 

Early this year, I was honored to be part of this amazing event which saw my composition, "Delinquent Spirit of a Drowned City", first performed in Paris by Nicolas Horvath, have it's US Debut at Carnegie Hall on January 9, 2015.

The program was unique : the world premiere by a single pianist of all the 20 Philip Glass Etudes, alongside with world premieres from composers such as Alvin Curran, Jaan Rääts, Régis Campo, Tom Sora, Michael Black, Eve Beglarian, and Lawrence Ball.

Nicolas is a brilliant pianist with a vision for programming that is rarely found.  His innovative performance on New Years Eve (December 31, 2014) in Kiev lasted for 22 hours and included all of the Glass Homages.  

“Delinquent Spirit of a Drowned City” for Solo Piano

Jhenna Marche
“Delinquent Spirit of a Drowned City” for Solo Piano

U.S. Premiere by Nicolas Horvath

January 9, 2015
Carnegie Hall
New York, NY

Produced by New York Artists Management
Jasna Popovic

Bil Smith Composer
Co-Conspirators:  Jhenna Marche, Siyang Gong

Carnegie Hall Concert Announcement

From The New Yorker...

"In December of 2012, a prodigious Monacan pianist named Nicolas Horvath gave a performance in Tokyo that lasted thirty-five hours. It was his eighth solo presentation of “Vexations.” “No food or drink for three days before the Vexations,” he explained to his fans in the comments section of his YouTube channel, where he posts six- and nine-hour segments of his marathon performances. Responding to a newcomer, he said, “28 hours is pretty nice indeed but alone it is very hard. Pain starts past 6 hours; Madness starts past 12 hours; Hell starts past 20 hours!”


The score: Four (4) independent pages, 27.5” X 17.5” on boards; three (3) transparencies, 17.5” X 3.35”, Performance Notes book, portfolio enclosure and oil on canvas 46” X 31” (integument).

This work is inspired by Philip Glass’ “The Light.”  Glass composed this work in 1987 to celebrate the 100th anniversary of the Michelson-Morley experiment, whose data, failed to demonstrate their hypothesis, but led to discoveries about special relativity and the speed of light; and ultimately, the impact on light and color.
Enclosure for Score


The compositional structure is 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. 

Colophon and Performance Notes

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 that underlies Quine’s argument against synonymy, the basis of his objections to Rudolf Carnap’s analytic/synthetic distinction.
The pianist is empowered, yet restricted by the presence of textual references and neologisms, inferred tablature (transparencies) and direct tablature (found on the far right side of the four (4) large pages of the score). 

The focus on combinatorial tablatures and tactical notational systems represent my interest in the efforts my musical allegory makes to affect change while grappling with the notion of radical—whether as a self-identification or a prescribed moniker, or both—and the mutations of disruption, authority, activism, and ethos that take place.  I am curious about the actuality of innate constructions determining one’s aesthetic and sociopsychic passion and sense of agency.

“Delinquent Spirit” is a platform for investigating intentionality and the rapport I have to documentary or archival forms—a fragile and volatile place for both the object and subject.  Authenticating experiences through new musical representations quickly impresses a contemporary psychological form of recognition. Within these mediated forms of cognition, music establishes a further expanded dimensional presence. Ultimately, it is challenging to understand this work as a completed form or even as a record—it is something that is permeable and flexible.

Biography:  Bil Smith, Composer

Bil Smith is a composer, instrumentalist and neologist.  His work has been programmed by leading contemporary music ensembles and his scores have been published and exhibited in art galleries throughout the world.

Bil’s compositions have been performed by specialist ensembles and soloists including members of the San Francisco Symphony Orchestra, Ensemble Moderne, The Düsseldorfer Symphoniker, St. Petersberg Philharmonic Orchestra, Kyushu Symphony Orchestra, Helsinki Philharmonic Orchestra. Schoenberg Ensemble Amsterdam, Ensemble Gelade, Qingdao Symphony Orchestra, Dresden Philharmonic, and Oslo Sinfonietta.

Early in his career as a jazz trumpeter, he performed with the Thad Jones/Mel Lewis Orchestra, Anthony Braxton, Toshiko Akiyoshi, Gary Burton, Steve Lacy, Lester Bowie, Kevin Eubanks, Quincy Jones, Max Roach and Michael Gibbs. 

As a Neologist, Smith founded Addison Whitney, a consultancy dedicated to creating brand identities for global companies and organizations.  Deeply rooted in the etymology and linguistic foundations of words, Smith created a dynamic new system of word generation, which led to the creation of the brands Viagra (Pfizer), Outlook (Microsoft), Escalade (Cadillac), Xbox (Microsoft), Lexapro (Forest Labs), Element (Honda), Advair (GSK) and Access (Microsoft).  He has been responsible for the creation of more than 1100 brand names globally since 1991.

He identifies himself as an inter-disciplinarian composer, incorporating combinatorial techniques including neologisms, prose, painting, sculpture, drawing and combustion, as well as traditional elements of music composition to his work.

Nicolas Horvath, Piano.  Carnegie Hall.  January 9, 2015

Complete program : 

Philip GLASS : Etudes 1 to 10 

Jeroen van VEEN (hol) : Hommage for Philip Glass (USA premiere) Frédérick MARTIN (fr) : Glass in Mirror (USA premiere) Konstastin YASKOV (by) : Moonlight Sonata for Philip Glass (WP)Stéphane DELPLACE (fr) :Hommage à Glass (USA premiere) William SUSMAN (usa) : 1937 (USA premiere) Andre Vindu BANGAMBULA (cd) : Homage to P. Glass (WP)Eve BEGLARIAN (usa) : Enough Holes (WP)Tom SORA (de) : Glassplitter (WP)Tom CHIU (tw): laborets version 2.0 (USA premiere) Sergio CERVETTI (uy) : Intergalactic Tango (WP)Régis CAMPO (fr) : Smiley !(WP)Jaan RÄÄTS (ee) : (WP)


Bil SMITH (usa): Delinquent Spirit of a Drowned City (USA premiere) Paul WEHAGE (usa) : Early Morning:New York Skyline (USA premiere) Michael Vincent WALLER (usa) : Pasticcio per meno è più (WP)Alp DURMAZ (tr) : Bustling (WP)Gilad HOCHMAN (il) : Broken Glass (USA premiere) Ehsan SABOOHI (ira) : Where is the friend’s house? (USA premiere) Lawrence BALL (uk) : Glass Ball Game (WP)Paul A. EPSTEIN (usa) : Changes 6.1 (WP) Alvin CURRAN (usa) : The Glass Octave (WP)Michael BLAKE (za) : Shard (WP)Victoria Vita POLEVA (ukr) : NULL (USA premiere) Mamoru FUJIEDA (jp) : Gamelan Cherry (USA premiere) 

Philip GLASS : Etudes 11 to 20 

Saturday, July 4, 2015

"To Be Sold To Be Let" for Voices. For Penny Arcade. Bil Smith Composer

"To Be Sold To Be Let" for Voices.  For Penny Arcade.  
Bil Smith Composer
The overwhelming majority of Laboratorie New Music composers' works thus far reproduced inscribe themselves in a syntactic stucturElist perspective created expressly for our ambitions. Indeed the creative effort in our works is principally brought to bear on the formal aspects of composition: sonic, consonantal, vocalic, rhythmic, graphic, prosodic and numerical constraints, structures and programs.

Score Template for "To Be Sold To Be Let"  Bil Smith 
Penny Arcade (born Susana Ventura, July 15, 1950), is an American performance artist, actress, and playwright based in NYC.
Ventura's long association with alternative performance began at age 17, when she performed with John Vaccaro's Playhouse of the Ridiculous, and appeared in the Jackie Curtis play Femme Fatale, followed by an appearance in the  Andy Warhol film, Women in Revolt. She traveled Europe during the 1970s, returning to New York in 1981, where she worked with many underground theatre artists, including Jack SmithCharles Ludlamand the Angels of Light. She co-starred with Quentin Crisp in the long-running performance/interview piece, The Last Will and Testament of Quentin Crisp.

As Penny Arcade, she has been performing her own monologues since 1985, mostly in New York. In the late 1980s she created a character named Margo Howard-Howard, a 50-year-old drag queen with a scandalous past, for her performances. The NY Times refers to the character as "patently unbelievable", but in a later article acknowledges that her monologue was "based on real Lower East Side residents." Howard-Howard received an obituary in The Village Voice.

The Village Gate Sign on the corner of Thompson and Bleecker streets, January 2006
In the 1990s she toured internationally with her most popular show, Bitch! Dyke! Faghag! Whore!, which, like much of her work, was an opinionated commentary on sexuality and censorship; it featured a chorus of amateur reverse strippers. In 1998 she performed at the first Gay Shame event (as opposed to gay pride) at DUMBA in Brooklyn she appears in the documentary film of the event by Scott Berry, entitled Gay Shame '98. Her 2002 performance New York Values, which also toured abroad, addressed the loss of cultural identity in New York during the Giuliani years. 

The famousVillage Gate marquee in New York is still adorned with her name and the title of her performance piece, although the nightclub no longer exists.

Arcade is a co-founder of the Lower East Side Biography Project, a video production and oral history workshop that trains participants in documentary filmmaking and preserves the stories of Lower Manhattan artists and activists. Recently profiled individuals have included Herbert HunckeJayne County, and Marty Matz, among others.

In 2002 Arcade ran for the New York State Assembly as a candidate of the Green Party. She received 1,054 votes out of 32,976 in the 74th Assembly district, losing to incumbent and anti-rent control advocate Steven Sanders.

In January 2011 Arcade had an on stage spat with notorious performance artist Ann Liv Young who was in guise as her alter ego Sherry.

In 2012 Arcade took up residence at London's Arcola Theatre for a run of her show "Bitch! Dyke! Faghag! Whore!"