"Acta Combinatorial" for Solo Cello Bil Smith Composer final copy

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"Acta Combinatorial" for Solo Cello Bil Smith Composer final copy (Dimensions 60" X 90")

from the opening performance notes:

IN DREAMS BEGIN RESPONSIBILITIES…IT IS A FASCINATING RAPPROCHEMENT BETWEEN SEEMINGLY
DIVERGENT AESTHETICS; NEOLOGISMS, CONCRETE DEMARCATION AND GRAPHIC DESIGN…NOT TO
MENTION ART FOR ART’S SAKE. LET’S CONSIDER THE WORDS AT STAKE…THIS IS A PIECE OF MUSIC
SO TO SPEAK.

THE DISTRIBUTION OF VERBAL UNITS, WHETHER LETTERS, MORPHEMES, PHONEMES, OCTOMEMES,
CANTOMEMES OR COMPLETE WORDS…ON THE WRITTEN SCORE DIFFERS FROM WISDOM IN THAT
IN THE FORMER VISUAL FORMAT, DOES NOT PLAY A CENTRAL ROLE IN THE AURAL DELIVERY OF
THIS PIECE.

SHAME , SHAME FOR THE CONTEXTUAL ELEMENTS. THESE POETIC ETYMOLOGIES RECALL ARGUMENTS
AGAINST THE EARLY REPRESENTABILITY OF THE SIGN. PERHAPS THE DESTRUCTION OF SYNTAX
AND NOMOPHONY DECRIES A HYPOTHESIS.

THE RESONANCE OF SUCH THOUGHTS CATALOGS AND SPLICES FASCINATING YARNS, OBSERVATIONS
AND IMAGES OF MOVABLE PASSAGES OF SONIC DELIVERY WHICH MUST, AS YOU ENCOUNTER,
ARTICULATE WITH RELIGION AND CONTRITE, STEAM AND CITATION, REVELED WITH FRAMING
DEVICES, BETWEEN AUTHENTICITY AND ARTIFICE, ADMITTEDLY FACTUAL TELEPATHY AWAITING A
COMPLEX PROCESS OF NEGOTIATION; A BIOSKETCH OF IRISH LYRICAL MONTAGE AS CONCLUSIONS
OF MONOCLE LOVE CLEANSING FROM SLOW DISAFFECTION WITH LURID STILLNESS.

IN THE END…IT IS STILL MUSIC. AUTHORITATIVE, ORNAMENTAL, COMPENSATING, PUNCTUATED,
EMBEDDED, UNATTAINABLE MUSIC.

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"Acta Combinatorial" for Solo Cello Bil Smith Composer final copy

  1. 1. IN DREAMS BEGIN RESPONSIBILITIES…IT IS A FASCINATING RAPPROCHEMENT BETWEEN SEEMINGLY DIVERGENT AESTHETICS; NEOLOGISMS, CONCRETE DEMARCATION AND GRAPHIC DESIGN…NOT TO MENTION ART FOR ART’S SAKE. LET’S CONSIDER THE WORDS AT STAKE…THIS IS A PIECE OF MUSIC SO TO SPEAK. THE DISTRIBUTION OF VERBAL UNITS, WHETHER LETTERS, MORPHEMES, PHONEMES, OCTOMEMES, CANTOMEMES OR COMPLETE WORDS…ON THE WRITTEN SCORE DIFFERS FROM WISDOM IN THAT IN THE FORMER VISUAL FORMAT, DOES NOT PLAY A CENTRAL ROLE IN THE AURAL DELIVERY OF THIS PIECE. SHAME,SHAMEFORTHECONTEXTUALELEMENTS.THESEPOETICETYMOLOGIESRECALLARGUMENTS AGAINST THE EARLY REPRESENTABILITY OF THE SIGN. PERHAPS THE DESTRUCTION OF SYNTAX AND NOMOPHONY DECRIES A HYPOTHESIS. THE RESONANCE OF SUCH THOUGHTS CATALOGS AND SPLICES FASCINATING YARNS, OBSERVATIONS AND IMAGES OF MOVABLE PASSAGES OF SONIC DELIVERY WHICH MUST, AS YOU ENCOUNTER, ARTICULATE WITH RELIGION AND CONTRITE, STEAM AND CITATION, REVELED WITH FRAMING DEVICES, BETWEEN AUTHENTICITY AND ARTIFICE, ADMITTEDLY FACTUAL TELEPATHY AWAITING A COMPLEX PROCESS OF NEGOTIATION; A BIOSKETCH OF IRISH LYRICAL MONTAGE AS CONCLUSIONS OF MONOCLE LOVE CLEANSING FROM SLOW DISAFFECTION WITH LURID STILLNESS. IN THE END…IT IS STILL MUSIC. AUTHORITATIVE, ORNAMENTAL, COMPENSATING, PUNCTUATED, EMBEDDED, UNATTAINABLE MUSIC. WHAT DOES IT MEAN FOR A WORK TO BE EMINENTLY LIKEABLE AND ALMOST COMPLETELY UNREADABLE? EGOTISM OR THE PROCESS OF BREAKING DOWN LARGER COHERENT PHRASAL UNITS INTO ASSEMBLAGES OF MORPHEMES, PHONEMES, NANOMEMES, FRESOMEMES, BELOMEMES, LOMEMES, RONOMEMES, TRITOMEMES, OPONOMEMES, HISTOMEMES AND JESTOMEMES. THERE IS AN APPREHENSION WHEN INTERPRETING THIS WORK, AS ONE IS CREATING A COOL AND INTERESTINGFIBERABOUTIT.IT’SALMOSTLIKEREADINGFINNEGAN’SWAKEANDHAVINGADMITTANCE TO ALL ITS CHARACTERS AND A KEY TO ALL THE ALLUSIONS AND COVERT ADUMBRATIONS. IDEA, EVENTS, FACTS AND ACTIONS MEDIATED AND MATERIALIZED ARE, IN PRACTICE {FACT}, THE NUCLEAR POINTS OF THE UNANIMITY OF DOCTRINE AND IMAGE. THEY LEAD TO A BROADENING OF EXPERIENCE REGARDING PARTICULAR IDEAS, FACTS AND ACTIONS. THEY ARE UNAMBIGUOUS. THEY ARE THE VIRTUAL EPITOME OF A NATURAL HUMAN FACT OR LAW. IT IS NOT IMPORTANT IF THE CONTENT {MATERIALS} THAT RESULT ARE EXECUTED IN A PARTICULAR MATERIAL, OR IF THEY RESPOND TO PREVIOUS REALIZATIONS OF THE COMPOSER THAT MADE THEM OR OF OTHERS. A VISUALIZED AND MATERIAL IDEA DOES NOT CONTAIN A PROGRAM. IT DOES NOT FOLLOW AN INDIVIDUAL OR SOCIAL HISTORY, IT IS WHOLLY A REPRESENTATION OF A TERM. THE PERFORMER, PLACING HIMSELF AT THE POINT WHERE IMAGE AND IDEA CONSOLIDATE, BECOMES THE TRUE PALADIN OF THE EVENT. HE IS INTEGRATED WITH TOPICALITY AND THE IMPENDING EVENT OF HIS IDEAS. ACTA COMBINATORIAL IS COMPOSED CONSISTENT WITH MUSICAL PRINCIPLES AND IS INTENDED TO SERVE AS A SCORE FOR A SOLO CELLIST TO PERFORM. THE INDICATIONS OF SOUNDS, NOISES, AND MUSICAL RELATIONSHIPS DO NOT FIGURE IN THE SCORE, WHICH IS PURELY FIGURATIVE. DURATION OF PERFORMANCE OF EACH PAGE OF THE SCORE IS DICTATED BY THE PERFORMER; HOWEVER THE TOTAL PERFORMANCE TIME OF THE ENTIRE WORK MUST EXCEED 4 MINUTES, 44 SECONDS. THE INTRODUCTION OF A NETWORK OF NEOLOGISMS INTERSPERSED THROUGHOUT THE SCORE, BEGS FOR THE PERFORMER TO DEFINE HIS PERSONAL SYNTACTICON TO EMPOWER HIS INSIGHTS. IN THIS WORK, THE CELLIST INTERPRETS THE SCORE ACCORDING TO HIS OWN ACUMEN, INTUITION AND SENSIBILITY. THIS SUGGESTS THAT THE WORK IS A LIVING ORGANISM WITH A SPINE. AS SUCH, PERFORMANCES OF THIS WORK WILL NATURALLY REFLECT THE INTERPRETATION OF ITS PERFORMER MORE THAN NECESSARILY THE SCORE AS A TRADITIONAL COMPOSITION. SOME OF THE SYMBOLS IN THE SCORE CLEARLY ECHO WESTERN NOTATION. AS STATED BY CARDEW IN HIS PERFORMANCE NOTES FOR TREATISE: INTERPRETER! REMEMBER THAT NO MEANING IS YET ATTACHED TO THE SYMBOLS. T H E Y A R E H O W E V E R T O BE INTERPRETED IN THE CONTEXT OF THEIR ROLE IN THE WHOLE. DISTINGUISH SYMBOLS THAT ENCLOSE SPACE; THOSE THAT HAVE A CHARACTERISTIC FEATURE. WHAT SYMBOLS ARE FOR SOUNDING AND WHAT FOR ORIENTATION? THE BARS IN THE SCORE ARE THE MAIN AND MOST CONSTANT ORIENTATION; WHAT HAPPENS WHERE IT CEASES (OR BENDS)? DO YOU GO OUT OF TUNE? CHANGE THE DIRECTION OF THE INSTRUMENT? THERE ARE AN ABUNDANCE OF CONCRETE SYMBOLS, THAT IS TO SAY THEY ARE NOT AN ABSTRACTIONUPONWHICHANINTERPRETATION CAN BE PLACED, BUT ACTUALLY HAVE A MEANING IN AND OF THEMSELVES. I AM OFFERING NO DIRECT EXPLANATION OF HOW TO INTERPRET ANY ASPECT OF THE SCORE, MUCH LESS THE NEOLOGISMS. ONE COULD JUST TREAT THEM AS ANOTHER SYMBOL WITH WHICH ONE IS WORKING WITH. HOWEVER, IT IS PART OF THE ORAL RECORD OF PERFORMANCE OF THE WORK, THAT THE NEOLOGISMS ARE TREATED AS OUTSIDE OF THE SYSTEM.
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