Some A is B

The starting point for this work was to explore whether or not and if so how, Logic, as considered a science of the formal principles of reasoning, can be used as a seed-material from which to form a musical composition.

According to Aristotelean logic, the basic unit of reasoning is the syllogism. An example of its form is:
Some A is B.
All B is C.
Therefore, some A is C.

My piece Some A is B derives its title from the above and intersects with other aspects of music making by additionally exploring the possibilities of composing for solo cello, immersive soundscape, live sound manipulation, found-sounds, and importantly audience participation. The audience are invited on-stage at various times throughout the performance to read or improvise a text/s of their own choosing or select one pre-given. They can interact, or not with the cellist, live-electronics or soundscape.

The cello improvisations are sporadically infused with live-electronic sound manipulation and digital electronic transformations. Whilst the audience provides a potentially disruptive force, when they participate. The soundscape is made using recorded sounds that include the following: cityscapes, nature sounds, conversations, mechanical objects, and the ambient silence of places of worship, and private homes.

The logical premise Some A is B permeates the musical form, informs choices regarding the live-electronic digital signal processes, delay lines and modulation sonic transformation effects.

Another way of considering this intersection is to think of the class of entity as symbolically represented by A (the piece), and the predicate, represented by B (the potential disruption risked by the audience participation). Therefore, C denotes a potential positive effect on the musical experience.

This returns us to the starting point; an exploration that can be judged therefore given the final logical summarisation: Some A is C?