Abstract
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?
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?
Original language | English |
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Place of Publication | London, UK |
Publisher | 68912 Records |
Edition | First Edition |
Media of output | Online |
Publication status | Published - 18 Jun 2016 |
Event | Some A is B: World Premier Performance - St. George the Martyr church, Southark, London, United Kingdom Duration: 18 Jun 2016 → 18 Jun 2016 |
Bibliographical note
Public Engagement:Venue: St. George the Martyr, Borough, London (17 October, 2017) cello, Stace Constantinou
Venue: St. James’ Church, Islington, London (25 June, 2016) cello, Stace Constantinou
Venue: St. George the Martyr, Borough, London (18 June, 2016) cello, Stace Constantinou (Premiere)
Keywords
- Music
- Composition
- Live-electronics
- audience-participation
- soundscape