|Rethinking the five (5) lines. A new stave. A new musical lexicon.|
Let's relieve the stave of its duty and move on.
By creating a new musical language (syntacticon/lexicon) I show how a more satisfying account might be developed, once a distinction is made between two kinds of awareness. (You will not learn this here. You will need to read my other writing).
|Portrait: Dick Barrett. Photography by Annie Liebovitz.|
Let's consider the following...'to be is to be the value of a variable’: certain serious composer's theoretical claims about what there is, or what exists, are most perspicuously articulated using the quantifier of first-order logic.
On this view, one incurs ontological commitment to whatever one’s first-order theory quantifies over.
I have a few dear composers (mostly scholarly improvisers - and I say that tongue in cheek) who I hold in the lowest denominator of creativity.
|Ebola Virus...a.k.a. The Five Lines|
Some composers have different attitudes towards the relationship between ontological inquiry and first-order quantification, including: those complexists who claim that being is distinct from existence; those who hold that other expressions (e.g. predicates) can incur ontological commitment.
Hmm...let's place Jessie J. in a room with Dick Barrett.
Composers who reject the idea that all serious talk about being and existence can be captured by the first-order quantifier, and those who deny that first-order notational systems are the best vehicles for articulating metaphysical theories are ___________ (you fill in the blank).