Making sense in music
An enquiry into the formal pragmatics of art (part 10)

by Jos Kunst (1978)

Appendix IV

1. BivF(a, ¬b→a, (d∧¬b)→a) 3.2.3 Fig 22
2. BivF(¬b→a, ¬b→d, d→¬b) 3.2.3 Fig 22
3. BivF(¬b↔d, a→(¬b↔d)) 3.2.3 Fig 22
4. BivF(¬b↔d, l∧(¬b↔d), a→(¬b↔d)) 3.3.3 Fig 23
5. BivF(¬b↔d, (i∧l)∧(¬b↔d), a→(¬b↔d)) 3.3.3 Fig 23
6. BivF(¬b↔d, l∧(a→(¬b↔d))) 3.3.3 Fig 23
7. BivF(¬b↔d, (i∧l)∧(a→(¬b↔d))) 3.3.3 Fig 23
8. BivF(j→k, i, i→(j→k)) 3.3.5 Fig 24
9. BivF(j→k, i→(j→k), i) 3.3.5 Fig 24
10. BivF(j→k, l) 3.3.5 Fig 24
11. BivF(j→k, i∧l) 3.3.5 Fig 24
12. BivF(¬b↔d, ¬(b∨d)→j) 3.4.1 Fig 25
13. BivF(¬(b∨d)→j, T) 3.4.1 Fig 25
14. BivF(c→¬d, c↔¬d, (c∧d)→a) 3.4.5 Fig 26
15. BivF(c↔¬d, (b↔-d)∧(¬c→d)) 3.4.5 Fig 26
16. BivF((b↔¬d)∧(¬c→d), (b→¬d)∧(¬c→d)) 3.4.5 Fig 26
17. BivF(¬c→d, (b→¬d )∧(¬c→d), ¬(c∨d)→¬a) 3.4.5 Fig 26
18. BivF((b→¬d)∧(¬c→d), (b→¬d)∧(b→c)) 3.4.5 Fig 26
19. BivF(m, l→m, (l∨m)→n) 3.4.6 Fig 27
20. BivF(m, (i∧l)→m, ((i∧l)∨m)→n) 3.4.6 Fig 27
21. BivF(a→(o∧¬p), a→¬p) 3.4.6 Fig 27
22. BivF(a→¬p, (a∧d)→(p→¬c), m→((a∧d)→(p→¬c))) 3.4.6 Fig 27
23 BivF(m, (a∧d)→(p→¬c), T) 3.4.6 Fig 27
24. BivF(a→f, (a∧¬e)→(¬f→g)) 3.4.7 Fig 28
25. BivF(a→f,a→(¬f→g)) 3.4.7 Fig 28
26. BivF(a→f, (a∧e)→(¬f→(g∨h))) 3.4.7 Fig 28
27. BivF((a∧¬e)→(¬f→g), T) 3.4.7 Fig 28
28. BivF(a→ (¬f→g), T) 3.4.7 Fig 28

All two-place BivF's are substitution instances of Fig 6; all three-place ones of Fig 9.