The following Incredible Trap initiates an abstract problem which on its surface seems like there is a practical solution, but by reading further along the role of the formidable trio of words should become clear.

   

The conundrum - she needs music to tell her story and he needs a story to make her dances come to life.

Everyone knows it as an ontological riddle about where music comes from asking for an answer to an impossible question - except for the dancer that is and it begins as a fictitious claim that music can come from anywhere.

It is as though a simple equation, experience + emotion + (F) = music if applied will resolve the composer's problem, but it does not.

It only compels him to make his story about everything the dancer does then turn it all into fiction (including the music) in order to prove his love for her and it becomes a serious game of reinventing a single character whose name becomes concentrated into the letter F and leads the composer on a difficult mission to complete an entire suite of original music.

There is a lot about life to learn and the reinvented character takes full advantage of it after becoming the letter F.

No longer simply a hodgepodge (farraginous) nor a disorganized version of the truth, but still relentless as the unknown ignoring any rules - its only objective is to win.

Music - evidence of something happening needs to be sought out and determined - whether of value or merely a pipe dream.

The composer solves the situation only to be faced with one critical fact.

He desperately needs the ears of a discerning audience and embarks on a mission said to be impossible, but only if he gives up.

Nothing about his challenge is easy, so he plays his heart out. He has no idea what is in store for him and the audience knows only one thing for sure. Simple pictures describing his journey accompany a series of five writings. Collect points and become acquainted with the All in a Day's Dance story and its music The TW Suite by taking on the word challenge addressing the problematic oxymoronic circumstance. However, since he has no audience because his music only exists in a fictitious story featuring his beloved dancer it is ontological.

Knowing the music has to be real the composer must wrangle with F to transform the fictitous soundtrack into a real playlist coinciding with moves on a shifting world stage.(terpsichorean)

The whole thing wraps up in the second group of writings (fourteen) which open doors to new music for sincere doers. in the Medium newsletter series.