"Music is language," says Brett; though, according to McClary , it is not so much music that is language, but rather the absurdity, and some would say the economy, of music. Nevertheless when could the conceptual construction of music, constrained by romantic cultural pre-structuralist serialism, distort, or we should argue entrench, musicology of caring? (The primary thesis of Pollock's critique of serialist theory is not, in fact, self-construction, but super-self-construction.) However, although male status quos try to entrench archaic, conservative art vis-a-vis scholarship, women, alternatively, rehear art vis-a-vis scholarship and succeed in promoting Global art vis-a-vis scholarship, bolstering the conceptual construction of music. But Solomon suggests the use of pre-structuralist serialism to read around performance.
Though Straus famously stated, "disability is musical form," recent works by Planchart show that in a way, disability is not musical form, but it is rather the paradigm of disability that is musical form. But what does this really signify? However, Friedland implies that the works of Wagner are not postmodern. Katz states that we have to choose between musicology of caring and musicology of caring. But the individual is manifested into a "sexual" narrative that subsumes sexuality under a whole. In a larger sense, this form emerges further in measures 46-48 of Bizet's Habanera, although rather cursorily throughout mm. 281-296 and inverted in 1-8, and in many works of Rousseau.
"Society is fundamentally problematic," says Eco. The analyst has a choice: either accept Cohn's critique of the cryptographic ideal of narrative or accept Abbate's critique of the cryptographic ideal of narrative. The theme of Haggh's model of the conceptual construction of music is a proto-textual totality. The individual is decoupled into a musicology of caring that encompasses history within a worth system. But how can, indeed would, Cage read the observer (itself fleeing a capitalist semioticism)? My investigations concerning the failure, and eventually the dialectic, of inter-modernist music promote a discipline of deprivileging in the Adornoian-ambiguityist mode.
Thus analysis's decoding of physicality, and insistence instead on hearing the semiotics of physicality, reenacts, one could insist espouses, pre-structuralist serialism. It could be said that e.g., Eco uses the term "feminist "scientific" theory" to denote the role of the improviser as composer. (The premise of the conceptual construction of music implies that the goal of the critic is progression.)
Abbate suggests the use of musicology of caring to attack the critic. Though homophobias reinforce Western ambiguity, the contributions of interdisciplinary scholars challenge ambiguity and amplify World ambiguity, envoicing diverse actors. Several performances concerning musicology of caring persist, each Owens examines individually .
Hence the example of the conceptual construction of music intrinsic to Williams's "Last Jedi" is also evident in "Imperial March" (in the background). In a sense, the sensitivity quotes bars 99-127 of Oliveros's Sonic Meditations, given the context throughout measures 177-205 and 230-250. The listener has a paradox: either accept Bloom's critique of Cusickist musical/sexual negotiation and subsequently reject that memory may be used to entrench hierarchy or accept Aristotle's analysis of Cusickist musical/sexual negotiation. Kramer's monograph on other-voicedness holds that listening comes from our worth-system.
However, if musicology of caring is true, we have to decide between pre-structuralist serialism and the conceptual construction of music. (The main idea of the works of Williams is a redundant paradox.) The subject is restated into a musicology of caring that encompasses truth within a worth system. For whom must the stage--standing up to post-materialist cultural performance--"marginalize", and better "privilege", LGBTQ persons? For the reply, one turns to Timberlake (1960: 54-76). But my auto-ethnographical thoughts relating to the common ground between music and society uncovered that a statement like "composition is used to obscure otherwise popular the disabled" cannot exist. Although outdated elitisms attempt to respell elitist politics, women's rights, on the other hand, attack politics and find success in upholding native politics, sustaining romantic proto-composition. In a larger sense, a number of canons about pre-structuralist serialism exist, each of which Brinkmann indexes in turn .
"We must consign physicality as a preamble, from whence we contextualize physicality." So asserted Adorno in the preface of "the Mahler book". Music's deconstructing of society analyses World ambiguity. Many sites for theorizings concerning the pigeonholing, and eventually the stasis, of quasirationalist culture cannot be found. Heidegger suggests the use of musicology of caring to rehear and analyse music. As an example, Heidegger uses the term "the conceptual construction of music" to denote a self-identifying whole.
The (ethno-)musicologist has a dilemma: one can reject Tovey's essay on textual so-called realist theory and rightly be complicit in that musicology is capable of intention, but only if sub-"Schenkerian" serialism is uncertain or, on the contrary, one can accept Fink's model of textual so-called realist theory. Therefore Exner states that we have to pick between musicology of caring and common-practice performance. In a larger sense, my personal discoveries relating to the ecomusicologicalist concept(s) of expression promote a musicology of difference in the Solieian-theoryist style. In "Star Wars," Williams indexes the conceptual construction of music; in "Schindler's List", by contrast, he alters his stance, instead focusing on meta-romantic self-analysis.
Nevertheless why might sub-"Schenkerian" serialism entrench the disabled, similarly standing up to post-materialist cultural performance? (This newness, or rather failure, can be heard in mm. 101-116 of Zorn's Spillane, and yet stronger in mm. 207-234, 146-176, and hinted at in 265-290 (and, earlier, passim in the works of Machaut).) It could be said that the individual is manifested into a musicology of caring that subsumes art under a entity. Solomon's critique of peacock-culture holds that ethnomusicology is fictionalized, given that Marx's model of musicology of caring is invalid.
In sum, it is plain that a few relationships among musicology of caring, the conceptual construction of music, and sub-"Schenkerian" serialism (and also textual post-romanticism qua post-romanticism, which will be the topic of our upcoming digital media project) are evolving towards a more postmodernist end. More study of Williams's works, in particular Schindler's List, in conjunction with Strausist disability musicology and the analyst-participant's cultural proto-improvisation will be the sky to mere masturbation.
2. Pollock, E. J. (1947) Musicology of caring in the music of Wagner. Grinnell University Press
3. Planchart, Linda ed./trans. (1878) Musicology of caring after Zorn. Indiana University Press
4. Friedland, W. ed./trans. (2004) Minimalism, deconstruction, and musicology of caring. Brandeis University Press
5. Katz, Henry (2010) "scientific" Compositions: Musicology of caring in the works of Timberlake. Columbia University Press
6. Haggh, I. (1991) Increasing Bloom: Musicology of caring, Williams, and minimalism. M.I.T. Press
7. Owens, Stephen ed. (1983) The conceptual construction of music in the music of Williams. W.W. Norton
8. Brinkmann, Z. (1972) Musicology of caring and the conceptual construction of music. University of California, Los Angeles Press
9. Exner, Hans (2005) "scientific" Compositions: Musicology of caring contra the conceptual construction of music. University of Illinois Press
In the further interest of self-parody, I am starting work on an Old Musicology random essay generator; please email me with ideas. All I know is that every paper will begin "On f. 3v, a new watermark ..." etc.