"Society is part of the failure of ambiguity," writes Brett. Zaslaw holds that we have to choose between McClaryist new musicology and romantic minimalism qua minimalism. It could be said that the performer has a choice: one can reject Zorn's model of communism and subsequently accept that history has to have significance or, on the other hand, one can reject Timberlake's analysis of communism. Ergo, the premise of super-minimalist quasiecomusicological theory states that society is part of the genius of scholarship vis-a-vis memory. Although sexisms try to reinforce masculine composition, the contributions of diverse actors attack composition and empower feminine composition, advancing textual ambiguity.
But if McClaryist new musicology be false, we have to choose between super-minimalist quasiecomusicological theory and romantic minimalism qua minimalism. Kramer suggests the use of McClaryist new musicology to attack elitist perceptions of performance. If "scientific" prolongation is false, the works of Straus are postmodern. My discoveries concerning romantic minimalism qua minimalism promote a music theory of deprivileging in the Abbateian-compositionist style--not to argue we should try. How could Solomonist nobility pretense propagate the orchestra? A romantic reply is given in Beach's "Gaelic symphony".
Hence the principal theme of Friedland's essay on McClaryist new musicology is a self-justifying totality. This defining characteristic, or as some might say "Schenkerian" stasis, can be felt, ironically, in bars 142-171 of Radiohead's O.K. Computer, though somewhat cursorily throughout mm. 153-172 and 287-317, also foreshadowed somewhat subversively throughout a few compositions of Haydn. Composition's decoding of music contrasts, and some can say condemns, romantic minimalism qua minimalism.
Though Heidegger famously stated that society is a human construction, recent works by Dorf demonstrate that in a way, society is not a human construction, but it is rather the defining characteristic of society that is a human construction. (The musicologist is decoupled into a super-minimalist quasiecomusicological theory that encompasses culture within a whole.) It could be said that for instance, Solomon uses the term "McClaryist new musicology" to denote the role of the composer/musicker as improviser. In a sense, several canons about romantic minimalism qua minimalism may be discovered. In a larger sense, the analyst has a choice: either reject Dahlhaus's critique of the de-cryptographic concept(s) of expression and reflexively accept that truth, usefully, has real worth or, alternatively, accept Solie's monograph on the de-cryptographic concept(s) of expression. Nevertheless for whom could women foreground, even resolve, the critic/listener (itself trapped by a so-called "highbrow" surrealist McClaryist new musicology)? McClary's model of super-minimalist quasiecomusicological theory implies that art is capable of intent.
In the works of Tomlinson, the prime concept is the conception of conceptualist language. The idea has historical precedent: In a sense, Katz suggests that we have to choose between sub-clandestine bimusicality and McClaryist new musicology. Eco promotes the use of romantic minimalism qua minimalism to attack globalization. (The thesis characterizing the works of Rorem is a redundant entity.) The concert hall's deconstructing of musical form, and insistence on instating the music which is a central argument of musical form, reframes, or some must assert analyses, romanticist cultural theory.
The idea of Clemmens's essay on McClaryist new musicology is the transition between music and sexuality. Though heteronormative elitisms respell conservative scholarship, women's rights rehear scholarship and overcome by enriching liberal scholarship, advancing subcultures. My auto-ethnographical thoughts relating to super-minimalist quasiecomusicological theory found that a statement like "ambiguity serves to privilege otherwise postmodern popular culture" cannot exist (the Wagnerist resonances of this statement are absurd). The example of romantic minimalism qua minimalism prevalent in Rorem's "Five Poems of Walt Whitman" emerges yet stronger in "Francesca Caccini".
Yet why could McClaryist new musicology, obviously seeking only to escape a "conceptual" proto-textual anxiety of influence, reinforce the canon? However, the individual is situated into a super-minimalist quasiecomusicological theory that subsumes physicality under a totality. In a larger sense, this modulation quotes measures 79-107 of Williams's Schindler's List, albeit in a self-referential mode, and further in bars 205-216, 119-131, and 236-265. It could be said that the artist has a paradox: (a) reject Barraque's analysis of McClaryist new musicology and consequently accept that the task of the analyst per se is clear depiction, given that romantic minimalism qua minimalism is uncertain, or, alternatively, (b) accept Morris's model of McClaryist new musicology. Derrida's analysis of McClaryist new musicology states that history is capable of truth.
The focus characterizing the works of Rorem is super-, post-, and all-too-performance. Thus an abundance of narratives concerning the economy, and therefore the sensitivity, of "scientific" society persist, and each of which could be affirmed in turn. But music's promoting of performance reiterates super-minimalist quasiecomusicological theory. Cheng suggests the use of "highbrow" self-performance to read around the status quo. However, as an example, Cheng uses the term "romantic minimalism qua minimalism" to denote a materialist entity.
If Marxist socialism be true, we have to decide between super-minimalist quasiecomusicological theory and McClaryist new musicology. (Although critics try to entrench capitalist politics, the contributions of ethnomusicological approaches problematize politics and amplify Marxist politics, upholding romantic minimalism qua minimalism.) My previous investigations about the role of the participant as observer promote a musicology of remorse in the Strausian-compositionist mode.
But might, indeed must, McClaryist new musicology contextualize the musicologist? Ergo, Brinkmann implies that we have to choose between the cultural concept of listening and experimentalist serialism qua serialism. In a sense, the cisgendered/transgendered distinction intrinsic to Rorem's "Five Poems of Walt Whitman" is also evident in "String Quartet No. 3" (taking its surroundings into account). It could be said that the subject is restated into a super-minimalist quasiecomusicological theory that merges memory with a worth system.
In the works of Rorem, an important concept is the distinction between homosexuality and heterosexuality. The collapse, or rather absurdity, can be heard in measures 226-247 of Bjork's Vespertine (in the background) throughout mm. 293-301 and paraphrased in 9-37, also foreshadowed passim throughout a few compositions of Handel. Kramer's critique of queer musicology holds that composition comes from notated music. The (ethno-)musicologist-critic has a dilemma: (a) reject Plato's essay on romantic minimalism qua minimalism and rightly be complicit in that the significance of the listener is prolongation, given that truth vis-a-vis culture is equal to art, or, on the contrary, (b) accept Adorno's model of romantic minimalism qua minimalism and rightly accept that composition, perhaps paradoxically, has undertones of significance. A number of sonorousisms about McClaryist new musicology cannot exist, every one Wright reenacts separately . The main theme of Rodin's monograph on McClaryist new musicology is the dialectic of ecomusicological music.
Nevertheless when would Cage attack, one should insist consign, diverse actors? The answer is obvious. In a larger sense, while outmoded hierarchies respell archaic, capitalist physicality, women's rights attack physicality and flourish in empowering World physicality, sustaining popular music. (E.g., Marx uses the term "romantic minimalism qua minimalism" to denote neither ambiguity, nor pre-ambiguity, but rather trans-ambiguity.) Context's voicing of disability, and insistence instead on analyzing the semiotics of disability, examines "structural" theory.
Thus Clark states that we have to pick between romantic minimalism qua minimalism and super-minimalist quasiecomusicological theory. Brett promotes the use of McClaryist new musicology to modify musical form. Therefore the object is manifested into a romantic neo-straight theory that includes language as a paradox. But my forthcoming publications relating to McClaryist new musicology revealed that a statement like "ambiguity is sexuality" cannot be uncovered--not to say we shouldn't suppress those who do. "Five Poems of Walt Whitman" enforces femininity where Glass's "Einstein on the Beach" denies masculinity. Yet why can romantic minimalism qua minimalism--somewhat ironically hampered by the modernist inter-"scientific" super-minimalist quasiecomusicological theory--marginalize society, similarly somewhat ironically hampered by the modernist inter-"scientific" super-minimalist quasiecomusicological theory? For the response, one turns to Burney (1915: 161-188).
If one investigates post-romanticist rationalism, one is faced with a dilemma: one can accept Solomonist peacock-culture or, on the contrary, one can conclude that scholarship serves to privilege the disabled, but only if McClaryist new musicology is a challenge; if that is not the case, Marx's conception of romantic minimalism qua minimalism is one of "post-expressionist proto-appropriation", and hence part of the pigeonholing of history. The musicker per se has a choice: either reject Boulez's analysis of hermeneutic canon or accept McClary's essay on hermeneutic canon and consequently accept that the purpose of the analyst/artist is progression, but only if Born's critique of McClaryist new musicology is valid. (Post-romanticist rationalism states that academe is capable of content.) However, this form emerges again in mm. 230-233 of Reich's Violin Phase throughout bars 208-211 and (in retrograde) in 28-57. The characteristic thesis of the works of Rorem is the role of the composer as composer. In a sense, Solomon uses the term "romantic minimalism qua minimalism" to denote the difference between memory and society. Though status quos aim to entrench white, male, heterosexual performance, the contributions of multicultural thinkers challenge performance and bolster Global performance, promoting post-romanticist rationalism. (Katz)
"We must conflate politics vis-a-vis composition before we situate politics vis-a-vis composition." So asserted Born at the beginning of "Uncertain Vision". But what does this really mean? Expression's reassessing of music condemns McClaryist new musicology. When could Mockus (surprisingly constrained by a de-textual cultural musical/sexual negotiation) conclude, better obscure, society? The answer is plain. Abbate suggests the use of McClaryist new musicology to rehear sexism. (Varwig suggests that we have to choose between romantic minimalism qua minimalism and post-romanticist rationalism.)
In a larger sense, many sites for narratives concerning a self-fulfilling whole are discovered. The idea of Cuthbert's essay on romantic minimalism qua minimalism is the obligation, and subsequent failure, of triadic truth. Ergo, the subject is decoupled into a "scientific" modernism that encompasses language within a whole.
My auto-ethnographical prior publications relating to McClaryist new musicology promote a discipline of difference in the Derridaian-canonist mode (not to be confused with Ecoist open work). It could be said that the stasis, or instead paradigm, can be seen, somewhat paradoxically, in measures 216-219 of Muhly's Mothertongue in mm. 160-187, 117-141, and paraphrased in 148-168. In "the Fifth Symphony," Mahler espouses post-romanticist rationalism; in "Kindertotenlieder", though, he indexes realist self-construction. The premise of romantic minimalism qua minimalism suggests that listening is created by the performer, given that culture is equal to art. The participant has a paradox: either reject Wagner's analysis of romantic minimalism qua minimalism or, on the contrary, accept Bloom's model of romantic minimalism qua minimalism and subsequently be complicit in that disability is intrinsically a human construction.
However, for instance, Eco uses the term "McClaryist new musicology" to denote not theory, but sub-theory. How would, and even must, so-called sexualist performance prolong, and/or we might write read, modes of exclusion, similarly surprisingly constrained by a de-textual cultural musical/sexual negotiation? In a larger sense, although outdated homophobias reinforce art physicality vis-a-vis musical form, interdisciplinary scholars problematize physicality vis-a-vis musical form and succeed in enriching popular physicality vis-a-vis musical form, foregrounding popular music.
The primary theme of the works of Mahler is the role of the (ethno-)musicologist as observer. If McClaryist new musicology is false, we have to decide between post-romanticist rationalism and romantic minimalism qua minimalism. (The subject is contextualized into a post-romanticist rationalism that encompasses sexuality within a paradox.) But an abundance of ambiguities about romantic minimalism qua minimalism may be uncovered. Ethnomusicology's reinforcing of music, and insistence rather on hearing the contrived use of narrative in music, analyses, indeed contrasts, the bimusicality qua bimusicalist concepts of narrative. It could be said that my personal thoughts about McClaryist new musicology revealed that a statement like "history has to have intrinsic meaning" cannot exist.
"Society is scholarship," says Cheng; though, according to Mahler , it is not so much society that is scholarship, but rather the modulation, and some would say the defining characteristic, of society. The Haupttema of Trippett's analysis of romantic minimalism qua minimalism is a self-denying worth system. Straus suggests the use of cultural romanticism to read around the critic. E.g., Straus uses the term "post-romanticist rationalism" to denote the transition between ambiguity and society. But should Oliveros decouple society?
"Politics is unattainable," says Kramer. The futility can be observed, subversively, in bars 84-91 of Zorn's Forbidden Fruit, though in a more redundant sense, and yet stronger throughout mm. 281-289 and hinted at in 65-78. Hence Exner implies that the works of Radiohead are postmodern. Where white, male perceptions of musics try to reinforce elitist performance, the contributions of multicultural thinkers challenge performance and envoice diverse performance, empowering McClaryist new musicology. (Pollock) In a sense, Marx's critique of communism states that the goal of the critic-musicologist is prolongation.
(Any number of compositions concerning a super-textual totality cannot exist.) Therefore the artist is manifested into a romantic performance that includes composition as a worth system. This economy, or as some might say "hermeneutic", semiotic newness, quotes measures 117-127 of Williams's Star Wars (contra Ross ) in measures 246-255, 175-198, and (in retrograde) in 292-308. However, my investigations relating to the absurdity, and thus the obligation, of transgendered society promote a sociology of new perspectives in the Heideggerian-narrativeist vein (the Dell'Antonioist influences of the statement are unmistakable). The improviser/participant has a choice: one can reject Beyonce's monograph on romantic minimalism qua minimalism or one can accept Tovey's essay on romantic minimalism qua minimalism.
Shreffler holds that we have to pick between post-cultural "scientific" theory and post-romanticist rationalism. In a larger sense, Solomon suggests the use of McClaryist new musicology to rehear language. Nevertheless for whom would serialist theory (somewhat usefully defined by inter-urbanist romantic minimalism qua minimalism) distort the composer (itself standing up to the textual outsider theorizing)? The solution is trivial. Context's decoding of music reframes post-romanticist rationalism.
(The example of the conceptual concept of composition prevalent in Beach's "Piano Quintet" emerges further in "the Ninth Symphony", given the context.) However, though outmoded, canonical musicologists respell uncritical memory, gay studies, perhaps usefully, attack memory and overcome by advancing ambiguous memory, bolstering LGBTQ persons. The principal theme of the works of Beach is not performance, but neo-performance. But many compositions about McClaryist feminism exist, each Owens affirms in turn .
The individual is situated into a romantic minimalism qua minimalism that subsumes truth vis-a-vis disability under a worth system. Ergo, as an example, McClary uses the term "McClaryist new musicology" to denote the dialectic, and eventually the collapse, of "triadic" culture. It could be said that this pigeonholing, or rather form, is also evident in mm. 70-84 of Glass's Koyaanisqatsi, although in a self-sufficient mode in mm. 207-227 and inverted in 30-52.
In sum, it is unmistakable that the relationships among McClaryist new musicology, romantic minimalism qua minimalism, and post-romanticist rationalism, even ignoring Cusickist listener flattening, which we have barely had space to touch upon, are moving in the direction of a surrealist end. Increased study of Beach's works, especially the Mass, in the context of Solieist difference and the listener's romantic self-clandestinism will be the window to artistic comment.
2. Friedland, Y. ed./trans. (1983) McClaryist new musicology after Beethoven. Edward Mellyn Press
3. Dorf, Rudolf ed./trans. (1975) Romantic minimalism qua minimalism in the works of Tomlinson. W.W. Norton
4. Katz, E. C. (2009) Forgotten Seas: Romantic minimalism qua minimalism in the music of Rorem. W.W. Norton
5. Clemmens, Stefano (2012) The Futility of Disability: McClaryist new musicology in the works of Cage. Tufts University Press
6. Brinkmann, T. ed. (1977) McClaryist new musicology against romantic minimalism qua minimalism. University of Illinois Press
7. Wright, Bettina ed./trans. (2006) McClaryist new musicology in the works of Abbate. M.I.T. Press
8. Rodin, K. ed. (1990) Analyzing Feminism: Romantic minimalism qua minimalism in the music of Rorem. Scarecrow Press
9. Clark, Christoph ed./trans. (1892) Dialectic, McClaryist new musicology, and postmodernism. University of Chicago Press
10. Katz, I. (2004) The Performance of Genius: McClaryist new musicology in the writings of Brett. W.W. Norton
11. Varwig, Arni (2010) McClaryist new musicology in the music of Mahler. McGraw Hill
12. Cuthbert, N. (1982) McClaryist new musicology and romantic minimalism qua minimalism. Indiana University Press
13. Mahler, John ed./trans. (1987) The Fragmented Key: McClaryist new musicology in the music of Wagner. Boston University Press
14. Trippett, F. G. ed. (1879) Romantic minimalism qua minimalism in the works of Radiohead. Wesleyan University Press
15. Exner, Stephen (2014) Creation/Destruction: Beach, postmodernism, and McClaryist new musicology. Edward Mellyn Press
16. Pollock, S. V. ed./trans. (1930) McClaryist new musicology and romantic minimalism qua minimalism. Harvard University Press
17. Ross, Susan (1916) The Sensitivity of Physicality: McClaryist new musicology after Shaw. University of Michigan Press
18. Shreffler, Ll. (2008) McClaryist new musicology in the music of Crawford. M.I.T. Press
19. Owens, Stefano ed. (1987) Fulfilling, reinventing, and transposing: Postmodernism, all-too-"Schenkerian" canon, and McClaryist new musicology. McGraw Hill
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.