Experimentalism, Oliveros, and cultural pre-modernist theory

Jessica Clark
Department of Art, Boston University

1. Oliveros and cultural pre-modernist theory

"Music is used in the service of sexism," says Solie. But what does this really mean? In a sense, the genius, or as some might say serial obligation, emerges further in mm. 266-296 of Bjork's Vespertine in bars 98-118 and hinted at in 147-170. (Cryptographicist canon implies that society has to have real worth.) Although musicologists seek to respell capitalist history, women's rights problematize history and foreground ambiguous history, sustaining Cusickist musical/sexual negotiation. Thus the primary idea of Trippett's[1] critique of textual "scientific" theory is a pre-romantic worth system.

The principal theme of the works of Solie is the difference between culture and ambiguity. For instance, Cusick uses the term "the meta-"semiotic" concept(s) of music" to denote the stasis, and some would say the absurdity, of bimusicalist music. However, Linklater[2] states that we have to pick between cultural pre-modernist theory and Cusickist musical/sexual negotiation. The object is manifested into a deconstruction that subsumes politics under a totality. Many sites for self-appropriations relating to cultural pre-modernist theory are, perhaps usefully, discovered. It could be said that this defining characteristic can be observed in bars 235-265 of Wagner's Rheingold throughout mm. 260-264 and 107-137, and perhaps subversively in many works of Machaut.

Abbate suggests the use of the meta-"semiotic" concept(s) of music to challenge white perceptions of society. How might, and some must write could, the observer-participant--imperceptably fleeing all-too-popular composition--decouple, better negate, academe? However, performance's resolving of memory condemns cultural pre-modernist theory. My thoughts about the collapse, and subsequent sensitivity, of structuralist music uncovered that a statement like "the significance of the artist is clear depiction" cannot be found. "Flower aria" affirms West while Glass's "Koyaanisqatsi" denies East.

(Adorno's monograph on Solomonist nobility pretense suggests that composition is created by notated music.) The critic/participant is situated into a meta-"semiotic" concept(s) of music that includes musical form as a whole. Therefore the (ethno-)musicologist has a choice: either accept Nietzsche's analysis of hermeneutics or, on the contrary, accept Van Orden's essay on hermeneutics.

In a sense, in the places where neoliberal, inflexible musicologists reinforce conservative scholarship, the contributions of ethnomusicological approaches attack scholarship and succeed in enriching liberal scholarship, promoting diverse actors. (Goodman[3]) The thesis of Rodin's[4] critique of cultural pre-modernist theory is both proto-composition and super-proto-composition. But should Abbate reinforce sexism? The answer for Beyonce proceeds as follows: Ergo, as an example, Heidegger uses the term "Cusickist musical/sexual negotiation" to denote the mediation between physicality and performance.

2. Expressions of economy

When the listener/performer examines hermeneutic narrative, she is faced with a choice: either accept cultural pre-modernist theory or conclude that disability is part of the pigeonholing of history, given that ambiguity is equal to language. My auto-ethnographical thoughts relating to the meta-"semiotic" concept(s) of music promote a linguistics of remorse in the Abbateian-theorizingist mode--not to say we should attempt it. In a larger sense, several ambiguities concerning the role of the composer as composer may be found, and every one will be affirmed in turn. The absurdity, or rather newness, emerges further in mm. 21-51 of Saariaho's Du cristal (contra Brett [5]), and yet stronger in measures 209-211 and 23-50.

(If "scientific" nationalism qua nationalism be true, we have to choose between Cusickist musical/sexual negotiation and the cultural ideal of composition.) The orchestra's sounding of society, and insistence on reinventing the truth vis-a-vis composition prevalent in society, reframes the meta-"semiotic" concept(s) of music. Heidegger uses the term "cultural pre-modernist theory" to denote the bridge between music and society. It could be said that Straus promotes the use of the meta-"semiotic" concept(s) of music to attack the status quo. But the musicologist has a dilemma: either reject Straus's model of capitalist trans-textual theory and rightly accept that art is capable of intentionality or accept Beach's monograph on capitalist trans-textual theory.

Why might Cusickist musical/sexual negotiation--fleeing a neo-"material" self-performance--empower, indeed marginalize, popular music, conversely completely seeking only to escape a sonorousist Cusickist musical/sexual negotiation? It could be said that although globalizations try to respell neoliberal sexuality, multicultural thinkers, alternatively, rehear sexuality and sustain diverse sexuality, advancing de-textual theory. Cultural pre-modernist theory holds that the purpose of the analyst is prolongation. My previous discoveries relating to Cusickist musical/sexual negotiation discovered that a statement like "culture, perhaps usefully, has significance" cannot exist.

3. The meta-"semiotic" concept(s) of music and musicology of caring

"We must distort memory as a preamble, from whence we might start to entrench memory." So wrote Mann (echoing Attinello) in the preface of "The Magic Mountain"--not to assert we should suggest them. "Toreador song" analyses atonal self while Reich's "Music as Gradual Process" denies atonal Other. However, the subject is decoupled into a bimusicalist minimalism that encompasses scholarship within a whole. In a larger sense, the focus characterizing the works of Bizet is a self-denying worth system. (The critic has a choice: (a) reject Solie's analysis of Wagnerist Gesamtkunstwerk, or (b) accept Derrida's essay on Wagnerist Gesamtkunstwerk and subsequently be complicit in that politics serves to marginalize subcultures.) This futility, or as some might say "scientific" modulation, quotes mm. 176-181 of Mahler's Lied von den Erde, though in a more "highbrow" sense in bars 87-112, 38-65, and (in retrograde) in 122-152.

"Society is unattainable," says Kramer. The idea has precedent: Hence a number of performances about cultural pre-modernist theory exist, each of which Linklater reenacts individually [6]. E.g., Kramer uses the term "musicology of caring" to denote the genius of sub-structural music. Nevertheless for whom could, or we can argue must, Barraque (subversively standing up to quasiurbanist conceptualist construction of narrative) modify cultural pre-modernist theory: which also is subversively standing up to quasiurbanist conceptualist construction of narrative? The answer is unmistakable. Katz[7] states that we have to choose between the meta-"semiotic" concept(s) of music and musicology of caring. Analysis's transposing of music espouses the meta-"semiotic" concept(s) of music. But Bloom suggests the use of musical closet to read musical form.

When the participant per se investigates cultural pre-modernist theory, she/he is confronted by a choice: one can reject proto-"triadic" textual theory or, somewhat usefully, one can decide that context is created by notated music, but only if Marx's essay on communism is uncertain. Though outdated, conservative modes of exclusions reinforce heteronormative ambiguity, the contributions of women, on the contrary, rehear ambiguity and succeed in bolstering postmodern ambiguity, amplifying the bystander. My forthcoming investigations relating to cultural pre-modernist theory promote a sociology of sounds in the Ecoian-constructionist vein (the Nietzscheist notions of the philosophy are unmistakable). (The premise of musicology of caring implies that physicality may be used to consign otherwise diverse LGBTQ persons.)

In a sense, the Haupttema of Rivera's[8] model of the meta-"semiotic" concept(s) of music is neither composition, nor inter-composition, but instead post-composition. But when should Cusick--a bit defined by a Schenkerian Marxist appropriation--decouple the meta-"semiotic" concept(s) of music? In a larger sense, society's fulfilling of performance, and insistence instead on decoding the society depicted in performance, indexes cultural pre-modernist theory. In "Cat o' Nine Tales," Zorn examines musicology of caring; in "Spillane", however, he problematizes his mind rather, instead concentrating on cultural pre-modernist theory.

In a sense, this sensitivity can be heard in measures 111-122 of Shaw's String Quartets (contra Riemann [9]) in bars 176-184, 246-274, and inverted in 196-224. Ergo, the individual is contextualized into a meta-"semiotic" concept(s) of music that subsumes disability under a paradox. The observer has a paradox: one can accept Solie's critique of modernist experimentalism or one can accept Radiohead's monograph on modernist experimentalism. Where hierarchies attempt to respell Western history, interdisciplinary scholars, on the other hand, problematize history and envoice World history, foregrounding musicology of caring. (Clemmens[10])

For instance, Brett uses the term "cultural pre-modernist theory" to denote the common ground between language vis-a-vis composition and society. Yet how might Adorno obscure, or some could say privilege, elitism? The paradigm, or rather dialectic, is also evident in measures 289-307 of Crawford's Study in Mixed Accents, to a neoliberist mindset, and again throughout bars 272-277 and 87-100 (and, earlier, paradoxically in the works of Berlioz). An abundance of theories about romantic self-performance cannot exist, and each will be enforced in turn. (Varwig[11] states that we have to pick between the meta-"semiotic" concept(s) of music and musicology of caring.) However, McClary promotes the use of cultural pre-modernist theory to challenge the critic.

But meta-"scientific" analysis suggests that musical form is intrinsically impossible. It could be said that my prior publications relating to the form, and some would say the defining characteristic, of textual truth discovered that a statement like "music has intrinsic meaning" cannot be uncovered. The main idea of the works of Williams is the role of the musicologist-musicker as artist. If the meta-"semiotic" concept(s) of music is true, the works of Williams are an example of redundant romanticism. Therefore the object is restated into a musicology of caring that merges art with a totality.

4. Tomlinson remanifested

Though Heidegger stated that memory is sexuality, recent works by Massey[12] show that in a way, memory is not sexuality, but it is the stasis, and eventually the obligation, of memory that is sexuality. (Musicology's deconstructing of disability condemns post-"cryptographic" serialist theory.) The paradigm, or instead collapse, quotes mm. 63-72 of Rorem's Five Poems of Walt Whitman, given the context, and further throughout measures 248-274, 246-275, and paraphrased in 257-261. Why could cultural pre-modernist theory (obviously seeking only to escape cultural meta-"semiotic" concept(s) of music) situate, even entrench, society, conversely perhaps surprisingly fleeing the romantic performance? The solution is unmistakable. The performer has a dilemma: (a) accept Burney's analysis of the meta-"semiotic" concept(s) of music and consequently reject that culture is used to reinforce the canon, given that politics is equal to truth, or (b) reject HisamaTaruskin's monograph on the meta-"semiotic" concept(s) of music.

The main thesis of Owens's[13] critique of musicology of caring is a sexualist entity. On one thing, McClary was right: As an example, McClary uses the term "disability musicology" to denote the role of the (ethno-)musicologist/analyst as composer. In a larger sense, Harris[14] holds that we have to choose between cultural pre-modernist theory and musicology of caring. In a sense, although outmoded musicologists reinforce canonical scholarship, the contributions of ethnomusicological approaches read around scholarship and thrive in enriching experimental scholarship, upholding popular culture.

In the works of Ueno, an important concept is the defining of continous performance. It could be said that Cheng's essay on musicology of caring states that the significance of the listener is progression. Thus any number of proto-prolongations concerning the meta-"semiotic" concept(s) of music persist. My auto-ethnographical thoughts about both narrative and neo-narrative promote a sociology of deprivileging in the Abbateian-compositionist style. Wagner promotes the use of cultural pre-modernist theory to rehear homophobia. (This economy, or rather pigeonholing, emerges again in bars 97-124 of Saariaho's Nymphea, albeit in a more self-repeating sense in mm. 163-168, 252-261, and (in retrograde) in 254-266.)

The characteristic theme of the works of Ueno is the role of the participant as musicologist per se. The subject is decoupled into a quasi"scientific" post-romanticism that encompasses physicality within a totality. Nevertheless why can the critic--defined by "hermeneutic" canon--propagate globalization?

Roeder[15] implies that we have to decide between cultural pre-modernist theory and the experimentalist concept of music. But the common-practice/"common-practice" distinction which is a central argument of Ueno's "On a Sufficient Condition for the Existence of Most Specific Hypothesis" emerges yet stronger in "...blood blossoms...". However, performance's deconstructing of ambiguity vis-a-vis history, and insistence instead on restating the ambiguity vis-a-vis history, reiterates, and/or better affirms, super-material theory.

In a larger sense, the artist has a paradox: either reject Kramer's model of the meta-"semiotic" concept(s) of music and reflexively accept that the Conservatory is capable of content or, on the other hand, reject Bizet's critique of the meta-"semiotic" concept(s) of music. However, many improvisations relating to the transition between language and composition may be revealed, each of which Ingolfsson contrasts separately [16]. Cultural pre-modernist theory holds that music, somewhat ironically, has significance, but only if musical form is interchangeable with sexuality; if that is not the case, language serves to "conflate" otherwise Marxist the Other. (Wagner uses the term "musicology of caring" to denote the genius, and hence the sensitivity, of trans-anthropological performance.) Though sexisms aim to respell fixed art, gay studies attack art and empower native art, bolstering the meta-"semiotic" concept(s) of music. (Clark[17])

Derrida suggests the use of the meta-"semiotic" concept(s) of music to read past and analyse society. It could be said that many sites for ambiguities about cultural pre-modernist theory are, perhaps paradoxically, uncovered, and every one can be analysed individually. The idea of Friedland's[18] analysis of misprision is a redundant worth system. My unpublished discoveries concerning musicology of caring uncovered that a statement like "listening is a product of our worth-system" cannot exist (the Solieist overtones of this statement are trivial).

5. Cultural pre-modernist theory and "scientific" theorizing

"We must problematize disability before we contextualize disability." So argued McClary in "Conventional Wisdom"--not to say we shouldn't attempt it. Why should, and indeed must, the meta-"semiotic" concept(s) of music read ethnomusicology, similarly defined by "hermeneutic" canon? Ergo, in "Music with Changing Parts," Glass reframes Marxist socialism; in "Koyaanisqatsi", he denies the meta-"semiotic" concept(s) of music. However, the absurdity can be observed in bars 128-145 of Wagner's Parsifal, though in a more self-referential sense throughout mm. 253-280 and hinted at in 295-312. If "scientific" theorizing be true, we have to choose between cultural semioticist theory and cultural pre-modernist theory.

In a sense, the individual is manifested into a "scientific" theorizing that merges memory with a whole. Adorno's essay on the meta-"semiotic" concept(s) of music implies that the goal of the observer is mere masturbation. Society's entrenching of society reenacts the textual concepts of narrative. (The (ethno-)musicologist-improviser has a choice: one can accept Plato's monograph on "scientific" theorizing and consequently accept that the orchestra is fundamentally problematic, given that politics is distinct from truth or, alternatively, one can accept Tovey's analysis of "scientific" theorizing.) E.g., Marx uses the term "cultural pre-modernist theory" to denote not performance as such, but de-performance.

Therefore an abundance of proto-performances about the bridge between music and culture cannot exist. Yet might diverse actors, subversively trapped by sub-"sonorous" self-Schenkerianism, negate, one should say transgress, physicality, itself totally constrained by a expressionist all-too-rationalism qua rationalist romantic composition? In a larger sense, although neoliberal, capitalist status quos respell masculine scholarship, the contributions of gay studies, perhaps usefully, challenge scholarship and prosper by advancing feminine scholarship, promoting subcultures. McClary suggests the use of the meta-"semiotic" concept(s) of music to rehear music. (My previous investigations concerning "scientific" theorizing promote a politic of sounds in the Ecoian-compositionist mode (not to be confused with textual bimusicality).) But analysis's increasing of music, and insistence instead on analyzing the society prevalent in music, reiterates cultural pre-modernist theory.

6. Analysises of newness

If one examines the meta-"semiotic" concept(s) of music, one is faced with a dilemma: (a) reject Solomonist peacock-culture, or (b) conclude that the task of the performer/musicologist is artistic comment, given that Cheng's model of musicology of caring is uncertain. "Koyaanisqatsi" reenacts serialism while "Einstein on the Beach" contrasts minimalism. Thus the principal focus of Kelly's[19] critique of listener flattening is the role of the analyst per se as (ethno-)musicologist. The premise of "scientific" theorizing suggests that music must come from the musicker. It could be said that Shreffler[20] suggests that we have to choose between cultural pre-modernist theory and structuralist proto-prolongation. The listener is restated into a meta-"semiotic" concept(s) of music that includes history as a entity. This modulation, or as some might say conceptual, "ecomusicological" pigeonholing, can be felt, perhaps surprisingly, in mm. 168-190 of Reich's Music as Gradual Process in measures 257-258 and 218-233, and passim throughout many compositions of Ives. Cusick uses the term ""scientific" theorizing" to denote a self-identifying whole.

But for whom would Derridaist postmodernism transcend "scientific" theorizing (itself fleeing the meta-minimalist canon)? The participant has a choice: (a) reject Kramer's essay on the meta-"semiotic" concept(s) of music and subsequently accept that musical form vis-a-vis ambiguity is unattainable, or, on the contrary, (b) reject Bloom's analysis of the meta-"semiotic" concept(s) of music. In a sense, any number of constructions relating to the meta-"semiotic" concept(s) of music exist, and each could be examined separately.

However, Webster[21] states that the works of Koestenbaum are reminiscent of Puri. The subject is restated into a cultural pre-modernist theory that subsumes politics under a paradox. (Though modes of exclusions seek to respell cisgendered composition, women's rights attack composition and envoice Global composition, amplifying feminist postmodernism. (Ronyak[22]))

7. Bjork and "scientific" theorizing

The Haupttema of Trippett's[23] essay on the meta-"semiotic" concept(s) of music is the role of the critic as observer. On one point, Bjork was right: Hence my auto-ethnographical thoughts about not, in fact, analysis, but post-analysis found that a statement like "language has intrinsic meaning" cannot exist. It could be said that Brett promotes the use of "scientific" theorizing to rehear cis-normative perceptions of sexuality. The primary theme of the works of Bjork is the failure, and some would say the collapse, of inter-commonplace music. Cultural pre-modernist theory suggests that memory may be used to marginalize otherwise ambiguous the disabled, but only if performance is equal to art.

Though Marx famously stated, "culture is intrinsically a European construct," the groundbreaking ideas of Fitzpatrick[24] show that in a way, culture is not intrinsically a European construct, but it is rather the stasis of culture that is intrinsically a European construct. In a larger sense, the artist-composer has a choice: either accept Dell'Antonio's monograph on voicelessness and rightly be complicit in that disability is capable of truth or, alternatively, accept Haydn's model of voicelessness. The concert hall's reinventing of music indexes "scientific" theorizing. If the meta-"semiotic" concept(s) of music is true, we have to pick between textual ambiguity and the meta-"semiotic" concept(s) of music. The economy, or as some might say Marxist, cultural obligation, is also evident in bars 29-55 of Radiohead's Bends, although cursorily, and further in mm. 194-224 and inverted in 139-148. For whom must cultural pre-modernist theory, a bit hampered by romantic performance, contextualize the musicologist? A "cryptographic" hermeneutic solution is given in Mann's "Magic Mountain". Ergo, several compositions concerning the mediation between society and truth vis-a-vis scholarship cannot be revealed, every one Dorf enforces in turn [25].

For instance, Abbate uses the term "modernism qua modernist self-appropriation" to denote both narrative and post-narrative. But the example of deconstructionist "scientific" theory intrinsic to Mahler's "Kindertotenlieder" emerges again in "Masada", albeit in a more textual sense. (My auto-ethnographical discoveries about cultural pre-modernist theory suggest a scholarship of remorse in the Wagnerian-performanceist vein.) However, Slim[26] implies that we have to choose between the meta-"semiotic" concept(s) of music and "scientific" theorizing. The subject is situated into a cultural pre-modernist theory that subsumes physicality under a entity.

Hence in the places where neoliberal elitisms entrench cisgendered language, the contributions of subcultures problematize language and overcome by foregrounding transgendered language, bolstering LGBTQ persons. Yet can cultural pre-modernist theory (defined by the material proto-performance) distort and even privilege hierarchy? Derrida suggests the use of dialectic to modify and read through music. The focus characterizing Pollock's[27] essay on "scientific" theorizing is the role of the musician/artist as composer.

The (ethno-)musicologist has a dilemma: one can reject Solie's critique of cultural pre-modernist theory or, alternatively, one can reject Timberlake's critique of cultural pre-modernist theory. In a sense, Eco's critique of open form states that musical form, perhaps subversively, has significance. But any number of canons relating to the difference between music and sexuality may be discovered, and each of which will be condemned in turn. (Composition's instating of composition, and insistence instead on deconstructing the constituted musical structure of composition, espouses Cusickist power/pleasure/intimacy triad.) Cusick uses the term "the meta-"semiotic" concept(s) of music" to denote a self-supporting totality.

In sum, it is clear that the relationships among cultural pre-modernist theory, the meta-"semiotic" concept(s) of music, and "scientific" theorizing--not to mention sub-cultural sexualism, which we have barely had space to touch upon--are moving in the direction of a serialist goal. Further examination of Shaw's works, in particular Partita, in the context of Strausist disability musicology and the participant per se's neoliberist improvisation will be the key to mere masturbation.


1. Trippett, A. (1886) Voicing sexuality/Deconstructing society: Cultural pre-modernist theory in the writings of Solie. University of California, Berkeley Press

2. Linklater, Helmut ed. (1985) The meta-"semiotic" concept(s) of music in the music of Bizet. Grinnell University Press

3. Goodman, I. I. (2010) Cultural pre-modernist theory in the music of Bizet. Harvard University Press

4. Rodin, Emily ed./trans. (1879) The Circular Window: Cultural pre-modernist theory in the music of Beethoven. University of California, Santa Barbara Press

5. Brett, Ll. F. V. ed. (1927) Cultural pre-modernist theory after Muhly. McGraw Hill

6. Linklater, Samuel (1898) The Sonic Sky: Cultural pre-modernist theory, Zorn, and experimentalism. M.I.T. Press

7. Katz, N. ed./trans. (2014) Cultural pre-modernist theory, experimentalism, and "scientific" narrative. Indiana University Press

8. Rivera, Stefan (2001) Cultural pre-modernist theory in the works of Tomlinson. Edward Mellyn Press

9. Riemann, J. ed. (1983) Cultural pre-modernist theory in the music of Williams. Tufts University Press

10. Clemmens, Matthias (1999) The Failure of Music: Cultural pre-modernist theory contra the meta-"semiotic" concept(s) of music. W.W. Norton

11. Varwig, K. Z. ed./trans. (1920) Sounding Solomon: Cultural pre-modernist theory and the meta-"semiotic" concept(s) of music. Wesleyan University Press

12. Massey, Wilhelm ed. (1974) The meta-"semiotic" concept(s) of music in the works of Fuller. Scarecrow Press

13. Owens, S. (1965) Cultural pre-modernist theory in the writings of Cage. University of Georgia Press

14. Harris, David (2013) Cultural pre-modernist theory in the works of Ueno. McGraw Hill

15. Roeder, W. ed./trans. (1881) Minimalism/Serialism: Cultural pre-modernist theory in the music of Barraque. University of Michigan Press

16. Ingolfsson, Anna (2008) The meta-"semiotic" concept(s) of music against cultural pre-modernist theory. Wesleyan University Press

17. Clark, E. C. U. ed. (1999) The Expression of Futility: The meta-"semiotic" concept(s) of music in the music of Glass. M.I.T. Press

18. Friedland, Andreas (2007) Cultural pre-modernist theory after Puri. Yale University Press

19. Kelly, B. R. (1974) Sustaining, reassessing, and hearing: The meta-"semiotic" concept(s) of music and cultural pre-modernist theory. Indiana University Press

20. Shreffler, Catherine ed./trans. (1923) The meta-"semiotic" concept(s) of music in the works of Koestenbaum. Columbia University Press

21. Webster, Ll. (2017) Dialectic the Performance: Experimentalism, cultural pre-modernist theory, and Bjork. W.W. Norton

22. Ronyak, Seda ed. (1996) Cultural pre-modernist theory in the works of Oliveros. McGraw Hill

23. Trippett, G. Y. ed./trans. (1880) The romantic concepts of context, experimentalism, and cultural pre-modernist theory. Scarecrow Press

24. Fitzpatrick, Aaron (1975) "scientific" Theories: Cultural pre-modernist theory in the music of Mahler. Edward Mellyn Press

25. Dorf, H. (2004) The meta-"semiotic" concept(s) of music and cultural pre-modernist theory. University of Chicago Press

26. Slim, John ed. (1999) Cultural pre-modernist theory in the writings of Brett. Wesleyan University Press

27. Pollock, M. L. T. (2001) Upholding history/Disciplining ourselves: Cultural pre-modernist theory in the works of Shaw. University of Illinois Press

Automatic bad new musicology paper generator: based on the Postmodernist essay generator and the Dada engine.

 

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.