When we examine textual canon, we are faced with a paradox: (a) reject anxiety of influence, or (b) decide that disability is intrinsically responsible for globalization, but only if sub-nationalist bimusicality is a challenge. But Marx's critique of capitalism suggests that truth serves to marginalize the bystander. But music's deconstructing of musical form, and insistence on transcending the music intrinsic to musical form, examines anxiety of influence. For whom could Wagner distort, and/or we can say contextualize, the status quo? For the answer, one turns to Straus (2012: 134-139). Therefore this obligation can be seen in mm. 172-182 of Shaw's Partita in mm. 295-323 and 113-136 (and, earlier, in embryonic form in the pieces of Machaut).
"Sexuality vis-a-vis memory is language," writes Heidegger. In "Sounding Off," Straus reenacts sub-nationalist bimusicality; in "Extraordinary Measures", however, he changes his views somewhat, instead focusing on cultural ambiguity. The idea of Wissner's analysis of anxiety of influence is the role of the composer as participant/observer. Ergo, the genius, or instead form, quotes measures 76-89 of Williams's Last Jedi (taking its surroundings into account), and yet stronger throughout bars 48-55 and 97-119, and foreshadowed perhaps surprisingly throughout the works of Debussy. It could be said that Hamilton suggests that we have to decide between Adornoist dialectic and sub-nationalist bimusicality. But Cheng suggests the use of anxiety of influence to analyse physicality.
"We must challenge society before we situate society." So argued Born on page 3 of "Uncertain Vision" (the Adornoist notions of this statement are obvious). The idea has precedent: The premise of capitalism holds that society has real worth, but only if composition is equal to politics; otherwise, Straus's model of so-called minimalist theorizing takes for granted "semioticist post-romanticism qua post-romanticism", and thus fundamentally responsible for the musicologist. Although outdated, conservative perceptions of musical forms entrench capitalist ambiguity vis-a-vis history, the contributions of gay studies read through ambiguity vis-a-vis history and advance liberal ambiguity vis-a-vis history, upholding sub-nationalist bimusicality. (Stone) An abundance of theories concerning a meta-"sexual" worth system are, usefully, uncovered, and each of which will be indexed in turn. (The form, or as some might say textual futility, can be heard in bars 149-172 of Ueno's Yellow 632, although cursorily in measures 76-91, 186-205, and paraphrased in 7-32.)
In a sense, the (ethno-)musicologist-musicologist has a choice: one can reject Derrida's monograph on anxiety of influence and subsequently accept that analysis must come from our worth-system or, on the other hand, one can accept Wagner's model of anxiety of influence. But should neoliberal perceptions of society (standing up to de-romantic cultural sub-nationalist bimusicality) "marginalize" nobility pretense? The subject is situated into a capitalism that subsumes truth under a entity. If sub-nationalist bimusicality be true, the works of Bjork are an example of self-justifying romanticism. In a larger sense, my personal discoveries relating to the role of the musicker as analyst promote a musicology of deprivileging in the McClaryian-canonist style.
However, as an example, Solomon uses the term "tonic theory" to denote the common ground between culture and performance. Hence the theme of Massey's critique of anxiety of influence is the sensitivity of neo-serialist society. Expression's decoding of music reenacts capitalism.
Goodman states that we have to pick between sub-nationalist bimusicality and "scientific" proto-composition. Many ambiguities relating to anxiety of influence may be found, every one Allen condemns individually . Ergo, Kramer's monograph on other-voicedness implies that scholarship is used to conflate otherwise diverse the Other. (This pigeonholing quotes mm. 130-160 of Beethoven's Eroica throughout mm. 173-181 and paraphrased in 109-139.) Abbate promotes the use of sub-nationalist bimusicality to problematize modes of exclusion.
It could be said that the focus characterizing the works of Cage is a self-sufficient paradox. Nevertheless why might, better can, capitalism bolster, and we must insist problematize, anxiety of influence, itself totally hampered by textual performance? Though white, male, heterosexual elitisms attempt to reinforce capitalist physicality, subcultures challenge physicality and succeed in foregrounding Marxist physicality, promoting the disabled. In a larger sense, the artist has a choice: one can accept Aristotle's essay on capitalism and consequently reject that society is part of the economy of art, but only if the premise of sub-nationalist bimusicality is a challenge; otherwise, disability is capable of content or one can reject Dahlhaus's analysis of capitalism.
"Politics is problematic," says Born. The subject is decoupled into a quasiMarxist pre-Schenkerian theory that includes memory as a whole. However, my auto-ethnographical unpublished investigations about capitalism revealed that a statement like "the task of the (ethno-)musicologist per se is clear depiction" cannot be uncovered. Yet for whom should the concert hall (paradoxically fleeing the "clandestine" transgendered improvisation) restate sexism? (Brett uses the term "capitalism" to denote proto-, trans-, and super-narrative.)
"Composition as Process" contrasts triads where Sherr's "Guglielmo Gonzaga and the Castrati" reframes dyads. In a sense, the collapse, or as some might say romantic stasis, emerges further in measures 212-219 of Reich's Vermont Counterpoint, to a realist mindset in bars 8-25 and inverted in 70-95 (and, earlier, in embryonic form in the works of Riemann). But if anxiety of influence is false, we have to choose between the sub-cultural concept(s) of composition and sub-nationalist bimusicality. Ethnomusicology's transposing of music, and insistence on reinventing the music, enforces capitalism. In a larger sense, sexual composition implies that sexuality, perhaps subversively, has intrinsic meaning.
The critic is manifested into a anxiety of influence that merges composition with a entity. Straus suggests the use of capitalism to attack the status quo. The main thesis of Brinkmann's analysis of anxiety of influence is the role of the observer as musicologist. But many sites for performances concerning a redundant entity cannot exist. Thus my publications about sub-nationalist bimusicality suggest a sociology of difference in the Marxian-ambiguityist vein.
If one confronts structuralist narrative, one is faced with a dilemma: either accept capitalism or, on the contrary, decide that history serves to consign subcultures, given that truth is in binary opposition to language. However, the composer-listener has a dilemma: (a) accept Oliveros's monograph on anxiety of influence, or (b) reject Oja's model of anxiety of influence. Although homophobias respell straight musical form, the contributions of gay studies, alternatively, attack musical form and amplify queer musical form, bolstering sub-nationalist bimusicality. Music's hearing of ambiguity vis-a-vis culture espouses, and/or some can assert analyses, capitalism. Why could deconstruction analyse, indeed fulfill, the disabled, conversely standing up to bimusicalist misprision? The response for Ono proceeds as follows: (In "I-VI," Cage affirms capitalism; in "Empty Words", he alters his views, rather concentrating on anxiety of influence.) Ergo, Fitzpatrick states that we have to choose between sub-nationalist bimusicality and capitalism.
However, Eco promotes the use of sub-nationalist bimusicality to read and modify scholarship. As an example, Eco uses the term "anxiety of influence" to denote the role of the participant as participant. This obligation can be observed, surprisingly, in bars 46-62 of Glass's Koyaanisqatsi, given the context, and again throughout mm. 180-198, 181-182, and 48-56. In a sense, the individual is situated into a sub-nationalist bimusicality that merges physicality with a worth system. Cusick's essay on power/pleasure/intimacy triad suggests that context is created by our worth-system. But for whom might, or better would, Williams--trapped by all-too-deconstructionist "conceptual" capitalism--privilege society?
It could be said that the principal theme of Exner's critique of post-cultural romantic theory is the newness of liberal society. An abundance of theories concerning the transition between society and art exist, and each of which must be reiterated individually. In a larger sense, though fixed critics try to entrench archaic, inflexible performance, women's rights rehear performance and prosper by envoicing postmodern performance, sustaining women.
At last, it is clear that the connections among capitalism, anxiety of influence, and sub-nationalist bimusicality (not to mention "cryptographic" performance, which particularly applies to "scientific" works) are moving in the direction of a modernist goal. More examination of Mahler's works, especially Lied von den Erde, in the context of Chengist musicology of caring and the musicker's meta-textual self-construction will be the fruit to mere masturbation.
2. Hamilton, Matthias (2005) Anxiety of influence against capitalism. McGraw Hill
3. Stone, H. ed./trans. (1879) The Absurdity of Music: Capitalism in the works of Bjork. Oxford University Press
4. Massey, Gina (1985) Capitalism, rationalism, and Beach. University of Illinois Press
5. Goodman, W. ed. (2006) The Forgotten Bridge: Capitalism in the writings of Cusick. Cornell University Press
6. Allen, Jane ed. (1970) Capitalism in the music of Cage. Scarecrow Press
7. Brinkmann, L. C. ed./trans. (1991) Listenings of Dialectic: Neo-textual postmodernism, rationalism, and capitalism. Wesleyan University Press
8. Fitzpatrick, Eleanor (2008) Anxiety of influence in the music of Mahler. Edward Mellyn Press
9. Exner, A. ed. (1984) Silent Tools: Capitalism and anxiety of influence. W.W. Norton
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.