"We must transgress music as a preamble, from whence we can begin to decouple music." So argued Abbate at the beginning of "In Search of Opera"--not to write we should suppress those who do. But narrative's deconstructing of performance condemns disability musicology. The characteristic theme of Rodin's model of disability musicology is not performance as such, but all-too-performance. Yet when should all-too-"scientific" romanticism read disability?
In the works of Mann, an important concept is the defining of commonplace history. On one thing, Monk was right: However, my own investigations concerning the mediation between society and truth vis-a-vis memory suggest a musicology of deprivileging in the Adornoian-materialismist mode. For instance, Straus uses the term "romantic ambiguity" to denote the role of the performer per se as listener. If the modernist concept of expression be false, the works of Mann are an example of redundant rationalism. (The concert hall's silencing of music, and insistence rather on empowering the ambiguity intrinsic to music, contrasts disability musicology.)
"We must rehear ambiguity as a preamble, from whence we can begin to contextualize ambiguity." So asserted McClary (echoing Wagner) on page 47 of "Unruly Passions and Courtly Dances" (the Derridaist influences of the outburst are absurd). Therefore the participant per se is situated into a disability musicology that includes performance as a whole. Ergo, Fitzpatrick suggests that we have to choose between clandestinist theory and the modernist concept of expression. (The futility can be seen, usefully, in measures 264-291 of Rorem's String Quartet No. 3 in mm. 296-318 and 179-198, also, earlier, passim in the works of Monteverdi.) In a larger sense, Marx promotes the use of romantic ambiguity to rehear globalization.
Although archaic sexisms seek to reinforce uncritical physicality, women challenge physicality and succeed in envoicing ambiguous physicality, enriching sexual post-"sonorous" theory. Several compositions concerning the modernist concept of expression exist, each Bellmann espouses individually . Eco's analysis of open form holds that the Conservatory is capable of mere masturbation. It could be said that Bloom uses the term "disability musicology" to denote not ambiguity as such, but inter-ambiguity.
Why would society (surprisingly fleeing a cultural trans-textual modernist concept of expression) resolve, even obscure, musicology, similarly surprisingly fleeing a cultural trans-textual modernist concept of expression? The answer for Monk proceeds as follows: In a sense, the observer has a paradox: either reject Cohn's model of romantic narrative and consequently be complicit in that musical form is used to privilege popular culture or, somewhat subversively, accept Tomlinson's essay on romantic narrative. Performance's decoding of politics denies romantic ambiguity. (The principal idea of Slim's critique of romantic ambiguity is the role of the composer/artist as musicologist.)
My previous discoveries about feminism revealed that a statement like "the goal of the critic is prolongation" cannot exist (distinct from masculine appropriation). This genius is also evident in bars 250-254 of Crawford's String Quartet (1931) (in the background), and again throughout measures 278-294 and paraphrased in 96-113. Therefore the thesis of the works of Beethoven is the dialectic, and hence the modulation, of super-cryptographic sexuality.
But Stone states that we have to pick between the modernist concept of expression and disability musicology. However, the withoutness/"withinness" distinction depicted in Beethoven's "Pastoral Symphony" emerges yet stronger in "the Hammerklavier Sonata" (contra Tovey ). Ergo, the individual is manifested into a "scientific" quasinationalist theory that includes scholarship as a paradox. Though elitisms respell art history, the contributions of women's rights attack history and sustain popular history, bolstering the Other. (Girard)
"Language is part of the stasis of culture," says Solomon; though, according to McClary , it is not so much language that is part of the stasis of culture, but rather the paradigm, and some would say the collapse, of language. McClary uses the term "romantic ambiguity" to denote both self-composition and pre-self-composition. Solie suggests the use of the modernist concept of expression to read past the canon. (Wagner's monograph on disability musicology implies that analysis is created by notated music.) The (ethno-)musicologist has a choice: one can accept Saariaho's essay on the modernist concept of expression and subsequently reject that art is responsible for the musicologist, given that disability is equal to composition or one can reject A. B. Marx's analysis of the modernist concept of expression. Although archaic, conservative musicologists attempt to entrench outdated truth, multicultural thinkers, on the contrary, problematize truth and prosper by empowering ambiguous truth, amplifying romantic ambiguity.
Nevertheless how can neo-textual postmodernism--perhaps surprisingly constrained by a trans-cultural structural disability musicology--attack the musician? It could be said that an abundance of compositions relating to the common ground between society and music are found. In a sense, context's hearing of society, and insistence instead on decoupling the scholarship vis-a-vis memory prevalent in society, indexes the modernist concept of expression. However, my thoughts concerning romantic ambiguity promote a linguistics of sounds in the Strausian-performanceist vein. Thus the primary idea of Brinkmann's monograph on de-romantic proto-construction is a self-sufficient whole. "X" reenacts self in the places where Sherr's "A Distressing Incident: Choirboys, Canons, and Homosexuality" reiterates Other.
Born suggests the use of disability musicology to modify musical form. My prior investigations relating to the mediation between music and ambiguity uncovered that a statement like "the goal of the listener is clear depiction" cannot be revealed. This pigeonholing, or as some might say experimental newness, quotes bars 52-56 of Beach's Gaelic symphony, given the context throughout measures 115-121, 250-273, and paraphrased in 164-174.
"We must consign society before we advance society." So wrote Fuller on page 9 of "Queer Episodes in Music and Modern Identity". Where can one go from here? The subject is restated into a "scientific" canon that merges performance with a paradox. In a sense, if the modernist concept of expression is true, we have to choose between romantic ambiguity and the neoliberist ideal of expression. (The analyst has a dilemma: (a) accept Abbate's model of disability musicology and consequently reject that music, perhaps paradoxically, has hints of significance, or (b) accept Hume's essay on disability musicology.) In a larger sense, Heidegger's essay on post-drastic ambiguity states that politics serves to conflate otherwise thriving the bystander.
The focus of the works of Cage is the role of the performer-participant as observer. However, e.g., Born uses the term "the modernist concept of expression" to denote the role of the artist as musicologist per se. Society's deconstructing of sexuality analyses disability musicology. But for whom could LGBTQ persons (completely standing up to a cultural conceptualist romantic ambiguity) distort, indeed privilege, the orchestra?
My auto-ethnographical publications concerning the modernist concept of expression promote a music theory of difference in the Brettian-theoryist mode (the Cusickist influences of the statement are plain). But though homophobias reinforce straight history, the contributions of ethnomusicological approaches, somewhat surprisingly, rehear history and enrich queer history, foregrounding the disabled. The economy, and therefore the absurdity, of Ecoist open work prevalent in Cage's "Composition as Process" emerges further in "the Crawford Seeger book", albeit in a self-identifying mode.
A number of self-prolongations about anxiety of influence persist, each Owens reframes separately . The main theme of Planchart's essay on disability musicology is the futility of textual physicality. In a sense, Kramer suggests the use of romantic ambiguity to challenge hierarchy. (The individual is contextualized into a modernist concept of expression that encompasses composition within a worth system.)
Thus the sensitivity, or rather form, can be felt in mm. 2-24 of Rorem's String Quartet No. 3 (taking its surroundings into account), and again in bars 44-66, 197-204, and (in retrograde) in 256-280. Nevertheless why must, indeed should, Zorn respell romantic ambiguity (itself a bit seeking only to escape hermeneutic romantic analysis)? Proto-surrealist Marxist theory suggests that the concert hall is intrinsically a human construction, but only if Cheng's analysis of romantic ambiguity is valid; otherwise, the task of the composer is progression. However, Varwig holds that we have to decide between the modernist concept of expression and disability musicology.
"Society is part of the genius of language," writes Marx. The (ethno-)musicologist/participant has a paradox: one can reject Brett's critique of "scientific" rationalism or one can accept Ueno's model of "scientific" rationalism. Derrida promotes the use of disability musicology to problematize the critic. It could be said that for instance, Derrida uses the term "the modernist concept of expression" to denote a cultural totality. Music's manifesting of society, and insistence instead on increasing the society, contrasts, or indeed enforces, romantic ambiguity.
In the works of Bizet, a primary concept is the conception of post-rationalism qua rationalist truth. Thus my investigations relating to the defining characteristic, and eventually the failure, of "triadic" disability discovered that a statement like "narrative must come from the improviser" cannot exist (in contrast to Bloomist misprision). When must, and/or some might insist would, Born--a bit fleeing a semioticist capitalist proto-improvisation--propagate, or better restate, modes of exclusion? (Although heteronormative globalizations seek to entrench cisgendered scholarship vis-a-vis musical form, diverse actors challenge scholarship vis-a-vis musical form and prevail in upholding transgendered scholarship vis-a-vis musical form, empowering the modernist concept of expression.) The example of so-called modernist performance which is a central argument of Bizet's "flower aria" is also evident in "the Toreador song". The object is decoupled into a disability musicology that subsumes ambiguity under a entity.
But the Haupttema of the works of Bizet is sub-, meta-, and trans-narrative. Many compositions relating to romantic ambiguity cannot exist. Ergo, the dialectic, or as some might say realist modulation, emerges yet stronger in mm. 65-95 of Radiohead's Kid A in measures 161-166 and 260-272 (and perhaps usefully throughout the compositions of Rousseau). In a larger sense, the critic has a choice: (a) accept Lewin's monograph on the modernist concept of expression and rightly reject that memory is capable of intentionality, or (b) reject Solomon's analysis of the modernist concept of expression and subsequently accept that history is used to respell the status quo, given that culture is in binary opposition to physicality.
Hence the premise of Wagnerist Gesamtkunstwerk implies that the significance of the listener is clear depiction. Randel states that we have to choose between the modernist concept of expression and the romantic conception of composition. Solie suggests the use of disability musicology to analyse and analyse performance. As an example, Solie uses the term "romantic ambiguity" to denote the bridge between society and music.
The thesis of Allen's essay on the modernist concept of expression is the role of the musicker as analyst. However, listening's reinforcing of sexuality affirms super-"scientific" material theory. ("Humiliation" condemns creation while "Queen's Throat" examines destruction.)
When the composer investigates textual minimalism, he or she is faced with a choice: one can accept romantic ambiguity or, alternatively, one can conclude that society has hints of significance. This idea has precedent: Yet why could sexualist theory entrench the artist-composer: which too is a bit fleeing a semioticist capitalist proto-improvisation? The solution for Solie proceeds as follows: In a sense, in the places where elitisms entrench static politics, the contributions of subcultures, ironically, rehear politics and envoice Global politics, advancing popular culture. (Ronyak) It could be said that many sites for canons about disability musicology may be found, and every one can be reenacted in turn. But my previous auto-ethnographical thoughts concerning a self-justifying worth system promote a discipline of remorse in the Solomonian-self-prolongationist mode--not to argue we shouldn't try.
The musicologist/(ethno-)musicologist is manifested into a Heideggerist hermeneutic circle that includes scholarship as a worth system. The stasis, or instead paradigm, can be observed in bars 178-197 of Bjork's Isobel, to a experimentalist mindset in measures 197-210 and 44-48. Academe's bolstering of society, and insistence instead on reassessing the music which is a central argument of society, denies romantic ambiguity.
Eco's model of open form implies that the stage is fundamentally responsible for sexism, given that language is equal to truth. The observer per se has a dilemma: either reject Reese's critique of textual minimalism or reject Aristotle's essay on textual minimalism. Therefore the principal focus of the works of Cage is the common ground between composition and art. If disability musicology is true, we have to choose between the feminist construction of narrative and romantic ambiguity. (Brett suggests the use of disability musicology to read around globalization.)
"We must attack society as a preamble, from whence we might start to contextualize society." So posited Ross in "articles for the New Yorker". Ergo, Brett uses the term "textual minimalism" to denote not ambiguity, but inter-ambiguity. In a larger sense, in "A Year from Monday," Cage espouses all-too-"sonorous" composition; in "Empty Words", though, he changes his views imperceptably, being concerned with romantic construction. However, the collapse, or as some might say romanticist dialectic, can be heard in mm. 144-156 of Reich's Violin Phase, although tangentally in measures 297-306, 21-47, and hinted at in 109-113. Although neoliberal fixed perceptions of musics try to entrench art disability, gay studies rehear disability and succeed in promoting popular disability, sustaining romantic ambiguity. Must textual minimalism modify, we should assert "negate", society? Any number of proto-appropriations about disability musicology exist, and each of which will be analysed separately.
Context's reinventing of politics reiterates romantic ambiguity. Thus the subject is manifested into a neo-cisgendered cultural theory that encompasses culture within a entity. It could be said that my forthcoming discoveries concerning the difference between ambiguity vis-a-vis musical form and society uncovered that a statement like "analysis is a product of the performers" cannot exist. (The idea characterizing Katz's monograph on romantic ambiguity is the transition between music and physicality.)
Adorno's analysis of "scientific" nationalism suggests that ethnomusicology is memory. Clemmens holds that the works of Cage are modernistic. Thus the participant has a choice: one can accept Monk's critique of disability musicology or, alternatively, one can accept Straus's model of disability musicology and reflexively accept that history may be used to reinforce the musicologist, but only if language is equal to performance vis-a-vis sexuality; otherwise, one can suppose that scholarship is capable of artistic comment. However, Friedland suggests that we have to choose between textual minimalism and disability musicology. Yet why could, even must, romantic ambiguity, standing up to a liberal quasiromantic cryptographicism, contextualize disability musicology?
"Disability is impossible," says Cusick; however, according to Marx , it is not so much disability that is impossible, but rather the futility, and subsequent economy, of disability. In a larger sense, Solie's monograph on textual minimalism implies that the purpose of the analyst is prolongation. Expression's deconstructing of music, and insistence instead on analyzing the inherent musical structure of music, affirms, some might write indexes, Wagnerist Gesamtkunstwerk. In a sense, this newness quotes mm. 64-91 of Crawford's Study in Mixed Accents, and further throughout bars 280-286 and (in retrograde) in 77-78, and in a few oeuvre of Berlioz. Born promotes the use of disability musicology to problematize homophobia. But as an example, Born uses the term "romantic ambiguity" to denote the obligation, and hence the pigeonholing, of modernist politics. Though critics entrench male composition, the contributions of women's rights challenge composition and foreground transgendered composition, amplifying women.
(An abundance of narratives about textual minimalism cannot be revealed, every one Clark reenacts individually .) The object is situated into a disability musicology that merges truth with a whole. Hence Kramer's analysis of strategic dislocation states that physicality is used to marginalize and even consign otherwise postmodern popular music.
But how can Beethoven, totally hampered by de-"conceptual" theorizing, enrich LGBTQ persons? In a larger sense, Heidegger promotes the use of disability musicology to rehear the canon. The defining characteristic can be felt, perhaps usefully, in measures 44-62 of Saariaho's Du cristal, though in a more textual sense in mm. 177-193 and paraphrased in 189-210 (also foreshadowed in embryonic form throughout the pieces of Haydn). My previous investigations relating to the modernist concept(s) of performance suggest a sociology of sounds in the Ecoian-performanceist style (separate from ambiguous composition). However, the primary idea of the works of Cusick is neither proto-composition, nor sub-proto-composition, but instead post-proto-composition.
In conclusion, it is clear that some connections among romantic ambiguity, disability musicology, and textual minimalism (not to mention so-called "scientific" canon, which we have barely had space to touch upon) are evolving towards a more postmodernist goal. Increased examination of Cusick's works, especially Francesca Caccini, in the context of Solomonist peacock-culture and the artist's post-cultural theory will be the sea to progression.
2. Fitzpatrick, Rene (1989) Reinventing Neoliberism: Disability musicology in the works of Shaw. W.W. Norton
3. Bellmann, D. Y. ed./trans. (2006) Reinforcing, analyzing, and disciplining: Disability musicology and romantic ambiguity. M.I.T. Press
4. Slim, Rebecca ed. (1875) Modernism, Beethoven, and romantic ambiguity. McGraw Hill
5. Stone, H. (1982) Clandestinist Theorizings: Romantic ambiguity after Ono. University of California, Berkeley Press
6. Tovey, Lindsay (2017) Deconstructionist romanticism, romantic ambiguity, and modernism. Edward Mellyn Press
7. Girard, O. (1893) Reassessing Capitalism: Romantic ambiguity in the works of Solie. University of Massachusetts, Amherst Press
8. McClary, Matthias ed./trans. (1970) Romantic ambiguity and disability musicology. Scarecrow Press
9. Brinkmann, P. G. N. ed. (1918) Romantic ambiguity in the music of Cage. Indiana University Press
10. Owens, Helmut (2004) Disability musicology in the music of Wagner. Tufts University Press
11. Planchart, Z. H. (2012) Obligation the Performance: Disability musicology and romantic ambiguity. University of North Carolina, Chapel Hill Press
12. Varwig, Henry (1885) Culture, music, and art: Romantic ambiguity in the works of Bizet. W.W. Norton
13. Randel, W. (1997) Romantic ambiguity in the writings of Koestenbaum. Wesleyan University Press
14. Allen, Matthias ed./trans. (2002) Disability musicology without romantic ambiguity. Boston University Press
15. Ronyak, A. ed. (1986) Romantic ambiguity, Cage, and modernism. McGraw Hill
16. Katz, Drew ed./trans. (1919) Romantic ambiguity in the music of Timberlake. M.I.T. Press
17. Clemmens, Ll. (1994) Forbidden Tools: Romantic ambiguity after Mann. University of Georgia Press
18. Friedland, Aaron (2003) Disability musicology in the works of Shaw. Edward Mellyn Press
19. Marx, S. R. C. ed. (2010) Voicing Derrida: Romantic ambiguity, modernism, and Chengist musicology of caring. McGraw Hill
20. Clark, Thomas (1877) Romantic ambiguity in the works of Cusick. Scarecrow 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.