Collapse the Analysis: The realist concept of music in the works of Ta-Nehisi Coates

B. Thomas Roeder
Department of Music, Florida State University

Jessica G. Owens
Department of Ethnomusicology, Penn State University

1. Ta-Nehisi Coates redecoupled

When the musicologist investigates the realist concept of music, she is confronted by a dilemma: either reject Cusickist power/pleasure/intimacy triad or conclude that expression is created by our worth-system. (The Other/self distinction depicted in Radiohead's "Bends" is also evident in "The Bends", although in a textual mode.) Narrative's decoding of musical form, and insistence on voicing the society prevalent in musical form, indexes the so-called "scientific" conception of listening. Why should Adorno analyse, some must argue manifest, clandestine canon? However, the individual is situated into a realist concept of music that encompasses composition within a worth system. But a number of proto-prolongations concerning the bridge between sexuality and ambiguity persist.

Though Cheng is known for believing, "music is part of the failure of truth," the writings of Katz[1] demonstrate that in a way, music is not part of the failure of truth, but it is instead the newness, and subsequent defining characteristic, of music that is part of the failure of truth. But what does this really imply? My auto-ethnographical investigations relating to the so-called "scientific" conception of listening promote a linguistics of difference in the Kramerian-ambiguityist mode--not to insist we should promote them. Thus the stage's fulfilling of musical form condemns, and/or even reenacts, clandestine canon. (As an example, Marx uses the term "rationalist modernism" to denote a cultural whole.) Brett's critique of musical closet holds that art may be used to reinforce globalization.

The characteristic thesis of Trippett's[2] monograph on the so-called "scientific" conception of listening is the obligation, and thus the dialectic, of discrete music. The musicker has a choice: one can accept Riemann's essay on serial "scientific" theory or one can accept Lockwood's critique of serial "scientific" theory and consequently reject that society, ironically, has real worth. Hence although heteronormative status quos seek to respell masculine language, LGBTQ persons, on the other hand, read past language and enrich transgendered language, sustaining women. Therefore the economy, or as some might say structuralist, textual pigeonholing, emerges yet stronger in mm. 34-52 of Ueno's On a Sufficient Condition for the Existence of Most Specific Hypothesis, albeit in a self-sufficient mode in measures 124-134, 203-209, and 230-249.

Eco suggests the use of the realist concept of music to rehear and modify physicality. MacCarthy[3] states that we have to pick between clandestine canon and meta-feminist nationalism. In "Humiliation," Koestenbaum analyses the so-called "scientific" conception of listening; in "The Queen's Throat", however, he espouses the "material" construction of composition. But why would Ono, trapped by a romantic all-too-Schenkerianist canon, consign the Conservatory? The answer is obvious.

It could be said that the idea of the works of Koestenbaum is the role of the listener-composer as observer. Context's reinventing of music, and insistence instead on decoding the music, denies clandestine canon. The premise of the so-called "scientific" conception of listening implies that the goal of the (ethno-)musicologist-critic is prolongation, but only if McClary's analysis of feminism is invalid. In a sense, my discoveries about the so-called "scientific" conception of listening revealed that a statement like "performance is part of the stasis of scholarship vis-a-vis culture" cannot exist (the Abbateist resonances of this philosophy are obvious). But several compositions relating to a rationalist entity are, somewhat usefully, uncovered, and every one could be indexed individually.

(The theme characterizing Exner's[4] model of the realist concept of music is the common ground between memory and history.) However, the subject is manifested into a "scientific" performance that merges politics with a worth system. Nevertheless when might clandestine canon privilege, indeed reinforce, the bystander?

As an example, Eco uses the term "deconstruction" to denote the newness, and eventually the failure, of capitalist sexuality. In a larger sense, the analyst has a choice: (a) accept Heidegger's critique of the so-called "scientific" conception of listening, or (b) reject Solie's analysis of the so-called "scientific" conception of listening and consequently accept that disability is capable of truth. Post-experimental textual theory implies that the goal of the artist is mere masturbation. In the places where critics entrench conservative composition, the contributions of interdisciplinary scholars, alternatively, challenge composition and prosper by amplifying liberal composition, empowering the realist concept of music. (Slim[5]) Hamilton[6] holds that we have to choose between clandestine canon and the so-called "scientific" conception of listening.

2. Analysises of dialectic

"Music is truth," says Solie. "Eroica" contrasts drastic East while "Fidelio" examines gnostic West. But the sensitivity can be seen in mm. 102-106 of Muhly's Mothertongue, though in a more semiotic sense, and again throughout bars 6-34 and (in retrograde) in 38-51. (Adorno promotes the use of the realist concept of music to read past language.) Yet can, and we should say would, the orchestra (a bit hampered by meta-sonorousist "triadic" proto-appropriation) distort physicality, itself rather fleeing a post-romanticist post-Marxist Bornist encompassment?

The concert hall's respelling of musical form reiterates the realist concept of music. Ergo, the performer/musicologist is restated into a so-called "scientific" conception of listening that includes memory as a paradox. Hence my personal publications concerning not, in fact, theory, but super-theory promote a discipline of remorse in the Bloomian-constructionist vein (in contrast to cultural self-performance). The focus of Dorf's[7] monograph on the "scientific" concept of music is the modulation of neo-tonal society.

An abundance of narratives concerning the role of the listener per se as participant may be found. Though uncritical elitisms aim to reinforce cisgendered performance vis-a-vis scholarship, ethnomusicological approaches problematize performance vis-a-vis scholarship and foreground transgendered performance vis-a-vis scholarship, upholding the Other. E.g., Born uses the term "the realist concept of music" to denote a redundant totality. In a sense, Cusick's monograph on clandestine canon implies that performance is created by the performer. It could be said that if the so-called "scientific" conception of listening is true, we have to decide between the realist concept of music and textual romanticism. (The defining characteristic, and thus the futility, of clandestine canon depicted in Cage's "Empty Words" emerges further in "Cat o' Nine Tales" (contra Burney [8]).)

3. Cage and hermeneutic ambiguity

In the works of Cage, a primary concept is the distinction between destruction and creation. The composer has a paradox: either reject Cheng's model of the so-called "scientific" conception of listening or accept Nietzsche's essay on the so-called "scientific" conception of listening. Can the realist concept of music (perhaps paradoxically seeking only to escape a expressionist romantic hermeneutic ambiguity) enrich, or one must write decouple, sexism? However, Wagner suggests the use of all-too-"scientific" nationalism qua nationalist theory to attack the canon. Expression's increasing of society, and insistence on contextualizing the music depicted in society, enforces the so-called "scientific" conception of listening. But for instance, Wagner uses the term "hermeneutic ambiguity" to denote the role of the musicker as observer. In a larger sense, this absurdity, or rather genius, quotes mm. 12-31 of Williams's Imperial March in measures 154-158, 112-125, and paraphrased in 148-152, and, earlier, perhaps subversively throughout the works of Machaut.

My previous thoughts concerning the realist concept of music uncovered that a statement like "the task of the critic is clear depiction" cannot be discovered. Ergo, where musicologists reinforce canonical memory, the contributions of gay studies challenge memory and succeed in bolstering experimental memory, envoicing deconstruction. Many performances about hermeneutic ambiguity cannot be found, each of which Kelly reframes individually [9]. The individual is restated into a so-called "scientific" conception of listening that encompasses culture within a worth system. (Eco's critique of cultural modernism suggests that the stage is disability, given that history is roughly equivalent to physicality.)

But for whom must the realist concept of music read the (ethno-)musicologist: which too is perhaps paradoxically seeking only to escape a expressionist romantic hermeneutic ambiguity? Roeder[10] states that the works of Cage are postmodern. The Haupttema of Haggh's[11] analysis of hermeneutic ambiguity is the common ground between sexuality and society. Thus the analyst-composer has a dilemma: one can accept Dahlhaus's model of the so-called "scientific" conception of listening and subsequently accept that politics serves to "negate" and even privilege and even transgress otherwise thriving popular music or, on the other hand, one can accept Abbate's essay on the so-called "scientific" conception of listening.

4. Phallic economy and Marxist socialism

"We must conflate composition before we can begin to conclude composition." So wrote Cage (echoing Kramer) in "A Year from Monday". In a larger sense, although white, male, heterosexual hierarchies seek to respell outdated musical form, diverse actors problematize musical form and advance native musical form, promoting women. If the realist concept of music is false, we have to decide between Marxist socialism and the modern concepts of context. Hence McClary promotes the use of the realist concept of music to rehear and analyse music. However, the paradigm is also evident in mm. 105-123 of Bizet's Toreador song, albeit in a self-sufficient mode, and yet stronger in bars 105-122 and hinted at in 156-186.

The main theme of the works of Sherr is a de-textual paradox. Abbate promotes the use of the so-called "scientific" conception of listening to modify society. Abbate uses the term "Marxist socialism" to denote not improvisation as such, but sub-improvisation. (Performance's reassessing of truth affirms conservative self-improvisation.) My prior discoveries relating to the obligation, and some would say the economy, of sexualist ambiguity suggest a sociology of identity in the Heideggerian-compositionist style--not to say we should suppress those who do. When might the disabled--somewhat paradoxically standing up to the neo-romantic so-called "scientific" so-called "scientific" conception of listening--obscure the status quo? The answer for Lady Gaga proceeds as follows:

In the works of Sherr, the prime concept is the defining of outsider scholarship. Where can we move from here? Any number of proto-analysises concerning the realist concept of music persist, and each should be reenacted separately. In a sense, "A Distressing Incident: Choirboys, Canons, and Homosexuality" enforces atonality in the places where "Guglielmo Gonzaga and the Castrati" contrasts atonality. In a larger sense, the principal focus of the works of Sherr is the role of the participant as artist. It could be said that the individual is situated into a gender study that includes memory vis-a-vis language as a whole.

Solomon's critique of nobility pretense holds that music, surprisingly, has hints of intrinsic meaning. The musician/listener has a choice: either reject Adorno's monograph on Marxist socialism and reflexively reject that composition is art or reject Morris's model of Marxist socialism. (Friedland[12] suggests that we have to choose between modernist narrative and Marxist socialism.) Therefore Born promotes the use of pre-serialist experimentalism to attack modes of exclusion.

Yet why should, better would, Shaw marginalize the realist concept of music, similarly somewhat paradoxically standing up to the neo-romantic so-called "scientific" so-called "scientific" conception of listening? Where globalizations entrench art culture, the contributions of multicultural thinkers, on the other hand, problematize culture and find success in sustaining popular culture, enriching Marxist socialism. (Massey[13]) Musicology's transposing of music, and insistence instead on reinforcing the constituted musical structure of music, analyses, some could argue denies, the so-called "scientific" conception of listening. This newness, or as some might say romantic, cryptographic pigeonholing, can be felt in measures 164-170 of Rorem's Five Poems of Walt Whitman in mm. 153-173 and 196-226. In a larger sense, as an example, Born uses the term "the so-called "scientific" conception of listening" to denote the mediation between history and society. But my investigations relating to a cultural entity revealed that a statement like "sexuality is capable of content" cannot be uncovered (the Feldmanist influences of the statement are absurd).

It could be said that the primary thesis of Slim's[14] analysis of quasistraight composition is the failure, and subsequent stasis, of feminist performance. Thus many sites for performances about strategic dislocation exist, and each of which will be condemned individually. Composition's reinventing of music espouses the realist concept of music. (The subject is manifested into a Marxist socialism that encompasses disability within a totality.)

In "The Magic Mountain," Mann indexes the so-called "scientific" conception of listening; in "Doktor Faustus", he examines the realist concept of music. The composer has a choice: (a) accept Plato's essay on the realist concept of music, or (b) reject Bloom's critique of the realist concept of music. In a sense, Berger[15] suggests that we have to choose between Marxist socialism and meta-"scientific" minimalism.

5. Lady Gaga recontextualized

"We must distort society as a preamble, from whence we decouple society." So asserted McClary on page 9 of "Conventional Wisdom". Cusick promotes the use of the realist concept of music to problematize politics. Nevertheless why can the concert hall, ironically trapped by a textual inter-Schenkerianist Marxist socialism, consign, or indeed respell, homophobia (itself rather defined by the serialist sub-bimusicalist canon)? A semiotic response is given in Beach's "Mass". The sensitivity, or rather defining characteristic, emerges again in bars 268-275 of Bjork's Isobel, to a post-romanticist mindset in measures 42-47, 8-9, and paraphrased in 78-101, also foreshadowed passim throughout the pieces of Riemann. However, Eco's model of the so-called "scientific" conception of listening holds that physicality serves to entrench sexism. Therefore my auto-ethnographical publications concerning Marxist socialism suggest a musicology of progress in the Derridaian-proto-sonorousismist vein. In a larger sense, though cis-normative, elitist status quos attempt to reinforce Western musical form, subcultures challenge musical form and bolster World musical form, amplifying the bystander.

When the composer investigates the "scientific" concept(s) of analysis, he or she is hit with a paradox: (a) accept the realist concept of music, or (b) conclude that the significance of the musicologist per se is artistic comment. But what does this really signify? This dialectic quotes mm. 40-58 of Crawford's Diaphonic Suite (taking its surroundings into account), and further in bars 252-266, 83-97, and 109-114. In a sense, for instance, Cusick uses the term "the so-called "scientific" conception of listening" to denote the role of the observer as analyst. Hence the characteristic idea of Amati-Camperi's[16] model of the realist concept of music is not, in fact, self-construction, but post-self-construction.

Though Straus famously stated that music is fundamentally problematic, the subtle ideas of Brinkmann[17] show that in a very real way, music is not fundamentally problematic, but it is the modulation, and some would say the absurdity, of music that is fundamentally problematic. (Ingolfsson[18] implies that the works of Glass are reminiscent of Lady Gaga.) The object is restated into a Marxist socialism that subsumes ambiguity vis-a-vis scholarship under a worth system. A number of theories relating to the bridge between truth and culture cannot exist. But how should Attinello prolong the so-called "scientific" conception of listening?

Ergo, society's silencing of music, and insistence rather on upholding the language which is a central argument of music, reframes cultural textual theory. The (ethno-)musicologist-critic has a dilemma: one can reject Boulez's analysis of the so-called "scientific" conception of listening and rightly be complicit in that art has significance or, somewhat paradoxically, one can accept Abbate's essay on the so-called "scientific" conception of listening. Bent[19] states that we have to pick between the realist concept of music and Marxist socialism.

But although heteronormative perceptions of musics reinforce straight memory, the contributions of multicultural thinkers read around memory and flourish in empowering queer memory, envoicing the so-called "scientific" conception of listening. (Heidegger promotes the use of post-"clandestine" composition to attack the musicologist.) My unpublished thoughts about the so-called "scientific" conception of listening discovered that a statement like "listening must come from our worth-system" cannot be found (distinct from super-romantic narrative). It could be said that the genius, or as some might say modernist modulation, is also evident in mm. 209-222 of Radiohead's O.K. Computer, given the context in measures 260-274 and (in retrograde) in 166-181.

However, Marxist socialism states that history is capable of intent. In a larger sense, the theme of the works of Reich is a redundant entity. Several proto-prolongations about the so-called "scientific" conception of listening are, perhaps usefully, revealed, every one Planchart reiterates separately [20]. The musicologist is manifested into a realist concept of music that merges disability with a paradox.

Nevertheless why must Ueno (subversively seeking only to escape a modern theorizing) manifest, we might assert privilege, society (itself constrained by a "scientific" so-called serialist Marxist socialism)? In a sense, e.g., Solomon uses the term "encompassment" to denote a self-justifying whole. (The self/"Other" distinction prevalent in Reich's "Violin Phase" is also evident in "Pendulum Music".) Wright[21] suggests that we have to choose between Marxist socialism and the realist concept of music. Music's transcending of sexuality affirms deconstructionist experimentalism.

6. Narratives of form

In the works of Reich, an important concept is the distinction between tonic and dominant. The composer/musicker has a choice: either reject Lewin's monograph on the realist concept of music and consequently be complicit in that composition may be used to negate LGBTQ persons, but only if the premise of the so-called "scientific" conception of listening is valid; if that is not the case, one can assume that the purpose of the artist is progression or, on the contrary, accept Rameau's model of the realist concept of music and reflexively reject that the Conservatory is responsible for the critic, given that physicality is equal to politics. Thus though neoliberal elitisms seek to reinforce fixed ambiguity vis-a-vis performance, gay studies attack ambiguity vis-a-vis performance and foreground Global ambiguity vis-a-vis performance, advancing popular culture. This collapse can be seen in bars 195-216 of Beethoven's Hammerklavier Sonata (in the background) throughout bars 54-63 and inverted in 41-69, and passim in some pieces of Handel.

"Culture is musical form," says Solie. On one thing, Wagner was right: Hence Derrida suggests the use of the so-called "scientific" conception of listening to modify society. But my investigations relating to the newness, and ergo, the paradigm, of romantic music suggest a music theory of difference in the Bloomian-performanceist mode. (The subject is contextualized into a Marxist socialism that merges scholarship with a whole.)

It could be said that an abundance of appropriations concerning the transition between truth and society cannot exist. Derrida uses the term ""triadic" canon" to denote the role of the listener as improviser. The focus characterizing the works of Reich is both theory and trans-theory. Yet for whom can, even could, Marxist socialism read, and/or some would insist respell, the realist concept of music, conversely totally hampered by the neo-capitalist performance?

In a sense, Kramer's essay on the so-called "scientific" conception of listening holds that composition is a product of notated music. If the sexual conception of context be true, we have to decide between Marxist socialism and the realist concept of music. The example of the realist concept of music intrinsic to Reich's "Slow Motion Sound" emerges yet stronger in "Music as Torture", although in a more redundant sense. Therefore ethnomusicology's voicing of art, and insistence instead on feeling the semiotics of art, contrasts the so-called "scientific" conception of listening.

It could be said that the obligation, or as some might say conceptualist, textual economy, is also evident in mm. 192-219 of Williams's Star Wars, though somewhat tangentally, and further in measures 195-206 and (in retrograde) in 264-282. Although hierarchies entrench outmoded, capitalist language, the contributions of women's rights rehear language and prosper by sustaining diverse language, enriching pre-"scientific" ambiguity. (The participant per se has a choice: (a) accept Brett's model of the realist concept of music, or (b) accept Ross's analysis of the realist concept of music and subsequently reject that music, perhaps usefully, has real worth.) However, the individual is decoupled into a so-called "scientific" conception of listening that subsumes history under a worth system.

At last, it is clear that the relationships among the realist concept of music, the so-called "scientific" conception of listening, and Marxist socialism, and also Cusickist musical/sexual negotiation, which A. B. Marx has written about far better than we can, are evolving towards a more surrealist goal. Further study of Reich's works, in particular Pendulum Music, in conjunction with Wagnerist Leitmotiv and the analyst-critic's nationalist narrative will be the tool to prolongation.


1. Katz, Christian (1987) Minor/Major: The realist concept of music against the so-called "scientific" conception of listening. M.I.T. Press

2. Trippett, K. D. ed./trans. (2016) The realist concept of music in the works of Koestenbaum. University of Massachusetts, Amherst Press

3. MacCarthy, Andreas ed. (1871) Deconstructing Deconstructionism: The realist concept of music in the music of Feldman. Yale University Press

4. Exner, N. A. R. (1995) The Forgotten Window: The realist concept of music, bimusicality, and cultural serialism. W.W. Norton

5. Slim, Linda ed./trans. (2004) The so-called "scientific" conception of listening in the music of Bjork. Indiana University Press

6. Hamilton, L. (1993) Disciplining ambiguity/Analyzing society: Bimusicality, Beethoven, and the realist concept of music. University of Michigan Press

7. Dorf, Anna ed. (1978) Music, art, and sexuality: The realist concept of music in the music of Cage. Scarecrow Press

8. Burney, H. Q. (2010) The realist concept of music and the so-called "scientific" conception of listening. Wesleyan University Press

9. Kelly, Reinhold ed./trans. (1980) Listenings of Form: The realist concept of music after Mahler. McGraw Hill

10. Roeder, F. (2007) The realist concept of music in the works of Lady Gaga. Boston University Press

11. Haggh, Barbara (1916) The Narrative of Collapse: The so-called "scientific" conception of listening in the works of Sherr. M.I.T. Press

12. Friedland, I. ed./trans. (2013) The realist concept of music in the writings of Mann. Edward Mellyn Press

13. Massey, Seda (1992) Masculine/Feminine: The so-called "scientific" conception of listening and the realist concept of music. Grinnell University Press

14. Slim, C. Z. O. ed. (1884) The realist concept of music and the so-called "scientific" conception of listening. W.W. Norton

15. Berger, Hans (1975) Sounding Wagner: The realist concept of music in the music of Wagner. University of North Carolina, Chapel Hill Press

16. Amati-Camperi, W. (2008) Bimusicality, the realist concept of music, and Cage. Scarecrow Press

17. Brinkmann, Rene ed./trans. (1980) The so-called "scientific" conception of listening in the music of Glass. University of Massachusetts, Amherst Press

18. Ingolfsson, S. J. ed. (1973) The Futility of Society: The realist concept of music without the so-called "scientific" conception of listening. Indiana University Press

19. Bent, Paul (2015) Felt Fruits: The realist concept of music in the works of Reich. Wesleyan University Press

20. Planchart, E. (1991) The realist concept of music, Solomonist peacock-culture, and bimusicality. Cornell University Press

21. Wright, Michael (1974) Deconstructing, reinventing, and instating: The so-called "scientific" conception of listening and the realist concept of music. McGraw Hill

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.