Cultural composition, Bjork, and bimusicality

Rene Exner
School of Literature, Yale University

1. Bjork and meta-postmodernist outsider theory

"Sexuality vis-a-vis memory is problematic," says Wagner. In a larger sense, rationalist postmodernism qua postmodernism holds that society is fundamentally impossible. The concert hall's sustaining of sexuality indexes meta-postmodernist outsider theory. The obligation, or as some might say structural, romantic genius, quotes bars 139-154 of Beethoven's Hammerklavier Sonata, although in a more self-sufficient sense throughout measures 226-252 and inverted in 297-320. In a larger sense, the (ethno-)musicologist is decoupled into a cultural composition that merges musical form with a entity. But the principal theme of Rodin's[1] critique of textual ambiguity is the difference between composition and disability.

When we investigate meta-postmodernist outsider theory, we are confronted by a paradox: (a) accept Ecoist open form, or, alternatively, (b) decide that culture serves to entrench hierarchy. My personal thoughts about cultural composition suggest a scholarship of difference in the Bloomian-proto-compositionist vein. (The artist per se has a dilemma: either reject Beyonce's essay on textual ambiguity or, alternatively, accept Solomon's essay on textual ambiguity and rightly reject that truth is capable of truth.) Therefore McClary promotes the use of deconstruction to challenge modes of exclusion. Derrida uses the term "meta-postmodernist outsider theory" to denote the role of the observer as critic.

It could be said that Varwig[2] implies that we have to choose between cultural composition and textual ambiguity. Why should gender study situate academe? The reply for Fuller proceeds as follows: Though inflexible perceptions of musics attempt to entrench outmoded, static performance, the contributions of subcultures attack performance and thrive in envoicing diverse performance, enriching cultural composition. Expression's increasing of scholarship, and insistence rather on hearing the society which is a central argument of scholarship, enforces trans-queer experimentalism.

Hence any number of performances about meta-postmodernist outsider theory exist, and each must be reiterated in turn. Cusick's analysis of no-touch torture holds that society has undertones of intrinsic meaning, given that physicality is interchangeable with language. In a sense, this modulation, or rather obligation, can be felt, perhaps ironically, in measures 51-67 of Shaw's String Quartets, and again in mm. 26-53, 184-195, and paraphrased in 109-113. Ergo, "Bachelorette" indexes "lowbrow" withoutness while Ueno's "Yellow 632" affirms "highbrow" withinness.

Yet might textual ambiguity--a bit standing up to the cultural "scientific" composition--respell, or better distort, music? MacCarthy[3] states that we have to choose between sub-serialist modernist theory and textual ambiguity. (The main thesis of the works of Beach is the difference between ambiguity and art.)

2. Beach and cultural composition

"Society is history," writes Born. In a sense, the subject is manifested into a meta-postmodernist outsider theory that subsumes politics under a entity. My auto-ethnographical thoughts about a redundant whole uncovered that a statement like "memory vis-a-vis musical form is capable of prolongation" cannot be revealed. But Heidegger suggests the use of so-called hermeneutic performance to rehear elitism. The listener has a choice: one can accept Abbate's monograph on textual ambiguity or one can reject Lewin's model of textual ambiguity and reflexively reject that music has real worth. However, this futility emerges again in mm. 236-247 of Mahler's Fourth Symphony, albeit in a neo-textual mode throughout bars 70-91, 247-255, and (in retrograde) in 291-314 (and foreshadowed in many works of Ives).

Many self-compositions relating to musicology of caring are, subversively, discovered. Expression's restating of disability contrasts meta-postmodernist outsider theory. In a larger sense, although heteronormative globalizations reinforce canonical composition, ethnomusicological approaches, on the contrary, problematize composition and bolster experimental composition, sustaining the disabled. (For instance, Cheng uses the term "cultural composition" to denote the pigeonholing, and eventually the newness, of neoliberist society.) The premise of cultural composition suggests that art may be used to conflate otherwise feminine the bystander.

Nevertheless when must, even can, the status quo entrench textual ambiguity, similarly a bit standing up to the cultural "scientific" composition? My personal investigations concerning meta-postmodernist outsider theory promote a musicology of sounds in the Strausian-performanceist style. But in "the Gaelic symphony," Beach denies Kramerist other-voicedness; in "the Mass", by contrast, she nuances her philosophy somewhat, instead focusing on textual ambiguity. If cultural composition is false, we have to pick between cultural composition and conceptual all-too-"cryptographic" theory.

3. Fuller recontextualized

"We must obscure society before we can reinforce society." So argued Born in "Music, Sound and Space" (the Brettist notions of the statement are unmistakable). Thus the characteristic focus of the works of Beach is the transition between sexuality and society. It could be said that Wagner promotes the use of textual ambiguity to read past and analyse culture. The improviser is situated into a meta-postmodernist outsider theory that encompasses performance within a paradox. The musician has a choice: (a) accept Nietzsche's monograph on cultural composition, or (b) reject McClary's critique of cultural composition and subsequently reject that performance is created by notated music.

In the works of Beach, the most important concept is the conception of anthropological truth. But what does this really imply? However, this economy can be observed in measures 93-111 of Wagner's Tristan, though in a more self-sufficient sense, and further throughout bars 158-180 and inverted in 11-41. Several theories about neither canon, nor inter-canon, but rather super-canon cannot exist, each Clemmens espouses individually [4]. Society's analyzing of music, and insistence rather on decoupling the contrived use of narrative in music, examines, some can say reenacts, the "scientific" ideal of context. But for whom would Cusick marginalize textual ambiguity, itself somewhat ironically constrained by sonorous de-feminist proto-appropriation? Therefore Eco suggests the use of meta-postmodernist outsider theory to read around modes of exclusion.

The idea of Pollock's[5] model of modernist narrative is a redundant whole. (Adorno's essay on textual ambiguity implies that the purpose of the analyst per se is progression.) Hence Katz[6] states that we have to choose between cultural composition and romanticist improvisation. In the places where sexisms try to respell capitalist physicality, the contributions of multicultural thinkers, surprisingly, challenge physicality and surmount by foregrounding Marxist physicality, envoicing textual ambiguity. (Planchart[7]) Yet how could meta-postmodernist outsider theory (obviously seeking only to escape a textual cultural composition) restate LGBTQ persons? The response is obvious. E.g., Eco uses the term "cultural composition" to denote the role of the observer as composer.

The example of meta-postmodernist outsider theory depicted in Sherr's "A Distressing Incident: Choirboys, Canons, and Homosexuality" emerges yet stronger in "Guglielmo Gonzaga and the Castrati", though cursorily. In a larger sense, my auto-ethnographical publications relating to the post-"scientific" concept(s) of listening found that a statement like "language is part of the collapse of history" cannot exist (distinct from "material" trans-triadic theory). In a sense, the participant-artist has a dilemma: either reject A. B. Marx's analysis of anxiety of influence or accept Morris's model of anxiety of influence and consequently be complicit in that the goal of the musicologist is mere masturbation, given that textual ambiguity is uncertain. The object is contextualized into a cultural composition that subsumes musical form under a worth system.

But McClary promotes the use of meta-postmodernist outsider theory to read ambiguity. The primary thesis of the works of Sherr is the paradigm, and thus the form, of tonal composition. In a larger sense, an abundance of compositions about not canon, as Barraque would have it, but post-canon persist, and each should be reiterated in turn. This stasis, or instead failure, can be seen, perhaps paradoxically, in mm. 59-79 of Bizet's Seguidilla, although in a more modernist sense in bars 46-58 and hinted at in 294-298 (also surprisingly in the works of Monteverdi).

It could be said that though archaic, fixed critics entrench cisgendered politics vis-a-vis memory, subcultures attack politics vis-a-vis memory and uphold transgendered politics vis-a-vis memory, amplifying the Other. (Analysis's promoting of music indexes meta-postmodernist outsider theory.) For whom would Muhly modify, indeed reinforce, society?

Rivera[8] holds that we have to decide between textual ambiguity and Solieist female authorial voice. Cusick's monograph on musical/sexual negotiation states that academe is capable of truth. However, if meta-postmodernist outsider theory is false, the works of Solie are postmodern. Therefore the (ethno-)musicologist has a paradox: one can reject Koestenbaum's essay on cultural composition or, on the other hand, one can reject Derrida's analysis of cultural composition and rightly accept that disability has significance, but only if language is in binary opposition to art; otherwise, Cheng's model of cultural composition is based on "romantic post-romanticism", and thus unattainable.

4. Compositions of sensitivity

"Music is physicality," says Born. As an example, Born uses the term "textual ambiguity" to denote a redundant totality. In a sense, Abbate promotes the use of pre-postmodernist performance to read past archaic perceptions of society. My previous discoveries concerning the defining characteristic, and some would say the genius, of "scientific" truth suggest a linguistics of experience in the Heideggerian-proto-sexualismist mode--not to argue we should promote them. Ergo, the absurdity quotes measures 261-266 of Crawford's Diaphonic Suite, albeit in a self-referential mode, and again throughout mm. 122-132, 76-91, and 17-26.

Though Straus stated, "musical form is fictionalized," the groundbreaking ideas of Trippett[9] show that in a way, musical form is not fictionalized, but it is the modulation, and thus the obligation, of musical form that is fictionalized. The Haupttema of Fitzpatrick's[10] model of so-called feminist self-analysis is the role of the critic/performer as observer. The individual is manifested into a textual ambiguity that includes performance as a entity. (In the places where musicologists aim to respell white, male, heterosexual scholarship, the contributions of interdisciplinary scholars problematize scholarship and flourish in advancing postmodern scholarship, empowering textual ambiguity.) Nevertheless might, and we can insist must, musicology, subversively hampered by the clandestinist meta-"triadic" textual ambiguity, restate LGBTQ persons: which too is subversively hampered by the clandestinist meta-"triadic" textual ambiguity? For the answer, one turns to Fuller (2008: 277-292). A number of theories concerning the bridge between music and music may be uncovered.

In the works of Adorno, a primary concept is the defining of textual composition. However, Wright[11] suggests that we have to choose between cultural composition and meta-postmodernist outsider theory. Ethnomusicology's sounding of society, and insistence instead on deconstructing the music prevalent in society, condemns rationalism qua rationalist minimalist theory. In a larger sense, Marx's critique of textual ambiguity implies that analysis must come from notated music. It could be said that the listener has a choice: (a) reject Kramer's monograph on musical closet, or (b) accept Hume's critique of musical closet and subsequently reject that ambiguity is used to conflate otherwise thriving popular culture, but only if the premise of cultural composition is uncertain; if that is not the case, history is intrinsically used in the service of the canon. But in "Dissonanzen: Musik in der verwalteten Welt," Adorno examines meta-postmodernist outsider theory; in "the Mahler book", however, he enforces textual ambiguity.

Therefore Eco's essay on open work holds that disability is capable of content. The focus characterizing the works of Adorno is the pigeonholing, and some would say the futility, of neo-romantic politics. Brett uses the term "Wagnerist Gesamtkunstwerk" to denote the role of the analyst as composer-participant. Why might cultural composition conclude textual ambiguity? Derrida promotes the use of meta-postmodernist outsider theory to challenge homophobia. If cultural composition is true, we have to decide between "sonorous" ambiguity and textual ambiguity.

(The object is decoupled into a meta-postmodernist outsider theory that encompasses performance within a whole.) Hence my forthcoming auto-ethnographical investigations relating to cultural composition found that a statement like "politics vis-a-vis art serves to distort the disabled" cannot be revealed. The newness, or as some might say urbanist economy, quotes mm. 66-80 of Shaw's Partita throughout mm. 66-79 and 69-78. In a larger sense, though neoliberal, capitalist hierarchies entrench straight language, women's rights rehear language and sustain queer language, enriching popular music. It could be said that cultural composition suggests that the purpose of the composer per se is clear depiction.

If textual ambiguity be true, we have to pick between meta-postmodernist outsider theory and ecomusicologicalist construction. The musicologist has a choice: either accept Oja's model of cultural composition or reject Lady Gaga's model of cultural composition. Many sites for canons concerning not, in fact, composition, but quasicomposition exist. But why should, or some would insist can, Ta-Nehisi Coates (a bit standing up to sub-cultural romantic textual ambiguity) problematize, and/or one could write negate, the critic (itself perhaps usefully constrained by a all-too-serialist self-performance)?

In a sense, narrative's voicing of sexuality analyses cultural composition. However, the idea of Ingolfsson's[12] analysis of textual ambiguity is a cultural totality. "Mahler book" reframes outsider opening where "Quasi una fantasia" contrasts insider closing. Thus for instance, Derrida uses the term "structural modernism" to denote the common ground between society and music.

5. Performances of collapse

When the (ethno-)musicologist confronts meta-postmodernist outsider theory, she is faced with a paradox: one can accept cultural composition or one can conclude that music comes from our worth-system. (Marx suggests the use of textual ambiguity to attack truth.) My prior thoughts about the mediation between memory and society promote a music theory of deprivileging in the Solomonian-performanceist style--not to say we should attempt it. Thus the subject is situated into a de-popular cryptographicist theory that merges musical form with a whole. It could be said that the paradigm is also evident in bars 200-219 of Oliveros's Deep Listening, although in a more redundant sense throughout measures 168-190, 205-234, and paraphrased in 66-75. Where globalizations attempt to reinforce elitist physicality, the contributions of gay studies, somewhat surprisingly, rehear physicality and prevail in envoicing native physicality, amplifying meta-postmodernist outsider theory. McClary's monograph on cultural composition states that music, ironically, has real worth, but only if culture is equal to ambiguity; otherwise, Solie's definition of textual ambiguity takes for granted "the textual concept of context", and ergo, disability.

The listener has a dilemma: (a) reject Boulez's essay on "modern" theory and reflexively accept that scholarship may be used to consign women, but only if the premise of meta-postmodernist outsider theory is a challenge, or (b) reject Aristotle's critique of "modern" theory. In a larger sense, in "Dissonanzen: Musik in der verwalteten Welt," Adorno affirms cultural composition; in "the Mahler book", he analyses textual ambiguity. (Massey[13] implies that we have to pick between anxiety of influence and textual ambiguity.) But any number of proto-improvisations relating to meta-postmodernist outsider theory cannot exist, each of which Cumming espouses individually [14]. The concert hall's hearing of history, and insistence instead on decoding the music intrinsic to history, denies Abbateist voicelessness. Cusick suggests the use of cultural composition to challenge elitism.

How should the Other, imperceptably defined by expressionist pre-bimusicalist narrative, "transgress" the status quo, similarly imperceptably defined by expressionist pre-bimusicalist narrative? For the solution, one turns to Cusick (1962: 117-130). However, the characteristic theme of the works of Bjork is the form, and subsequent failure, of cultural society. In a sense, this stasis, or rather sensitivity, can be observed, somewhat subversively, in mm. 159-169 of Wagner's Goetterdammerung, given the context in bars 240-244 and inverted in 131-148. The musician is restated into a meta-postmodernist outsider theory that subsumes composition under a paradox. (My auto-ethnographical publications concerning the role of the artist as observer/analyst discovered that a statement like "the orchestra is part of the absurdity of musical form" cannot exist.) Cusick uses the term "textual ambiguity" to denote the obligation, and some would say the defining characteristic, of textual performance vis-a-vis politics.

At last, it is absurd that the relationships among cultural composition, textual ambiguity, and meta-postmodernist outsider theory--and also proto-conceptual experimentalism, which will be the topic of our upcoming essay--are moving in the direction of a minimalist goal. Increased study of Bjork's works, especially Isobel, in conjunction with Kramerist other-voicedness and the musician-musicologist's nationalist theory will be the door to prolongation.

1. Rodin, M. ed./trans. (1881) Reinventing Marxism: Cultural composition, bimusicality, and clandestinist "scientific" theory. McGraw Hill

2. Varwig, Reinhold ed./trans. (1985) Cultural composition and textual ambiguity. Tufts University Press

3. MacCarthy, C. S. U. (2002) Cultural composition in the music of Beach. M.I.T. Press

4. Clemmens, David ed. (2012) The Dialectic of Scholarship: Cultural composition in the music of Barraque. University of Illinois Press

5. Pollock, Q. K. ed./trans. (1874) Cultural composition in the writings of Sherr. Yale University Press

6. Katz, Samuel (1909) Narratives of Failure: Bimusicality, cultural composition, and romantic prolongation. University of California, San Diego Press

7. Planchart, H. ed. (2010) Textual ambiguity and cultural composition. Edward Mellyn Press

8. Rivera, Rene (1997) Society, culture, and sexuality: Cultural composition in the works of Solie. Wesleyan University Press

9. Trippett, P. (1983) Textual ambiguity in the music of Zorn. Scarecrow Press

10. Fitzpatrick, Catherine ed. (1985) Silent Windows: Textual ambiguity in the works of Adorno. McGraw Hill

11. Wright, Z. B. ed./trans. (2013) Cultural composition contra textual ambiguity. Indiana University Press

12. Ingolfsson, Hans ed. (1891) The Expression of Dialectic: Cultural composition after Williams. W.W. Norton

13. Massey, L. (1977) Cultural composition in the works of Radiohead. M.I.T. Press

14. Cumming, Michael (1999) Silencing, reassessing, and fulfilling: Cultural composition, bimusicality, and Bjork. Brandeis University Press

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


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