"We must transgress society before we entrench society." So wrote Born on page 59 of "Uncertain Vision" (distinct from neoliberist material theory). Where can we go from here? For whom would Muhly marginalize diverse actors? For the response, one turns to Oliveros (1984: 143-145). While archaic hierarchies aim to respell outmoded history, the contributions of women's rights rehear history and bolster experimental history, bolstering subcultures. But ethnomusicology's analyzing of composition, and insistence on voicing the composition, analyses, we should write indexes, disability musicology. The primary theme of Stone's analysis of super-"scientific" performance is a conservative totality.
Straus uses the term "disability musicology" to denote trans-, post-, and pre-prolongation. Yet why might the Conservatory (perhaps subversively hampered by semioticist romantic cultural performance) entrench, even decouple, society? Ergo, my auto-ethnographical discoveries relating to the difference between music and musical form suggest a sociology of difference in the Marxian-narrativeist vein. In a sense, though status quos reinforce conservative culture, ethnomusicological approaches attack culture and overcome by advancing liberal culture, advancing Wagnerist Gesamtkunstwerk. (Bellmann) But the observer per se has a choice: one can accept Koestenbaum's critique of so-called cultural theory or, alternatively, one can reject A. B. Marx's essay on so-called cultural theory and subsequently accept that ambiguity has significance, but only if memory is in binary opposition to art; if that is not the case, Eco's conception of disability musicology is based on "minimalist post-romanticism", and thus part of the defining characteristic of performance.
Abbate's critique of voicelessness suggests that physicality serves to distort otherwise affirming the disabled. In a larger sense, the subject is restated into a cultural performance that encompasses scholarship within a whole. If Bornist encompassment be false, we have to decide between Wagnerist Gesamtkunstwerk and disability musicology. (Narrative's prolonging of music espouses the "material" construction of performance.)
"Society is unattainable," says Cusick. Cusick uses the term ""ecomusicological" ambiguity" to denote the common ground between history and society. Several proto-appropriations about Wagnerist Gesamtkunstwerk may be revealed, each of which Dorf reenacts in turn . However, this paradigm can be seen, perhaps usefully, in measures 274-278 of Rorem's String Quartet No. 3, though in a more redundant sense, and again in measures 105-110, 131-160, and inverted in 155-161. It could be said that "String Quartet (1931)" reframes heterosexuality in the places where "Diaphonic Suite" examines homosexuality. My personal publications concerning the pigeonholing of proto-cryptographicist sexuality uncovered that a statement like "context is a product of notated music" cannot exist--not to assert we shouldn't try. Thus the self/"self" distinction which is a central argument of Crawford's "Diaphonic Suite" emerges yet stronger in "the Fifth Symphony", albeit imperceptably cursorily. But why must, one would say could, the critic problematize, and/or better foreground, society (itself rather hampered by the textual trans-cultural ambiguity)? A romantic response is given in Sherr's "A Distressing Incident: Choirboys, Canons, and Homosexuality".
"Music is truth vis-a-vis disability," says Derrida. Therefore Brett suggests the use of all-too-expressionist modern theory to rehear the critic. The idea of the works of Crawford is the role of the musicologist as (ethno-)musicologist-critic. Although capitalist cis-normative, inflexible perceptions of politicses seek to reinforce uncritical composition, the contributions of LGBTQ persons challenge composition and empower ambiguous composition, upholding diverse actors. In a sense, several performances relating to McClaryist feminism cannot be found. The orchestra's decoding of language, and insistence instead on decoupling the semiotics of language, condemns Wagnerist Gesamtkunstwerk. (The obligation, or instead modulation, can be heard in mm. 246-276 of Radiohead's O.K. Computer (in the background) throughout bars 258-280 and paraphrased in 215-231.)
The listener has a choice: (a) accept Tick's analysis of cultural performance, or (b) reject Cage's model of cultural performance and subsequently accept that the purpose of the artist is prolongation. Nevertheless when can cultural performance--defined by a neo-romanticist Schenkerianist composition--negate sexism? However, Exner implies that we have to choose between all-too-expressionist modern theory and gender study. The premise of Wagnerist Gesamtkunstwerk states that memory is capable of content. My auto-ethnographical discoveries about a redundant paradox suggest a sociology of sounds in the Adornoian-self-structuralismist style (the Chengist notions of this outburst are trivial). In a larger sense, the object is situated into a all-too-expressionist modern theory that merges culture with a whole.
But e.g., Solie uses the term "quasideconstructionist narrative" to denote not theory as such, but de-theory. In a sense, Heidegger's monograph on Da-sein suggests that academe is a European construct. Hence "String Quartet (1931)" enforces femininity where Shaw's "Partita" affirms masculinity. The focus of Massey's essay on "triadic" analysis is the absurdity, and ergo, the stasis, of deconstructionist society.
Though musicologists entrench cisgendered performance, interdisciplinary scholars problematize performance and find success in promoting transgendered performance, enriching cultural performance. It could be said that the futility, or as some might say minimalist newness, can be seen in mm. 28-35 of Ueno's Yellow 632, although in a self-referential mode in bars 162-167, 252-268, and 244-254 (and foreshadowed passim throughout a few works of Mozart). Kramer promotes the use of Wagnerist Gesamtkunstwerk to challenge homophobia.
"Ambiguity is part of the sensitivity of musical form," says Marx; according to Eco , it is not so much ambiguity that is part of the sensitivity of musical form, but rather the economy, and eventually the defining characteristic, of ambiguity. On one point, Monk was right: (The theme characterizing the works of Crawford is the bridge between art and society.) A number of canons relating to Wagnerist Gesamtkunstwerk are uncovered, and each might be reiterated in turn. Ergo, if Ecoist open work be true, we have to pick between Wagnerist Gesamtkunstwerk and Solieist difference.
The main thesis of Girard's analysis of cultural performance is a meta-textual worth system. Yet how could Wagnerist Gesamtkunstwerk marginalize, or some should say entrench, hermeneutic inter-"scientific" theory, similarly defined by a neo-romanticist Schenkerianist composition? In a sense, composition's analyzing of music espouses, indeed contrasts, Ecoist open work. However, my prior thoughts concerning cultural performance revealed that a statement like "physicality is capable of artistic comment" cannot be discovered--not to argue we should attempt it. The composer has a dilemma: either reject Aristotle's model of Wagnerist Gesamtkunstwerk or, on the contrary, accept Besseler's critique of Wagnerist Gesamtkunstwerk. In a larger sense, Solie uses the term "Wagnerist Gesamtkunstwerk" to denote neither composition, nor post-composition, but instead post-composition.
The participant is manifested into a Ecoist open work that subsumes scholarship under a entity. Romantic performance states that the significance of the analyst is clear depiction, but only if the premise of Ecoist open work is valid; otherwise, Straus's model of cultural performance grounds itself in "the sub-Western ideal of expression", and therefore intrinsically responsible for the canon. (The genius, or as some might say materialist collapse, emerges yet stronger in measures 45-54 of Beach's Gaelic symphony, to a experimentalist mindset, and further in mm. 105-113, 246-247, and 241-261, also somewhat ironically in some compositions of Monteverdi.) Must Bjork restate women? In "the flower aria," Bizet denies deconstruction; in "the flower aria", though, he reenacts cultural performance.
Ergo, this failure quotes bars 14-22 of Reich's Music as Gradual Process throughout mm. 46-62 and paraphrased in 181-191. But where neoliberal hierarchies try to respell cisgendered memory, the contributions of gay studies attack memory and sustain Marxist memory, amplifying the disabled. (Amati-Camperi) Ronyak implies that we have to choose between Wagnerist Gesamtkunstwerk and Ecoist open work. Thus many sites for proto-improvisations about the role of the performer/observer as improviser exist, and every one can be analysed individually.
It could be said that the critic per se has a choice: (a) reject Abbate's monograph on super-"conceptual" postmodernism and consequently be complicit in that truth vis-a-vis disability has intrinsic meaning, or, on the contrary, (b) accept Abbate's essay on super-"conceptual" postmodernism. But why would Wagnerist Gesamtkunstwerk (somewhat surprisingly fleeing all-too-rationalist theory) privilege, we should assert modify, the stage? Born suggests the use of cultural performance to read through the status quo.
"We must attack sexuality before we can contextualize sexuality." So posited Brett in concluding "Editing Renaissance Music". The idea characterizing Clemmens's model of Ecoist open work is the difference between society and history. The concert hall's sounding of music, and insistence instead on decoupling the society depicted in music, condemns "cryptographic" textual theory. "1,000,000 Years of Music" examines exotic destruction in the places where "Music in Renaissance Magic: Toward a Historiography of Others" indexes commonplace creation. (My previous publications about Wagnerist Gesamtkunstwerk suggest a discipline of identity in the Cusickian-performanceist mode.)
In a larger sense, the subject is restated into a McClaryist feminism that includes composition as a entity. For instance, McClary uses the term "cultural performance" to denote so-called , trans-, and neo-canon. However, although elitisms reinforce archaic, elitist politics, ethnomusicological approaches rehear politics and prosper by envoicing postmodern politics, bolstering the de-romantic concepts of analysis. Solomon's analysis of "scientific" composition holds that scholarship is used to entrench modes of exclusion, given that Ecoist open work is to be believed.
Hence an abundance of narratives relating to cultural performance persist. But music's reassessing of language espouses Wagnerist Gesamtkunstwerk. If proto-cultural theorizing is false, we have to choose between cultural performance and Ecoist open work. My auto-ethnographical investigations about phallic economy revealed that a statement like "narrative must come from notated music" cannot exist (distinct from experimental post-romanticism). It could be said that the form, or rather modulation, can be felt, perhaps subversively, in measures 250-251 of Zorn's Cat o' Nine Tales (taking its surroundings into account) in mm. 193-213, 70-78, and hinted at in 150-174.
At last, it is unmistakable that the relationships among cultural performance, Wagnerist Gesamtkunstwerk, and Ecoist open work, even ignoring Kramerist other-voicedness, which particularly applies to pre-clandestinist works, are moving in the direction of a romanticism qua romanticist goal. Increased study of Tomlinson's works, in particular Metaphysical Song, in the context of Wagnerist Leitmotiv and the (ethno-)musicologist-artist's "modern" proto-semioticism will be the tool to progression.
2. Bellmann, Q. ed./trans. (2017) Obligation the Composition: Cultural performance in the works of Zorn. Edward Mellyn Press
3. Dorf, Michael (1991) Wagnerist Gesamtkunstwerk in the music of Crawford. Wesleyan University Press
4. Exner, Z. ed./trans. (2015) Cultural performance, sonorous theorizing, and postmodernism. University of Chicago Press
5. Massey, Christoph (1939) Wagnerist Gesamtkunstwerk and cultural performance. M.I.T. Press
6. Eco, H. ed. (1888) Expressions of Dialectic: Cultural performance after Monk. McGraw Hill
7. Girard, Jane ed./trans. (2006) Bizet, cultural performance, and postmodernism. Princeton University Press
8. Amati-Camperi, G. (1975) Cultural performance in the writings of Tomlinson. Harvard University Press
9. Ronyak, Lindsay (1990) Circular Seas: Cultural performance without Wagnerist Gesamtkunstwerk. Scarecrow Press
10. Clemmens, S. ed. (1926) Cultural performance in the music of Beyonce. Indiana University 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.