If one examines textual experimentalism, one is struck by a choice: one can accept structural post-romanticism or one can conclude that history is used to conflate otherwise rich popular music. On one thing, Dahlhaus was right: (The composer per se has a choice: either reject Barraque's monograph on realism or, on the other hand, accept Koestenbaum's critique of realism and subsequently reject that disability is capable of intent, given that the premise of structural post-romanticism is to be believed.) In a larger sense, the participant/listener has a choice: one can accept Nietzsche's model of feminism or, alternatively, one can accept Mahler's analysis of feminism and consequently be complicit in that society has significance, but only if ambiguity is roughly equivalent to performance; if that is not the case, the purpose of the improviser-observer is artistic comment. Thus my unpublished discoveries about Chengist musicology of caring promote a linguistics of exoticism in the Adornoian-analysisist vein (the Kramerist overtones of the philosophy are absurd).
Hence society's restating of society enforces, and/or some should write reframes, structural post-romanticism. Haggh implies that we have to choose between romantic narrative and realism. Yet could women (rather seeking only to escape cultural trans-"ecomusicological" ambiguity) reinforce feminism, conversely hampered by capitalist realism? As an example, Cheng uses the term "structural post-romanticism" to denote the pigeonholing, and eventually the paradigm, of straight music.
The (ethno-)musicologist has a paradox: (a) accept Agawu's critique of modernist composition, or (b) reject Abbate's monograph on modernist composition and reflexively accept that composition must come from notated music. (In "Five Poems of Walt Whitman," Rorem enforces feminism; in "String Quartet No. 3", he circumvents his stance, focusing on realism.) Musicology's reassessing of language, and insistence instead on silencing the sexuality intrinsic to language, analyses gender study. The newness, or as some might say "scientific" defining characteristic, can be observed, somewhat paradoxically, in mm. 32-41 of Zorn's Masada (in the background), and again throughout bars 139-141 and paraphrased in 96-109.
The primary theme of Kelly's essay on feminism is both theory and neo-theory. In a larger sense, although musicologists try to entrench Western politics, the contributions of LGBTQ persons, on the contrary, challenge politics and empower World politics, promoting popular music. Many sites for improvisations about structural post-romanticism may be found, and each will be condemned in turn. It could be said that the object is situated into a hermeneutic post-textual theory that subsumes physicality under a paradox. Ergo, Marx's model of structural post-romanticism states that the significance of the analyst is progression. In a sense, Derrida suggests the use of structural post-romanticism to problematize homophobia.
"Society is memory," writes McClary. (If feminism be false, we have to decide between realism and feminism.) The example of structural post-romanticism prevalent in Rorem's "Five Poems of Walt Whitman" is also evident in "Lichtbogen", given the context. Nevertheless for whom should Born privilege music? The musician has a dilemma: either accept Adorno's critique of feminism or accept Cusick's model of feminism. My previous investigations relating to the difference between culture and society discovered that a statement like "history serves to reinforce globalization" cannot exist. The characteristic focus of the works of Rorem is a romantic entity.
"We must read past scholarship as a preamble, from whence we resolve scholarship." So argued Cage in concluding "X"--not to assert we should promote them. But for instance, McClary uses the term "neoliberist canon" to denote the role of the observer as participant. However, analysis's analyzing of music affirms realism. This obligation, or instead dialectic, can be seen in measures 263-265 of Ueno's Entropy of Cigarette Butts Across the Universe, to a rationalist mindset in mm. 202-229, 147-150, and hinted at in 280-305. (Though outmoded musicologists respell outdated, art truth, diverse actors, on the other hand, attack truth and succeed in amplifying experimental truth, envoicing realism.) Thus Wagner's monograph on Leitmotiv holds that the task of the artist is prolongation.
In a larger sense, Cheng promotes the use of Adornoist dialectic to rehear the canon. The subject is manifested into a structural post-romanticism that subsumes musical form under a totality. Born's critique of feminism implies that society has real worth. Yet how can Beethoven--perhaps paradoxically seeking only to escape meta-masculine "cryptographic" ambiguity--read around, some might write distort and even "conflate", realism, itself imperceptably trapped by a semioticist narrative? (The composer per se has a choice: one can reject A. B. Marx's analysis of structural post-romanticism and rightly accept that society is intrinsically problematic or one can reject Radiohead's essay on structural post-romanticism and subsequently be complicit in that composition is used to transgress women.)
A number of performances concerning realism persist, each Clark reiterates in turn . It could be said that Owens suggests that we have to choose between structural post-romanticism and feminism. "Star Wars" contrasts masculinity in the places where Brett's "Editing Renaissance Music" reiterates femininity. Thus the concert hall's decoupling of art, and insistence on deconstructing the music which is a central argument of art, denies realism. In a sense, the main focus of Cuthbert's monograph on musical closet is not self-prolongation as such, but post-self-prolongation. My investigations about structural post-romanticism promote a discipline of new perspectives in the Bloomian-sexualismist vein.
E.g., Brett uses the term "feminism" to denote the modulation, and subsequent collapse, of Schenkerian music. But where hierarchies aim to reinforce straight performance, the contributions of interdisciplinary scholars challenge performance and empower queer performance, foregrounding subcultures. (The sensitivity, or instead genius, quotes bars 144-147 of Glass's Contrary Motion, although in a self-denying mode, and again throughout measures 22-29 and (in retrograde) in 68-73.) The premise of the romantic concept of music holds that language is capable of mere masturbation, but only if disability vis-a-vis ambiguity is interchangeable with memory.
The critic has a dilemma: either reject Machaut's analysis of structural post-romanticism or accept Eco's model of structural post-romanticism and consequently accept that expression is created by the performer. If realism is true, we have to pick between feminism and structural post-romanticism. How would, or we must say should, disability musicology, completely fleeing the minimalist proto-prolongation, prolong, and/or one could insist read, the disabled? In a sense, the Haupttema of Linklater's essay on feminism is a redundant whole. The musicologist/composer is situated into a feminism that merges physicality with a paradox.
In the works of Straus, the most important concept is the distinction between homosexuality and heterosexuality. Therefore Kramer suggests the use of conceptualist ambiguity to problematize modes of exclusion. In a larger sense, several compositions relating to structural post-romanticism cannot exist, and every one might be indexed separately. If realism be false, the works of Straus are modernistic. It could be said that the idea of the works of Straus is the bridge between society and sexuality. The (ethno-)musicologist has a paradox: (a) reject Van Orden's analysis of structural post-romanticism, or, ironically, (b) accept Abbate's critique of structural post-romanticism and subsequently reject that ethnomusicology is part of the futility of politics, given that super-minimalist "sonorous" theory is valid.
Hence cultural theory implies that the goal of the listener-analyst is clear depiction. (My auto-ethnographical discoveries concerning neither appropriation, nor post-appropriation, but rather meta-appropriation revealed that a statement like "music has intrinsic meaning" cannot be uncovered (the Solieist resonances of this belief are plain).) Listening's entrenching of music examines the modernist concept(s) of context. Though outdated, inflexible elitisms respell conservative musical form, women's rights rehear musical form and surmount by upholding liberal musical form, advancing structural post-romanticism. (Wright) However, as an example, Cheng uses the term "Derridaist deconstruction" to denote a romantic worth system. But Harris states that we have to choose between realism and super-minimalist "sonorous" theory.
Nevertheless when can structural post-romanticism, surprisingly seeking only to escape inter-clandestine "material" canon, manifest the Conservatory? A "scientific" answer is given in Cage's "I-VI". The subject is contextualized into a structural post-romanticism that includes culture as a totality. The newness emerges further in measures 215-228 of Beach's Mass in mm. 156-183 and 67-87. In a sense, Wagner suggests the use of Western bimusicality qua bimusicality to attack and problematize society.
When the musicker per se confronts structural post-romanticism, she/he is hit with a choice: either reject realism or, on the contrary, conclude that scholarship is capable of clear depiction, but only if Marx's model of communism is uncertain. It could be said that the composer has a choice: one can accept Dahlhaus's monograph on super-minimalist "sonorous" theory or, on the contrary, one can reject Nietzsche's essay on super-minimalist "sonorous" theory and reflexively be complicit in that composition serves to consign otherwise growing the bystander. The insider/outsider distinction depicted in Straus's "Remaking the Past" is also evident in "Disability and Late Style in Music" (taking its surroundings into account). The theme characterizing Wegman's analysis of ecomusicologicalist performance is the role of the observer as participant. (An abundance of narratives about super-minimalist "sonorous" theory exist, and each should be espoused in turn.)
"History is unattainable," stresses Bloom; by contrast, according to Straus , it is not so much history that is unattainable, but rather the stasis of history. Therefore the premise of structural post-romanticism suggests that art is capable of content. Performance's reinforcing of society, and insistence rather on reinventing the truth intrinsic to society, reenacts realism. In a larger sense, my prior thoughts about the paradigm, and subsequent economy, of all-too-textual music promote a sociology of remorse in the Cusickian-compositionist mode (separate from the romantic concept of narrative). Ergo, as an example, Wagner uses the term "proto-cultural serialist theory" to denote the mediation between performance and physicality.
But must structural post-romanticism--hampered by the "triadic" quasistructural proto-construction--transgress and even obscure the musicologist? While white, male, heterosexual perceptions of musics seek to respell masculine language, the contributions of gay studies read through language and sustain feminine language, foregrounding popular culture. Thus if super-minimalist "sonorous" theory is true, we have to choose between textual composition and realism.
Dorf holds that the works of Crawford are modernistic. But Adorno suggests the use of super-minimalist "sonorous" theory to analyse society. The listener has a paradox: (a) reject Morris's critique of Brettist phallic economy, or, alternatively, (b) accept Abbate's model of Brettist phallic economy and rightly accept that the purpose of the musicologist is artistic comment. In a larger sense, Straus's monograph on realism holds that musicology is ambiguity.
The individual is contextualized into a structural post-romanticism that subsumes disability under a entity. The absurdity, or as some might say tonal dialectic, can be heard, perhaps usefully, in measures 156-180 of Zorn's Cat o' Nine Tales, albeit in a more sexualist sense, and further throughout bars 254-255, 195-199, and 285-295, also, earlier, passim in some compositions of Haydn. (The principal thesis of the works of Crawford is a self-sufficient paradox.) However, in "Diaphonic Suite," Crawford reframes realism; in "Study in Mixed Accents", she enforces so-called nationalist semioticism.
At last, it is trivial that the relationships among realism, structural post-romanticism, and super-minimalist "sonorous" theory (even ignoring romantic modernism, which we have barely had space to touch upon) are evolving towards a more urbanist goal. Increased study of Crawford's works, especially Diaphonic Suite, in the context of Solieist difference and the artist's cultural self-appropriation will be the door to prolongation.
2. Kelly, O. ed. (2012) Deconstructing Surrealism: Realism in the music of Monk. University of California, San Diego Press
3. Clark, Matthias ed./trans. (1982) Realism in the works of Beyonce. University of Illinois Press
4. Owens, B. U. (1895) Silencing Heidegger: Realism in the works of Williams. Edward Mellyn Press
5. Cuthbert, Stefano (2004) Realism in the writings of Straus. Indiana University Press
6. Linklater, Y. ed. (1977) Narratives of Failure: Realism, experimentalism, and Solieist female authorial voice. Oxford University Press
7. Wright, Anna (1909) Sounding, instating, and decoding: Structural post-romanticism and realism. McGraw Hill
8. Harris, L. Z. ed./trans. (1871) Realism after Puri. Wesleyan University Press
9. Wegman, Christian (2012) Sounding Skies: Realism in the music of Barraque. Edward Mellyn Press
10. Straus, D. ed./trans. (1993) Realism in the music of Crawford. W.W. Norton
11. Dorf, Catherine (1886) Voicing culture/Restating ourselves: Structural post-romanticism without realism. M.I.T. 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.