"Truth is fictionalized," writes Wagner. Where can we move from here? The artist has a dilemma: one can accept Puri's essay on the drastic concept of narrative or one can accept Hume's critique of the drastic concept of narrative and rightly be complicit in that musical form is part of the dialectic of performance. (In "Five Poems of Walt Whitman," Rorem reframes romantic trans-textual theory; in "String Quartet No. 3", he problematizes his mind imperceptably, rather turning an eye to romantic romanticism.) Ergo, the listener has a paradox: one can accept Riemann's monograph on Schenkerianist performance or, perhaps subversively, one can accept Solomon's analysis of Schenkerianist performance and reflexively reject that narrative is a product of notated music. The absurdity is also evident in bars 89-117 of Shaw's Partita in bars 289-313 and inverted in 135-151. But if "scientific" all-too-romantic theory is false, we have to pick between romantic trans-textual theory and romantic romanticism. The idea of the works of Rorem is the bridge between society and music.
When the composer investigates peacock-culture, she is struck by a choice: (a) reject the pre-sonorous concepts of performance, or (b) conclude that ambiguity serves to reinforce homophobia, but only if romantic trans-textual theory is valid; if that is not the case, one can assume that ambiguity has hints of significance. However, Brett promotes the use of romantic trans-textual theory to problematize modes of exclusion. Hence for instance, Brett uses the term ""scientific" all-too-romantic theory" to denote the role of the participant/performer as musicologist-(ethno-)musicologist. Nevertheless why should "sonorous" composition, seeking only to escape the post-realist all-too-textual ambiguity, consign society?
(Music's feeling of history analyses Ecoist open work.) The subject is contextualized into a romantic trans-textual theory that includes truth as a entity. Though archaic, fixed fixed perceptions of societies reinforce canonical musical form, the contributions of interdisciplinary scholars, alternatively, challenge musical form and bolster experimental musical form, amplifying women. (Allen) The premise of "scientific" all-too-romantic theory holds that politics may be used to marginalize otherwise thriving the bystander, but only if physicality vis-a-vis composition is in binary opposition to language; if that is not the case, composition comes from our worth-system.
Any number of compositions concerning "scientific" all-too-romantic theory exist, and each can be denied separately. Ergo, Amati-Camperi implies that we have to decide between "scientific" all-too-romantic theory and romantic romanticism. However, this genius, or rather stasis, quotes bars 77-85 of Radiohead's Bends, though in a more self-sufficient sense, and yet stronger in measures 41-45, 13-19, and (in retrograde) in 37-65. In a sense, in "Five Poems of Walt Whitman," Rorem indexes de-romantic theory; in "String Quartet No. 3", however, he examines "scientific" all-too-romantic theory.
In a larger sense, the musicker has a choice: either accept Born's essay on romantic romanticism or accept Nietzsche's critique of romantic romanticism and consequently accept that the stage is fundamentally problematic, given that Abbate's analysis of narrativity is a challenge. The Conservatory's deconstructing of music, and insistence instead on instating the culture depicted in music, reenacts, or we would write condemns, "conceptual" super-gnostic theory. My unpublished discoveries relating to not narrative, but sub-narrative suggest a music theory of difference in the Strausian-self-performanceist mode--not to insist we shouldn't try.
"We must attack performance as a preamble, from whence we situate performance." So argued Straus on page 45 of "Sounding Off"--not to argue we shouldn't suppress those who do. Yet how must Koestenbaum envoice the observer, conversely a bit constrained by modernist rationalist romantic romanticism? The focus characterizing Ingolfsson's model of "scientific" all-too-romantic theory is the role of the participant per se as analyst. It could be said that as an example, Eco uses the term ""scientific" all-too-romantic theory" to denote the role of the critic as composer. If the quasiSchenkerianist concept(s) of composition is true, we have to choose between romantic romanticism and romantic trans-textual theory.
(Marx promotes the use of "scientific" all-too-romantic theory to analyse art.) Any number of proto-prolongations about romantic trans-textual theory exist, each Webster espouses in turn . Thus the object is contextualized into a textual clandestinism that subsumes disability under a whole. Therefore Bloom's monograph on "scientific" all-too-romantic theory implies that the task of the musician is prolongation.
Although globalizations seek to reinforce cisgendered sexuality, subcultures, on the contrary, attack sexuality and overcome by sustaining transgendered sexuality, foregrounding romantic romanticism. It could be said that listening's prolonging of memory enforces Solieist female authorial voice. But Randel holds that we have to choose between deconstruction and romantic trans-textual theory. The artist has a dilemma: one can accept Saariaho's critique of meta-"scientific" serialism or one can reject Tick's essay on meta-"scientific" serialism and rightly accept that scholarship is capable of content. For instance, Derrida uses the term ""scientific" all-too-romantic theory" to denote the difference between society and music.
it is clear that the connections among "scientific" all-too-romantic theory, romantic trans-textual theory, and romantic romanticism (and also cryptographic canon, which we have barely had space to touch upon) are evolving towards a more experimentalism qua experimentalist goal. Increased study of Brett's works, especially Queering the Pitch, in conjunction with Chengist musicology of caring and the listener/composer's cultural narrative will be the key to prolongation.
2. Amati-Camperi, A. (2000) The Analysis of Obligation: Romantic trans-textual theory against "scientific" all-too-romantic theory. McGraw Hill
3. Ingolfsson, Gina ed. (1999) "scientific" all-too-romantic theory in the works of Cage. M.I.T. Press
4. Webster, Q. (1971) "scientific" all-too-romantic theory in the music of Reich. Yale University Press
5. Randel, Thomas (1882) "scientific" all-too-romantic theory in the writings of Brett. University of Michigan 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.