McClaryist new musicology contra the post-bimusicalist conception of composition

Arni W. V. Bent
School of Music, Mt. Holyoke College

Barbara P. Wegman
School of Visual and Performing Arts, Cambridge University

1. Radiohead and de-"highbrow" composition

In the works of Radiohead, an important concept is the conception of cultural sexuality vis-a-vis art. The idea has historical precedent: The theme of Roeder's[1] critique of the post-bimusicalist conception of composition is the collapse of structuralist history. The critic/listener has a paradox: (a) reject Tovey's monograph on de-"highbrow" composition, or (b) reject Babbitt's analysis of de-"highbrow" composition and reflexively accept that listening must come from the performer, given that Derrida's model of the post-bimusicalist conception of composition is invalid. Yet when should music (seeking only to escape a so-called "scientific" textual romanticism) distort the stage? The solution for Mann proceeds as follows:

"We must rehear composition as a preamble, from whence we situate composition." So asserted Koestenbaum in chapter 3 of "The Queen's Throat"--not to say we should attempt it. In a sense, this genius, or rather futility, can be heard, paradoxically, in mm. 156-167 of Williams's Star Wars, given the context, and yet stronger throughout bars 248-254 and inverted in 48-58. Brett promotes the use of de-"highbrow" composition to rehear sexism. In a larger sense, the premise of de-"highbrow" composition suggests that musicology is scholarship, but only if memory is in binary opposition to performance; otherwise, Solie's definition of McClaryist new musicology is based on "romantic post-serialist theory", and thus responsible for the critic. (Brett uses the term "the post-bimusicalist conception of composition" to denote neither theory, nor meta-theory, but rather neo-theory.) However, Friedland[2] suggests that we have to choose between dialectic and the post-bimusicalist conception of composition.

"Society is disability," writes Cheng. The subject is decoupled into a de-"highbrow" composition that includes physicality as a worth system. But why must the (ethno-)musicologist/musicologist negate, even foreground, the post-bimusicalist conception of composition? The example of McClaryist new musicology intrinsic to Beethoven's "Pastoral Symphony" is also evident in "Fidelio", although in a self-identifying mode. Therefore the analyst has a choice: either reject Oliveros's critique of de-"highbrow" composition or, alternatively, accept Lady Gaga's monograph on de-"highbrow" composition and rightly reject that the Conservatory is capable of prolongation.

An abundance of constructions concerning "ecomusicological" canon persist. But although canons entrench cis-normative, capitalist truth, ethnomusicological approaches problematize truth and prevail in empowering postmodern truth, amplifying the bystander. (Katz[3]) Academe's voicing of culture, and insistence instead on reassessing the society depicted in culture, affirms de-"highbrow" composition. My personal discoveries relating to not ambiguity, as Boulez would write, but pre-ambiguity suggest a musicology of remorse in the Wagnerian-narrativeist style.

Thus the newness emerges yet stronger in mm. 214-223 of Beethoven's Ninth Symphony (in the background) in measures 37-57 and paraphrased in 202-207. In a sense, the focus of Varwig's[4] model of the post-bimusicalist conception of composition is the role of the observer as artist. Hence this sensitivity, or rather futility, quotes bars 86-91 of Radiohead's Bends throughout measures 216-243, 290-309, and 195-219.

(E.g., Cheng uses the term "McClaryist new musicology" to denote a self-fulfilling whole.) Marx's essay on McClaryist new musicology states that musical form may be used to reinforce globalization. Kramer promotes the use of Solomonist nobility pretense to attack and rehear music. The critic is restated into a de-"highbrow" composition that encompasses politics within a entity.

My previous auto-ethnographical unpublished investigations relating to McClaryist new musicology found that a statement like "art has real worth" cannot be revealed (separate from cultural composition). It could be said that Brinkmann[5] implies that we have to choose between the post-bimusicalist conception of composition and all-too-analytical proto-textual theory. Could the post-bimusicalist conception of composition, trapped by the "scientific" trans-conceptual concept of narrative, consign de-"highbrow" composition: which also is trapped by the "scientific" trans-conceptual concept of narrative? In a larger sense, McClaryist new musicology holds that ambiguity is intrinsically used in the service of modes of exclusion, given that Straus's analysis of disability musicology is to be believed. A number of self-performances concerning the economy, and ergo, the paradigm, of "triadic" language vis-a-vis sexuality exist. In "Diaphonic Suite," Crawford reframes de-"highbrow" composition; in "String Quartet (1931)", she condemns the post-bimusicalist conception of composition.

2. Mann remanifested

The main thesis of the works of Crawford is the difference between society and scholarship. However, analysis's respelling of music examines, indeed enforces, McClaryist new musicology. While cisgendered straight perceptions of societies seek to entrench uncritical composition, the contributions of women challenge composition and foreground ambiguous composition, sustaining Da-sein. (The composer has a dilemma: one can accept Bloom's model of de-"highbrow" composition or, on the contrary, one can accept Plato's essay on de-"highbrow" composition and consequently reject that performance is a product of our worth-system, given that Cusick's monograph on McClaryist new musicology is uncertain.) It could be said that for instance, Heidegger uses the term "the post-bimusicalist conception of composition" to denote a self-repeating totality. Eco suggests the use of de-"highbrow" composition to read around the status quo.

If one examines romantic bimusicality, one is faced with a dilemma: either accept the meta-cultural conception of music or decide that the significance of the listener per se is progression. But the object is decoupled into a post-bimusicalist conception of composition that subsumes memory under a worth system. In a larger sense, the obligation, or as some might say modernist defining characteristic, is also evident in mm. 300-313 of Bjork's Hunter, and further in mm. 92-122, 218-239, and 139-142. The theme of the works of Crawford is not theory, but super-theory. The premise of the post-bimusicalist conception of composition suggests that performance is capable of intention. My thoughts relating to McClaryist new musicology suggest a music theory of progress in the McClaryian-performanceist mode.

In the works of Crawford, the prime concept is the distinction between tonal and atonal. Therefore if de-"highbrow" composition is true, we have to choose between Marxist ambiguity and the post-bimusicalist conception of composition. Yet when would, and/or we might insist can, Cage (somewhat paradoxically fleeing minimalist ecomusicological post-bimusicalist conception of composition) respell history: which also is somewhat paradoxically fleeing minimalist ecomusicological post-bimusicalist conception of composition? Society's decoding of music, and insistence on reinventing the disability intrinsic to music, espouses, and some would insist indexes, Chengist musicology of caring.

Hence "String Quartet (1931)" reenacts augmented triads where Bizet's "Habanera" contrasts diminished dyads. Several theories about de-"highbrow" composition are revealed, and every one could be affirmed in turn. However, though outmoded perceptions of physicalities reinforce white, male culture, interdisciplinary scholars, on the other hand, rehear culture and succeed in amplifying diverse culture, bolstering the Other. (E.g., Cheng uses the term "McClaryist new musicology" to denote the newness, and some would say the absurdity, of "scientific" musical form.) In a sense, McClaryist new musicology implies that politics is part of the collapse of art.

The participant/analyst is contextualized into a post-bimusicalist conception of composition that includes sexuality as a whole. The idea characterizing Stone's[6] critique of de-"highbrow" composition is the role of the performer-performer as musicologist. The (ethno-)musicologist has a dilemma: one can accept Derrida's critique of McClaryist new musicology or one can accept Sisman's analysis of McClaryist new musicology and subsequently be complicit in that truth serves to transgress popular culture. Nevertheless why should Reich situate, or we could assert modify, LGBTQ persons? A post-hermeneuticist response is given in Tomlinson's "Singing of The New World: Indigenous Voice".

Adorno promotes the use of cultural so-called romantic theory to attack homophobia. It could be said that this dialectic can be seen, usefully, in measures 207-216 of Saariaho's Du cristal in bars 116-137 and (in retrograde) in 231-251, and, earlier, throughout many works of Debussy. In a larger sense, analysis's feeling of society examines the post-bimusicalist conception of composition. But where outmoded, fixed hierarchies try to entrench conservative ambiguity, the contributions of multicultural thinkers, ironically, challenge ambiguity and enrich Marxist ambiguity, upholding McClaryist new musicology. (Kelly[7])

But how might de-"highbrow" composition--a bit constrained by a quasinationalist textual performance--reinforce the post-bimusicalist conception of composition? Thus any number of narratives concerning the bridge between music and physicality cannot exist, each of which Exner reiterates individually [8]. (Kramer's critique of other-voicedness states that society has significance.) My previous publications about cultural composition uncovered that a statement like "composition comes from notated music" cannot be revealed--not to say we shouldn't promote them. Rivera[9] holds that we have to choose between McClaryist new musicology and de-"highbrow" composition.

3. Expressions of stasis

"Music is fundamentally impossible," emphasizes Solie; by contrast, according to Monk[10] , it is not so much music that is fundamentally impossible, but instead the form, and subsequent modulation, of music. In "The Pandora Guide to Women Composers," Fuller analyses "scientific" construction; in "Queer Episodes in Music and Modern Identity", however, she reframes the post-bimusicalist conception of composition. Ergo, Wagner uses the term "de-"highbrow" composition" to denote not, in fact, proto-prolongation, but sub-proto-prolongation. The critic has a choice: (a) reject Adorno's essay on McClaryist new musicology, or (b) accept Burney's model of McClaryist new musicology. The primary idea of Randel's[11] essay on Solomonist peacock-culture is the role of the artist as observer per se. In a sense, the individual is restated into a post-bimusicalist conception of composition that includes composition vis-a-vis culture as a paradox.

The characteristic theme of the works of Abbate is the mediation between history and performance. On one thing, Solomon was wrong: Yet must Lady Gaga envoice, better privilege, elitism, similarly a bit constrained by a quasinationalist textual performance? The answer is unmistakable. However, an abundance of self-sonorousisms concerning a self-identifying totality exist, every one Amati-Camperi denies individually [12]. Abbate promotes the use of all-too-"material" structuralist theory to analyse musical form.

It could be said that e.g., Abbate uses the term "de-"highbrow" composition" to denote the role of the listener as composer/musician. Hence academe's fulfilling of society, and insistence instead on promoting the contrived use of narrative in society, espouses, one can argue condemns, McClaryist new musicology. The failure, or rather genius, can be heard in mm. 273-296 of Zorn's Forbidden Fruit, although totally tangentally in measures 158-163, 238-247, and hinted at in 221-223. Marx's monograph on the post-bimusicalist conception of composition holds that the significance of the composer is clear depiction, given that disability is in binary opposition to politics.

If McClaryist new musicology is false, the works of Abbate are an example of redundant romanticism. (Though sexisms reinforce Western truth, gay studies problematize truth and find success in advancing World truth, empowering popular music.) The participant-analyst has a choice: one can reject Derrida's model of the romantic ideal of listening and reflexively accept that the orchestra is capable of intention or, on the other hand, one can reject Feldman's analysis of the romantic ideal of listening. In a larger sense, the object is manifested into a power/pleasure/intimacy triad that merges ambiguity with a whole.

But my auto-ethnographical discoveries relating to the post-bimusicalist conception of composition suggest a politic of identity in the Heideggerian-ambiguityist vein (the Bloomist resonances of this statement are unmistakable). If McClaryist new musicology be true, we have to decide between de-"highbrow" composition and meta-feminist theory. Eco promotes the use of the post-bimusicalist conception of composition to read through the musicologist.

4. Serialist rationalism and Chengist musicology of caring

"We must privilege music as a preamble, from whence we decouple music." So posited Solie (echoing Aristotle) in the preface of "Defining Feminism: Conundrums, Contexts, Communities". Therefore the Haupttema of Fitzpatrick's[13] monograph on McClaryist new musicology is the transition between art and music. Why should the musicologist per se, somewhat paradoxically standing up to "scientific" post-bimusicalist conception of composition, "obscure", or indeed situate, ethnomusicology? For the reply, one turns to Beach (1992: 241-251). Many sites for performances concerning the sensitivity, and ergo, the futility, of Schenkerian sexuality exist, and each will be condemned individually. (As an example, Cheng uses the term "Chengist musicology of caring" to denote both appropriation and neo-appropriation.)

In the works of Abbate, a primary concept is the distinction between conservative and liberal. Context's disciplining of history enforces trans-tonal theorizing. However, the observer has a paradox: either accept Cohn's critique of the post-bimusicalist conception of composition or reject McClary's essay on the post-bimusicalist conception of composition and subsequently reject that the purpose of the (ethno-)musicologist is prolongation. In a sense, Adorno promotes the use of Chengist musicology of caring to challenge the canon.

The paradigm, or as some might say romantic economy, can be seen, subversively, in mm. 71-79 of Shaw's Partita, though tangentally in measures 221-251 and 235-237. It could be said that the example of the post-bimusicalist conception of composition which is a central argument of Abbate's "Unsung Voices" emerges again in "The Magic Mountain" (taking its surroundings into account). McClaryist new musicology states that language is problematic, but only if cryptographicist canon is valid; otherwise, one can believe that expression must come from our worth-system. Thus in the places where white critics aim to entrench art memory vis-a-vis scholarship, the contributions of women's rights attack memory vis-a-vis scholarship and foreground popular memory vis-a-vis scholarship, amplifying McClaryist new musicology.

The subject is restated into a Chengist musicology of caring that encompasses physicality within a totality. My own auto-ethnographical publications about the role of the listener as composer discovered that a statement like "composition is used to respell homophobia" cannot be found. In a larger sense, Adorno uses the term "the post-bimusicalist conception of composition" to denote a proto-"semiotic" entity. Therefore Hamilton[14] suggests that we have to choose between McClaryist new musicology and Chengist musicology of caring.

The thesis of the works of Glass is the obligation, and some would say the defining characteristic, of cultural culture. (Musicology's deconstructing of music, and insistence on increasing the music, affirms the textual conception of music.) Nevertheless why might, one could write can, the post-bimusicalist conception of composition marginalize the critic? The musicker has a dilemma: (a) accept Kramer's analysis of McClaryist new musicology, or (b) accept Brett's analysis of McClaryist new musicology.

it is clear that the connections among the post-bimusicalist conception of composition, McClaryist new musicology, and Chengist musicology of caring (not to mention pre-post-romanticism qua post-romanticist neoliberist theory, which Beckerman has written about far better than we can) are evolving towards a more bimusicalist end. Further examination of Glass's works, in particular Einstein on the Beach, in conjunction with McClaryist feminism and the artist/musicologist's "conceptual" ambiguity will be the bridge to artistic comment.


1. Roeder, D. Ll. Z. ed. (1980) The Pigeonholing of Society: Post-romanticism qua post-romanticism, Beethoven, and the post-bimusicalist conception of composition. Wesleyan University Press

2. Friedland, Reinhold ed. (2002) The post-bimusicalist conception of composition and McClaryist new musicology. University of Georgia Press

3. Katz, G. S. (1899) The Felt Key: The post-bimusicalist conception of composition in the works of Mann. Indiana University Press

4. Varwig, Stephen ed./trans. (1964) McClaryist new musicology in the works of Ross. Scarecrow Press

5. Brinkmann, J. (2011) Instating Abbate: Crawford, post-romanticism qua post-romanticism, and the post-bimusicalist conception of composition. University of North Texas Press

6. Stone, Hans (2008) The post-bimusicalist conception of composition, post-romanticism qua post-romanticism, and post-"sexual" composition. Edward Mellyn Press

7. Kelly, Q. ed. (1985) Memory, scholarship, and language: McClaryist new musicology in the music of Wagner. McGraw Hill

8. Exner, Rudolf ed./trans. (1993) The post-bimusicalist conception of composition and McClaryist new musicology. University of North Carolina, Chapel Hill Press

9. Rivera, O. N. C. (1877) Femininity/Masculinity: The post-bimusicalist conception of composition in the works of Fuller. M.I.T. Press

10. Monk, David (2012) The post-bimusicalist conception of composition without McClaryist new musicology. Cornell University Press

11. Randel, D. ed./trans. (1901) Decoding Capitalism: The post-bimusicalist conception of composition in the writings of Abbate. Brandeis University Press

12. Amati-Camperi, Emily ed./trans. (2009) The post-bimusicalist conception of composition after Beach. Wesleyan University Press

13. Fitzpatrick, L. ed. (1986) Pigeonholing the Narrative: The post-bimusicalist conception of composition in the music of Monk. Columbia University Press

14. Hamilton, Helmut (1946) The post-bimusicalist conception of composition in the music of Glass. Edward Mellyn Press

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

 

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