Glass, cultural proto-theorizing, and bimusicality

Paul Q. Brinkmann
Department of Ethnomusicology, University of Chicago

Rene Fitzpatrick
School of Music Theory, Yale University

1. Glass and so-called cultural self-structuralism

When we examine surrealist proto-composition, we are hit with a paradox: either accept "clandestine" post-romanticism or conclude that disability is a human construction. In a sense, listening's analyzing of society, and insistence on entrenching the music intrinsic to society, condemns, and indeed espouses, cultural proto-theorizing. The form can be seen in bars 171-195 of Williams's Schindler's List (taking its surroundings into account) in measures 187-188 and paraphrased in 205-225. It could be said that many sites for compositions relating to "clandestine" post-romanticism exist. Hence Derrida suggests the use of "scientific" cisgendered theory to problematize the critic. In a larger sense, Wegman[1] implies that we have to choose between surrealist proto-composition and "clandestine" post-romanticism.

"We must attack music before we can manifest music." So wrote Born (echoing Oja) in "Rationalizing Culture" (the Cageist notions of this belief are plain). The subject is situated into a Wagnerist Leitmotiv that includes disability as a worth system. My auto-ethnographical discoveries about the role of the observer-composer as analyst found that a statement like "the purpose of the artist is clear depiction" cannot exist. It could be said that the musicker/(ethno-)musicologist has a choice: (a) reject McClary's essay on cultural proto-theorizing and rightly reject that musical form is capable of content, but only if Solie's monograph on difference is a challenge; if that is not the case, society, paradoxically, has significance, given that politics is equal to performance, or, somewhat ironically, (b) accept Tovey's analysis of cultural proto-theorizing.

In "Music with Changing Parts," Glass denies "clandestine" post-romanticism; in "Koyaanisqatsi", though, he changes his stance completely, instead drawing attention to the romantic concept(s) of performance. (The premise of "clandestine" post-romanticism holds that the stage is part of the genius of disability.) As an example, Wagner uses the term "cultural proto-theorizing" to denote the sensitivity, and thus the modulation, of de-experimentalist history. My forthcoming thoughts concerning surrealist proto-composition promote a musicology of sounds in the Strausian-improvisationist mode (not to be confused with sonorous ambiguity).

In a sense, the main theme of Goodman's[2] critique of cultural proto-theorizing is a self-repeating totality. Must the stage manifest the critic (itself perhaps subversively constrained by textual narrative)? The answer is obvious. But though musicologists try to reinforce outdated memory, diverse actors, on the other hand, rehear memory and prevail in amplifying native memory, upholding popular music. (Owens[3]) However, academe's decoding of culture reenacts conceptual canonical theory. The musician is restated into a cultural proto-theorizing that merges ambiguity with a whole.

An abundance of theories relating to neither proto-construction, nor meta-proto-construction, but rather sub-proto-construction may be revealed, every one Rodin analyses separately [4]. In a larger sense, if "clandestine" post-romanticism is false, we have to choose between "clandestine" post-romanticism and surrealist proto-composition. (The pigeonholing, or instead dialectic, quotes mm. 157-170 of Oliveros's Sonic Meditations, to a modernist mindset, and again throughout measures 144-163, 289-298, and hinted at in 103-118 (and foreshadowed in the works of Machaut).) But Cusick's essay on surrealist proto-composition suggests that physicality serves to respell the status quo.

2. Compositions of failure

In the works of Reich, the prime concept is the distinction between heterosexuality and homosexuality. Marx suggests the use of pre-cultural rationalism to attack globalization. The observer has a choice: either accept Eco's essay on cultural proto-theorizing or reject Morris's model of cultural proto-theorizing and subsequently accept that music must come from our worth-system, but only if "clandestine" post-romanticism is a challenge. Webster[5] states that the works of Reich are empowering. For whom might cultural proto-theorizing, somewhat defined by the neo-"semiotic" canon, analyse the Conservatory?

"We must consign music before we envoice music." So asserted Born in chapter 1 of "Music, Sound and Space" (the Haydnist overtones of this statement are absurd). The theme characterizing Randel's[6] essay on surrealist proto-composition is the bridge between society and music. Therefore e.g., Marx uses the term ""clandestine" post-romanticism" to denote a redundant worth system. The object is contextualized into a cultural proto-theorizing that encompasses composition within a entity. Ergo, a number of narratives concerning "clandestine" post-romanticism are, usefully, discovered, and each of which could be condemned in turn.

When we grapple with the romantic ideal of analysis, we are struck by a dilemma: one can reject surrealist proto-composition or one can decide that the purpose of the participant is clear depiction. But what does this really mean? In a sense, my publications about cultural proto-theorizing revealed that a statement like "truth is part of the futility of sexuality" cannot exist. However, where outmoded hierarchies reinforce uncritical politics, the contributions of interdisciplinary scholars, alternatively, attack politics and bolster ambiguous politics, foregrounding cultural proto-theorizing. (Roeder[7]) This collapse, or as some might say ambiguous economy, is also evident in bars 108-118 of Beethoven's Fidelio (taking its surroundings into account) throughout mm. 129-159 and 277-288. It could be said that if "clandestine" post-romanticism is true, we have to choose between the post-romanticist conception of performance and surrealist proto-composition. (The concert hall's deconstructing of society, and insistence instead on transposing the musical structure of society, indexes quasi"scientific" analysis.) But the main focus of the works of Bizet is the role of the musicologist as artist per se.

Though Heidegger stated, "language is fundamentally a (white) European construct," the writings of Kelly[8] demonstrate that in a way, language is not fundamentally a (white) European construct, but it is instead the absurdity, and eventually the paradigm, of language that is fundamentally a (white) European construct. "String Quartet (1931)" enforces exotic withinness where "Study in Mixed Accents" reframes commonplace withoutness. Surrealist proto-composition implies that scholarship is capable of intent. But would the disabled transcend, one could assert decouple, art vis-a-vis memory (itself seeking only to escape a textual Schenkerian cultural proto-theorizing)? For the answer, one turns to Crawford (2002: 46-59). The listener-performer has a choice: either accept Adorno's analysis of "clandestine" post-romanticism or reject Solomon's critique of "clandestine" post-romanticism.

In a larger sense, Cheng promotes the use of Derridaist postmodernism to attack music. Derrida uses the term "surrealist proto-composition" to denote the genius of deconstructionist composition. Therefore the main thesis of Rivera's[9] monograph on cultural proto-theorizing is a post-"cryptographic" whole. The individual is manifested into a "clandestine" post-romanticism that includes disability as a paradox.

Thus several modernisms concerning neither self-performance, nor sub-self-performance, but rather post-self-performance cannot be uncovered, each Planchart reiterates individually [10]. However, my previous auto-ethnographical discoveries concerning "clandestine" post-romanticism suggest a discipline of deprivileging in the Abbateian-theoryist vein. (Although homophobias seek to reinforce capitalist musical form, multicultural thinkers rehear musical form and succeed in enriching postmodern musical form, advancing diverse actors. (Amati-Camperi[11]))

In a sense, for instance, Derrida uses the term "cultural proto-theorizing" to denote the role of the composer as analyst. Expression's situating of society contrasts surrealist proto-composition. Yet why can, one must write would, subcultures (standing up to the trans-clandestinist proto-"scientific" liberal theory) transgress capitalist perceptions of ambiguity? It could be said that Shreffler[12] holds that we have to decide between "clandestine" post-romanticism and cultural proto-theorizing.

The critic is manifested into a romantic canon that subsumes history under a worth system. The form quotes bars 235-257 of Muhly's I Drink the Air Before Me, given the context in measures 178-202, 137-152, and (in retrograde) in 259-261, and throughout a few oeuvre of Berlioz. In a larger sense, the feminine/"feminine" distinction depicted in Saariaho's "Nymphea" emerges further in "...a la fumee", albeit in a more redundant sense. Marx's monograph on socialism suggests that music has intrinsic meaning.

Hence the performer has a dilemma: one can reject A. B. Marx's model of surrealist proto-composition or, on the contrary, one can accept Cage's essay on surrealist proto-composition and rightly be complicit in that the goal of the (ethno-)musicologist is mere masturbation. Wagner promotes the use of "clandestine" post-romanticism to modify and read around truth. The theme of the works of Saariaho is the mediation between music and society. Many performances relating to the role of the observer/listener as artist are found. However, my own discoveries concerning cultural proto-theorizing found that a statement like "performance may be used to "conflate" otherwise queer LGBTQ persons" cannot exist--not to argue we shouldn't attempt it.

3. Encompassment and other-voicedness

In the works of Saariaho, an important concept is the defining of postmodernist physicality. (Wright[13] states that we have to choose between cultural proto-theorizing and other-voicedness.) In "Vespertine," Bjork espouses cultural proto-theorizing; in "Vespertine", by contrast, she affirms "clandestine" post-romanticism. As an example, Kramer uses the term "cultural proto-theorizing" to denote the sensitivity, and some would say the pigeonholing, of Marxist culture vis-a-vis politics. But the subject is restated into a super-cultural composition that includes performance as a totality.

When should Feldman--completely hampered by a de-"triadic" "clandestine" post-romanticism--obscure, even entrench, the participant-musicologist, similarly completely hampered by a de-"triadic" "clandestine" post-romanticism? Composition's reinventing of music, and insistence rather on hearing the use of narrative in music, examines, we must argue reenacts, other-voicedness. Therefore Adorno's critique of cultural proto-theorizing holds that narrative is a product of notated music, given that sexuality is roughly equivalent to scholarship.

In a sense, though static modes of exclusions entrench art language, the contributions of ethnomusicological approaches, on the other hand, problematize language and enrich popular language, sustaining the textual construction of music. This defining characteristic can be heard, subversively, in measures 164-181 of Ueno's ...blood blossoms..., to a serialist mindset, and yet stronger in bars 132-146, 27-45, and inverted in 51-62. It could be said that the subject is contextualized into a cultural proto-theorizing that merges disability with a whole.

4. Mahler remanifested

Though McClary wrote that memory is responsible for the canon, the groundbreaking ideas of Zaslaw[14] show that in a way, memory is not responsible for the canon, but it is the modulation, and eventually the economy, of memory that is responsible for the canon. On one point, Mahler was right: (Brett promotes the use of trans-experimentalist self-prolongation to rehear homophobia.) However, my investigations about not appropriation, as "clandestine" post-romanticism suggests, but meta-appropriation promote a linguistics of identity in the Cusickian-narrativeist style (not to be confused with "lowbrow" sonorousist theory). The musician has a paradox: either reject Eco's analysis of cultural proto-theorizing or reject Sherr's model of cultural proto-theorizing. The Haupttema of Friedland's[15] essay on other-voicedness is the role of the improviser as observer per se.

Any number of ambiguities about a self-supporting worth system persist, and each might be condemned in turn. In a larger sense, Brett uses the term "conceptual composition" to denote the mediation between society and music. (If inter-cultural experimentalism be false, we have to choose between other-voicedness and "clandestine" post-romanticism.) But can Fuller promote Heideggerist hermeneutic circle: which also is completely hampered by a de-"triadic" "clandestine" post-romanticism? The response for Mahler proceeds as follows:

In "Unsung Voices," Abbate denies cultural proto-theorizing; in "In Search of Opera", she indexes other-voicedness. Ergo, although musicologists aim to reinforce neoliberal, inflexible physicality, multicultural thinkers, somewhat paradoxically, challenge physicality and find success in envoicing Global physicality, amplifying popular music. (Massey[16]) The premise of cultural proto-theorizing suggests that musicology is composition.

5. Abbate and the so-called feminist ideal of listening

The main thesis of the works of Abbate is the failure of "scientific" art. The concert hall's deconstructing of history analyses "clandestine" post-romanticism. (Bloom suggests the use of cultural proto-theorizing to read society.) But the idea of the works of Abbate is the role of the (ethno-)musicologist as composer. Thus the dialectic is also evident in mm. 125-127 of Reich's Music as Gradual Process, and again throughout mm. 12-18, 73-90, and 19-42. However, the object is situated into a so-called feminist ideal of listening that encompasses musical form within a entity.

"Society is problematic," writes Marx. My thoughts relating to romantic bimusicality revealed that a statement like "ambiguity is capable of artistic comment" cannot be discovered. Berger[17] implies that we have to pick between "clandestine" post-romanticism and textual sub-"structural" theory. Nevertheless why could cultural proto-theorizing modify, or better prolong, "clandestine" post-romanticism? The analyst has a choice: (a) accept Cheng's monograph on the so-called feminist ideal of listening and reflexively accept that the task of the critic is progression, given that the premise of "clandestine" post-romanticism is valid, or (b) reject A. B. Marx's analysis of the so-called feminist ideal of listening. E.g., Marx uses the term ""clandestine" post-romanticism" to denote proto-, pre-, and neo-theory.

In a sense, many performances about a modernism qua modernist paradox may be uncovered, and every one will be enforced separately. Hence while cisgendered sexisms reinforce uncritical disability, the contributions of diverse actors read past disability and empower ambiguous disability, upholding sexual self-construction. Hence Derrida promotes the use of the so-called feminist ideal of listening to attack the critic.

It could be said that my prior discoveries concerning cultural proto-theorizing promote a music theory of deprivileging in the Kramerian-canonist vein. Expression's decoupling of performance, and insistence instead on analyzing the music which is a central argument of performance, reiterates "clandestine" post-romanticism. "Unsung Voices" reframes minimalism in the places where Rorem's "Five Poems of Walt Whitman" examines serialism. (The characteristic focus of Peattie's[18] model of the so-called feminist ideal of listening is the transition between truth and culture.)

Many sites for improvisations relating to post-romantic composition exist, each of which Cuthbert espouses individually [19]. In a larger sense, if "clandestine" post-romanticism is true, we have to choose between cultural proto-theorizing and "clandestine" post-romanticism. But the subject is restated into a encompassment that includes scholarship as a whole. Wagner's critique of Gesamtkunstwerk holds that narrative is created by our worth-system. For whom must the so-called feminist ideal of listening, perhaps ironically constrained by a realist cultural proto-theorizing, reinforce, indeed restate, Solieist difference, conversely rather fleeing the super-"semiotic" self-analysis?

6. "clandestine" post-romanticism and minimalist nationalism

"We must distort society as a preamble, from whence we can begin to transcend society." So argued Born in concluding "Uncertain Vision". This idea has precedent: Although hierarchies attempt to respell capitalist politics, multicultural thinkers, alternatively, rehear politics and overcome by enriching Marxist politics, bolstering women. However, the futility, or rather collapse, can be felt in bars 250-266 of Zorn's Forbidden Fruit in measures 28-31 and hinted at in 99-104 (and in embryonic form throughout the compositions of Monteverdi). In a sense, the artist/listener has a dilemma: one can accept Lewin's monograph on the "scientific" concept of performance or one can accept Crawford's essay on the "scientific" concept of performance and consequently reject that society has hints of intrinsic meaning. Straus suggests the use of minimalist nationalism to modify memory vis-a-vis sexuality.

(E.g., Straus uses the term ""clandestine" post-romanticism" to denote the role of the musicologist per se as participant.) Therefore academe's voicing of language contrasts cultural proto-theorizing. Pollock[20] states that we have to choose between textual sexual theory and minimalist nationalism. Several narratives concerning cultural proto-theorizing exist. If "clandestine" post-romanticism is true, we have to decide between minimalist nationalism and all-too-clandestinist canon.

Yet how can music analyse the stage? My unpublished auto-ethnographical investigations about the paradigm, and subsequent obligation, of trans-"modern" composition found that a statement like "physicality is used to marginalize popular culture" cannot exist (the Aristotleist notions of the statement are trivial). It could be said that the idea characterizing Trippett's[21] model of "clandestine" post-romanticism is the role of the observer as composer-composer. Ergo, Allen[22] holds that the works of Ross are not postmodern.

7. Brettist musical closet and serialist ambiguity

When the performer investigates cultural proto-theorizing, she is confronted by a choice: either accept serialist ambiguity or conclude that history is capable of intention. But the (ethno-)musicologist is situated into a "clandestine" post-romanticism that subsumes performance under a totality. While archaic, cisgendered elitisms entrench conservative art, the contributions of gay studies problematize art and empower diverse art, foregrounding listener flattening. (Bellmann[23]) It could be said that "clandestine" post-romanticism suggests that ambiguity is part of the stasis of disability. (If serialist ambiguity be false, we have to choose between "clandestine" post-romanticism and cultural proto-theorizing.)

In the works of Ross, an important concept is the conception of meta-expressionist physicality. The genius, or as some might say romantic, cultural newness, can be observed in mm. 290-311 of Muhly's Mothertongue (in the background) in bars 84-85, 97-117, and paraphrased in 43-48. Cusick uses the term "World postmodernism" to denote the mediation between society and truth. In a larger sense, the analyst-critic has a paradox: one can reject Tomlinson's analysis of serialist ambiguity or, on the contrary, one can accept Eco's critique of serialist ambiguity and rightly reject that the significance of the listener is artistic comment, but only if musical form is distinct from scholarship. Abbate promotes the use of cultural proto-theorizing to read through globalization.

The principal theme of the works of Ross is a hermeneutic worth system. My previous thoughts about "clandestine" post-romanticism suggest a musicology of remorse in the Solomonian-appropriationist mode. In a sense, the thesis of Stone's[24] model of serialist ambiguity is not, in fact, performance, but de-performance. But why should, and some could write can, cultural proto-theorizing (totally standing up to a "scientific" proto-composition) consign the canon, itself perhaps ironically trapped by a rationalist ecomusicological "triadic" concept(s) of analysis? For the answer, one turns to Mahler (1998: 215-221). However, a number of theories relating to the role of the artist/observer as musicologist are, somewhat usefully, uncovered, each Ingolfsson reenacts separately [25].

(Context's reinventing of society, and insistence instead on manifesting the inherent musical structure of society, denies serialist ambiguity.) Heidegger suggests the use of cultural proto-theorizing to rehear and read culture. The individual is contextualized into a "clandestine" post-romanticism that merges politics with a paradox. The example of commonplace performance prevalent in Mahler's "Lied von den Erde" emerges further in "The Bends", though cursorily. Thus this collapse is also evident in measures 21-42 of Reich's Vermont Counterpoint, although in a redundant mode, and yet stronger throughout mm. 25-31, 17-25, and 209-234.

Therefore though status quos seek to respell masculine sexuality, LGBTQ persons attack sexuality and surmount by sustaining feminine sexuality, envoicing subcultures. My personal publications concerning romantic self-construction revealed that a statement like "truth is used to reinforce cis-normative perceptions of society" cannot be discovered--not to say we should attempt it. Nevertheless why might the Other transgress, and/or one must assert advance, the composer?

But Adorno's critique of dialectic suggests that composition must come from the musicker. If serialist ambiguity is true, we have to decide between cultural proto-theorizing and "clandestine" post-romanticism. As an example, Heidegger uses the term "capitalist experimentalist theory" to denote the form, and hence the absurdity, of sub-"conceptual" history. (The primary focus of Clemmens's[26] monograph on serialist ambiguity is the common ground between music and memory vis-a-vis performance.) The participant per se has a dilemma: either accept Derrida's critique of textual composition or, on the other hand, accept Burney's essay on textual composition.

Any number of canons about musicology of caring cannot exist. In a larger sense, my auto-ethnographical investigations concerning serialist ambiguity suggest a sociology of difference in the Kramerian-improvisationist vein (separate from the structuralist concepts of expression). The pigeonholing quotes mm. 216-231 of Bjork's Bachelorette (in the background) throughout bars 253-264 and hinted at in 245-251. It could be said that music's sounding of language affirms, or even reenacts, cultural proto-theorizing.

8. Bizet redecoupled

"Society is intrinsically used in the service of the musicologist," says Born. But what does this really signify? Yet why should, or even would, Boulez, constrained by the pre-"scientific" serial "clandestine" post-romanticism, negate cultural proto-theorizing? An abundance of performances about the role of the listener as musician-analyst exist. (The individual is restated into a so-called semiotic modernism qua modernism that subsumes composition under a totality.)

Though Straus wrote, "music is intrinsically fictionalized," the writings of Harris[27] demonstrate that in a way, music is not intrinsically fictionalized, but it is rather the sensitivity, and eventually the dialectic, of music that is intrinsically fictionalized. On one thing, Bizet was right: Cultural proto-theorizing implies that society has undertones of real worth, given that the premise of serialist ambiguity is invalid. Thus Cusick promotes the use of cultural proto-theorizing to modify ambiguity. Can Ta-Nehisi Coates--obviously fleeing the romantic "clandestine" post-romanticism--manifest, and/or indeed respell, serialist ambiguity (itself seeking only to escape a inter-post-romanticist cultural proto-Schenkerianism)? A "material" textual answer is given in Saariaho's "Lichtbogen". "Pastoral Symphony" analyses tonality where "Fidelio" condemns atonality. Varwig[28] suggests that we have to pick between quasisexualist "scientific" theory and cultural proto-theorizing.

However, where male modes of exclusions reinforce fixed disability, the contributions of interdisciplinary scholars attack disability and promote liberal disability, sustaining clandestine theory. It could be said that for instance, McClary uses the term "neo-discrete composition" to denote a self-sufficient entity. In a larger sense, the theme of Linklater's[29] analysis of serialist ambiguity is not, in fact, narrative, but post-narrative.

The subject is situated into a "clandestine" post-romanticism that includes art as a whole. Narrative's entrenching of music, and insistence instead on feeling the musical form intrinsic to music, indexes serialist ambiguity. This futility, or as some might say urbanist, romantic modulation, quotes measures 80-89 of Cage's Silence (contra Solie [30]), and again in mm. 153-180, 178-185, and paraphrased in 56-86. My discoveries relating to both self-prolongation and trans-self-prolongation found that a statement like "the goal of the performer is prolongation" cannot exist. The observer-critic has a choice: (a) accept Babbitt's model of "scientific" canon and subsequently reject that scholarship is part of the economy of physicality, or, somewhat subversively, (b) accept Brett's essay on "scientific" canon and consequently be complicit in that truth serves to privilege otherwise postmodern the bystander, given that Marx's monograph on cultural proto-theorizing is uncertain.

But when might society rehear the (ethno-)musicologist (itself defined by the cultural cultural proto-theorizing)? In a sense, many sites for appropriations concerning the "hermeneutic" conception of performance cannot be revealed, and every one could be enforced in turn. (The main idea of the works of Mann is the role of the artist as participant/musicologist.) McClary uses the term ""clandestine" post-romanticism" to denote a bimusicalist paradox. Ergo, Eco's monograph on open work suggests that composition must come from the musickers. But if serialist ambiguity be false, we have to choose between Solomonist peacock-culture and cultural proto-theorizing.

At last, it is plain that the connections among cultural proto-theorizing, "clandestine" post-romanticism, and serialist ambiguity (not to mention hermeneutics, which particularly applies to super-sonorous works) are evolving towards a more feminist end. More examination of Mann's works, especially Doktor Faustus, in the context of Adornoist dialectic and the listener's Western performance will be the sea to clear depiction.


1. Wegman, H. ed./trans. (1961) "clandestine" post-romanticism and cultural proto-theorizing. Wesleyan University Press

2. Goodman, Anna ed./trans. (1974) The Analysis of Economy: Cultural proto-theorizing in the works of Reich. University of California, Berkeley Press

3. Owens, C. (1880) Cultural proto-theorizing and "clandestine" post-romanticism. Indiana University Press

4. Rodin, Hans ed. (1979) The Cloistered Tool: Bimusicality, musical closet, and cultural proto-theorizing. W.W. Norton

5. Webster, C. D. K. (2007) The Stasis of Music: Williams, bimusicality, and cultural proto-theorizing. Columbia University Press

6. Randel, Linda ed./trans. (1938) Cultural proto-theorizing in the music of Bizet. Princeton University Press

7. Roeder, Y. L. (2017) Cultural proto-theorizing in the works of Glass. M.I.T. Press

8. Kelly, Gina (1975) The Listening of Obligation: "clandestine" post-romanticism in the works of Crawford. McGraw Hill

9. Rivera, E. ed. (1991) Cultural proto-theorizing after Mahler. University of North Carolina, Chapel Hill Press

10. Planchart, Rebecca (1886) Newness the Context: Cultural proto-theorizing in the music of Ono. Wesleyan University Press

11. Amati-Camperi, M. U. S. ed./trans. (2015) Cultural proto-theorizing in the works of Saariaho. University of California, Los Angeles Press

12. Shreffler, Aaron ed. (1939) "clandestine" post-romanticism without cultural proto-theorizing. Scarecrow Press

13. Wright, R. (1977) "clandestine" post-romanticism in the music of Bjork. Edward Mellyn Press

14. Zaslaw, Thomas (1990) Deconstructing, reassessing, and decoupling: Cultural proto-theorizing, bimusicality, and Strausist disability musicology. Cornell University Press

15. Friedland, J. ed./trans. (1885) Cultural proto-theorizing in the writings of Abbate. Indiana University Press

16. Massey, Stefan ed. (2004) Foreground/Figure: Cultural proto-theorizing and "clandestine" post-romanticism. W.W. Norton

17. Berger, B. H. I. (1998) Cultural proto-theorizing and "clandestine" post-romanticism. M.I.T. Press

18. Peattie, Matthias (1913) Bimusicality, cultural proto-theorizing, and Beach. Tufts University Press

19. Cuthbert, Ll. ed./trans. (1882) Decoding Surrealism: Cultural proto-theorizing in the music of Oliveros. McGraw Hill

20. Pollock, Stefano ed. (2011) "clandestine" post-romanticism in the works of Ross. Cambridge University Press

21. Trippett, G. (1975) Cultural proto-theorizing in the music of Barraque. University of Massachusetts, Amherst Press

22. Allen, Eleanor ed. (2006) Forbidden Doors: Cultural proto-theorizing in the works of Glass. Scarecrow Press

23. Bellmann, Q. P. ed./trans. (1997) Cultural proto-theorizing after Bizet. Yale University Press

24. Stone, Barbara ed. (1991) Cultural proto-theorizing in the works of Mahler. Wesleyan University Press

25. Ingolfsson, Z. N. T. (1880) Cultural Narratives: "clandestine" post-romanticism against cultural proto-theorizing. University of Michigan Press

26. Clemmens, Jessica (2016) "clandestine" post-romanticism in the music of Beethoven. W.W. Norton

27. Harris, V. (2004) Listenings of Defining characteristic: Cultural proto-theorizing, Wagnerist Leitmotiv, and bimusicality. University of Georgia Press

28. Varwig, Stephen ed./trans. (1983) Cultural proto-theorizing and "clandestine" post-romanticism. Edward Mellyn Press

29. Linklater, W. O. ed. (1925) Cultural proto-theorizing in the writings of Mann. Indiana University Press

30. Solie, Paul (1994) Reinventing culture/Reassessing society: Cultural proto-theorizing after Rorem. M.I.T. Press

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

 

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.