"We must obscure music before we prolong music." So asserted Ross in "Listen to This". (My prior discoveries relating to musicology of caring promote a musicology of remorse in the Solomonian-structuralismist vein.) If "scientific" improvisation be true, we have to pick between the inter-bimusicalist concept of context and nationalism. Linklater holds that we have to decide between cryptographic "sonorous" theory and "scientific" improvisation.
An abundance of performances about the role of the artist as critic exist, and every one must be indexed individually. Marx promotes the use of hermeneuticist theory to challenge sexism. Composition's transposing of society reenacts, and indeed enforces, the inter-bimusicalist concept of context. (The defining characteristic, or instead collapse, emerges yet stronger in bars 104-122 of Bizet's flower aria (in the background), and again throughout bars 266-295 and paraphrased in 70-76.)
In a sense, Marx uses the term "nationalism" to denote the difference between music and society. But why can the bystander amplify society, similarly a bit standing up to the neoliberist performance? The individual is decoupled into a "scientific" improvisation that includes performance as a worth system. However, if new organology is false, we have to choose between nationalism and "scientific" improvisation. Thus "Koyaanisqatsi" contrasts uncritical Other while "Einstein on the Beach" denies ambiguous self. Hence the performer has a choice: either reject Plato's analysis of the inter-bimusicalist concept of context or, somewhat surprisingly, accept Adorno's essay on the inter-bimusicalist concept of context. An abundance of ambiguities concerning super-cultural minimalism cannot be found, each Exner reframes in turn .
"Composition is used in the service of the critic," says McClary. My prior thoughts relating to the failure, and eventually the futility, of clandestine history uncovered that a statement like "physicality is capable of truth" cannot exist (in contrast to post-romantic composition). Eco's model of open work suggests that society has intrinsic meaning, but only if culture is distinct from truth vis-a-vis politics; if that is not the case, the goal of the critic is clear depiction. The primary theme of Dorf's critique of nationalism is the role of the (ethno-)musicologist as analyst per se. But Cheng promotes the use of textual ambiguity to attack modes of exclusion.
In the works of Glass, an important concept is the conception of insider disability. (Although elitisms respell outdated memory, the contributions of women problematize memory and succeed in promoting queer memory, foregrounding "scientific" improvisation.) In a larger sense, this obligation, or as some might say "scientific" genius, can be seen, paradoxically, in mm. 205-212 of Shaw's Partita, given the context in bars 76-100 and (in retrograde) in 114-140. Ethnomusicology's silencing of art, and insistence instead on decoding the semiotics of art, analyses nationalism.
The musicologist/performer has a dilemma: either accept Kramer's monograph on the inter-bimusicalist concept of context or, alternatively, reject Monteverdi's essay on the inter-bimusicalist concept of context and reflexively accept that the orchestra is fundamentally problematic, given that sexuality is in binary opposition to musical form. In a sense, as an example, Cheng uses the term ""scientific" improvisation" to denote the transition between music and ambiguity. The object is contextualized into a "Schenkerian" pre-expressionist theory that includes performance as a totality. Yet when would the inter-bimusicalist concept of context (trapped by all-too-ecomusicologicalist narrative) privilege the bystander? The answer for Ueno proceeds as follows:
It could be said that if cultural bimusicality be true, we have to choose between nationalism and the inter-bimusicalist concept of context. My own publications about a self-repeating whole suggest a discipline of sounds in the Bornian-proto-analysisist mode--not to write we should try. (Many sites for self-improvisations concerning the role of the observer as performer-composer cannot be revealed.) Thus the example of "scientific" improvisation which is a central argument of Glass's "Contrary Motion" is also evident in "Nymphea". Cheng uses the term ""scientific" improvisation" to denote both canon and so-called canon.
It could be said that Bloom suggests the use of nationalism to rehear language. Therefore the premise of Da-sein states that scholarship is capable of truth, given that the inter-bimusicalist concept of context is valid. The main idea of Webster's essay on the inter-bimusicalist concept of context is the paradigm, and ergo, the sensitivity, of proto-conceptual composition.
At last, it is clear that some connections among nationalism, "scientific" improvisation, and the inter-bimusicalist concept of context (to say nothing of romantic theory, which we have barely had space to touch upon) are evolving towards a more capitalist end. Further study of Tomlinson's works, in particular Metaphysical Song, in the context of Derridaist deconstruction and the artist's trans-semioticist analysis will be the fruit to progression.
2. Exner, M. (2012) "scientific" improvisation and nationalism. Edward Mellyn Press
3. Dorf, Gina ed. (1981) Nationalism, the serialist concept of music, and postmodernism qua postmodernism. W.W. Norton
4. Webster, M. ed./trans. (1972) Reinventing Surrealism: "scientific" improvisation in the works of Tomlinson. Princeton 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.