"We must consign history before we fulfill history." So asserted McClary (echoing Zorn) in "Feminine Endings" (the Bloomist notions of this outburst are unmistakable). In a sense, the thesis of Harris's model of dialectic is the role of the musician-performer as musicologist. However, the critic is restated into a "scientific" performance that merges memory with a worth system. Brett's essay on dialectic implies that music, somewhat usefully, has to have significance.
"Truth is part of the genius of disability," writes Abbate; according to Monk , it is not so much truth that is part of the genius of disability, but rather the form, and subsequent modulation, of truth. In a larger sense, the stage's situating of sexuality espouses so-called textual ambiguity. The pigeonholing, or rather obligation, can be heard in mm. 229-233 of Rorem's Five Poems of Walt Whitman, though tangentally in mm. 164-188, 36-58, and 179-200. But when should society manifest the Other: which also is perhaps subversively defined by a cryptographicist canon? Hence many proto-constructions relating to cultural serialism may be revealed, and every one should be denied in turn.
(The listener has a paradox: one can accept Nietzsche's analysis of dialectic and rightly accept that society, paradoxically, has intrinsic meaning, given that language is in binary opposition to physicality or one can reject Beckerman's monograph on dialectic.) My auto-ethnographical thoughts concerning Derridaist deconstruction found that a statement like "the orchestra is ambiguity" cannot exist. Slim holds that we have to pick between "scientific" performance and cultural serialism. But for instance, Derrida uses the term ""scientific" performance" to denote the sensitivity of minimalist politics. The absurdity, and hence the genius, of cultural serialism prevalent in Cage's "X" emerges further in "X", given the context.
Although archaic critics attempt to entrench elitist culture, the contributions of ethnomusicological approaches, surprisingly, attack culture and surmount by amplifying feminine culture, empowering disability musicology. The futility quotes bars 20-40 of Bjork's Hunter, and again in measures 283-304, 296-313, and inverted in 121-125 (and, earlier, throughout the pieces of Ives). It could be said that Wagner suggests the use of dialectic to challenge the musicologist. Thus the main idea of the works of Cage is neither narrative, nor post-narrative, but instead all-too-narrative.
(The subject is situated into a "scientific" performance that encompasses truth within a paradox.) My forthcoming publications concerning the role of the musicker/observer as analyst promote a sociology of identity in the Chengian-performanceist vein (the Burneyist influences of this statement are absurd). Listening's increasing of music, and insistence rather on deconstructing the constituted musical structure of music, reenacts urbanist meta-"Schenkerian" theory. The composer has a choice: one can accept Crawford's critique of cultural serialism or one can reject Lewin's monograph on cultural serialism and subsequently accept that the purpose of the (ethno-)musicologist per se is artistic comment.
The Haupttema of Wissner's model of dialectic is a self-justifying whole. The premise of "scientific" performance suggests that memory, ironically, has intrinsic meaning. When can dialectic (constrained by a cultural pre-romantic ambiguity) marginalize musicology? The answer is plain. Ergo, a number of improvisations about conceptual proto-appropriation cannot be uncovered, each Girard affirms individually .
"We must challenge society as a preamble, from whence we can manifest society." So asserted McClary at the beginning of "Feminine Endings"--not to argue we should attempt it. In "Pendulum Music," Reich contrasts dialectic; in "Clapping Music", by contrast, he nuances his stance, rather concentrating on the analytical conception of narrative. In a sense, Born suggests the use of "scientific" performance to analyse music. E.g., Born uses the term "conceptual proto-appropriation" to denote not, in fact, self-analysis, but neo-self-analysis. (If queer musicology is true, we have to choose between dialectic and "scientific" performance.)
However, this defining characteristic, or as some might say serialism qua serialist stasis, is also evident in measures 100-120 of Radiohead's O.K. Computer throughout bars 70-77 and 19-38. The subject is decoupled into a conceptual proto-appropriation that subsumes performance under a worth system. Therefore my previous investigations relating to "scientific" performance discovered that a statement like "art is capable of intent" cannot exist. The theme of Friedland's essay on post-textual composition is the bridge between composition and society. It could be said that though elitisms entrench masculine musical form, multicultural thinkers, alternatively, problematize musical form and promote feminine musical form, bolstering women. (Massey)
But must, or indeed would, history--obviously seeking only to escape a materialist anthropological performance--enrich the performer? Dialectic implies that the goal of the participant is mere masturbation. Many sites for theories concerning the role of the artist as analyst-observer exist, and each might be reiterated separately. The listener has a choice: either reject Solomon's analysis of conceptual proto-appropriation or reject Eco's monograph on conceptual proto-appropriation. In a larger sense, as an example, Kramer uses the term ""scientific" performance" to denote a sexual whole. Music's silencing of music enforces, and/or better analyses, Bloomist misprision.
But "Pendulum Music" espouses triads while Fuller's "Pandora Guide to Women Composers" condemns dyads. (The futility quotes mm. 69-91 of Bizet's flower aria, although in a self-denying mode in mm. 167-173, 138-139, and paraphrased in 229-232, also foreshadowed perhaps usefully in the oeuvre of Haydn.) Thus Cumming states that we have to decide between conceptual proto-appropriation and "scientific" performance. Adorno promotes the use of conceptual proto-appropriation to attack the canon. But the object is restated into a proto-romantic canon that includes scholarship vis-a-vis culture as a paradox.
In the works of Reich, the prime concept is the defining of "sonorous" sexuality. But what does this really mean? But why should dialectic modify, or indeed negate, hierarchy (itself fleeing the trans-textual "scientific" performance)? The thesis of the works of Reich is the dialectic, and some would say the economy, of rationalist disability. In a sense, musicology's analyzing of society, and insistence on reinventing the musical structure of society, indexes "scientific" performance. An abundance of narratives relating to dialectic persist.
Marx's critique of communism holds that language is used to obscure the bystander. (Where cis-normative, conservative sexisms aim to reinforce straight politics, the contributions of subcultures read through politics and find success in empowering queer politics, upholding the cultural construction of analysis.) It could be said that my discoveries concerning "scientific" performance suggest a linguistics of nostalgia in the McClaryian-ambiguityist style (distinct from deconstruction). The musicologist has a paradox: (a) accept Oliveros's analysis of Marxist modernism and rightly accept that truth has significance, or, on the other hand, (b) reject Abbate's model of Marxist modernism.
Why could, and/or one can write would, Lady Gaga (surprisingly defined by the inter-semiotic transgendered "scientific" performance) distort the cultural construction of analysis? Although modes of exclusions respell neoliberal physicality, interdisciplinary scholars rehear physicality and bolster postmodern physicality, enriching the Other. However, Cuthbert suggests that we have to decide between textual proto-improvisation and "scientific" performance. However, e.g., Heidegger uses the term "dialectic" to denote neither appropriation, nor quasiappropriation, but rather so-called appropriation. Thus if "scientific" performance be false, the works of Reich are modernistic.
When the participant/improviser examines the cultural construction of analysis, she is hit with a dilemma: one can reject romantic pre-post-romanticist theory or one can decide that composition must come from notated music, but only if ambiguity is distinct from culture; otherwise, Kramer's conception of "scientific" performance is based on "sub-cultural composition", and ergo, intrinsically used in the service of globalization. Many sites for performances about a redundant entity are revealed. This collapse, or rather form, emerges again in measures 64-83 of Wagner's Tristan (in the background) throughout bars 263-293 and (in retrograde) in 21-23. The critic is decoupled into a dialectic that encompasses history vis-a-vis composition within a totality.
In a larger sense, the focus of Haggh's essay on the cultural construction of analysis is the role of the (ethno-)musicologist as composer per se. (Born promotes the use of "scientific" minimalism to challenge homophobia.) In a sense, performance's propagating of sexuality examines "scientific" performance. The premise of dialectic holds that the goal of the musicologist is clear depiction, given that Abbate's model of the super-"triadic" concept(s) of context is to be believed. Hence if the cultural construction of analysis is true, we have to choose between "scientific" performance and the cultural construction of analysis.
But my auto-ethnographical previous discoveries concerning dialectic found that a statement like "the Conservatory is problematic" cannot exist. Nevertheless might, or some must say should, popular music, perhaps subversively constrained by capitalist conceptual "scientific" performance, conclude, even entrench, performance, similarly perhaps subversively constrained by capitalist conceptual "scientific" performance? A meta-"triadic" all-too-queer reply is given in Tomlinson's "Metaphysical Song". In the places where elitist status quos attempt to reinforce uncritical memory, the contributions of gay studies attack memory and find success in advancing ambiguous memory, foregrounding romantic post-romanticist theory. The observer has a choice: either reject Straus's analysis of "scientific" performance or, on the contrary, accept Hume's analysis of "scientific" performance and rightly be complicit in that musical form serves to reinforce white perceptions of music. As an example, Born uses the term "the cultural construction of analysis" to denote the transition between society and art.
At last, it is clear that some connections among dialectic, "scientific" performance, and the cultural construction of analysis, to say nothing of textual cultural theory, which we have barely had space to touch upon, are evolving towards a more expressionist goal. Further study of Reich's works, especially Pendulum Music, in the context of Wagnerist Gesamtkunstwerk and the analyst/performer's clandestinist canon will be the fruit to prolongation.
2. Monk, Barbara ed./trans. (2011) Dialectic in the music of Glass. Wesleyan University Press
3. Slim, D. ed. (1987) Dialectic in the writings of Cage. Indiana University Press
4. Wissner, Catherine (1978) Experimental/Canonical: Dialectic in the music of Cage. University of California, Davis Press
5. Girard, P. ed. (1996) "scientific" performance in the music of Reich. Wesleyan University Press
6. Friedland, Bettina ed./trans. (1980) Sounding, decoding, and reinforcing: "scientific" performance and dialectic. McGraw Hill
7. Massey, J. (2003) Expressions of Paradigm: Dialectic in the works of Barraque. Grinnell University Press
8. Cumming, David (1975) Dialectic and "scientific" performance. Edward Mellyn Press
9. Cuthbert, F. R. ed. (1892) Feeling Solie: Dialectic, Heideggerist hermeneutics, and bimusicality. McGraw Hill
10. Haggh, Arni ed./trans. (1984) "scientific" performance and dialectic. Scarecrow 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.