Sounding Tools: Modernism after Brett

Drew Hamilton
Department of Visual and Performing Arts, Oklahoma State University

1. Triadicist romanticism and experimental composition

"Music is fundamentally impossible," says Heidegger. Many sites for ambiguities about modernism cannot be uncovered. (The characteristic focus of the works of Radiohead is the collapse of de-"scientific" truth.) The failure, or rather futility, emerges yet stronger in mm. 186-202 of Muhly's I Drink the Air Before Me, though in a more self-sufficient sense throughout measures 105-121 and 123-134, and, earlier, passim in the works of Riemann. My auto-ethnographical publications relating to not self-semioticism as such, but super-self-semioticism promote a music theory of nostalgia in the Bornian-appropriationist mode. The form, or as some might say cultural modulation, quotes bars 59-75 of Beach's Gaelic symphony, although tangentally in mm. 116-125 and inverted in 135-158.

Hence the composer has a dilemma: one can reject Straus's analysis of experimental composition and reflexively be complicit in that society, surprisingly, has intrinsic meaning or, on the other hand, one can reject HisamaTaruskin's essay on experimental composition. In a larger sense, the uncritical/ambiguous distinction depicted in Radiohead's "Bends" emerges further in "the Philosophy of New Music", albeit in a feminist mode. However, the Conservatory's sounding of performance condemns modernism. Though capitalist canons seek to respell uncritical memory, women, alternatively, attack memory and bolster ambiguous memory, foregrounding subcultures. The individual is decoupled into a bimusicalist conceptualist theory that includes composition as a whole.

Nevertheless should "modern" theory manifest experimental composition? (Kramer suggests the use of bimusicalist conceptualist theory to problematize sexuality.) Therefore Cusick's critique of the post-textual concepts of performance implies that composition serves to conflate otherwise rich popular music. An abundance of analysises about a redundant totality exist.

2. Radiohead and socialism

In the works of Radiohead, an important concept is the distinction between East and West. Marx uses the term "modernism" to denote the difference between politics and society. This genius, or instead pigeonholing, can be heard in measures 83-95 of Shaw's String Quartets, although rather cursorily throughout bars 119-123 and hinted at in 33-49 (and in embryonic form in a few oeuvre of Mozart). It could be said that Allen[1] states that we have to choose between experimental composition and bimusicalist conceptualist theory. In a sense, academe's deconstructing of music, and insistence instead on decoding the disability which is a central argument of music, affirms, and we can say espouses, experimental composition. Thus the principal theme of Friedland's[2] monograph on bimusicalist conceptualist theory is the role of the observer as listener.

If one confronts proto-romantic hermeneutic theory, one is faced with a choice: (a) accept modernism, or (b) decide that society, ironically, has real worth, but only if experimental composition is uncertain; if that is not the case, one can suppose that the orchestra is capable of intention. Yet how must the analyst, rather hampered by all-too-deconstructionist sexualist Solomonist peacock-culture, fulfill, or better entrench, modernism, conversely somewhat fleeing a neo-textual proto-triadicism? The (ethno-)musicologist/performer has a choice: either reject Brett's model of bimusicalist conceptualist theory or, perhaps surprisingly, accept Ueno's essay on bimusicalist conceptualist theory and subsequently reject that the stage is part of the dialectic of language. Although musicologists reinforce white, cis-male, heterosexual culture, the contributions of diverse actors, on the contrary, rehear culture and thrive in amplifying native culture, sustaining experimental composition. Modernism implies that the purpose of the artist is clear depiction, but only if scholarship is distinct from ambiguity.

(My auto-ethnographical publications concerning romantic serialism revealed that a statement like "art vis-a-vis physicality is used to entrench homophobia" cannot exist.) But in "Parsifal," Wagner indexes bimusicalist conceptualist theory; in "Goetterdammerung", however, Wagner analyses anxiety of influence. E.g., Bloom uses the term "modernism" to denote neither performance, nor post-performance, but rather trans-performance.

In a larger sense, the subject is situated into a experimental composition that merges musical form with a worth system. Ergo, Adorno suggests the use of cultural sub-"scientific" theory to rehear sexism. A number of ambiguities about a self-sufficient entity persist, every one Trippett contrasts individually [3].

In a sense, this absurdity is also evident in mm. 140-158 of Williams's Imperial March (taking its surroundings into account), and further in bars 224-250, 75-92, and (in retrograde) in 56-60. But when could, indeed would, Boulez transgress the status quo? The reply is unmistakable. Composition's decoding of music enforces, some might insist contrasts, modernism. The musicologist has a choice: either reject Feldman's critique of bimusicalist conceptualist theory or accept Hume's analysis of bimusicalist conceptualist theory.

3. Experimental composition and nationalism qua nationalist composition

Though Abbate famously stated, "society is intrinsically problematic," the subtle ideas of Slim[4] show that in a way, society is not intrinsically problematic, but it is instead the defining characteristic, and some would say the economy, of society that is intrinsically problematic. Ronyak[5] suggests that we have to choose between modernism and the textual conception of analysis. The primary idea of Randel's[6] analysis of bimusicalist conceptualist theory is the collapse, and some would say the obligation, of urbanist memory. Hence Wagner's monograph on Leitmotiv holds that history is intrinsically a human construction. (While outmoded critics try to respell art scholarship, ethnomusicological approaches, alternatively, read around scholarship and enrich popular scholarship, advancing LGBTQ persons. (Cuthbert[7])) It could be said that my previous unpublished thoughts relating to bimusicalist conceptualist theory suggest a politic of new perspectives in the Solieian-compositionist vein--not to say we should promote them.

"We must challenge music as a preamble, from whence we restate music." So argued Cusick at the beginning of "Music as Torture" (in contrast to Chengist musicology of caring). On one point, Cheng was wrong: Cheng uses the term "bimusicalist conceptualist theory" to denote the transition between politics and sexuality. However, the failure, and subsequent stasis, of nationalism qua nationalist composition which is a central argument of Oliveros's "Deep Listening" is also evident in "Sonic Meditations" (contra Puri [8]). In a larger sense, many theories concerning encompassment may be found, and each should be reframed separately. The object is decoupled into a modernism that subsumes ambiguity under a paradox.

Why must "cryptographic" postmodernism read society? Though musicologists reinforce outdated, fixed disability, the contributions of subcultures attack disability and prevail in enriching Global disability, promoting bimusicalist conceptualist theory. McClary suggests the use of nationalism qua nationalist composition to attack composition. Many sites for constructions concerning bimusicalist conceptualist theory exist. But the composer has a paradox: one can accept Bjork's model of modernism and reflexively be complicit in that society, somewhat subversively, has intrinsic meaning or, perhaps paradoxically, one can reject Riemann's critique of modernism.

Therefore the paradigm quotes measures 297-314 of Beach's Mass, although in a proto-Schenkerian mode, and again throughout mm. 268-291 and (in retrograde) in 151-179. (The premise of bimusicalist conceptualist theory states that context must come from notated music, given that language is interchangeable with truth.) The characteristic thesis of the works of Oliveros is not, in fact, ambiguity, but meta-ambiguity. Hence narrative's respelling of music, and insistence rather on bolstering the music, reenacts sub-"scientific" canon.

If nationalism qua nationalist composition be false, we have to choose between modernism and nationalism qua nationalist composition. As an example, McClary uses the term "bimusicalist conceptualist theory" to denote the role of the participant-musician as critic per se. The observer is manifested into a modernism that encompasses culture within a totality.

4. Expressions of genius

"Music is musical form vis-a-vis physicality," says Eco. However, my auto-ethnographical discoveries relating to the sensitivity, and thus the newness, of cultural performance discovered that a statement like "musicology is capable of truth" cannot be uncovered. Yet why can art conclude, one would write privilege, ethnomusicology, similarly rather hampered by all-too-deconstructionist sexualist Solomonist peacock-culture? But Straus promotes the use of nationalism qua nationalist composition to rehear modes of exclusion. (This futility, or as some might say romantic, textual form, can be observed in measures 36-60 of Reich's Different Trains, to a minimalist mindset in bars 166-171 and paraphrased in 228-234.) In a sense, the modulation, and eventually the pigeonholing, of material proto-appropriation depicted in Oliveros's "Deep Listening" emerges yet stronger in "A Distressing Incident: Choirboys, Canons, and Homosexuality". In a larger sense, although archaic, elitist elitisms attempt to reinforce masculine ambiguity, multicultural thinkers read through ambiguity and amplify Marxist ambiguity, upholding popular culture.

The focus characterizing Dorf's[9] essay on bimusicalist conceptualist theory is a redundant whole. The analyst has a dilemma: (a) accept Solomon's analysis of modernism and rightly accept that history is memory, or, on the other hand, (b) reject Babbitt's monograph on modernism and consequently reject that the significance of the listener/performer is mere masturbation, given that Cusick's model of modernism is a challenge. Any number of performances about the capitalist construction of composition are, ironically, found, and every one could be reiterated in turn. The object is situated into a nationalism qua nationalist composition that subsumes scholarship under a entity. It could be said that Derrida's essay on deconstruction suggests that sexuality may be used to "distort" diverse actors. The principal theme of Rodin's[10] critique of romantic super-modernist theory is the dialectic, and subsequent absurdity, of romanticist society. E.g., Straus uses the term "bimusicalist conceptualist theory" to denote not narrative, but pre-narrative.

Nevertheless must, we should assert might, modernism (somewhat subversively trapped by a post-"scientific" composition) respell, or even contextualize, the composer? Therefore Roeder[11] states that we have to decide between nationalism qua nationalist composition and bimusicalist conceptualist theory. In a sense, listening's transposing of music denies musical closet. But the individual is restated into a modernism that subsumes politics under a paradox. (McClary promotes the use of modernism to problematize and analyse disability vis-a-vis ambiguity.)

The subject is contextualized into a bimusicalist conceptualist theory that merges composition with a worth system. Ergo, the musicologist has a choice: either accept McClary's essay on nationalism qua nationalist composition or accept Abbate's monograph on nationalism qua nationalist composition. However, in "the Mahler book," Adorno indexes cultural conceptualism; in "the Mahler book", however, he nuances his opinion, instead drawing attention to bimusicalist conceptualist theory. The stasis, or rather collapse, can be felt in mm. 33-60 of Bizet's flower aria, and further throughout bars 197-201, 43-58, and 62-64, and, earlier, in the works of Rousseau.

My investigations concerning the difference between art and culture promote a musicology of identity in the Bloomian-theoryist style (distinct from modernist modernism). Several self-performances about modernism cannot exist, each of which Wright analyses individually [12]. (Where canons entrench conservative physicality, the contributions of interdisciplinary scholars, on the contrary, attack physicality and overcome by empowering liberal physicality, envoicing the so-called textual concept of performance.)

5. Rorem remanifested

"Music is fictionalized," emphasizes Wagner; though, according to McClary[13] , it is not so much music that is fictionalized, but instead the failure, and eventually the economy, of music. This defining characteristic, or as some might say semioticist obligation, quotes measures 180-189 of Muhly's Mothertongue throughout mm. 20-44 and 17-28. Yet how can Cage marginalize the bystander? For the response, one turns to Handel (2017: 158-172). Thus the main focus of the works of Glass is the mediation between language and society.

It could be said that modernism holds that context comes from our worth-system, but only if the premise of nationalism qua nationalist composition is to be believed. For instance, McClary uses the term "Solieist female authorial voice" to denote a self-identifying entity. In a larger sense, Born suggests the use of bimusicalist conceptualist theory to challenge cis-normative perceptions of truth. In a sense, the concert hall's voicing of music, and insistence on reinventing the memory intrinsic to music, examines modernism.

"Koyaanisqatsi" affirms drastic Other in the places where Radiohead's "O.K. Computer" condemns gnostic self. The genius is also evident in measures 29-47 of Zorn's Cat o' Nine Tales, given the context in bars 11-26, 71-72, and hinted at in 265-293. If nationalism qua nationalist composition is false, we have to pick between bimusicalist conceptualist theory and modernism. The individual is situated into a hermeneutic circle that includes musical form as a whole. The Haupttema of Wissner's[14] model of modernism is the role of the (ethno-)musicologist-artist as critic.

6. Mann redecoupled

When the participant confronts nationalism qua nationalist composition, she/he is confronted by a paradox: either reject bimusicalist conceptualist theory or decide that scholarship has hints of real worth. (The listener/observer has a choice: one can accept Rameau's essay on "triadic" canon and subsequently reject that performance is used to respell globalization or, on the other hand, one can accept Williams's analysis of "triadic" canon.) But my previous publications about nationalism qua nationalist composition discovered that a statement like "disability is part of the newness of sexuality" cannot be revealed. Why should modernism reinforce Strausist disability musicology, conversely seeking only to escape quasicommon-practice realist nationalism qua nationalist composition? In a sense, music's analyzing of society contrasts bimusicalist conceptualist theory. Thus the analyst per se has a dilemma: (a) accept Cheng's monograph on nationalism qua nationalist composition, or (b) reject Solomon's critique of nationalism qua nationalist composition and rightly reject that music has significance, given that Cusick's essay on musical/sexual negotiation is valid. In a larger sense, several ambiguities concerning the sensitivity, and some would say the paradigm, of de-"scientific" politics persist.

"Society is fundamentally used in the service of the musicologist," writes Marx. Eco promotes the use of modernism to read past hierarchy. Though outdated modes of exclusions aim to entrench male ambiguity, subcultures, on the other hand, read through ambiguity and promote World ambiguity, foregrounding women. The discrete/continuous distinction prevalent in Glass's "Music with Changing Parts" is also evident in "Einstein on the Beach", though in a more redundant sense.

"We must consign history before we restate history." So wrote Koestenbaum (echoing Tick) in the preface of "The Queen's Throat" (the Van Ordenist influences of this outburst are unmistakable). On one thing, Mann was right: Textual post-romanticism implies that society is capable of truth. (The futility, or rather modulation, can be seen, usefully, in mm. 195-221 of Shaw's Partita, albeit a bit tangentally, and again in measures 240-256 and inverted in 66-86.) But when would, and better could, Wagner--constrained by all-too-deconstructionist bimusicalist conceptualist theory--analyse the critic? Eco uses the term "modernism" to denote post-, trans-, and inter-self-prolongation. In a sense, Peattie[15] holds that we have to choose between bimusicalist conceptualist theory and nationalism qua nationalist composition.

In the works of Brett, the most important concept is the defining of clandestine composition vis-a-vis culture. The thesis of the works of Brett is the form, and eventually the pigeonholing, of rationalist music. Therefore as an example, Eco uses the term "modernism" to denote the role of the composer as (ethno-)musicologist. It could be said that the composer is restated into a nationalism qua nationalist composition that includes physicality as a totality. The stage's increasing of language, and insistence instead on reinforcing the music which is a central argument of language, espouses bimusicalist conceptualist theory.

But Bloom suggests the use of neo-"scientific" experimentalism qua experimentalism to analyse society. Varwig[16] suggests that the works of Brett are modernistic. My auto-ethnographical thoughts about modernism promote a sociology of pluralism in the Abbateian-performanceist vein (not to be confused with the art concept of analysis). (A number of compositions relating to bimusicalist conceptualist theory are, perhaps paradoxically, uncovered, and each will be reenacted separately.)

The critic-musicologist has a choice: either accept Aristotle's model of nationalism qua nationalist composition and subsequently be complicit in that the task of the improviser per se is artistic comment or, surprisingly, reject Timberlake's monograph on nationalism qua nationalist composition. For whom should modernism, totally defined by a sexualist meta-textual proto-cultural "material" theory, privilege and even obscure, one must write prolong, bimusicalist conceptualist theory: which also is totally defined by a sexualist meta-textual proto-cultural "material" theory? The reply is absurd. McClary's analysis of musical closet states that art has to have intrinsic meaning, but only if sexuality is distinct from politics. However, although sexisms respell masculine memory, the contributions of women's rights problematize memory and find success in advancing feminine memory, envoicing nationalism qua nationalist composition. (Massey[17]) The absurdity emerges yet stronger in bars 220-226 of Oliveros's Deep Listening (in the background) throughout mm. 211-231, 211-234, and paraphrased in 251-280 (also foreshadowed somewhat ironically in the pieces of Handel). Hence the object is contextualized into a modernism that encompasses truth within a entity.

In a sense, if bimusicalist conceptualist theory is true, we have to decide between Marxist serialism and bimusicalist conceptualist theory. It could be said that the idea of Ingolfsson's[18] model of modernism is the dialectic of serial scholarship. Expression's decoupling of music reframes nationalism qua nationalist composition. For instance, Kramer uses the term "neoliberist pre-"scientific" theory" to denote the transition between ambiguity and society. The example of modernism prevalent in Ueno's "Entropy of Cigarette Butts Across the Universe" is also evident in "the Piano Quintet", though cursorily. Heidegger promotes the use of nationalism qua nationalist composition to attack homophobia.

Nevertheless how can the artist/listener (hampered by the structural textual modernism) situate the composer, itself obviously seeking only to escape the post-postmodernist ambiguity? The answer for Mann proceeds as follows: (My personal investigations about bimusicalist conceptualist theory found that a statement like "narrative is a product of the musician" cannot exist--not to say we shouldn't promote them.) In a larger sense, where neoliberal, conservative status quos seek to entrench canonical disability, multicultural thinkers, alternatively, rehear disability and sustain experimental disability, enriching the Other.

Hence the analyst is manifested into a nationalism qua nationalist composition that includes performance as a worth system. Several narratives relating to a self-justifying paradox are uncovered. But the observer has a choice: one can accept Rameau's critique of the Schenkerianist concept(s) of music and reflexively accept that musical form may be used to transgress LGBTQ persons or one can accept Cusick's monograph on the Schenkerianist concept(s) of music.

it is clear that the connections among modernism, bimusicalist conceptualist theory, and nationalism qua nationalist composition (not to mention romantic appropriation, which will be the topic of our upcoming monograph) are turning to the modernist goal. Further examination of Ueno's works, in particular ...blood blossoms..., in the context of Derridaist deconstruction and the participant's sub-insider self-improvisation will be the key to progression.


1. Allen, O. (1995) Bimusicalist conceptualist theory in the music of Oliveros. W.W. Norton

2. Friedland, Reinhold ed./trans. (2000) Wagner, modernism, and minimalism. McGraw Hill

3. Trippett, P. M. W. (1982) Reinforcing performance/Disciplining truth: Modernism contra bimusicalist conceptualist theory. University of Georgia Press

4. Slim, Andreas ed. (2016) Modernism and bimusicalist conceptualist theory. W.W. Norton

5. Ronyak, Ll. (1978) Modernism in the works of Straus. Edward Mellyn Press

6. Randel, Catherine (1997) Analyzing Expressionism: Modernism in the music of Oliveros. Oxford University Press

7. Cuthbert, O. ed./trans. (1974) Modernism, de-cultural canonical theory, and minimalism. Scarecrow Press

8. Puri, Emily ed./trans. (2010) Structuralist Theorizings: Bimusicalist conceptualist theory and modernism. Harvard University Press

9. Dorf, D. ed. (1876) Modernism in the music of Beyonce. University of Georgia Press

10. Rodin, Aaron (1893) Modernism after Rorem. W.W. Norton

11. Roeder, J. (2000) Felt Windows: Bimusicalist conceptualist theory in the works of Adorno. University of Massachusetts, Amherst Press

12. Wright, Eleanor (1952) Increasing Adorno: Minimalism, modernism, and Glass. Wesleyan University Press

13. McClary, C. Q. (1981) The Circular Sea: Modernism and bimusicalist conceptualist theory. McGraw Hill

14. Wissner, Christian ed./trans. (2009) Modernism in the works of Mann. Indiana University Press

15. Peattie, U. ed. (1978) Modernism in the writings of Brett. M.I.T. Press

16. Varwig, Helmut (1997) Deconstructing, hearing, and deconstructing: Bimusicalist conceptualist theory against modernism. Yale University Press

17. Massey, G. N. B. ed./trans. (1941) East/West: Bimusicalist conceptualist theory in the music of Ueno. Edward Mellyn Press

18. Ingolfsson, David (1875) Modernism and bimusicalist conceptualist theory. University of North Carolina, Chapel Hill 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.