*In the style of Reggie Watts and The Contemporary Classical Composer’s Bullshit Generator (http://www.dominicirving.com/cccbsg/). I had to write a paper in the style of another artist, so decided to choose Reggie Watts and do some complaining about those in the realm of academia who attempt to over-complexize their work to make it seem more cerebral and challenging. If you don’t know Reggie Watts, you need to know. https://www.youtube.com/watch?v=BdHK_r9RXTc
“Where words fail, music speaks”- Hans Christian Anderson
This study proposes to both abrogate and corroborate the preliminary assumptions regarding the avant-garde vernacular pertaining to the musically subsidized, using lackadaisical yet fainéant data. Under the umbrella of neopositivism, which is to say not just with but also throughout, both logical positivism and logical empiricism emerged as the zeitgeist of the emerging musical millennium. That is to say, Verificationism verified the varying ways to be circumlocutious. Now, non-linearities in the jargonated sense seems probably preposterous from an objective, non-musical point of view. However, not in the non-verbal veracious sense but in the verbostic vernacular sense, the psychological egotistical enlargement is quite enlightening. Furthermore the auditorical assuagement of the listener by use of more base confabulation is of minimal consequence to the academic musical litterateur.
The arduousness of the situation can be extrapolated from the literary libraries of Butler, Kuusi, Cohn, Lewin, Schenker, and of course Babbitt. Without these pioneers of, of which all others come from internally, the gymnastics of argot. From here we come to and from the conclusion from which we reach the beginning of our argument, leading to five points that are both unequivocally doubtful and equivalently dissimilar.
- The post-expressionism of verbal audacity audaciously adheres to anarchist propensity.
- The aleatoric nature of the verbal audacity is pre-determined by the unknown and established clauses of intellectual pomposity.
- In which One is always linked to Two unless Four is determine by the validity of 3-x, x of course referring to the pomposity divided by monetary assistance.
- Four is Three unless in that case it also with Two.
- Due to the completely and undeveloped anarchical anachronistic nature of this study, The time that was forever will not be what is, determining the duality of academia.
For example, “The consequently conception contemporizes and considered is causing that which was to be, and that to be is now is”. While not unlike what scholars such as Plato enjoyed, the seminal function of what is to be read and understood is understandingly grand yet underwhelming. Romantically unendearing, the lexicon is both is and is not the point of the passages created.
So what was is now largely what ever should be is, and whenever it was what it will be is, it is also what may come to past. And so Musicologists and Music Theorists and Ethnomusicologists ponder the extensive nature of the vocal vocabulary chosen to exemplify their choices. That is to say, it is understandably non-unreadable by the writer, but also misunderstood by the masses. Though not mostly meritless in the Charles Dickens pay-per-word model, it is understandably disheartening in the pay-by-quality approach, which outlines the outliers of understandably understandable utterances in musical scholarship. And thus, in denouement, the abrogation and corroboration of the musical vernacular is undoubted both now and forever. As once said, “What is infinitely known should be limited by what is intermittently untruthful”.