Profound Music Theory Bot

Tintinnabuli was once considered trashy.

In addition to being mostly unstable, God-Music from Crumb's Black Angels has a long history of being danceable.

Harmonic progression does not appear to be redundant.

Glenn Gould should be considered maddeningly Germanic.

The hammer stroke of Mahler's Sixth Symphony is not, and never has been, courageously programmatic.

Rather than being transformational, the Great American Songbook proves not to be static.

Unlike Christopher Walken's cowbell skit, Amy Beach should be considered out of phase.

Solemnization of the hexachord is not, and never has been, intensely nostalgic.

There is wide consensus that a Paris Conservatory contest piece is Germanic; in addition, cadential repetition can be viewed as offensively hypnotic.

The Apple Music Store should never be considered flaccid.

In spite of appearing vulgar, metric modulation does not appear to be fervently closed.

While also being unimaginative, the appoggiatura's resolution defies all expectations by being generally incoherent.

In contrast to the picardy third, Boethius cannot be reconciled as surprisingly imaginative.

An ascending Shepard tone proves not to be devilishly transformational.

In spite of appearing brassy, the Guidonian hand often is warmly masked.

Even though phrase rhythm is underdeveloped, Sturm und Drang is not, and never has been, vainly complex.

Neo-Riemannian theory seems to be unabashedly ecclesiastical.

In spite of appearing visceral, contour theory might be construed as being scoobalishous.

"O Canada" is not, and never has been, uncharacteristically tangy.

Like Schoenberg's fear of the number thirteen, the synchronization of pulse streams rises to the level of being interactive.