The Contemporary Classical Composer's Bullshit Generator

When planning my spatial noises, I often find that presenting a somewhat meaningful array of musical linearities helps a great deal. The fact that synergies tend to (at least in their pre-recorded state), isorhythmically incorporate, even in the presence of a strong substance, is, you will agree, patently absurd. The unifying features of my output include the re-visualising of colours as an element within the polyphony-layering process, and a constant use of the 'reverberation-music', in which transdisciplinary tensions generate meaning. If one concept must be grasped, it is this - the post-Webern aerophone always repeats the palettes, and it must do so entirely post-War-ishly. My goal, in essence, is to arrange musical concertos. My work is, in short, a re-imagining of the 'semantic-isorhythms' school of contemporary 'speaker-pitch' composition.