The Contemporary Classical Composer's Bullshit Generator

It is of paramount importance that chordal, postmodern installation-sound-worlds must never be allowed to become chromatic, or post-War-ishly complex. Unlike traditional speakers, I aim to develop visions, including a highly modern tone-row that incorporates all notions of serialist resonators. I was first introduced to the concept of 'popularly-post-serial ensemble-palettes' last year, and it has allowed me a greater depth of gestures, especially whilst suggesting the ultimate study. The movement is the single most important element in any fragmentary composition, and my own work seeks to explore (and invert) this in the context of 'tension-polyphony-linearities'. The pursuit of contrasting linearity-tetrachords to study the mostly-cognitive paradigm is a key focus of my literal study. As a rather intervallic composer, I yearn to experience, and improvise passively-dissonant techniques, an approach that features prominently in my recent provocative works.