The Contemporary Classical Composer's Bullshit Generator

To mix is a natural desire, but my current compositional activity seeks to re-invert all octaves. It also dominates and recreates orchestrally-quadrophonic idiophone-interactions. In short, the style must never influence the octave. The juxtaposition and sensing of contrasting orchestral frameworks dominates much of my work, and I have an avid interest in mixing the predominant with the intra-creative, the influential with the soloistic, and the atonal with the stereophonic. As a highly developmental composer, I explore the connection between chorales and materials, and search for new ways to 'incorporate the non-linearity'. It must be remembered that orchestrating tetrachords, especially if they are non-theoretical (or even artistic), should be avoided. The fact that installations tend to (at least in their theatrical state), technologically integrate, even in the presence of a strong polychord, is, you will agree, patently absurd.