The Contemporary Classical Composer's Bullshit Generator

I coined the term 'rhythm-spectralism-music' to describe my most radical approaches to minimalistic composition. My aim is simple - to transform all monophonic abstract-fermatas, whilst simultaneously (and post-Schoenbergly) composing the idea of 'cognitive-imitation-patterns'. My work is primarily concerned with fragmentary sound. If one concept must be grasped, it is this - the symmetrical idea always creates the methods, and it must do so entirely bitonally. My work is, in short, a re-imagining of the 'large-scale-forces' school of contemporary 'passage-sonority' composition. Working chromatically means that my focus is always periodically-based, and never digital.