The Contemporary Classical Composer's Bullshit Generator

Any composer who cannot grasp the notion of 'spatial post-post-Webern-synchronisation-perceptions', or who spatialises post-dodecaphonically instead of denying modally, is of little worth. My latest composition explores the boundaries between colours and motifs, whilst utilising a highly synthetic attitude to a traditional, multi-textural aesthetic. The study is the single most important element in any thematic composition, and my own work seeks to explore (and compose) this in the context of 'interaction-sound-world-phenomena'. It has been said that those who re-bar a musical illusion are unable to transcribe or abandon resonances, at least not distortedly, but I fundamentally disagree. My latest piece begins with a rather pre-conceived 'fermata-polychord', before theatrically transforming the existing resonant material into a more flowingly-dramatic state, a process I term 'isomorphically-contrasting-superimposing'. My goal, in essence, is to recreate musical synergies.