The Contemporary Classical Composer's Bullshit Generator

To put it concisely, the contrapuntal forms of any given orchestration must never clash with the ultimately orchestral endeavour of transcribing tetrachords wherever possible. My non-absolute collaborations have led me to explore the theoretical potential of frequencies and analyses, and generate the creation of situations in which the challenging of a unity has the potential to reject all sorts of improvisatory polychord-modulations. Except in rare cases (for example, when you are re-experiencing a particularly thematic set of ensembles), contemporary composers of 'meaning-music' should avoid the use of tensions. If one concept must be grasped, it is this - the symbolic choreography always orchestrates the themes, and it must do so entirely post-serially. My work is primarily concerned with intellectual sound. In short, the challenge must never spatialise the palette.