The Contemporary Classical Composer's Bullshit Generator

Any composer who cannot grasp the notion of 'neo-Romantic post-Webern-hexachord-procedures', or who spatialises spectrally instead of inverting postmodernistically, is of little worth. If one concept must be grasped, it is this - the generative installation always explores the concertos, and it must do so entirely acoustically. My latest piece begins with a rather post-spectral 'synchronisation-noise', before literally transforming the existing super-diverse material into a more super-neo-Romantically-consonant state, a process I term 'polyphonically-postmodern-transforming'. My performance-system is the only one of its kind, due in part to the inclusion of highly-generative possibility-sound-worlds, with a hint of so-called 'substance-energies'. My work is primarily concerned with avant-garde sound. My most personal counterpoint always features strongly in any of my intra-symmetrical compositions.