The Contemporary Classical Composer's Bullshit Generator

As a rather digital composer, I yearn to invert, and sense post-Webernistically-apparent phenomena, an approach that features prominently in my recent aleatoric works. In simple terms, premiering transformation-arrangements (in addition to sensing modernistic perceptions) is one of my most radical approaches to unique composition. The juxtaposition and orchestrating of contrasting periodic aerophones dominates much of my work, and I have an avid interest in mixing the isorhythmic with the critical, the orchestral with the meaningful, and the diverse with the minimalistic. In my most recent work, textures, visions and professional cadenzas are all used within popularly-multi-timbral recordings, allowing the audience to transcribe a variety of flowing phenomena. It is clear that chromatic contrapuntal compositional approaches are often compromised by an over-abundance of polyrhythmically Classical commissions, particularly when dealing with large numbers of transformative idiophones. Recently, I have started to embrace pieces as a strongly-quasi-heterophonic alternative to established forms of binary framework-processes, which has made my work spectrally integral.