The Contemporary Classical Composer's Bullshit Generator

My aim is simple - to compose all quartal polyrhythmic-chorales, whilst simultaneously (and dynamically) dominating the idea of 'stylistic-tone-key-signatures'. The unifying features of my output include the re-deconstructing of clusters as an element within the invention-abandoning process, and a constant use of the 'modulation-motif', in which sub-microtonal reactions generate meaning. My latest piece begins with a rather discontinuous 'invention-transformation', before artistically transforming the existing contrapuntal material into a more isorhythmically-pro-repetitive state, a process I term 'ambiguously-dynamic-transposing'. Except in rare cases (for example, when you are re-arranging a particularly modern set of idiophones), contemporary composers of 'challenge-music' should avoid the use of spectralisms. My work has been seminal in the development of 'meaningfully-technological anti-post-Stockhausen-music', a highly intellectual, and rather diametric genre. Combining semitones, intricacies and leitmotifs (as well as uniquely generating arias), my overall aesthetic is that of the 'Expressionistically-quadrophonic' school of traditional reverberations.