The Contemporary Classical Composer's Bullshit Generator

As a rather creative composer, I yearn to transpose, and present cognitively-instrumental tritones, an approach that features prominently in my recent pro-isorhythmic works. For performers, I find that a slightly absolute approach can often help to visualise avant-garde isorhythms - or in some cases, even generate the idiom in question. The pursuit of gestural transformation-analyses to create the mostly-polyrhythmic paradigm is a key focus of my progressive study. My work is primarily concerned with post-Stockhausen sound. My goal, in essence, is to influence musical ensembles. My aim is simple - to repeat all technical electroacoustic-orchestrations, whilst simultaneously (and stylistically) examining the idea of 'radical-imitation-triads'.