The Contemporary Classical Composer's Bullshit Generator

Any composer who cannot grasp the notion of 'tonal psycho-cognitive-improvisation-counterpoints', or who suggests psycho-post-War-ishly instead of suggesting passively, is of little worth. I have always been fascinated by the arrangement of soundscapes, which has led me to examine the use of 'cadence-transcription' and similar echoes alongside examining the boundaries between phrases and intricacies. As a primarily neo-discontinuous artist, I aim to modulate the fanfare within post-Stockhausen-expressions, and bring forth a single perception that really morphs the most electroacoustic issues. The most important tip I can give anyone is this: Never recreate semantic experiences; rather, endeavour to layer your instrumentally-modern chords. It is of paramount importance that contrapuntal, theoretical resonance-echoes must never be allowed to become electroacoustic, or literally complex. The fact that intricacies tend to (at least in their isorhythmic state), Classically improvise, even in the presence of a strong instrument, is, you will agree, patently absurd.