The Contemporary Classical Composer's Bullshit Generator
I coined the term 'ensemble-interaction-music' to describe my most radical approaches to subtractive composition. One of my most 12-tone influences is the concept of perceiving post-War spaces, which examines my invention and causes my collaboration to become somewhat stereophonic. To put it concisely, the non-linear forms of any given gesture must never clash with the ultimately triadic endeavour of transcribing pieces wherever possible. I have found that pseudo-multi-timbral systems, in combination with textual forces enable me to post-Schoenbergly inform brand-new methods in a highly professional and extremely postmodern way. I am very much influenced by the idea of repeating contrapuntal juxtapositions, particularly whilst combined with a highly technical approach to sonorities. Rather than sequentially abandoning tonal forces, I now prefer opposing semantic types of composer, in conjunction with highly avant-garde resonances.