The Contemporary Classical Composer's Bullshit Generator

My goal, in essence, is to improvise musical sound-worlds. One of my most collaborative influences is the concept of cultivating quartal reactions, which performs my colour and causes my polychord to become somewhat serialist. My repetitive collaborations have led me to explore the diverse potential of clusters and synchronisations, and sense the creation of situations in which the spatialising of a fanfare has the potential to repeat all sorts of pre-recorded tessitura-devices. My work is primarily concerned with postmodern sound. My aim is simple - to layer all soloistic aesthetic-improvisations, whilst simultaneously (and spectrally) studying the idea of 'Wagnerian-awareness-noises'. The fact that tritones tend to (at least in their heterophonic state), consonantly sense, even in the presence of a strong motif, is, you will agree, patently absurd.