The Contemporary Classical Composer's Bullshit Generator
It is clear that dramatic pro-electronic compositional approaches are often compromised by an over-abundance of pro-virtuosically spectral elements, particularly when dealing with large numbers of operatic interactions. The pursuit of tonal arrangement-possibilities to perform the mostly-avant-garde paradigm is a key focus of my artistic study. To transpose is a natural desire, but my current compositional activity seeks to re-modulate all conflicts. It also presents and experiences contrastingly-popular movement-speakers. My module-system is the only one of its kind, due in part to the inclusion of highly-influential isorhythm-pieces, with a hint of so-called 'tone-row-approaches'. It is of paramount importance that intellectual, rhythmic pattern-devices must never be allowed to become cultural, or operatically complex. It must be remembered that abandoning sounds, especially if they are post-Schoenberg (or even post-Webern), should be avoided.