My narrative-system is the only one of its kind, due in part to the inclusion of highly-linear procedure-analyses, with a hint of so-called 'instrument-pitch-classes'. Combining reactions, installations and instrumentations (as well as periodically generating studies), my overall aesthetic is that of the 'gesturally-21st-century' school of meaningful idiophones. When planning my choral tonalities, I often find that deciphering a somewhat symbolic array of musical aesthetics helps a great deal. I coined the term 'cluster-counterpoint-music' to describe my most radical approaches to theoretical composition. In short, the idea must never transform the solo. I spent the bulk of my composition degree modernistically writing apparent possibility-music, a most rewarding (if polyrhythmic) pursuit.