The Contemporary Classical Composer's Bullshit Generator
Combining meanings, timbres and microtones (as well as aleatorically denying leitmotifs), my overall aesthetic is that of the 'theatrically-resonant' school of technical recordings. My work is, in short, a re-imagining of the 'structured-installations' school of contemporary 'invention-idea' composition. It is of paramount importance that 12-tone, stereophonic cluster-vibrations must never be allowed to become neo-minimalistic, or microtonally complex. I build upon the so-called 'semitones of similar modules', and transform them into what I term 'multi-timbral-simultaneous spacing-intervals', which I see as a distinct improvement. It is clear that neo-dramatic polyrhythmic compositional approaches are often compromised by an over-abundance of stereophonically traditional chorales, particularly when dealing with large numbers of Wagnerian players. For performers, I find that a slightly atonal approach can often help to orchestrate linear timbres - or in some cases, even improvise the soundscape in question.