The Contemporary Classical Composer's Bullshit Generator

Combining solos, analyses and styles (as well as orchestrally mixing synchronisations), my overall aesthetic is that of the 'diversely-musical' school of melodic riffs. To put it concisely, the Wagnerian forms of any given expression must never clash with the ultimately influential endeavour of experiencing non-linearities wherever possible. It is of paramount importance that Expressionist, spectral passage-chord-structures must never be allowed to become spectral, or theoretically complex. One of my most neo-Romantic influences is the concept of challenging large-scale materials, which opposes my tone-row and causes my instrument to become somewhat dynamic. My chorale-system is the only one of its kind, due in part to the inclusion of highly-12-tone non-linearity-expressions, with a hint of so-called 'semitone-solos'. It is plainly obvious that the act of spatialising isorhythmic energies causes one to become ambiguous (and sometimes even unified), which is why I deny this approach, preferring instead to simply present postmodernistically.