The Contemporary Classical Composer's Bullshit Generator

Unlike traditional challenges, I aim to develop chords, including a highly intellectual chordophone that challenges all notions of dramatic frequencies. All composers should reject a variety of mechanisms, and (if this senses pro-non-linear performances), proceed to study pro-Stockhausenesquely until the best result is achieved. My work is, in short, a re-imagining of the 'post-Stockhausen-synergies' school of contemporary 'sound-expression' composition. My latest composition explores the boundaries between experiences and sonorities, whilst utilising a highly stylistic attitude to a traditional, radical device. It is plainly obvious that the act of deconstructing sub-post-Stockhausen chordophones causes one to become hyper-resonant (and sometimes even influential), which is why I deny this approach, preferring instead to simply reject choreographically. I spent the bulk of my composition degree cognitively writing chaotic collaboration-music, a most rewarding (if binary) pursuit.