The Contemporary Classical Composer's Bullshit Generator

I never interpret sources, despite the fact that any oscillation or material can be, and has been interpreted as a rather transformatively-integral set of 'tessitura-forces'. My most personal style always features strongly in any of my eclectic compositions. The rhythm is the single most important element in any orchestral composition, and my own work seeks to explore (and challenge) this in the context of 'sound-world-canon-cadences'. Combining installations, triads and possibilities (as well as chorally developing linearities), my overall aesthetic is that of the 'symmetrically-aesthetic' school of poly-virtuosic processes. My latest piece begins with a rather pre-conceived 'procedure-frequency', before quartally transforming the existing almost-generative material into a more post-Schoenbergly-spectral state, a process I term 'periodically-unified-exploring'. This composition contextualises all sorts of instrumentations, before allowing somewhat octatonically, and finishing with an extremely technological series of 'development-solos' (as I like to call them).