Now everyone can be a composer … or at least sound like one. And write programme notes … for money! It’s never been so easy!
By using the Contemporary Classical Composer’s Bullshit Generator you will be able to hold your own in conversations at (say) the Huddersfield Contemporary Music Festival where everyone talks like this:
By engaging in critical incorporating, I seek to overcome the existing radical models, and establish a more diametric and rhythmic paradigm. My latest piece begins with a rather serialist ‘space-melody’, before post-serially transforming the existing passive material into a more post-Schoenbergly-structured state, a process I term ‘subtractively-multimedia-influencing’. When planning my predominant motifs, I often find that creating a somewhat psycho-theoretical array of musical octaves helps a great deal. Recently, I have started to embrace time-signatures as a strongly-diverse alternative to established forms of post-War sound-fundamentals, which has made my work iconically theoretical. In short, the recording must never compose the notation.
In short, the timbre must never perceive the player. To write is a natural desire, but my current compositional activity seeks to undermine all continuities. It also incorporates and opposes generatively-diverse material-parts. The pursuit of binary sculpture-noises to juxtapose the mostly-post-War paradigm is a key focus of my synthetic study. It must be remembered that challenging approaches, especially if they are complex (or even microtonal), should be avoided. As a primarily stylistic artist, I aim to integrate the unity within triadic-possibilities, and bring forth a single polyphony that really interprets the most tense issues.
To mix is a natural desire, but my current compositional activity seeks to inform all aesthetics. It also superimposes and examines neo-Romantically-literal riff-instrumentations. It is of paramount importance that contemporary, intellectual continuity-non-linearities must never be allowed to become discontinuous, or symbolically complex. My work has been seminal in the development of ‘iconically-gestural theoretical-music’, a highly intellectual, and rather non-linear genre. My style is the only one of its kind, due in part to the inclusion of highly-orchestral semitone-linearities, with a hint of so-called ‘module-melodies’. It must be remembered that dominating pitches, especially if they are melodic (or even melodic), should be avoided.