The Contemporary Classical Composer's Bullshit Generator

I have found that octatonic systems, in combination with post-Schoenberg key-signatures enable me to repetitively interpret brand-new solos in a highly heterophonic and extremely multi-timbral way. As a highly diametric composer, I explore the connection between players and installations, and search for new ways to 'devise the opposition'. In simple terms, seeking pitch-class-perceptions (in addition to experiencing diverse compositions) is one of my most radical approaches to semiotic composition. My most personal polyphony always features strongly in any of my chaotic compositions. I spent the bulk of my composition degree Schoenbergianistically writing post-Stockhausen development-music, a most rewarding (if gestural) pursuit. As a rather choreographic composer, I yearn to abandon, and generate statically-choreographic synchronisations, an approach that features prominently in my recent critical works.