The Contemporary Classical Composer's Bullshit Generator

http://www.dominicir.../temp/cccbsg.pl

  Quote

To suggest is a natural desire, but my current compositional activity seeks to superimpose all modules. It also perceives and dominates digitally-cognitive choreography-compositions. My work aims to abandon theoretically-aesthetic motifs with harmonically-almost-rhythmic mechanisms whilst sensing certain continuities or stylistic intervals. As a highly meta-professional composer, I explore the connection between textures and noises, and search for new ways to 'examine the passage'. My cluster is the only one of its kind, due in part to the inclusion of highly-ultra-bitonal challenge-sources, with a hint of so-called 'solo-expressions'. It has been said that those who integrate a musical continuity are unable to compose or oppose pitch-classes, at least not linearly, but I fundamentally disagree. In short, the platform must never sense the method.

holy fuck lol I've been working for 12 hours straight but I haven't laughed this hard in a long time

Good post. All composers should incorporate a variety of compositions, and (if this performs collaborative works), proceed to abandon postmodernly until the best result is achieved. My newest piece examines, superimposes and generatively dismisses a massive variety of synthetic modulation-devices. One of my most diverse influences is the concept of seeking instrumental noises, which superimposes my technique and causes my analysis to become somewhat post-Stockhausen.

That sounds quite interesting... You know, I was first introduced to the concept of 'symbolically-post-musical narrative-arts' last year, and it has allowed me a greater depth of silences, especially whilst layering the ultimate semitone. My aim is simple - to transform all collaborative quartal-reverberations, whilst simultaneously (and structuredly) generating the idea of 'choral-timbre-time-signatures'. It is always crucial to inform a sense of 'pitches of dyad', never more so than today. I spent the bulk of my composition degree semantically writing avant-garde idiom-music, a most rewarding (if coherent) pursuit. My work is, in short, a re-imagining of the 'choreographic-pitch-classes' school of contemporary 'linearity-development' composition. Combining textures, intricacies and awarenesses (as well as synthetically mixing), my overall aesthetic is that of the 'heterophonically-orchestral' school of polyphonic leitmotifs.

Rather than Schoenbergianistically creating aesthetic pitch-classes, I now prefer dominating dynamic types of silence, in conjunction with highly post-serial analyses. I spent the bulk of my composition degree progressively writing non-linear key-signature-music, a most rewarding (if multimedia) pursuit. If one concept must be grasped, it is this - the orchestral art always recreates the studies, and it must do so entirely fragmentarily. Combining forces, continuities and chord-structures (as well as Romantically layering), my overall aesthetic is that of the 'Schoenbergianistically-neo-distorted' school of post-Schoenberg linearities. Unlike traditional devices, I aim to develop idioms, including a highly complex synchronisation that opposes all notions of post-Stockhausen tetrachords. As a primarily instrumental artist, I aim to recreate the meaning within post-Stockhausen-orchestrations, and bring forth a single resonance that really suggests the most choreographic issues.

ahahaha

We must shun this Post-Babbitian Anti-modernity!

  On 12/17/2011 at 10:37 AM, luke viia said:

proceed to abandon postmodernly

That's all well and good but really, I feel one must build upon the so-called 'timbres of poly-spatial mechanisms', and transform them into what I term 'modernistic-unique sound-tones', which I see as a distinct improvement. This composition morphs all sorts of transformations, before re-barring somewhat semantically, and finishing with an extremely quartal series of 'cadence-sources' (as I like to call them). If one concept must be grasped, it is this - the dramatic tessitura always creates the analyses, and it must do so entirely distortedly. My aim is simple - to inform all contrasting non-Expressionist-techniques, whilst simultaneously (and technically) allowing the idea of 'electroacoustic-invention-instruments'. I never study octaves, despite the fact that any imitation or solo can be, and has been interpreted as a rather semantically-pro-similar set of 'dissonance-instrumentations'. It is plainly obvious that the act of deconstructing multi-timbral ideas causes one to become apparent (and sometimes even post-Schoenberg), which is why I deny this approach, preferring instead to simply visualise quartally

Uh, dude, I highly disagree. The fact that modulations tend to (at least in their distorted state), choreographically oppose, even in the presence of a strong synchronisation, is, you will agree, patently absurd. It must be remembered that informing pieces, especially if they are pro-unique (or even disparate), should be avoided. I was first introduced to the concept of 'intellectually-unique solo-platforms' last year, and it has allowed me a greater depth of reverberations, especially whilst composing the ultimate octave. My work is, in short, a re-imagining of the 'orchestral-novelties' school of contemporary 'tension-orchestration' composition.

I coined the term 'dissonance-source-music' to describe my most radical approaches to chaotic composition. My novelty is the only one of its kind, due in part to the inclusion of highly-unique synergy-novelties, with a hint of so-called 'idea-clusters'. The fact that tone-rows tend to (at least in their aesthetic state), aesthetically repeat, even in the presence of a strong space, is, you will agree, patently absurd. My most personal technique always features strongly in any of my generative compositions. I have found that multi-pre-recorded systems, in combination with percussive procedures enable me to creatively sense brand-new phrases in a highly Romantic and extremely anti-tonal way. In short, the key-signature must never improvise the dissonance.

Liar is the fruit of one Bucharest-born young man's selfish efforts at cartographing the expanses of his inner mythology. The map's legend is a familiar one for the contemporary purveyor of electronic music: post-this, future-that, witch-something, bass-anything. Parallels are unwieldly when every song employs genre, style and influence as it would employ synth patches, yet every song is profusely Liar. Pertinent recognizable tropes are more in the range of childhood obsessions (whether musical or thematic); persistent vestiges of milennial angst; haunting banshee-like vocal arrangements akin to any of your favorite acapella-abusive artist; musical or textural theses on power, strength and godhood; the fact that every song is, on way or another, a love song; and lastly, faults, mistakes, hubris and deception curdling into an acquired aftertaste of blunt humanity. Press outlets will undoubtedly provide more useful and media-friendly tags. In the meantime, Liar is content to describe his music simply - both singular, and lonely.

edit: oh wait i'm doing it wrong.. this is an actual 'bio'... a human being wrote this.

profound lol!

  On 12/19/2011 at 8:35 PM, missingsense said:

profound lol!

i kinda like the stockhausen one, tbh :/

  On 12/19/2011 at 8:38 PM, iep said:

  On 12/19/2011 at 8:35 PM, missingsense said:

profound lol!

 

i kinda like the stockhausen one, tbh :/

classy bullshit :)

I wonder how he generates it, via a markovian chain? you must agree that a markovian chain will render more immediate and useable results that are more intricate in the deeper comprehension of human language patterns.

  On 12/19/2011 at 8:50 PM, missingsense said:

I wonder how he generates it, via a markovian chain? you must agree that a markovian chain will render more immediate and useable results that are more intricate in the deeper comprehension of human language patterns.

My mechanism is the only one of its kind, due in part to the inclusion of highly-psycho-unaccompanied tritone-sounds, with a hint of so-called 'motif-motifs'. My work aims to morph atonally-musical inventions with choreographically-passive tone-rows whilst mixing certain non-linearities or integral tones. My newest piece re-bars, incorporates and post-Webernistically develops a massive variety of conceptual polyphony-synchronisations.

  On 12/19/2011 at 11:24 PM, Jonas said:

heheh

+1 if you're familiar with GMKoenig's stuff

srsly, what are the odds, flol

"post-Webernistically develops a massive variety of conceptual polyphony-synchronisations."

man, we all analyzed that in sonology. you too I reckon? they adored him there. he was always the teachers prime example of what they are into. he gave a talk when I was attending.. I remember one of our teacher told us that he only ever got moved to the point of tears during one of his pieces. which I found a little silly to hear.

I used to have a backup of all the discs in the jukebox from the programming room, with all that rare shit... lost a harddrive though, need to sneak back in there sometime cause there was some good stuff on there.

profound too! ;)

  On 12/19/2011 at 11:50 PM, missingsense said:

man, we all analyzed that in sonology. you too I reckon? they adored him there. he was always the teachers prime example of what they are into. he gave a talk when I was attending.. I remember one of our teacher told us that he only ever got moved to the point of tears during one of his pieces. which I found a little silly to hear.

 

I used to have a backup of all the discs in the jukebox from the programming room, with all that rare shit... lost a harddrive though, need to sneak back in there sometime cause there was some good stuff on there.

 

profound too! ;)

reverend GMK, i saw a couple of his talks too, yeah. big up to pberg's jukebox. lol.

My overall aesthetic is that of the 'flowingly-textual' school of quartal studies. Working developmentally means that my focus is always resonantly-based, and never neo-unaccompanied. In short, the polyphony must never repeat the polyphony.

. It is of paramount importance that intra-gestural, serialist phrase-semitones must never be allowed to become developmental, or chorally complex. Unlike traditional relationships, I aim to develop conflicts, including a highly almost-contemporary performance that interprets all notions of theatrical dyads. As a rather microtonal composer, I yearn to layer, and morph generatively-post-serial dyads, an approach that features prominently in my recent pro-diametric works.

My most personal performer always features strongly in any of my non-linear compositions. My aim is simple - to allow all unique professional-chords, whilst simultaneously (and aleatorically) denying the idea of 'multi-timbral-recording-materials'. It is always crucial to deny a sense of 'arrangements of key-signature', never more so than today. Except in rare cases (for example, when you are visualising a particularly neo-Romantic set of novelties), contemporary composers of 'tetrachord-music' should avoid the use of counterpoints. Unlike traditional phrases, I aim to develop pitches, including a highly Schoenbergian style that challenges all notions of complex possibilities. All composers should challenge a variety of commissions, and (if this layers critical works), proceed to suggest linearly until the best result is achieved.

All composers should improvise a variety of novelties, and (if this cultivates spatial works), proceed to recontextualise improvisatorily until the best result is achieved. Also, my fucking face still hurts.

  On 12/20/2011 at 11:54 PM, baph said:

All composers should improvise a variety of novelties, and (if this cultivates spatial works), proceed to recontextualise improvisatorily until the best result is achieved. Also, my fucking face still hurts.

 

lol

haha this is great!

The rhythmic consequences of transforming oscillations enables the use of a single development amongst many pre-conceived perceptions. I am very much influenced by the idea of transforming bitonal processes, particularly whilst combined with a highly unified approach to awarenesses. My work is, in short, a re-imagining of the 'digital-illusions' school of contemporary 'platform-idiom' composition.

I think one thing we've all been disregarding is the graphic force-music, a most rewarding (if spectral) pursuit. I was first introduced to the concept of 'resonantly-creative passage-intricacies' last year, and it has allowed me a greater depth of commissions, especially whilst opposing the ultimate pitch-class. By engaging in unified allowing, I seek to overcome the existing predominant models, and establish a more almost-quartal and post-Stockhausen paradigm. I have found that Wagnerian systems, in combination with graphic studies enable me to integrally allow brand-new chord-structures in a highly soloistic and extremely absolute way. The pursuit of ambiguous resonance-composers to morph the mostly-symbolic paradigm is a key focus of my structured study. As a primarily post-serial artist, I aim to modulate the transcription within generative-oppositions, and bring forth a single perception that really challenges the most spatial issues.

Thanks alot for this. It's so amazing!