Classical music bulshit generator

bassetFri 09/12/11 15:57

I've just come across a piece of software that "wrote" the following - which is a great money-saver because nobody need ever buy the Observer or do a Kings College London music M.A. again, OR go to music students' conferences.

Just remember - it's THE ARTS darling. But for this piece of software you might be helping finance this stuff out of the public purse.

Except in rare cases (for example, when you are sensing a particularly similar set of spaces), contemporary composers of 'unity-music' should avoid the use of counterpoints. When planning my octatonic possibilities, I often find that sensing a somewhat temporal array of musical spaces helps a great deal. My goal, in essence, is to juxtapose musical relationships. My latest piece begins with a rather fragmentary 'synergy-movement', before eclecticly transforming the existing electronic material into a more chaotically-contrapuntal state, a process I term 'theatrically-chromatic-influencing'. It has been said that those who compose a movement are unable to morph or modulate compositions, at least not influentially, but I fundamentally disagree. My work is, in short, a re-imagining of the '21st-century-conflicts' school of contemporary 'hemiola-mechanism' composition. To juxtapose is a natural desire, but my current compositional activity seeks to improvise all interactions. It also suggests and improvises semantically-generative dissonance-phrases. It must be remembered that improvising approaches, especially if they are gestural (or even textual), should be avoided. I spent the bulk of my composition degree spatially writing percussive continuity-music, a most rewarding (if anti-textual) pursuit. I build upon the so-called 'compositions of developmental noises', and transform them into what I term 'contrasting-post-modern player-clusters', which I see as a distinct improvement. Rather than neo-Romantically transforming post-Wagnerian melodies, I now prefer influencing modern types of tone, in conjunction with highly poly-theoretical interactions. By engaging in semantic rejecting, I seek to overcome the existing temporal models, and establish a more post-War and Wagnerian paradigm. I was first introduced to the concept of 'fragmentarily-disparate illusion-narratives' last year, and it has allowed me a greater depth of improvisations, especially whilst challenging the ultimate interaction. My work is, in short, a re-imagining of the 'radical-hemiolas' school of contemporary 'chord-structure-continuity' composition. I am very much influenced by the idea of creating serialist meanings, particularly whilst combined with a highly diverse approach to meanings. I have found that dynamic systems, in combination with iconic oscillations enable me to chromatically transpose brand-new rhythms in a highly semi-subtractive and extremely stylistic way. I build upon the so-called 'performers of popular tritones', and transform them into what I term 'dramatic-technological illusion-sketches', which I see as a distinct improvement. I was first introduced to the concept of 'virtuosically-passive aesthetic-riffs' last year, and it has allowed me a greater depth of melodies, especially whilst abandoning the ultimate tessitura. It is of paramount importance that popular, modern analysis-idioms must never be allowed to become improvisatory, or monophonically complex. Combining resonances, key-signatures and gestures (as well as atonally premiering), my overall aesthetic is that of the 'virtuosically-coherent' school of contrasting substances. To challenge is a natural desire, but my current compositional activity seeks to compose all phrases. It also challenges and challenges post-War-ishly-Expressionist polyphony-fanfares. My work has been seminal in the development of 'technically-experimental 21st-century-music', a highly intellectual, and rather semantic genre. The most important tip I can give anyone is this: Never inform experimental studies; rather, endeavour to transcribe your minimalistically-instrumental gestures. My goal, in essence, is to explore musical resonances. As a primarily sonic artist, I aim to influence the commission within multi-harmonic-novelties, and bring forth a single non-linearity that really seeks the most 12-tone issues. My work has been seminal in the development of 'solitarily-coherent unique-music', a highly intellectual, and rather structured genre. The fact that themes tend to (at least in their intra-innovative state), intra-dramatically incorporate, even in the presence of a strong cluster, is, you will agree, patently absurd. I coined the term 'aesthetic-reaction-music' to describe my most radical approaches to fragmentary composition. My work is, in short, a re-imagining of the 'contemporary-tetrachords' school of contemporary 'cadence-vision' composition. My work aims to compose extendedly-chromatic methods with discontinuously-spatial expressions whilst challenging certain hexachords or neo-cognitive silences. Working structuredly means that my focus is always improvisatorily-based, and never triadic. My latest piece begins with a rather active 'relationship-invention', before generatively transforming the existing unified material into a more complexly-distorted state, a process I term 'complexly-apparent-integrating'. To put it concisely, the literal forms of any given leitmotif must never clash with the ultimately 21st-century endeavour of developing perceptions wherever possible. It is of paramount importance that creative, neo-dramatic force-textures must never be allowed to become generative, or coherently complex. I have found that triadic systems, in combination with similar elements enable me to microtonally allow brand-new experiences in a highly creative and extremely pre-conceived way. It is of paramount importance that unified, conceptual style-techniques must never be allowed to become orchestral, or Wagnerianistically complex. As a primarily innovative artist, I aim to morph the chord within experimental-melodies, and bring forth a single vision that really informs the most conceptual issues. One of my most sequential influences is the concept of informing contrapuntal pitches, which morphs my juxtaposition and causes my pitch to become somewhat multimedia. By engaging in influential seeking, I seek to overcome the existing simultaneous models, and establish a more spectral and cultural paradigm. The pursuit of semantic idiom-synergies to incorporate the mostly-percussive paradigm is a key focus of my anti-contrasting study....

#13833Fri 09/12/11 16:05

is this related to having many Monkeys and typewriters ?

maguaFri 09/12/11 16:21

oh this reminds me of the post modernist generator

http://www.elsewhere.org/pomo/

1. Expressions of rubicon

If one examines rationalism, one is faced with a choice: either reject Baudrillardist simulation or conclude that sexual identity, somewhat surprisingly, has significance. But the main theme of the works of Joyce is not theory as such, but subtheory. In Finnegan's Wake, Joyce examines precultural textual theory; in Ulysses, although, he affirms rationalism.

The primary theme of Brophy's[1] analysis of Batailleist `powerful communication' is the dialectic, and some would say the futility, of subsemiotic class. In a sense, Derrida promotes the use of Sontagist camp to deconstruct capitalism. The main theme of the works of Joyce is not, in fact, deconstructivism, but postdeconstructivism.

Thus, Cameron[2] states that we have to choose between precultural textual theory and dialectic narrative. The premise of rationalism implies that the significance of the writer is deconstruction.

However, the example of Batailleist `powerful communication' prevalent in Joyce's A Portrait of the Artist As a Young Man emerges again in Finnegan's Wake. Derrida suggests the use of Batailleist `powerful communication' to analyse society.

Therefore, rationalism holds that class has intrinsic meaning, given that Foucault's model of Batailleist `powerful communication' is valid. The characteristic theme of Drucker's[3] essay on rationalism is the difference between sexual identity and society.
2. Batailleist `powerful communication' and predialectic objectivism

'Sexual identity is part of the collapse of narrativity,' says Marx; however, according to Wilson[4] , it is not so much sexual identity that is part of the collapse of narrativity, but rather the fatal flaw, and subsequent futility, of sexual identity. But any number of sublimations concerning the paradigm, and some would say the meaninglessness, of postcapitalist reality may be found. In Dubliners, Joyce reiterates deconstructivist nationalism; in Finnegan's Wake, however, he analyses predialectic objectivism.

The main theme of the works of Joyce is the role of the observer as writer. In a sense, Batailleist `powerful communication' states that the raison d'etre of the artist is significant form. Lacan uses the term ‘rationalism' to denote the paradigm, and subsequent failure, of subcapitalist class.

Therefore, Derrida promotes the use of predialectic objectivism to challenge hierarchy. The primary theme of Scuglia's[5] critique of neocapitalist cultural theory is a subpatriarchialist totality.

It could be said that the subject is interpolated into a rationalism that includes art as a reality. The closing/opening distinction which is a central theme of Joyce's Dubliners is also evident in Ulysses, although in a more mythopoetical sense.

Thus, if predialectic objectivism holds, we have to choose between Lyotardist narrative and semiotic narrative. The main theme of the works of Joyce is the bridge between society and sexual identity.