Slettet bruker sa for 13år siden:

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Mirasol sa for 13år siden:

:lol: Denne sendes sporenstreks til en jeg kjenner, jeg må opplyse om at hennes kilde er blitt oppdaget! :eek: :humre:

Honda sa for 13år siden:

Denne var fiin :fnis:

Didjeridust sa for 13år siden:

Hehe - artig

Finst ein annan variant her som samtidskomponistar kan bruka for å skriva noko djupsindig forklarande om kva dei driv med:
The contemporary classical composer's bullshit generator

Didjeridust sa for 13år siden:

Døme 1:
I coined the term 'reverberation-synchronisation-music' to describe my most radical approaches to chromatic composition. As a rather Schoenbergian composer, I yearn to integrate, and dismiss visually-post-serial pitches, an approach that features prominently in my recent apparent works. It is always crucial to compose a sense of 'linearities of narrative', never more so than today. Rather than technically exploring semantic imitations, I now prefer recreating heterophonic types of platform, in conjunction with highly conceptual passages. When planning my temporal visions, I often find that improvising a somewhat orchestral array of musical expressions helps a great deal.

Døme 2:
It is of paramount importance that popular, artistic reaction-modules must never be allowed to become polyphonic, or modernistically complex. I build upon the so-called 'oscillations of aleatoric tensions', and transform them into what I term 'multi-timbral-pre-recorded expression-transcriptions', which I see as a distinct improvement. When planning my conceptual methods, I often find that exploring a somewhat hyper-multimedia array of musical notations helps a great deal. It must be remembered that premiering juxtapositions, especially if they are absolute (or even spatial), should be avoided. My goal, in essence, is to superimpose musical non-linearities.