# How to be a thoughtful composer



## Nick Batzdorf (Sep 16, 2014)

http://www.dominicirving.com/cccbsg/

I just found this today. It's excellent.


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## Nick Batzdorf (Sep 16, 2014)

My contemporary collaborations have led me to explore the post-serial potential of challenges and hemiolas, and interpret the creation of situations in which the contextualising of a awareness has the potential to study all sorts of isomorphic sculpture-approaches. My work is, in short, a re-imagining of the 'site-specific-arrangements' school of contemporary 'source-chord' composition. Working diametricly means that my focus is always avant-gardely-based, and never post-serial. My goal, in essence, is to orchestrate musical sounds. I coined the term 'idiom-aesthetic-music' to describe my most radical approaches to tense composition. My aria-system is the only one of its kind, due in part to the inclusion of highly-avant-garde development-triads, with a hint of so-called 'movement-tempi'.


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## rpaillot (Sep 16, 2014)

I dont understand anything you said in your last post :D


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## gyprock (Sep 16, 2014)

Nick Batzdorf @ Wed Sep 17 said:


> My contemporary collaborations have led me to explore the post-serial potential of challenges and hemiolas, and interpret the creation of situations in which the contextualising of a awareness has the potential to study all sorts of isomorphic sculpture-approaches. My work is, in short, a re-imagining of the 'site-specific-arrangements' school of contemporary 'source-chord' composition. Working diametricly means that my focus is always avant-gardely-based, and never post-serial. My goal, in essence, is to orchestrate musical sounds. I coined the term 'idiom-aesthetic-music' to describe my most radical approaches to tense composition. My aria-system is the only one of its kind, due in part to the inclusion of highly-avant-garde development-triads, with a hint of so-called 'movement-tempi'.



Translation:
"I start with a C triad and go from there"


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## RiffWraith (Sep 16, 2014)

_Rather than spectrally visualising semantic fundamentals, I now prefer composing sequential types of riff, in conjunction with highly intra-polytimbral canons. My aim is simple - to interpret all linear intellectual-echoes, whilst simultaneously (and intellectually) contextualising the idea of 'linear-installation-phrases'. It is of paramount importance that polyrhythmic, semantic leitmotif-arias must never be allowed to become choreographic, or cognitively complex. I build upon the so-called 'semitones of diametric vibrations', and transform them into what I term 'melodic-additive modulation-methods', which I see as a distinct improvement. I coined the term 'chord-structure-soundscape-music' to describe my most radical approaches to technological composition. My most personal frequency always features strongly in any of my binary compositions. _

"types of riff"??? :roll:


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## cmillar (Sep 16, 2014)

Priceless and funny!

..... but, sadly, this type of 'talk' helps some people get great grants, teaching positions, interviews in influential media, etc.

You know.... bullsh*% baffles brains.

Check out a lot of verbage from the 'Village Voice' hyping 'downtown' NYC composers from the 1990's. Some of them must have been the inspiration for the site!


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## Carbs (Sep 16, 2014)

gyprock @ Tue Sep 16 said:


> Nick Batzdorf @ Wed Sep 17 said:
> 
> 
> > My contemporary collaborations have led me to explore the post-serial potential of challenges and hemiolas, and interpret the creation of situations in which the contextualising of a awareness has the potential to study all sorts of isomorphic sculpture-approaches. My work is, in short, a re-imagining of the 'site-specific-arrangements' school of contemporary 'source-chord' composition. Working diametricly means that my focus is always avant-gardely-based, and never post-serial. My goal, in essence, is to orchestrate musical sounds. I coined the term 'idiom-aesthetic-music' to describe my most radical approaches to tense composition. My aria-system is the only one of its kind, due in part to the inclusion of highly-avant-garde development-triads, with a hint of so-called 'movement-tempi'.
> ...



Ok this was funny as hell, lmao!


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## Nick Batzdorf (Sep 16, 2014)

You guys did click on the link, right? 

It has been said that those who layer a musical transcription are unable to layer or superimpose procedures, at least not rationally, but I fundamentally disagree. By engaging in choral interpreting, I seek to overcome the existing professional models, and establish a more symmetrical and semi-periodic paradigm. It is always crucial to morph a sense of 'sculptures of frequency', never more so than today. Except in rare cases (for example, when you are re-cultivating a particularly apparent set of performers), contemporary composers of 'notation-music' should avoid the use of players. My aim is simple - to deny all semi-symbolic pro-electronic-tone-rows, whilst simultaneously (and asymmetrically) denying the idea of 'intellectual-imitation-reactions'. The pitch-class is the single most important element in any post-Schoenberg composition, and my own work seeks to explore (and mix) this in the context of 'composer-triad-sketches'.


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## vlad (Sep 16, 2014)

many thanks for the link.

you made my day


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## Daryl (Sep 17, 2014)

Marvellous. Now I don't have to come up with any blurb for my albums. Thanks for this fantastic time saver.

D


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## bryla (Sep 17, 2014)

I'll soon be writing a lot of press releases


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## Leon Willett (Sep 18, 2014)

lawl :D


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## skyy38 (Feb 3, 2016)

Nick Batzdorf said:


> My contemporary collaborations have led me to explore the post-serial potential of challenges and hemiolas, and interpret the creation of situations in which the contextualising of a awareness has the potential to study all sorts of isomorphic sculpture-approaches. My work is, in short, a re-imagining of the 'site-specific-arrangements' school of contemporary 'source-chord' composition. Working diametricly means that my focus is always avant-gardely-based, and never post-serial. My goal, in essence, is to orchestrate musical sounds. I coined the term 'idiom-aesthetic-music' to describe my most radical approaches to tense composition. My aria-system is the only one of its kind, due in part to the inclusion of highly-avant-garde development-triads, with a hint of so-called 'movement-tempi'.



A great example of pseudo intellectual podism.


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## Ned Bouhalassa (Feb 4, 2016)

I feel a semi-periodic paradigm coming on. Blame the coffee.


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## Guffy (Feb 4, 2016)

There's some composers around that talk like that. Everytime i read one of their sentences i can't help but think of that contemporary bullshit generator


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## tarantulis (Feb 4, 2016)

I need a shower.


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## Rodney Money (Feb 4, 2016)

Let your music do the talking.


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## Jaap (Feb 4, 2016)

Rodney Money said:


> Let your music do the talking.



My music lets me do the talking


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## Rodney Money (Feb 4, 2016)

Jaap said:


> My music lets me do the talking


Me too, haha.


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## dgburns (Feb 4, 2016)

Nick Batzdorf said:


> http://www.dominicirving.com/cccbsg/
> 
> I just found this today. It's excellent.



I get a "page not found" link,or is that the joke,.....I'm slow either way so be patient 

me thinks you've found the musicese,as in our version of legalese we so often see in contracts.


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## GULL (Feb 4, 2016)

Nick Batzdorf said:


> You guys did click on the link, right?
> 
> It has been said that those who layer a musical transcription are unable to layer or superimpose procedures, at least not rationally, but I fundamentally disagree. By engaging in choral interpreting, I seek to overcome the existing professional models, and establish a more symmetrical and semi-periodic paradigm. It is always crucial to morph a sense of 'sculptures of frequency', never more so than today. Except in rare cases (for example, when you are re-cultivating a particularly apparent set of performers), contemporary composers of 'notation-music' should avoid the use of players. My aim is simple - to deny all semi-symbolic pro-electronic-tone-rows, whilst simultaneously (and asymmetrically) denying the idea of 'intellectual-imitation-reactions'. The pitch-class is the single most important element in any post-Schoenberg composition, and my own work seeks to explore (and mix) this in the context of 'composer-triad-sketches'.



404 Error


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## Ethos (Feb 12, 2016)

Yeah, I just found this thread and would love to read that article as well but it's missing. Does anyone have it?


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## neblix (Feb 13, 2016)

I will explain the joke for those who are not in the know.

The linked page is (used to be) a generator for "contemporary bullshit". It uses linguistic algorithms to synthesize a paragraph of common words and sentence structures used in intellectual/academic musicology and music theory. It doesn't actually aim to make coherent sense, it simply strings words together in grammatically correct ways to create humorous results.

The first response of the thread is an example of something the generator will come up with:


> My contemporary collaborations have led me to explore the post-serial potential of challenges and hemiolas, and interpret the creation of situations in which the contextualising of a awareness has the potential to study all sorts of isomorphic sculpture-approaches. My work is, in short, a re-imagining of the 'site-specific-arrangements' school of contemporary 'source-chord' composition. Working diametricly means that my focus is always avant-gardely-based, and never post-serial. My goal, in essence, is to orchestrate musical sounds. I coined the term 'idiom-aesthetic-music' to describe my most radical approaches to tense composition. My aria-system is the only one of its kind, due in part to the inclusion of highly-avant-garde development-triads, with a hint of so-called 'movement-tempi'.



So yes, in layman's terms, this paragraph was written by a computer that simply read a ton of academic papers in music fields and replicated the style of writing.

I used the generator a long time ago for amusement. I don't have the result save anywhere, but in essence it was a verbose description about creating a new type of music synthesized entirely out of room reflections.


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## Frederick Russ (Feb 13, 2016)

"My work has been seminal in the development of ‘apparently-percussive modernistic-music’, a highly intellectual, and rather tonal genre. Unlike traditional arts, I aim to develop collaborations, including a highly percussive motif that senses all notions of anti-unaccompanied composers. It is plainly obvious that the act of rejecting chaotic fanfares causes one to become coherent (and sometimes even postmodern), which is why I deny this approach, preferring instead to simply oppose chromatically. My goal, in essence, is to juxtapose musical semitones. Working binarily means that my focus is always percussively-based, and never orchestral."

From https://www.icareifyoulisten.com/2011/12/the-contemporary-classical-composers-bullshit-generator/


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## Nick Batzdorf (Feb 13, 2016)

Ag. He took it down.

Too bad. It was fabulous.


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