I remember at the start of winter quarter walking into my first composition lesson with a CD full of music that I had composed a year previous to the occasion. My professor was sort of peculiar about the style being very eighteenth century. Out of the five pieces I presented, he took a liking to two of them because of the modern style about it. As I was sitting at the computer in Finale continuing a choral work called "Gutter in the Praries," was staring at how traditional it sounded, thinking, 'There's nothing wrong with this. It's got a beautiful melody about it. Is there anything wrong with composing in the traditional vein? Not that I'm totally opposed to composing non-traditionally once in a while (Ex: "The Rise and Fall of the Rose" for solo flute that I've started). It's just that sometimes, I like to harken back to my old ways for just a bit--to have the taste of a beautiful melody. In fact, the last piece I finished, "Clarinet Sonatina" featured modal textures in F lydian and C lydian. That opened the door for me to experiment (the flute work, and another work for two pianos called "Turbulence," featuring one piano in A minor, the other in E major simultaneously). I'll probably continue in several of these experimental styles for the remainder of my academic career at Cal State while composing traditional works on the side (as well as performing pop tunes) I've got so much poetry that I'd like to incorporate into my music too. What's up with just composing avant garde? I believe that one should incorporate many or all styles into their music. Like I asked my professor, "where are we in the 21st century?" "What kind of styles are being used?"