The strictly calculated music of Nomeda Valančiūtė is, however, not technological by nature - her compositions are all based on a not easily defined intuitive impulse, which is later matured through methodical work with sound material, and then given a precisely polished form. Valanciute's minimalist idiom is connected as much with ancient isorhythmic techniques (rotating patterns of melodies and rhythms which differ in length), as it is with the principles of 20th-century repetitive music. A closer look at the composer's works and their conceptual stimuli reveals interesting internal opposites: frank emotion - and its 'suppression' via uncompromisingly austere structures; a crystal clarity throughout - and the conscious avoidance of 'beauty' (utilization of sharply 'upsetting' disonance, and frequent application of the 'out of tune' sound of a prepared piano, etc); the stance of a 'pure music' adept - and the multidimensional picturesqueness of this music, its oddly 'theatrical' manner of speaking, and a certain 'bittersweet' glamour which applies only to this composer.
