> So you'd first design timbres, and have an idea about how timbres interact, timbres change, transform to each. You may have a theory of counterpoint of timbres. Once you have this, you can apply any standard "harmony skin" on the composition and you have a piece

I asked the same question above, because I'm not sure if you're alluding to the same thing here or something different. May I have some examples of traditions which do this, with something to go listen to?