For me "it is clear", regarding odd time signatures you are trying to say that one risks being cliché and predictable in a piece, whereas using odd meters (but the use of accents and slurs can already modify the perception of listening) creates an interruption of the constant in a work that, depending on how it has been set up, could result in being interesting, precisely because one is taken by surprise.
This is the crux of the argument I wanted to explain!
Anyway Emerson, take it with a grain of salt; I appreciate Prokofiev, Bach, Chopin, Rach, Beethoven, Liszt much more than him, but precisely because he is from our time, I considered him more than others (whom unfortunately I did not know) to try to make you understand what I meant.
Then obviously anyone is influenced by what they listen to and I absolutely do not want Piccinesco to compose what I think; we would not be free and, first of all, it is not possible to compose with someone else's head.
Odd time signatures are not the typical indication like Allegro con fuoco, Andante etc., but the duration of the measure; in Emerson and perhaps also in Prokofiev's concerto no. 2, but also in many others, some odd time signatures are present (15/16, 7/8, 5/4).
@Oracolo I already frequent concert halls, but unfortunately I never find contemporary authors to listen to because everyone performs romantic, classical, and sometimes decadent authors.
For this reason, I am in the dark about what has happened in the last century... it is very rare to attend a concert by an author from the last century (this period of time is indeed obscure to me).