图书简介

Introduction; How to use the book; Recommendations for the instructor; Chapter I - Melody (exercises 1 - 20); Preliminary notes; Melody 1 - focal point; Melody 2 - using your own scale; Melody 3 - using your own scale and a subset; Melody 4 - using your own scale with a substitute pitch; Melody 5 - a scale in a given order; Melody 6 - a scale in a given order with ordered rhythm; Melody 7 - concatenating triads; Melody 8 - concatenating triads of any type; Melody 9 - segments of equal duration; Melody 10 - segments of unequal duration; Melody 11 - the melody of an image; Melody 12 - integer notation; Melody 13 - integer notation collections and subsets; Melody 14 - integer notation collections and transition subsets; Melody 15 - simple probabilities; Melody 16 - a twelve-tone row; Melody 17 - a twelve-tone row in palindrome; Melody 18 - intervallic content; Melody 19 - leitmotifs; Melody 20 - eliminations; Chapter II - Harmony (exercises 21 - 40); Preliminary notes; Harmony 21 - composing transitions; Harmony 22 - using segments, melody becomes harmony; Harmony 23 - axis of symmetry Harmony 24 - using the harmonic series; Harmony 25 - using the harmonic series with a pedal tone; Harmony 26 - just triads; Harmony 27 - using integer notation; Harmony 28 - diatonic?; Harmony 29 - a twelve-tone row; Harmony 30 - alla circle progression; Harmony 31 - triads that move in thirds; Harmony 32 - triads that move in thirds and progressions within a progression; Harmony 33 - polychords, triads over triads; Harmony 34 - polytonality; Harmony 35 - pedal tones; Harmony 36 - ideas using parallel modes; Harmony 37 - clusters; Harmony 38 - sequences and patterns; Harmony 39 - implied harmonies; Harmony 40 - contrafacts; Chapter III - Rhythm (exercises 41 - 60); Preliminary notes; Rhythm 41 - transformations using simple math; Rhythm 42 - using segments; Rhythm 43 - using segments per measure; Rhythm 44 - non-retrogradable rhythms; Rhythm 45 - patterns within patterns; Rhythm 46 - extracting the rhythm of a text; Rhythm 47 - why meter?; Rhythm 48 - short, long, long, short - using Morse code; Rhythm 49 - ostinato; Rhythm 50 - playing with hemiolas; Rhythm 51 - hemiolas and melodic construction; Rhythm 52 - polymeter; Rhythm 53 - metric modulations; Rhythm 54 - using rhythmic motifs; Rhythm 55 - motivic displacement; Rhythm 56 - isorhythmic motets, talea and color; Rhythm 57 - repeat signs, loops and internal spiraling; Rhythm 58 - composing with unequal rests and pauses; Rhythm 59 - eliminations, everything coming from the same tune; Rhythm 60 - perceivable and non-perceivable pulse; Chapter IV - Texture (exercises 61 - 80); Preliminary notes; Texture 61 - analyzing Chopin; Texture 62 - homorrythmic; Texture 63 - leitmotifs; Texture 64 - all the same but different; Texture 65 - phasing; Texture 66 - analyzing Debussy, plaining; Texture 67 - Liszt, simple harmonies, complex texture; Texture 68 - ostinatos; Texture 69 - letting the performer make decisions; Texture 70 - aleatoric counterpoint; Texture 71 - micropoliphony; Texture 72 - counterpoint, appropriating from Fux’s species; Texture 73 - counterpoint tree; 1:1, 1:2, 1:3 and others combined; Texture 74 - same chord, different color (orchestration); Texture 75 - the magic of the unison and timbral modulation; Texture 76 - volume of orchestration; Texture 77 - text painting, representing text with sounds; Texture 78 - heterophony; Texture 79 - using stratified layers alla Ives; Texture 80 - sound masses; Chapter V - Form (exercises 81 - 90); Form 81 - planning contrast; Form 82 - composing with modules; Form 83 - the one-way-trip composition, developing variations; Form 84 - theme and variations; Form 85 - spinning around A, rondo?; Form 86 - form as process, minimalism; Form 87 - palindromic structures; Form 88 - available forms alla Brown; Form 89 - monolithic structures; Form 90 - game pieces; Chapter VI - Pre-compositional strategies (exercises 91 - 100); Starting a new composition. Challenges and possible solutions.; Strategies.; Formal plans.; Using matrices.; Analysis and stylistic imitation.; Improvisation.; Soundscapes and nature.; Using the computer as assistant.; Pre-composition 91 - writing a compositional recipe; Pre-composition 92 - using a matrix; Pre-composition 93 - deconstructing and reconstructing I; Pre-composition 94 - deconstructing and reconstructing II; Pre-composition 95 - transcribing your own improvisations; Pre-composition 96 - bringing ideas from other worlds to your music; Pre-composition 97 - quotations as triggers; Pre-composition 98 - drawing sketches; Pre-composition 99 - oblique strategies by Brian Eno and Peter Schmidt; Pre-composition 100 - the computer as assistant; Appendix ; A) Grading rubric; B) Sample curriculums for group composition classes or individual lessons; C) Select anthology of scales and musical examples; D) Table of instrument ranges and transpositions

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