For composition in the classroom

For Composition in the Classroom Preface Acknowledgements I. Unity and Variety – intended audience – 20th century art music II. Timbre – how a sound is produced- frequency – duration – homogeneous – heterogeneous III. Dynamics – relativity of – expressive use of - balance of IV. Articulation – common articulations – jazz articulations – use of for variety – unmarked notes V. Symbiotic Relationships Part 1 – unity and variety of components VI. Meter – mathematical divisions and feel – classifications of time signatures – obscuring meter through syncopation, ties, rests, and hemiola VII. Rhythm – motifs – repetition – variation VIII. Overtone Series – definite and indefinite pitch – history of harmony – why minor sounds sad – spacing IX. Scale Systems – unity and variety within – relationship to tonality – how composers use scale systems X. Melody – melodic shape – motifs – motif development XI. Counterpoint – types of motion – imitation – counter-melody – consonance and dissonance XII. Harmony – chords – chord progressions – harmonic rhythm – non-chord tones – linear approach to – arpeggiation– polytonality XIII. Phrases – characteristics of – antecedent and consequent phrases – periods – double periods – phrase groups XIV. Form – multi-movement works– movements – function of sections – vernacular music XV. Inspiration – musical – extra-musical – what comes first is not always the beginning XVI. Symbiotic Relationships Part II – relationship between the artist and his environment classicism and romanticism – the art of music - musical metaphor and the listener, interpreter, and composer Glossary Suggested Listening Suggested Reading About the Author List of Recorded Excerpts