The traditionalist type of composer begins with a pattern rather than with a theme. The creative act with Palestrina is not the thematic conception so much as the personal treatment of a well-established pattern. And even Bach, who composed forty-eight of the most various and inspired themes in his Well Tempered Clavichord, knew in advance the general formal mold that they were to fill. It goes without saying that we are not living in a traditionalist period nowadays.

　　One might add, for the sake of completeness, a fourth type of composer - the pioneer type: men like Gesualdo in the seventeenth century,

　　Moussorgsky and Berlioz in the nineteenth, Debussy and Edgar Varese in the twentieth. It is difficult to summarize the composing methods of so diversified a group. One can safely say that their approach to composition is the opposite of the traditionalist type.

　　They clearly oppose conventional solutions of musical problems. In many ways, their attitude is experimental - they seek to add new harmonies, new sonorities, new formal principles. The pioneer type was the characteristic one at the turn of the seventeenth century and also at the beginning of the twentieth century, but it is much less evident today.

　　不同類型的音樂家

　　我發現音樂史上有三種不同類型的作曲家，他們各自創作的方式有不同。最能激發公眾想象力的是自發式靈感型即弗朗茲·舒伯特型。當然所有的作曲家都需要靈感，但這一類型的更具自發的靈感，音樂簡直就是噴涌而出，多得來不及記錄，通過他們多產的作品你幾乎可以一下就認出他們。有幾個月舒伯特幾乎譜成一曲，伍爾夫·雨果也是如此。

　　從一定意義上說，這類作曲家不是從一個主題開始而是從一部完整的作品一氣呵成。他們總是擅長短形式的作品。即興創作一支歌曲比即興創作一部交響曲要簡單得多。要長時間連續不斷的獲得自發的靈感不容易，就是舒伯特也是短形式的音樂方面更為成功。自發式靈感型人只是作曲家的一種，他有他自己的局限。

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