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.

　　不同类型的音乐家

　　我发现音乐史上有三种不同类型的作曲家，他们各自创作的方式有不同。最能激发公众想象力的是自发式灵感型即弗朗兹·舒伯特型。当然所有的作曲家都需要灵感，但这一类型的更具自发的灵感，音乐简直就是喷涌而出，多得来不及记录，通过他们多产的作品你几乎可以一下就认出他们。有几个月舒伯特几乎谱成一曲，伍尔夫·雨果也是如此。

　　从一定意义上说，这类作曲家不是从一个主题开始而是从一部完整的作品一气呵成。他们总是擅长短形式的作品。即兴创作一支歌曲比即兴创作一部交响曲要简单得多。要长时间连续不断的获得自发的灵感不容易，就是舒伯特也是短形式的音乐方面更为成功。自发式灵感型人只是作曲家的一种，他有他自己的局限。

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