It is remarkable how poorly informed those active in musical life generally are about even the most elementary technical matters concerning contemporary music. Such a lack of knowledge would probably not be tolerated in any other profession. Since even specialised literature hardly offers solace, the present book aims to underline certain technical aspects of contemporary musical language. It has been written from the point of view of the composer rather than that of the theoretician, an approach which has its advantages and disadvantages, as one can easily imagine.

This book is intended for various categories of readers. First and foremost it is addressed to the music student of today, for whom some knowledge of contemporary music may now be considered normal. Subsequently, it is written for all musicians engaged in one way or another in new music: performers, teachers and others who in practice often face certain problems that can be solved through a deeper investigation of the structure of the musical language. But the well-informed musical amateur too may consult many chapters to his advantage.

To make matters as concrete as possible, much use is made of easily accessible scores; thus compositions are discussed that may regularly be heard in the concert hall or through recordings. Electronic music has been left out of consideration. Not only are scores scarce, but a technical approach to the subject is hardly meaningful unless the reader is at home in the world of the electronic studio.

The above-mentioned paucity of technical literature has obliged the writer to organise the content in his own way. It proved necessary, even with regard to terminology, to devise names and definitions for certain concepts. This, together with the hitherto unknown diversity of individual styles and techniques, will safeguard the reader from generalising about what is discussed, a path that would merely lead to new academicism. The specific purpose of this book is to encourage everyone to become better acquainted with living music.

Preface to the Second Edition

A period of more than seven years lies between the preparation of the first edition and this second one, a considerable length of time in view of the rapidly changing contemporary music scene.