From the course: "Introduction to Electronic and Tape Composition"
by Laurie Spiegel, March 19, 1973
and excerpted at length in the book
"Music in the United States: A Historical Introduction" by H. Wiley Hitchcock, Prentice-Hall, 2nd Edition, 1974
Initial Exercises in form- Laurie Spiegel, 1973 Some Gross Oversimplifications (or) Some Possible Shapes for Sound Composition (or music) Selected out of Infinite Possibilities (and presented as aid for composing) I. Static forms (A sound or texture is maintained.) A. For use as an environment or atmosphere, or to produce (or maintain) a mood. B. In order that our way of perceiving it may change with time (the purpose of art not being self-exploration here but self-alteration). C. As a background for some other form of change which is taking place (in another medium such as dance or film, in the environment, or in instrumental music which may be accompanied by a tape, et cetera). II. Evolutionary forms. A. One type of sound or texture gradually changes into another. B. A sound or texture prepares you for another, perhaps building a sense of expectation so that what follows it seems natural. III. Climactic forms. A. A single sound or texture is intensified in one or more ways (loudness, range, tempo, density, etc.) until a climax or release takes place. B. A climax is reached by gradual addition of sounds or layers of sound, each of which may be becoming increasingly intense in itself. C. A succession of sounds is presented, each more intense than the one before it. Each sound may or may not build toward the level of the one that will follow it. IV. Dialog forms (2 or more distinctly different sounds or textures brought into interaction with each other). A. They begin as separate but eventually merge into one, or find some relationship to each other. B. One of several equals eventually dominates of others.