Synopsis
The goal of this book is to aid those interested in creating good, effective, original music in any given style by revisiting and elaborating on the conventional compositional concepts put forth many years ago - concepts validated by the vast library of works (classical, popular, jazz, R & B, etc.) that have proven so successful with audiences everywhere. At the heart of this approach is a new theory of music-writing put forth by the highly-respected Hungarian musician, Tibor Serly. The theory is known as "Modus Lascivus" and is based on expanding conventional harmonic principles to reveal all kinds of new and exciting pitch relationships, which can be exploited to give a fresh and effective feel to new music of all types.
About the Author
Jerry Bilik (b. 1933), a former member of the music faculty at the University of Michigan, left academia many years ago to pursue a career in "commercial music" - arranging, composing, conducting and producing music for virtually every medium of entertainment including radio, television, films, recordings, stage, touring shows, and even Las Vegas spectacles! He began his musical career as third trombone in the Daniel Webster Elementary School Band in New Rochelle, New York, and became devoted to music while attending the National Music Camp at Interlochen, Michigan, where he wrote his first composition at age thirteen. In addition to his musical activities, Mr. Bilik has continued to teach at various institutions, and has enjoyed a second career as writer and director of numerous stage-plays and television productions. His association with several professional performing organizations and their reactions to much of the contemporary musical material coming their way has led to the creation of this book - an attempt to counteract the apparent scarcity of truly effective NEW compositions in both the classical and popular styles. In this endeavor, Mr. Bilik wishes himself good luck! Tibor Serly (1901-1978), the author's principal teacher, spent the first part of his life in Hungary where he studied with Zoltan Kodaly and became close friends with Bela Bartok. Returning to the U.S. in 1925, Serly performed as violist with the Philadelphia and NBC Orchestras. When Bartok came to America, Serly met him at the dock and became his champion, completing several unfinished works including his Third Piano Concerto. At the same time, Serly had begun work on a contemporary theory of music (Modus Lascivus) which he eventually shared with the author and which became the foundation for this text. Sadly, his life was terminated when he was hit by a London bus on his way to Hungary to receive a state honor. Hopefully, this book will help establish a valuable musical legacy for this great musician.
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