本文藉由檢視Jacob Druckman管絃樂曲Prism第二樂章”after Francesco Cavalli”，作曲家運用一個大三和絃作為音高結構與音響設計中心思想的寫作手法，探討Druckman如何融合兩個殊異的語法（從音色角度思考的廿世紀非調性╱十七世紀調性和聲數字低音），以自創語彙展現悠游於迥異風格之間的美感。

By studying Jacob Druckman’s design of pitch and acoustic structures centering on one major triad in the second movement, “after Francesco Cavalli”, of his Prism for orchestra, we are to study how he fused two different languages -- those of Twentieth century atonal and timbral- narrative and 17th century basso continuo-- in which he showed the beauty of panning between two styles with his own creative writings.

By studying Jacob Druckman’s design of pitch and acoustic structures centering on one major triad in the second movement, “after Francesco Cavalli”, of his Prism for orchestra, we are to study how he fused two different languages -- those of Twentieth century atonal and timbral- narrative and 17th century basso continuo-- in which he showed the beauty of panning between two styles with his own creative writings.