A BRIEF NOTE on the SCHILLINGER SYSTEM ·The Scientific Way • To Success i11 Music By LYLE DOWLING • • THIS PUBLICATION ISSUED IN FEBRUARY, 1942. COPY•�••t RIGHT 1942 BY JOSEPH SCHILLINGER. THE SCHILLINGER I • system is. a set of exact techniques and procedures for the com­ position of n1usic of any style, to any desired degree of perfec­ tion, for any musical combination-from the choruses of Pal�strina or the drums of African caru1ibals, through the scores of a Wagner> Strauss or Hindemith, tlp to the most advanced hot jazz orchestra. It is unjversal in its range and i11fallible in its results. Although it is based 011 wholly scientific procedures-and he11ce it rests on a highly mathematical approach-the Schillinger system is not taught, as many wrongly believe, as a branch of mathematics. Instead, it is taught as a set of easily learned, easily understood exact process.es requiring only 11or­ mal intellige11ce and a grade-school ttnderstanding of arithn1etic to master. The success of the system does not rest on the clain1s of its originator or of its many practitioners, but on the demonstra­ ble results attained by the Schillinger system. In the field of applied, or so-c.alled "commercial," music, the results arc phenomenal. The work: of Schillinger-equipped composers a11d arrru1gers in radio, in motion pictures, as co1n­ posers or arra11gers for leading dance orchestras, is notable not only for its perfection, its popular appeal and freshness of 1 Developed by ,Joseph Schillinger. 3 See biographical note on Page 9. ideas, but also for the extraordinary speed and volume i11 which such work can be •produced. The Schillinger system thus places its practitioners quite above ordinary competition, as shown by the fact2 that i11 at least one-half of the national radio programs in which music is an ingredient, the system is used. In the field of so-called "pure" music, the ,vork of Schillinger equipped composers in symphonic, operatic and chamber-music forms is comparable to the best music of any period. DURING THE MANY CEN'l'URIES IN WHICH THE ART OF music has bee11 practised, investigators since the time of Pytha­ goras have sottght to work out systems or theories of music. The last century produced highly complicated and ingeni­ ous theories of both the "musical" and the "scientific'' kind. These theories have been a11d now are ,videly taught in music schools, universities and conservatories. But these theories have become a11 isolated subject to them­ selves, with little or no correspo11dence to the actual facts of music. One system has developed out of another sy�tem, rather than out of the real art of music. As a result, 110 011e expects such theories to be of much actual value in the compositio11 of music. Eve11 the most ardent exponents o f such theories do not prete11d that their methods, for example, in counterpoint would enable a student to write, let us say, a fugue in the style of J. S. Bach. It is weJ] known that such theories do not produce any st1ch results whatever. Students of such theories have necessarily become aware 0£ serious shortcomings in the systems. They have lear11ed from their own experience that even whe11 st1ch pseudo-systems are fully mastered, the student is still unable to compose music. The main practical defect of such pseudo-systerns has been that they simply do 11ot work. 2 See partial list of students of Schillinger system, on Page 9. 4 • The student learns an elaborate set of cor1cepts wl1ich do not enable him actually to compose--or even to "arrange"­ music. To make up for the gross failures of such pseudo­ systems, the student is told that he must piece out the system ,vith a mysterious quality called "taler1t" or "genius.'' In tlus way, the assertion that the student "lacks talent" conceals tlie fttct that the theory itself is a failure. The blam.e -is thus put, not where it belongs, on the theory, but on the student. Such defective theories not only fail to produce practical results; they take a long time to learn. Being basically unscientific and unsystematic, such theories are hard to learn; and because they do not correspond to the actual facts of music, neither their many "rules" nor their even more numerous ''exceptions to the rules" have any useful practical application. • THE SHORTCOMINGS OF THEORIES PRIOR TO THE Schillinger system precipitated the art of music into a predicament jn which the theory and the facts of the art had 110 corresponde11ce to each other. The theories were to a substan­ tial extent misinformative and valueless. It became obvious that either music was in fact a phenome­ non that could not be explained or produced by rational means, or else that music could be so explained and produced, but that no one had yet found the key to the method. 011e of the ma11y composers aware of this predicament into which the practice and theory of music had fallen was Joseph Schillinger. By chance, there had beer1 con1bined in Schillinger much ability and experience in music along with a strictly scie.ntific and mathematical ed1.1cation. Schillinger determined to solve the problem, if it could be solved, and was able to utilize his scientific equipme11t ir1 the task. His first task was to determine, 011 a basis of facts rather than speculation, whether the music of the concededly great composers-Bach, Mozart, Beethoven, Wagner, and scores of others-was co11structed on rational principles or not. 5 • • Schillinger applied to thousands of actual works of these concededly great composers the powerful instrument of advanced mathematical and scientific analysis. Schillinger discovered that great 1nusic was, i11deed, con­ structed according to accurate and precise prin€ip1es. These principles, he found, were for the 1nost part entirely \tnsuspected by such theories as were then (and are still) in vogue. Just as Einstei11 successfully solved with a superior analytical equip1nent problems which had bee11 thought insolu­ able, so did Schilli11ger discover the fundamental and infallible procedures underlying the co1nposition of music. Schillinger's next task was to carry this process to its con­ clusion and to work out carefulJy not only all the procedure which the great composers had used, but to systematize the many additional procedures which the great composers had either not used at all, or had used in 011ly imperfect forn1s. The final and decisive step was to determine whether these prin<;iples could be reduced to exact procedures, comprehe11si­ ble to pers011s not trained in scien.ce or mathematics, so that such persons• •might successfuJly apply the pri11cip1es in actual compos1t1on. This final step was also a success. THE QuESTION REMAINED: How CouLo THE PRACTICAL value of the Schillinger system be proved beyond any doubt? True, Schillinger's own compositions had received wide acclaim for their merit and originality. But this could not be regarded as a definite test, for such acclaim in the field of �a-called "pure" music depends 011 a great many casual, acci­ dental and subjective factors. It was necessary to find some test which would not depe11d for its outcome on accidental likes and dislikes, but on pt·actical and factual conditions. Observing that the art of music has its closest connections with the real world in the form of its so-called popular musicsuch as radio music, cinema music, popular songs, dance music, 6 - I etc.-Schillinger determi.t1ed that this, and not a handful of specialized ctitics, would provide the most exacting test of his system. Composers a11d arrangers in the so-called "commercial" field of music work in a highly competitive field. Their incomes depend on whether they can "deliver the goods" or not. rfhe success of a musicia11 in this field does not depend on whether someon.e thinks a system is good, or not; it depends on the results achieved i11 the form of actual n1usic composed. THus MADE AvAJLABLE To n1usicians and arrangers in this field his own system, students equipped with the Schillinger system suddenly found them­ selves able to produce so much more, with so vast a range of ideas, to any desirable ( or saleable) degree of originality, that they quickly rose to the top of their profession. Ma11y went further, and used the Schillinger syste111 not simply to earn their livu1gs, but to branch out of the com­ merci�l field to compose so-called "pure" music of a high degree of perfection. Schillinger-equipped musicia11s, either .in commercial or pure composition, do 11ot have to depe11d o.n imitations of other composers for their origi11ality; instead, they have inexhausti­ ble sources of ge11uu1ely novel musical ideas. Today, most of the leading radio stations, chains, a11d numerous top-11otch dance bands and motion picture 1nusic departme11ts have musicians 011 their staff who use the Schillinger system. The results of the systen1 do 11ot depe11d in any way on the emot.io11s, the ''mood," or the "talent" of the practitioner. Procedures are provided for a11y possible musical result; and when the procedures are applied, the results infallibly follow, regardless of how the co,nposer may be feeli11g at the time. \VHEN ScHILI.rNGER Po1N·r OF VIEW, THE SCHILLINGER system is remarkable because it solves all musical problems, u1cluding many problems the existence of which was not FROM A Mus.1cAL 7 hitherto known. It is 11ot uncommon for Schillinger-equipped students to use in tl1eir radio and motion picture work technical devices entirely urtknown in other systems, but easily 111._astered u11der the Schillinger system. Co1nposers using the Schillinger system 6.11d that, i11 addition to its practical and commercial usefulness, it enables thern to become gent1inely creative musicians. Some who are not acquainted with the Schillinger system erroneously believe that it is rigid, ((cut and dried" and inelastic. But the co11trary is the case. The Schillinger syste1n, by making in1mediately available all possible musical procedures, does 11ot restrict the composer but, 011 the contrary, sets the composer free by enabling him to master the e11tire range of musical procedures. With the Schillinger system, the co.mposer is 110 longer limited by his own personality. He gains access 11ot merely to the fullest reaches of his own personality, but to the furthest advances in 1nany 1nusical personalities. HIS1'0RICALLY, THE SCHJLLINGER SYSTEl\11 CLOSES ONE • epoch in music a11d marks the beginning of another . The Sdiilli11ger iystem closes the epoch in which the theory of music did not correspond to, 11or make any valuable con­ tribution to, the practice of the art. Henceforth, musicians who do not avail themselves of the exact and successful techniques embodied in the Schillinger system put themsel'7es at a serious disadvantage; they are, in effect, trying to practice their professions without equippi11g themselves with the scientific knowledge w11ich is readily avail­ able. It is as if a machinist tried to 1nake an aeroplane without using moder11 n1achine tools. The Schilli11ger system opens aJ1other epoch-the epoch in ,vhich the fullest mastery of the means of musical composition is for the first time brought within the reach of any normally intelligent man or woman). without regard to subjective factors -such as those commonly called tale11t or genii,s. 8 I l BIOGRAPHICAL INFORMATION J lecturer,SCHD,LINGERcomposer, author. Bern in Khar­ seurn of Columbia University. B e ­ came citizen of United States in 1936. Evolved first scientific theory of the arts (individual and compound forms based on the five senses� space and time) : "The Mathen1ati­ cal Basis of the Arts." OSEPH ko:v, Russia, September 1, 1895. Head of music department, Board of Education, Ukraine ( 19181922) . Consultant to U. S. S. R. Board of Education (1921-1926). Consultant to Leningrad Board of Education (1922-1926) : Professor and member, State Institute of History of Arts (1925-1928) . Came to United States in 1 928 on invitation of American Society for Cultural Relations with Russia, to lecture on contemporary Rus­ sian music. Collaborator with Leon Theremin, 1929-32. Lecturer and instructor, 1932-36, at David Ber­ end School of Music, Florence Cane School of Art, New School for So­ cial Research, New York Univer­ sity, and in Mathematics, Music and Fine Arts departments of Teachers College, Columbia Uni­ versity. Has exhibition of geomet­ rical design in Mathematics Mu• FURTHER REFERENCES: See Coniposers in America, by Claire Reis (Macmillan, 1937) t Com1Josers of Todc,y, by Davia Ewen ( H. W. Wilson Co.J 1934) ; Mac»niUan Dictionary or Music and Musicians (Macmillan, 1936 ) ; International Gyclcpedia of Music and Musicians, by Oscar Thomp­ son (Dodd, Meam­ poser, arranger, CBS, music di­ rector, RKO. Stulce, Freddie--saxophonist, a r ­ ranger, Tommy Dorsey Orches­ tra. T. Torbett, Dave - arranger, Isham Jones, Rubinoff, Freddie Rich. u. U8ifer, Joe (Paul Lava�) - com­ poser, arranger, clarinetist, con­ ductor, NBC. V. Van Cleave, Nathan £.-arranger, Stevens, Kostelanetz, Leith Whiteman, Mark Warnow, Gus Haenschen, Lawrence Tibbett, Grace Moore, Jerome Kern, Bobby Dolan; Wilfred Pelletier. Welch, Willia1n A., Jr.-arranger, CBS, Leith Stevens. Wingert, Ralp�arrange1·, Horace Heidt; b:umpetet. Winters, John-organist, arrange1·, NBC. w. Warburg, Gerald F. - 'cellist, Stradiva1·ius Quartet, conductor, B1·ooklyn Symphony. Weiner, Lazar-composer, conduc­ tor., Workmen's Circle Chorus. l-Veinstein, Milton - pianist, ar­ ranger, Richard Himber. z. ZimbaHst, Samuel-violinist, com­ poser. A FEW EXAMPLES The following is not a co1nplete list, but is in.tended to illustrate the wide 1•a,nge of 1nusica,l activities of Schillinger-equipped musicians. LEVAN'!' (Oscar) - Oaprice for Orchestra, Russell Bennett's Notebook, WOR, . 1940; Piano Concerto, 1942. ROYAL (Ted) -Louisia?UJ, Suite, Russell Bennett's Notebook, WOR, 1942. VAN CLEAVE-Etude for Or­ chestra, Russell Bennett's Note­ book.I. WOR, 1941. Improvisation in .:,cherz'o, CBS String En­ semble, 1940 . WEINER-Legend of Toil {can­ tata) at Town :a:all, 1935. Man in the World (cantata) , Work­ men's Cir-cle Chorus, Town Hall, 1940. OPERA GERSHWIN - Porgy and Bess, Guild Theater, 1935; revived, 1942. MURRAY - Esther, CBS, radio opera, 1941. • SYMPHONIC COPPOLA-Danse Paoane, Rochester Philharmonic (Iturbi) , 1939, Detroit Symphony, 1942. DUKELSKY- End of St. Pet6!1·s­ burg (cantata) , Schola Cantor­ um and New York Philharmonic at Carnegie Hall, 1938. Dedi­ caces, by Boston Symphony {Koussevitsky) , 1939. GE'RSCHEFSKI - ,Classic Over­ ture, at Yaddo Festival, 1937. Discha1·ge in E, at commencen1ent Northwestern University, 1937. 1939 World's Fair Fanfare, by League of Composers, annual 1·adio broadcast WABC, 1939. Save the Saugatuck, by CBS Symphony (Barlow) on WABC, 1938. GERSHWIN - Cuban Ove-1·twre, reorchestrated by Van Cleave (q. v.), Lewissohn Stadium, 1932. LAVAL (Paul) - Syniphonic ,flhumba, N Y A Symphony, WNYC, 1940, and NBC Sym­ phony (Frank Black), 1941. CHAMBER MUSIC 12 COPPOLA - George Bernard Shaw, fo.r male quartet and chamber orchestra, CBS (Sime­ one). LeFLEU R - Nocturne Arabe, at concertina i-ecital of Raphael, Town Hall, 1936. LEVANT (Oscar)-String Quar­ tet No. 1, annual broadcast of League of Composers, WABC, 1988. WEINER-To the Worke1·, Work­ men's Circle Chol'us, Town Hall, 1936. • SHOWS (ARRANGERS) POWELL-Let 'Em Eat Cake (Gershwin), 1933. BRODSKY (Irving) - George White's Scanda,ls, VTCE. Ziegfeld Follies (songs by Vernon Duke), 1936. . LEVANT (Oscar)-The A1neri­ ca,n Way, 1939. MONTGOMERY--Virginia. (1987). ROYAL (Ted) - Keep Off_ the 01·lea_ns Grass, Gay .New (World's Fair), I Wa,lk With Music, DuBarry W--Van Cleave, Levene, Stevens, Sterrett. 28 By Corwin-Lyn Murray Ad11entu1·es of Ellery Queen,­ NBC and CBS (Murray, Paul). Manhattan at Midnight - NBC (Paul) . . A.ldrich Farnily- NBC (Jack Mil­ ler). City_ Desk-CBS (Paul). Michael and Kitty-NBC (Mur­ ray). BACKGROUND MUSIC STEVENS and STERRETT - for Alice in Wonderland, WABC, 1937. For Alice Tlvrougk the Looking Glass, WABC, 1987. F(?r Tish, WABC, 1937. For Bio ToW?h OBS Holly-wood, 1939. RECORDS (A few records on which _origi1ial music, and/or orchestr·ations of various kinds by Schillinger stu­ dents rnq,y be heard) KOSTELANETZ ORCHESTRA--Colum­ bia Maste1·works Set M-430. MEYER DAVIS ALBUM OF VINCENT YOU?ifAN'S SONGS-Columbia 0- A FEW RADIO PROGRAMS Around Ne10 York-OBS (Leith Stevens, Sterrett, Geo,rge Lee­ man, Gus Levene) . This Is War- Government Pro­ gram (Lyn Murray) . 77. 13 BASIN STREET CHAMBER l\'lus.ro So­ CIETY- 2 albums by Victor (P56, P86). BIRTH OF TllE BLUES - Henry Levine Oi·chest1·a (Victor Album P-82). ADVENTURES OF MARCO Pow-Vic­ tor Albun1 P-90. "OAHu"-Wayne King Orchest1·a, Victor 27588. PORGY AND BESS selections (Gershwin) on Victor 11879, -80, -81, and 26359. CuaAN OVERTURE (Gershwin) Decca, 29053-54. LET 'EM EAT CAKE---Victor 24, 429. MOONLIGHT SERENADE - (interest­ ing example of successful popu­ lar song fu·st written as exercise in S.c,hillinger systen1 by Glenn Miller), Glenn Miller's Orches­ tra, Bluebh·d B-10214. • • El.ect1"ic· ity, the, Liberator of Music - Modern Music, Volume 8, 1931. Excerpts from a Theory of Synchrotiization - Experimental Cinema, No. 5, 1934. The Destiny of the Tonal Art­ Proceedinga, Music Teache1·s' National Association, American Musicological Society, 1937. KALEIDOPHONE: Pitc'h,.Scales it� Re­ lation to Chord Structures - M. Witmark & Sons, 1940. Plain, Talk on Musical Gen-ius­ "Tomori·ow" magazine, March, 1942. SCHILLI GE.R SYSTEl\11 Course of Study ECAUSE THE SCHILLINGER SYS­ tern teaches the successful com­ position of 1nusic, the Course of Study (Composition of Music: General Course) follows the actual p>·ocesses of composition, 1·ather than clinging to traditional and unsu.ccessful 1·outines. Actual composition of music con­ sists, not in specialized techniques called "harn1on,y," "form," etc., but in the accurate coordination of the various elements of musical struc­ tnre. Hence, in the Schillinger sys­ tem Course of Study, there is no rigid and artificial segregation of these elements. As in great music itseli, these techniques overlap each other and are accurately co­ ordinated. In ordinary courses, actual com­ position of real music 1s invariably "deferi;ed" until so1ne years after graduatio_n. In the Schillinger sys- B PUBLICATIONS BY JOSEPH SCHILLINGER teu1, however, con1position of in­ tricate sco1·es ))egins from the very start. The student first learns how to form, quickly and accurately. rhythmic patterns of endless- vari­ ety and any conceivable length. The student then learns to coor­ dinate these ,vith their own vari­ ants. What has been learned is next applied to the theory of pitch- scales, the various tech­ niques of composing melodies f1·om given sets of pitch-units. .U:al'monic developments inherent in such scales are then studied, along ,vith such orchestral and contra,Puntal techniques as grow out of pitch­ scales. As in actual music, so in the Schillinger system melo�y is c-ompletely integrated with other musical elements. Procedures for writing successful melodies of all types, and coordination of n1elodies 14 .. • they are able to do easily by using the technics for evolution of styles. The student ends the Course of Study a finished composer, com­ pletely equipped 1.vith all necessary techniques in all branches of com­ position. SPECIAL COURSES, not in­ cluded in the GENERAL COURSE OF STUDY, are available in: In­ ter_p1·etation for Performance; Conducting· Song Writing; Ar­ ranging ; Methodology of the Sys­ tem (analysis of music, criticism of music) ; Methods of Teaching tne Systen1 ; Philosophy of Music ; Mathematical Basis of Music; and Imp1·ovisation. in any nun1be1· (counte1·point) are fully taughl Melodization of har­ mony, part-melodizatiou, l1armoni­ zation of melody, part-harmoniza­ tion, correlation of any specified number of melodies, construction of musical forn1s, along ,vith dia­ tonic, symmetrical chromatic, and strata harmony. Means of evolv­ ing one or more "styles" (whether in in1itation of old styles, 1nodern styles, or to develop hitherto un­ known styles) a1·e learned. As this work proceeds, the stu­ dent is , actually co1nposing real n1usic, ,vith a proficiency in co1n­ plex score-writing astonishing to the student hi1nself. The Course of Study also includes instrument­ ology (musical acoustics : the indi­ vidual and combinatory character­ istics of instruments) and orches­ tration. Innumerable techniques are learned which a1·e unknown out­ side the Schillinger system but which are comn1only used in suc­ cessful ·radio and cine.n1a music. Students easily learn to repro­ duce exactly the styles of any clas­ sical or modern co:mposer, includ­ ing hot jazz, ethnic music, etc. Naturally, however, students be­ come interested in developing one or more styles of their own, which ' EQUIP!l1EN'l' AVAILABLE Mr. Scbillinger's studio is fully equipped for the investigation of sound and music, and these facili­ ties are invaluable not only for ascertaining the facts about music, but £01· testing musical procedures. In addition to the usual musical instruments, the studio is equipped with a Hammond electric organ, sound recording system by MP Concert Installations, a rhythmi­ con, an oscillograph, and other acoustical and optical instruments. . • 15 • THE SC.I:11LLINGER $YSTEM IS TAUGHT BY JOSEPH SCHilr linger, 875 Fifth Avenue, Ne,v Yol'k, N. Y., to selected students. . , No previous theoretical instruction is necessary. No special knowledge of mathematics is necessat·y beyond ordinary, sin1ple arithmetic. Schedules and consultations n1ay be arranged by writing the above address or telephoning BUtterfield 8 -2107. - BY CORRESPONDENCE The syste1n is also taught entirely by correspondence. Or, for those ,vhose ,vork may 1·equire them to leave town for periods of time, their study 1nay be continued by co1·1·espondence. Mr. Schillinger is also available for technical co·nsulta­ tions on problems in coinposition, inte1·pretation, 01·ches­ tration, analysis, the "styling" of orchestl'as or radio productions, background music, lectures, developmept of rhythms for drumme1·s and so-called hot jazz "impi-ovisa­ tions." Schilling-er students who will be qualified to teach the Schillinger system will possess certificates of authoriza­ tion. Pe1·sons claiming to teach the "Schillinger system,'" but not possessing such certificates, are not entitled to do so. The Destiny of the Tonal Art JOSEPH SCHILLINGER • • • ' • • (Reprinted by permission from the Music Teachers National Association Jlolu1ne of Pr<>ceedings for I9'.>7) THE DESTINY OF THE TONAL ART Jos£PH Sc:HrLLlNC£R New York City • THE program co1nmittee of the American Musicological Society has done n1e a great honor in submitting to me the theme, "The Destiny of the Tonal Art." This necessitates my be­ ing qualified both in the matter of destiny as well as in that of the tonal art itself. And though I personally find the life span too long to be devoted to the tonal art exclusively, it seems to be entirely too short for the investigation of fatal matters. "The Destiny of the Tonal Art" seems to incorporate two major problems : one, the problem of destiny ; and, t\VO, the prob­ lem of tonal art. The span of the human race is an insignificant episode in world history. The span of arts is only an insignificant episode in the history of the human race. The hu1nan race is confined to five senses and associative orientation. Art forms are perceived through five senses and stim­ ulate associative i1npulses. Senses impose li1nitations on the art materials. The material of tonal art is limited by low fre­ quencies and lo,v amplitudes. Amplitudes may be magnified but the range of frequencies depends entirely on the evolution of the sense of hearing. The amount of "tonal matter" is very scarce in the sensory continuum. Scientific laws make prediction possible. Such is prediction from the law of gravity. ,!\rt being an evolutionary group must function through the laws of evolutionary groups. Differentia­ tion of art forms corresponds to differentiation of senses. Struc­ tural and associative patter n -making is universal. Art forms con­ sist of structural as well as -associative patterns. All evolutionary groups reveal the tendency of acceleration. Evolution of the human race as well as of our planet presents such evidence. Art is no exception to this law. 32 M. T. N. A. PROCEEDINGS, 1937 A structural evolutionary group may be expressed in the fol­ lowing concept-series : in1petus, motion, inertia, balance, stabiliza­ tion, crystallization, deposition, disintegration (transformation) . An associative evolutionary group conforms to the primary func­ tional association, dissociation (abstraction) , the secondary func­ tional association, etc. A pentacle in a starfish is a pattern crys­ tallized for efficient existence. An abstract pentacle ( geon1etrical pattern) becomes a source of new functional association, that is, it becon1es a symbol of a fighting unit (Red Army) . It concerns geological and biological as well as esthetic patterns. The ap­ pearance of new biological as well as neV1r esthetic patterns is necessitated by readjustment. All pattern making has its general source in electro-chemical patterns ot the brain functioning. According to Professor Barr, Yale anatomist, "Physiology be­ comes a branch of electrical engineering." ( 1936) Thus, geometry of thought becomes the source of universal patternmaking. This bio-geometrical generator asserts certain tendencies which in turn produce certain configurations and certain colors. Perhaps in the near future we will be able to learn that creative experiences are 1nerely geometrical projections of the electro-chemical patterns of thought on various materials having sensory effects upon us. Integration of esthetic experience assumes the following evo­ lutionary cycle: mimicry ( passive transforn1ation), magic ( active transformation), and engineering ( scientific abstraction) . The transformation of matter into energy and the transforma­ tion of a sensation into a concept (idea) finds its analogues in the history of music. The development of musical instruments and performance of music as well as the development of the for1ns of musical composition and mu�ic theories follows the same process of dematerialization ; fro!J'l the first intentional sound-production by means of the body organs, through the highest material instru­ ments (piano, organ), to dematerialized electronic instru1nents; from reliance upon the organs (lungs, vocal cords, diaphragm, lips, fingers, arms, etc.) as the agents of performance through utilization of electrical devices for the development of volume and tone quality, to elimination of the performer; from uninten­ tional improvisiation and imitation, through highl,y developed THE DESTil\TY OF THE TONAL A.RT • 33 artistic creation, to scientific creation and engineering with auto­ matic production of music and elimination of the compos-er ; from spontaneous forms induced by the biological pattemmaking, through scholastic theories of rules and exceptions, to scientific theory dealing with laws of intentional creation and developing in accordance with general science ( that is, from biological forms to numbers). Motion is the source of patternmaking. Muscular tension and release is the first source of organic sound. This has been emphasized philosophically by Aristotle : "Rhythms and melodious sequences are movements quite as much as they are actions." Ani­ mal sound contains all the components of tonal art: intensity, frequency, and duration. • The biological factors of sound are : ( 1 ) Reaction of an organism on sound as a signal of movement. (2) Connection be­ tween the increase and decrease in intensity of sound with anal­ ogous variations of intensity in the organism. Movement itself is the first source of music: periodic vibra­ tions occurring in nature produce sound - the 1r1aterial of music ; organic moven1ents ( breathing, locomotion, expansion, contrac­ tion ) produce the forms of music. Music is an expression of the forrns of 1novement abstracted from electro-physiological experience. The meaning of music evolves in the terms of physico-pbysiological correspondences. These correspondences are quantitative, and quantities express form. Our physiological experience combined with our awareness of it through our sensory and mental apparatus makes it possible for us to understand the meaning of music in terms of "actions." Thus, regularity means stability and si,nplicity means relaxation. Thus, the satisfied organism at rest is comparable to simple har­ monic motion. The loss of stability is caused by powe,rful ex­ citers affecting the very existence of the organism. Sex and dan­ ger are the exciters, love and fear are the expressions of instabil­ ity. The awareness of instability comes through the variation in blood circulation sensed through heartbeat and in blood pressure resulting in respiratory movements. The whole existence of an 34 . • M. T. N. A. PROCEEDINGS, 1937 organism is a variation of stability, fluctuating between certain extremes of restfulness and restlessness. The constitution of mu­ sic is equivalent to that of an organism. It is a variation of the stability in frequency and intensity. Music expresses the actions we know and feel through our very existence in the forms of sound waves. Now we come to the intentional biomechanical processes. Effi­ ciency of action in relation to its goal is the foundation of evolu­ tion. The forms of action by which living organisms adapt them­ selves to the goal of survival in the existing medium may serve as a fundamental illustration. This efficiency comes through "in­ stinct" among the lower species and through the conscious utiliza­ tion of previous experiences leading to deliberate efficiency among the higher. Muscular tension and release is the first instrument for the intentional action. The mechanical constitution of music varies with times and places, yet the patterns of it are familiar to us from our bio­ mechanical experiences. The "contemplative" and the "dramatic'' become t\vo poles of our esthetic reactions. They grow out of the same biomechani­ cal diads: restfulness - restlessness and stability - instability. Dramatic patterns evolve out of two sources. The first is fear (defence) [ dispersed energyJ and is caused by danger or aggres­ sion. It results in cornpression patterns. The second is aggres­ sion (attack) [concentrated energy] and is caused by an impt1lse or a resistance. It results in expansion patterns. The confusion o.f the patterns of compression and of expansion (aberration of perception caused by instability) explains why the same music sounds "passionate" to one listener and "weary" to another. This is a typical confusion observed by Professor Moore of Columbia in the tests performed with the students of non-musical depart­ ments at various universities on Wagner's "Isolda's Love- Death." When we arrive at a conception of patternmaking as an ex­ perience general to all the perceptible world, a musical phenome­ non becomes merely a special case of esthetic phenomena in gen­ eral. Its distinction from other esthetic phenomena depends not as much on the actual pattern as on the material in which th�e THll DESTINY OF THE TONAL ART 35 patterns are realized. Musical patterns do not necessarily signify the art of music. They may be created by a group of circum­ stances and not by the intentions of an individual or a collective artist. Thus, musical form may result from personal as well as impersonal expression. • The natural sources of music are in sounds as well as in the patterns of organic and inorganic worlds. In the early life of mammals, sound probably was a spontaneous reflex of vocal cords induced by fear and stimulated by the compression pattern as a geometrical expression of fear. This sound crystallizes into a signal of approaching danger. The process of crystallization it­ self is the result of repeated experiences through which the mam­ mal could learn of its efficiency. Evolution of the art of music from a signal has been substantiated by Karl Stumpf's "The Ori­ gin of Music." Sound signal coordinates the group reactions. This is the origin of the organizing power of music. Efficiency ( order, organization) results from the two opposite processes: aggression (attack) and fear (defence). Thus, we acquire all the organizing forms of music: hunt, regimental, emergency and labor signals. Hence, the deification of music as an organizing power. Music becomes a magical factor. By means of a sound signal an animal tries to induce fear into another animal. This is the first source of the incantation of evil. If a sound signal can counteract the unfavorable and the evil, it probably can attract the favorable and the good. Evocation -0f the favorable is the first religious function of music. Primitive incantations dissociate from their original magical connotations and disintegrate at the end of their evolutionary cycle in operatic, pseudo-mystical, and nursery-rime forms. If music has an influence upon the evil in the surrounding world it may have the power to influence this evil in human bodies. Henc;e, the medicinal application of music through a course of many centuries. Music as a healing device penetrated not only into such fields. as psychotherapy, hut into gynecology as well. Even today forms of treatment by means of sound waves are practiced. Scientjfically speaking, the difference between the , 36 • • M. T. N. A. PROCElllDING-S, 1937 treatment by means oJ low frequency waves (sound waves) is only quantitatively different from the treatment by means o.f waves of high frequency (x-rays). Music as an idea-forming factor has been known since Plato, Aristotle, and Aristoxe.nes. Plato in his Politeya discusses music as an ethical factor stating that the purely emotional enjoyment of music is inherent �vith slaves as well as with animals. It was a part of the school curriculum at that time to know which mu­ sical scales stin1ulate virtues. Some of the scales \Vere rejected because they had a bad influence upon the young generation. We have not progressed much since then1 We meet people in society today who believe that certain patterns in musical scales have bad influences on 01:1r generation. They have in mind certain hybrids between the ecclesiastic and religious music of England and the music of African cannibals. This ethically injurious music is so alluring that it does not affect only the "ethically drifting" young generation but some of the greatest composers of our time as well. Conten1plative n1usic has its origin in the disintegration of la­ bor processes. It is a form of movefnent by inertia or minute stimuli. Such are pastorals, barcarolles, cradle songs. This is the music of satisfaction and of contemplati.on, that is, the lyrical form of ordinance. What is an obsession - caused by fear of the unknown mysterious forces - to a primitive man assumes the form of obsession by the forces that still contain a certain amount of mystery to the civilized man. Love is one of such forces. The active and passive forms of this obsession are nocturnes, love songs, and serenades. Form� of dissatisfaction and unbalanced ex­ istence stitnulate readjustment. Readjustment calls for organiza­ tion and sometimes revolt. The expressions of dissatisfaction and revolt are revolutionary hymns and songs. The evolution of ecclesiastic music into pure music assumed the following pattern: crystallized ecclesiastic dogmas influenced music patterns directly and indirectly, thus becoming esthetic dogmas. 'I'he admiration of divine harmony as a form of p·erfec­ �on resulted in admiration of musical harmony that \VOuld sound perfect to the human ear of that time. Thus, the cult of concord was created. The evil of the primitive man assumed the form of THE DESTINY OF THE TONAL A.RT • • • 37 dissonant chords with the civilized man. Music begins to seek formal purity and becomes art for art's sake. From the bewitch­ ing concept through the glamorous, beautiful, charming, pretty1 elegant, gallant, neat, and orderly stages goes the disintegration of magical patterns. Form be.coi:nes a crystallized sche,me. De­ position and disintegration are the outcome of this evolutionary group. The cult of craftsmanship transforms into formalism and scholasticism and leads to a dead end of musical the-0ry and practice. There has always been an extensive speculation on the nature of music structures. Pythagoras transferred the meaning of mu­ sic to the motion of celestial bodies. Saint-Martin in the eight­ eenth century compared the tones of a major triad with a doubled root, with the four elements. Schopenhauer, Novalis, Spencer, and others tried to link music with architecture, poetry, and the p rocesses of life itself. There is a great variety of views on what music is supposed to represent. From its original medi.cinal connotations, music deviates into various influences in the field of psychology. Music often serves as a release of psychological obsessions. In other cases music itself beco1nes an obsession. It i$ very frequent that n1usi­ cal abilities develop on account of other abilities. There are many musicians with subnormal mentality as well as people who are insane, in the n1edical sense of this word, "V:ho possess extra­ ordinary musical abilities and almost supernaturally retentive mu­ sical me1nory. Musical trends in relation to both instruments and esthetic fonns are dependent upon sociological, economical, and technical forms. These often determine the velocity makeup of the music of a corresponding era. The educational value of music lies in the field of technical routines. In learning to play an instrument, an individual ac­ quires the ability and the coordination of his muscles and respira­ tory technique. By ,vri.ting or analyzing music, or studying in­ tellige ntly music theories, an individual acquires similar agility and coordination of bis mind. Rational musical education is more important than the immediate acquisition of one type of rou­ tine which may be useless ten years later. The education of a 38 • M. T. N. A. PROCEEDINGS, 1937 professional n1usician must include all the technical training pos­ sible, combined with a thorough knowledge of sound as material and a co1nplete understanding of the general methods involved in all musical procedures. Musical instruments as well as musical forms go through iheir continuous evolution. It may happen that in the near future neither finger agility nor sound production \\·ill be necessary any longer. It is the varieties of creative experience in n1usic that make the art of musical composition so intangible. Music may be con1posed in a rational as well as irrational way. The extreme of the latter is n1usic appearing in a dream, where the elen1ent of intention is zero. There is enough evidence a1nong composers to subst-antiate this method of creation as not being uncon11non. The intermediate form would be a semi-rational intuitive process, and the extreme a complete rationalization - the engineering of mu­ sic. Since the engineering requires mathematical technique the entire approach to music patterns must become mathematical. Scientific analysis of n1usical composition reveals that all the processes involved in creation of a musical composition are ele­ mentary mathematical procedures. Philosophers for a number of centuries have suspecte·d that there are unconscious mathematical procedures behind the conscious rnusical in_ tentions. Music be­ comes "the mathematics of soul." The raw material of the math­ ematics of music begins with the atomic structure and the life of living cells. It is quite simple to solve all the problems of mu­ sical creation ,vith the mathematical equipment we possess at the present. All musical procedures are only special cases of the gen­ eral scheme of pattern making. There is even an absolute iden­ tity among the series pertaining to the forms of organic growth, to crystal formations, to the ratios of curvature of the celestial trajectories an d orbits and the forms of musical rhythm. Thus, we come to the end of the cycle. Music is one of the phenon1ena of human experience. The integration of these experi. ences leads back to the fundamentals. We learn through music what we learn through astronomy and biology. We arrive at an idea. Music is one of the embodiments of the idea. In the remote future of the hu 1nan history through the continuous process of abstraction, this • THE DESTINY OF THE TONAL ART 39 idea will emancipate itself from its functional associations the way a pentacle emancipated itself from a starfish or a sea urchin. This will be the logical end of music. Before music disintegrates it will acquire greater functional expedience. It will be manufactured and distributed the way other industrial products are m·anufactured and distributed. Be­ fore music disintegrates it will influence the allied arts and come int-0 fusion with them. The compound art of a primitive man in his ritual ceremonies progresses into individual art forms which later develop and acquire their independence. At the end of this evolutionary cycle the gravity between the allied arts increases anew and they begin at first to influence each other, and later to fuse with each other. A dance with musical accon,paniment is one of the most trivial forn1s of such fusion. Not long ago it was entirely paradoxical to admit the fusion of photography ,vith speech and music which is the commonplace entertainment of to­ day. Last year's International Exposition in Paris presented the transformation of liquid masses combined with a variation of pro­ j ected color and accompanied by music. Not mentioning the in­ fluence of musical forms upon the dance, music has influenced literary forms as ,vell as painting. The patterns of musical composition take place in the new art of projected light {lumia). "The music of visible images," that is, the abstract cineina, one of the recent developments, calls fo r a greater precision for both design and music. The most recent and most successful of the new art forms is a new realism based on the fusion of the two arts: music and design. It is a mechanical realism as we ob­ serve it in animated cartoons. These cartoons are the end of the cycle, beginning with the ancient puppet plays. The art of cinema has not reached its climax yet. On the contrary, it is too young to disintegrate in the near future, and yet the amount of engineer­ ing technique employed in all phases of this art production is in­ con1parable with the amount of acoustical engineering that ,vas necessary during the time of Bach or the amount of chemistry that was necessary in the time of Leonardo da Vinci. As physiol­ ogy becomes a branch of electrical engineering in the study of the brain functioning, esthetics becomes a branch of mathematics• • M. T. N. A. 40 PROCEEDINGS, 1937 To sum up all the evolutionary groups pertaining to art forms I offer the follo,ving scheme of morphological zones. These zones may follow each other chronologically as well as overlap each other, and may be different in different localities. HISTORY OF THE ARTS IN FIVE MORPHOLOGICAL ZoNES Zone One. Biological. Pre-esthetic. The struggle for existence. Defence reflexes. Tactile orien­ tation. Adaptation to the medium. Automatic self-protection. Automatic self-destruction. Mimicry. Motor reflexes. Signaling. Zone Two. Religious. Traditional-Esthetic. Intentional mimicry. Reproduction. Performance. Ritual art. Incantation. Religious art. Magic. Zone Three. Emotional- Esthetic. Emotion. Artistic expression of emotions. Self-expression as an unconscious m1m1cry. Origination of an esthetic idea. Art for art's sake. Zone Four. Rational -Esthetic. Growth of esthetic ideas. Rationalizing. Rationalization. Experimenting. Novel art. Modernism. Experimental art. Zone Five. Scientific. Post-Esthetic. Analysis and synthesis of an art product. Scientific experi­ ment. Art with a scientific goal. Scientifically functioning art. Manufacture, distribution, and consumption of a perfect art prod­ uct. Fusion of the art materials and of the art forms. Disin­ tee-ration of the art. Abstractio.n and liberation of idea. - • • • • workshop for pianists/guitarists/drummers/arrangers/composers BY JOSEPH SCHILLINGER . • INSTRUMENTAL FORMS OF HARMONY a massive collection of rhythm patterns (evolved according to the Schillinger theory of interjerence) arrang,ed in instrumental form • • • • • • • • • • • • • • • • • • • • ■ e ■ e 8 8 8 8 ■ ■ ■ I ■ ■ ■ I ■ ■ ■ ■ ■ ■ ■ ■ ■ I ■ ■. ■ ■ I ■ ■ ■ ■ I 8 8 ■ ■ ■ ■ ■ ■ ■ ■ ■ 8 8 8 ■ a ■ ■ ■ ■ 8 ■ ■ ■ • 8 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ■ ■ ■ •• e ■ . . '. .... . . . . . •.. . •• .. .. .. . .. ..... .; • •. • • • • • • • • ■ • e ■ ■ e ■ 8 I I . .. .. . . . . . . .• .. . . . . . • • • • • • • . .. .. .. ... . . . • . ........ •••.•••. 8 I ■ e e e ■ ■ ■ ■ 8 8 ■ ■ ■ 8 ■ ■ ■ e I ■ ■ ■ ...... I • • • • • ! • • • e 8 ■ a ' 8 ■ ■ ■ ' I •• a e • e ■ ■ ■ •e ■ • I I I I ■ ■ ■ a • . . . . . . . .. .. ... . . . . ·•· . . . . . . . . . . . . . .. . . . . . . . . . . . . · · • ■"• • � · · · . • . • • . • • • •• • • • • • • • • • • • •• • • • • • • • • • • • • ... CHARLES COLIN - 315 West 53rd St., New York, N. Y. 10019 I PRICE $7.50 • • - J O S E P H S C H I L L I N G E R New Resources • o f M e lo d y a n d H a r m o n y • P I T C H S C A L E S I N R E LA TI O N T O C H O R D STRUCTU R E S • A n A ; d to CO M POSERS • PERFORMERS • ARRAN G ERS • TEACH ERS S O N G -W R I T E R S • ST U D ENTS • C O N D U CTORS CRITICS • AND ALL WHO WORK WITH MUSIC PISQ $3.00 Name.................... ...................................... .. ......, ... .................. ' Addre.ss.......................................................�:............................ City......................................................... State.......................... JOSEPH SCHILLINGER 1895-1943 1 . PUBLICATIONS Books: The Sch i l l i nger System of Musical Composition ( 2 vo l s . , 1664 pp.) $37.50 Carl F i scher, Inc. The Mathematical Basis of the Arts (706 pp.) $25. . P h i l o sophical L i brary. Reprint by Academic Press Kaleidophone: P i tc h Scales in Relation to Chord Structures (95 pp.) $3. M . Witmork Son s . Reprint by Charles Colin Encyclopedia of Rhythm (250 pp.) $5. Charles Co l i n Joseph Sch ill inger: A Memoir by h i s Wife (225 pp.) $5. Greenberg Co. • Musical Compositions: Morch of the Orient, Op. 1 1 , orchestral study score $2. Leeds Music Corp. Five Pieces, Op. 12, for piano. $ 1 . 50. A s sociated Music Co. Excentriade, Op. 14, for piano. $ 1 . 50. A s sociated Music Co. Dance Suite, Op. 20, for cello. 75¢. Leeds M u s i c Corp. Little Woltz, for piano. 50¢. Leeds M u s i c Corp. 2. COLLECTIONS IN MUSEUMS Lincoln Center Music Li brary and Museum: S c h i l l inger Archives Notebooks, music manuscripts, correspondence, special recordings, memora b i l i a , and other soutce materials in music Lincoln Center Li brary, Dance Collection: Sch i l l inger Graph Method of Dance Notation Archives of American Art: Notebooks, drawings, photographs, documents, and other source materia l s in art British Museum: Russian Concert Programs and Posters, 191 7-28 3. PAINTINGS IN MUSEUMS c. 1934, Seri e s developed from the sy stem presented i n the Mathematical Basis of the Arts, i n permanent collections of: Brooklyn Museum Cooper Union Museum Finch College Museum Solomon R. Guggenheim Museum Whitney Museum of American Art Art Gallery of Toronto 4. INSTRUMENT In Smithsonian Institution: ''Rhythmicon", the first modern instrument for c-omposing music automatically. Constructed by Theremin and developed by Schi ! l inger for the study of rhythm. * Mrs. Joseph Sch i l l inger * * * 340 East 57 Street New York, N . Y . 10022 • J O S E P H SC H I LL I N G E. R 1 8 9 5 -1 943 1 . PUBLICATIONS Books: THE SCH ILLINGER SYSTEM OF MUSICAL COMPOSITION (2 vols., 1 ,664 pp.) $37.50. Corl Fi scher, Inc. TH E MATHEMATICAL BASIS OF TH E ARTS (706 PP.·) $25.00. Phi losophi col Library. Reprint by Johnson Reprint Corp. KALEIDOPHONE: Pitch Scol es·in Relation to Chord Structures (95 pp.) $3.00. M. Witmork Sons. Reprint by Charles Colin. ENCYCLOPEDIA OF RHYTHMS (260 pp.) $7.50. Charles Colin. JOSEPH SCHILLINGER: A Memoir by h i s Wife (225 pp.) $5.00. Greenberg Co. Musical Compositions: MARCH OF THE ORI ENT, Op. 1 1 , orchestral study score $2.00. Leeds Music Corp. F I VE P I ECES, Op. 1 2 , for piano. $ 1 . 50. A'ssociated Music Co. EXCENTRIADE, Op. 1 4, for piano. $1 .50. Associated Music Co. DANCE SUITE, Op. 20, for cello: 75¢. Leeds Music Corp. LITTLE WALTZ, for piano. 50¢. Leeds Music Corp. 2. COLLECTIONS IN MUSEUMS Lincoln Center Music L i brary and Museum: Schi I I inger Archives Notebooks, music manuscripts, correspondence, special recordings, memorabilia, and other source materials in music. Lincoln Center Library, Dance Collection: Schi II inger Graph Method of Dance Notation. Archives of American Art: Notebooks, drawings, photographs, documents, and other source materi als in art. British Museum: Russi on Concert Programs and Posters, 1 91 7-28. 3. PAINTINGS IN MUSEUMS c. 1 934, Series developed from the system presented in the MATHEMATICAL BASIS OF THE ARTS, in permanent collections of: Brooklyn Museum Cooper Union Museum Finch College Museum Solomon R. Guggenheim Mu seum Whitney Museum of American Art Albri ght-Knox Art Gall ery, Buffalo Art Gallery of Ontario Smithsonian lnsti tution: Notional Collection o f Fine Arts 4. INSTRUMENT In Smithsonian Institution: "Rhythmicon'', the first modern instrument for composing music automatically. Constructed by Theremin and developed by Schi II inger for the study of rhythm. * Mrs. Joseph Schi l l i nger * * * 340 East 57 Street New York, N . Y. 1 0022 • • • •I by Joseph Sehillinger in,er- na,ionau� reno\\ ueJ tea<.-her of n111t1ical con1po,;ition "·ho,-e t·orrelal ion of ,-('it·n<·e and art pre::lent:,, a ue"' approach to lht> :-tudy of 11111sic. Hit1 co,uplete ,.;yste1n of n,usical theory and <"On1po,;i1io1_1, pre\·iou,;ly kno"·n only to the li111ited group of outt1tanding co,uposer;. "·bo ,;tudied with hiin, i,; no"· available to the large audi • ence that ha,; a,�aited 1he publiration of thici "·ork with Kt't'll i11 tt'rf:-1 . • CARL FISCHER J N C. 62 Cooper Squore, New York 3 165 West 57th Street, New York 19 252 Tremont Street, Boston 1 6 306 South Wabosh Avenue, Chicago 4 JOSEPH SCHILLINGER Jo$cph Sc-hillinger po..,:essed one of the brillian L analv • tical ruindi: of our ti111e. .\ . c-o,nposer. a 1·on­ d11<·tor and a teat·l1fr of rnu:'ical <"oniposition, he ...•a:; acli\'e also in ph y,airal ,:;cirnces and rnathe­ rnatic,;, and in thr field or 1he ,·i,:;1111 1 arts. Born in Kharl..o\'. Ru,:;,::ia. in 1895, ht' ri'cri\'ccl hi� first forn,al trai11i111r in n,u�ir at the St. Petc.'r.:burg Conr;erv atory. s 1M When it co111es to 111usic, is there anything that ha,; been left unsaid? There are still the same eight notes to the diatoruc scale, and for centuries con,posers have worked them and reworked them in an in6rute number of com• binations. 1'here may be new variations on old themes, but haven't the really basic things been said long ago? 'fhis 1,ounded quite reasonable until the SchilJinger System appeared to sweep away old patterns of thought and open up vast new fields of theory and practice. Out of a lifetime of studying, composing and teaching, Joseph SchitJinger created a system that is no mere musical novelty . It is rather a new fundamental con­ cept-the application of the scientific method to the problem of writing music. Of course, there have been many atte1npts to establish a system for producir)g music. None of them, however, bas been as con1prehensive and practical as the Schillinger n1ethod . "'J'he Schillinger System of Musical Composition" covers every phase of musical theory and practiet>, coordinating them �·ith a set of exact principles, lt is comprehensive and universal. It includes pitch scales, melody writing, counterpoint, harmony, the evolution of musical styles, arranging and orchestra· lion. It presents an exhaustive summary of rhythmic ideas and pitch scales, definite rules for writing mel • od1es. counterpoint, a ne.,.· systen1 of harmony and orchestration, and combinel' these to form a complete musical ensemble. 2 "' •I I It· lu·l1I ,;e\'cral i111porta111 11,11,.ical posts in his nati\'c co1111try before he "· a,- i11, itcrin1t'nting in the ph)·,-ics of 11\ui. Tfe l<•.-iurrd on 1n11i'iC i11 thr l'Olleg«-s and uni,·cr,aitie" of :'\t·\\ York. frt·1111t·11tly ((ivin{! «-ouri't>>' in 1natht·n1atic� and lin1· art,- a .. \\rll. Heforc hi,. drath in 1913, Jo>'eph S1·hilling1•r had 1·:\t•rt1•d a ,-1rong inAut'nre in conte,npor­ ar�· 1n11,-ical rtHnpo�ition through 1hr ron1po�rrs and 11111,-i1·al tlin•1·1or, ,, ho \I err hi,- :-I udcn I>'. Modern Composers Call the Schillin1er System ·� Pr11c!f i••a I �· - "With all this emphasis on the Lecbnical side of music, Schillinger never denies the importance of talent and inspiration. He only maintains that with the aid of methodical study, the talented musi.cian will attain a complete and satisfying fruition of his gifts. He also bolds out an encouraging promise to the student whose creative powers are in the latent stage. He teaches the unskilled musical worker how to master the science and the technique of bis craft and bow to become a practical composer. The choice of individual estbetice SchiUinger leaves to the aspirant. He gives him the tools and the knowledge necessary to meet the challenge of the higbly developed art of rnusical composition at the end of the first half of the 20th century." NICHOLAS SLONIMSKY •• I 11e,•i f able ... "The idea behind the Schillinger System is simple and inevitable: it undertakes the application of mathe• matioal logic to all the materials of music and to their functions, so that the student may know the unifying principles behind these functions, may grasp the method of analyzing and synthesizing any musical materials which he may find anywhere or discover for himself, and may perceive how to develop new materials as be feels the need for them. Thus the Schi]linger System offers possibilit ies, not limitations; it is a positive, not a negative approach to the choice of musical materials. Because of the universality of the esthetic concepts underlying it, the System applies equally to old and new styles in 1nusic and to 'popular' and 'serious' com­ position." DENBY COWELL 3 \ A �ompreh ensl v e C o u rs e "The Schillinger System of Musical Composition", embodying the final results of Schillinger's years of research in the art and science of music, presents a complete, practical course of musical study. It covers all the traditional elements of musical theory, but it breaks sharply "'ith the traditional methods of approach. .. . . ( :' l . •. "' · i,; . ' Srstem is formal!,· divided . twelve branches of $ Ludv : ' • � Theory of Rhytl,m Tl,eory of Pitcl,-Scales r ariation,� (,y l'tfeans of Ceo11ietrical Projection Theory of Melody Speeial Tl,eory of Harmo11y Correlation of Harl?JOll_r an,/ Mel0tly Tl,e-0ry of Cowrterpoinl Instrun1e11tal Porn1s General Theory of Harn1011y (Strata Harn,on_y) lt110lutio11 of Pitch-Families 7'heor_y of Con,11ositio11 7'/uior_y of Orchestratu,11 These are correlated so that the student does not look upon them as isolated phenomena. Each branch comprises a book of several chapters, first expounding the fundamental theory and then applying it to the whole range of music development, past, present and future. The first book, the basic "Theory of Rhythm", introduces the idea of graphic representation of music on a simple algebraic principle, and develops it to achieve synchronization of three or more rhythmic patterns. Schillinger then applies the theory to instrumental forms, discussing counterpoint and variations, finally arriving at the emergence of modern music. 4 .. o f M u s i c a l Study Other branches of study are simiJarly developed with the stress aJways on the actual processes of writing music, the natural interests and equipment of the l students and the modern applications of general concepts. Despite the profound scientific research that went into the development of the Schillinger System, it requires little previous instruction in the sciences to appreciate and apply it. The system is ll() integrated and 80 comprehensive that no previous work in musical com­ position is required. Yet, the student with a complete understanding of the basic Schillinger techniques and procedures should be a fully equipped composer of music. The compl�e. new system of musical compo• silion is conta ined in these two vol umes. Here is o compreh ensive stu dy of all aspects of musica l theory. But, more than this, the Schillinger System of M usical Composition is boskolly o procticol system. Whil e it offers o theoretic a l background sufficient for the understanding of musical moteriols, it provides you with work a bl e techniqu es for handling these materia ls. Complete two-volume sel $30.00 5 • SCHILLINGER CENTER 4900 EUCLID A1NUE CLEVJllLAND , OHIO Creating Mu� The novel use of graphs for the notation of rhythmic and melodicschemes offered in '"fheSchillinl!,'f'rSystem of Music-al Composition" is both an accurate and an extremely practi­ cal means of organizing and studying thetie three elements. The usefulness of graphs is easily demonstrated io the rhythmic field where they may record the initial rhythmic pattern and actually facilitaie the creation of counter­ cb-ythmic patterns. For example, with two nuu1bers, let us eay 3 and 4, and a process explained in the'l'heory of Rhythm. an interesting basic rhythmic pattern for each in$trumcnt in an enseml!,le can be graphed within a few 01inutes. Since the transfer from the graph to ordi!lary musical notation requires only a few moo1e11ts, it is obvious that learning to graph rhythmic sobemes will be a valuable asset to a composer. Simple to make, easy to read, the graph may also be used to show both the duration and the pitches of tbe tones in any melody. ln reading a graph of this type. the following points should be ob�erved: r:- . .�.l, i,. -I. • ' al,L;1-, -f .. J...!-i ! I I I ... .. i '' ' • .. _.i , • l-li ·Ft= ' t· g · l f +-4 -r- ,.. i -.. L,J: .. .1,. - -:l ...-! -� .- --, - � · 1 el,I J.+1-; • I L. ,-_1. 1".,. [ 1 f t � ,-1 . . .... ± I I-• •�-' d · · lf-_ .J J ,_ ,_ -+ ....,.. _ . l. i ,· . ' I r r·c • ........ · 1 ._.. 1 1. .. F1tt br,. . -i-....- .... r--· �: .....·H · -- I • ...,i.:·-!... � ,-j.. -! J, ... c ! . ···t-�- 1= · -!·-t • " L . � i' tt.J=! . It .... 1' .. [. + '.. .,. 4-.. 1 ....1R I +-/·· '1 - + t- - • �i • 1-w · ••• r:: ·· ·-t - + -r -! + ·-I-•·, - I , - t7 -t ! i•J: :t�. , + ··r- ·..,..· -· l!·-- . ·I-- - i-·_ w,-1.1,.... _ � ,4, � -1 oar lines r�- t· . ::f.. ;-- I t'."° ,j ~ +-1-r ... r-- r i. � t"- ,.. . . . .. + ..J.. ·u "' -·S•- �- ! r J ' 1 1 • ·r t·r - t-� . = t J· �. e\-. . f - · I• :r....+.. .:t. 1 -t- -rI: -+- r ·- r·-- atl::1- 1 . l-: e· • 1 · r ·. -; t · 1 ,-..8-=l�--- ►- �=:·t....-+ t·-+- ·1 �- L- ,· -· i::: 1+ r !r- -• .j.. - ... .,. ,. f-f. . , ' . .. The notation of the first theme Crom th Patlietique, Op. 13. is illustrated by the 1 BERT HENRY EN. 1-2645 He. 1-8714 Pri¥ate Instnuction ({ hr. $J.OO) 1cal Themes • 1. One hori:onuil line will be wed as the fixed point or axis. 2. The UMl/est nl)(e C10lue apf)f(lring in the graph will be 11$ed IU the unil of /IM!Q$W'ffllenr for tluro.tums (excludin& gm« notes or Olher • similar t!lnbellishments), and will be represented by lhe ..,i,Jtla of one � on rhe graph paper. 3. The lenp of. the lwri:wntal lines will indicore rhe d,uatwn of the tones. 4. The distance up or down from rhe axis will shoto the pitch let,e/1 of the tones. 1'he distance £,,,1uwn IWCI horizontal lines will represent one ha/f-atep. For example, if 1tie wi&hed ta graph tlw folla1<·ing: JJ IJ J J , =I , l"'1 eighth niice would be the 1ime-uni1 1in« it is the smallest nure n1l1«! used. I I G F E I I D C axis ' ··-I _ ..I -. ' · lI t j' · L1'- f) Ii t _ !_ 1 t -' -i� -i t ! ij ! I •t- I ! 1. i' - .. j -• I-... . . . -+ . --• �--!. . "r T • � 1 • + · • · ' -' i= + · x . + ·:t · i-: · . .; l= · , , · · t· , :. ! =r ij , �• -t · r l t Ft= .L� . .:. .-!...k.'-7 •·! - ,. :'' '.. • . ·+-' --•·+ +· + '··+ ·-j -1l�-' .�-r -.: .• . . .. I-f i :;� .t t · - -' ·:c -t +t -· - -tr - J_ ..i.. . . -- "T 7- . �=--f:t ' :,·t··-t+ · 1 · · · . r · · -t:t ,.. · · t t · + 1,: • · ,_ 1' -;- -+·• i .' - .' ·+ t!t •-f.L--+ -1n:• -f-;+ . ' -1r '+ �.. . . • -j,i, ' ; · · i I I I . ' . " t !i ' : 't:�-j� ·r- - I t -L-( �l 1• ' " rt• - " �·- ;- ' - • . M - I · -�8·... • ' ·94 . . � t' . third movement of Beethoven's Sonata ·aph above and the actual musk below : • . ,. • A Thorough Knowledge of the Schillinger System IS Essential for the C O M PO S E R Men and women wr1t1ng • • «>day and those who aspire to musical composition will find "The • Schillinger System of Musical Composition" essential to their work. The practiced composer will discover that the Schillinger method helps to sharpen his musical concepts, offering him precision tools for examination of his composing problems and valuable suggestions for their solution. The student who wants to write music has a complete guide to successful composition in the Schillinger System. The method is applicable to all musical styles, classical or modern. Unfettered by traditional techniques, the student should be able to take the raw materials and methods presented by Schillinger and evolve from them pieces that are alive rhythmically, melodicaUy and barmonic,ally, pieces that make mus.ical sense without being a repetition of form and formulae. The systern in1plement11 talent, broadens and enriche!l it. For the musician seeking ne�• forms and untried avenues of musical expression, it opens up ideas of genuine originality. • 8 • �, the O R C H E S T R A TOR There is no more highly competitive field in music today than that of orchestrating and arranging. no other field in which so great a volume of work is demand­ ed under great restriction of time. For the arranger, the Schillinger System is a practical tool, and the two vol­ umes embodying it may well become an essential par1 of his professional equipment. The arranger's prob­ lems are considered by the author along with those of the composer. The techniques devised by Schillinger are directed towards increasing his fund of musical ideas, widening hie choice of procedures and 1,aving hi@ time. After a presentation of the basic theory of or• chestration, exact mathematical formulae are provided for specific problems. "The Schillinger System of Musical Composition" is in this way a reference book of immediate commercial usefulness. Just a glance at the list of arrangers and orchestrator& of music for motion pictures and radio, who have been trained in the Schillinger System, should convince the skeptic of its unusual success in these fields. It has been estimated that more than half of the ntusic used on the network programs has been influenced by Schillinger students ·working as con1pos­ ers, arrangers, n1usical direc­ tors and orchestrators. 9 Essential for the E D UCAT O R • For the teacbet of music in all its branches, "The Schil · lioger System , of Musical , Composition is of immeas­ urable value. It embodies a full course of study in composition, starting with the fundamental concepts of pitch and rbytbm, and proceeds to develop techniques for writing mnsic in an y style. It offers new techniques for solving old problems. It achieves an integration of musical elernents not previous­ ly attained in music study. But it is not res· tricted to any one style or fixed method of development. The Schillinger System stresses universal principles and demonstrates their application throughout the broad field of music study-interpretation, performance and or­ chestration as weJI as composition. PERFORMER 'fbe Schillinger Sys �ew, while directed primarily to the composer and the student of composition, contains stimulating ideas for the performer. In presenting a scie,ntific basis for the analysis of musical composition, it suggests new approaches to inte�retation. With the Schillinger method, the musical artist may gain furtherinsight into the intentions of the composer and achieve a performance that is representative of the true purpose and spirit of the music. There are provocative references to the musical artist through the two volumes that will stimulate comment and discussion. Works that illustrate Schillinger techniques Fantasy for Medium Voice in G with Piano Acc . . . . 50 RUDOLF SCHRAMM Calculations for Piano . LAZAR WEINER . . . . . . . . . . .. . . Prelude No, 2 for Piano . . . . ROSOLINO DE MARIA 10 • 1 .25 (In Prepara'ion) MUSIC LIB RARIAN No music library wiU he considered complete without these two volumes on its shelves. Shortly before their :publication was announced, Charles Seeger, Chief of the Music Division of the Pan American Union, wrote in "Notes", the journal of the Music Library Association: uMusic librarians may wish to start preparing their budgets for a severe shock, since the monumental work of Joseph Schillinger is probably the most rigorously rational and revolutionary overhauling of the traditional discipline of music composition of our day­ perhaps of any day-and it is therefore to be suspected that the publication will prove a required purchase for most music libraries ". CRITIC 'fhe importance of the Schillinger System is not confined to persons who produce or perform music. lt bas become a valued part of the equipment of those who write about music. The Schillinger System provides new criteria for appraisal�£ musical composition and performance, clear and practical principles that may he universally applied. The music critic cannot fail to find a vast amount of stimulating material throughout the volun1es. . . • . . . . . . published by CARL FISCHER, Inc. JOHN SHAFFER SMlTH Quintet for Oboe and Str ings . , . . . . . (In Preparation) SAMUEL MAGAZINE Human Adventure In Three Episodes for Violin and Piano . . . . . . . . . . . . , . . 1 . Doubt. 2. Hope. 3. Triumph. 11 . . . . , (ln Preparation) • Popular Appeal The Schillinger System is applicable to music in any style, as its concepts ot musical theory and composition are funda1nental. Schil ling­ er's own compositions, played by leading symphonic orchestras in this country and on the continent, are "serious'' concert music, as are the compositions of many of bis students. Yet bis methods were immediately successful in tbe field of commercial music. Living in New York where he taught in the Music Ueparunent of New York University, Schillinger found an enthusiastic following in tbe musicians of the metropolitan stage, screen and radio. ln a field where freshness, quantity and speed are primary req�isites, the techniques and procedures of the Schillinger System won early acceptance. , Fore.most a'1ong the Schillinger students is George Gershwin who wrote the music {or "Porgy and Bess" during bis association with Joseph Schillinger. Gershwin was a student for more than four years, finding in this contact with new theory and tech­ niques a key to fresh inspiration . Many other !iUCcessful composeni of our day were trainrd by Schillinger, a,nong the,n Oscar Levan l, Paul Lavalle, Lyn M urray, Lazar Wl'incr, and Ver­ non l)ukc. Pro,ninent hand leader;, including Benn) (;ood111an, (;lenn Miller, Stan Krnton and Lrnnii• l la\l1H1 have found t l1t· Schillinger Syi;tern an inval­ uahlt· asi,t>t t o their y.• ork. lu addition to thc$C tnen ....·ith a wide public foUo....·ing. th.-re are others iJl tbe roster of Scliillinger students who are quite as significant to the con1mercial 1nul!ician. ·rh.-y are the men behind the scene�- the arrangers, ort·he:ne 'that Schillinger calls "symmetrical bar, . . mon1zation.., The most exciting and the most extensive applications of music to films are presented in Pa.rt 3 of the Theory of Composition. So detailed are these materials that it is appro• priate to note that this is the first real theoretical analysis of film mu• sic in the literature of music the, ory. In the Psychological Dial, first presented in the Theory of Melody and later developed in Part 3 of 15 the Theory of Composition, Schil, linger offers the film composer the most practical device as yet devel, oped for correlating music and emotion. The Psychological Dial avoids the ..catalogue" approach to t�e problem. Instead, Schillinger presents a set of general laws gov, erning the relationship of sound and emotional reaction. Once mas· tered, these make it possible for the composer· to select the appropriate r.hythmic, harmonic and melodic materials to secure the desired re• sponse. URING THE TIME in which I was studying the System by correspondence, I learned that there were several other Hollywood composers who were also students. D Among these were Herbert Spen, cer and Edward Powell of 20th Century-Pox. Lennie Hayton of MGM, and Frank Skinner, who is now music director at Universal. The group has grown considerably since those days, especially since it soon became known that the most striking and original arrangements for films were being produced by Schillinger•trained arrangers and composers. Since assuming the post of mu• sic director of Radio City Music Hall, I have found the application of Schillinger's theories oJ inesti­ mable value to me as a conductor, and also in the writing of special musical material for our produc, tions . ,. • Translating one system of proportions into another. (Copyright Carl Fischer Inc.) �� V � I) '• ., � � ,___., �'\. 16 • �� "-.A � .. . FULLY AUTHORIZED TEACHERS OF THE Schillinger System of Musical Composition CALIFORNIA Franlelyn Maries, 5 7 1 5 Case Avenue, N. �ollywood, Calif. Nathan L. Van Cleave, 12180 Laurel Terrace Dr., N. Hollywood, Calif. CONNECTICUT Ted Royal Dewar, 210 Turn of River Road, Stamford, Conn. ILLINOIS "'John Cordes, 8358 Bennett Avenue, Chicago 1 7 , Ill. David Holguin, Chicago Musical Col., 64 Van Buren, Chic.ago, Ill. George V. Oliver, 5737 West Sunnyside, Chicago 30, Ill. Joseph Palermo, 6 1 1 3 South Troy, Chicago, Ill. MASSACHUSETTS Lawrence Berle, Schillinger House, 284 Newbury St., Boston, Mass. Branch Studios: Springfield and Worcester NEW JERSEY Edwin lave, 643 Broad Street, Newark, N J . NEW YORK • Richard Benda, 11 3 West 57th Street, New York, N. Y. Jesse Crawford, 160 West 73rd Street, New York, N. Y. Rosolino De Maria, 120 East 89th Street, New York, N. Y. *Lyle Dowling, 67 East 87th Street, New York, N. Y. Howard Kirn, c/o Michael's Studio, 743 8th Avenue, New York, N. Y. Rudolf Schramm, 3314 85th Street, Jackson Heights, L. I . , N. Y. Paul Sterrett, 41 Carver Terrace, Tuckahoe, N. Y. PENNSYLVANIA *Clarence Cox, 1613 Spruce Street, Philadelphia, Penna. SOUTH CAROLINA *Edwin Gerschefslei, Dean,Sch. of Music, Converse Col ., Spartanburg, S. C . Additional names ore constantl y being added to the above list. In order to get an up-to-date list of authoriied teachers of the Schillinger System of Musical Composition, write lo Carl Fischer, Inc., 62 Cooper Square, New York 3, N. Y. Please Note: Names marked with an asterisk (•) are those teachers who correct homework and answer technical questions by correspondence. ,,4 '7),zaat� ?ltetMti � � 1/totie'Ue e,� • A complete, new system of musical COll]PO· sition is contained in these two volumes. Here is a comprehensive study of all aspects of musical theory. But, more thon this, the Schillinger System of Musical Composition i s basically a practical system. While it offers a theoretical background sufficient for the understanding of musical materials, it provides you with workable techniques for handling these materials. WHAT ARE THESE TECHNIQUES? The ability to analyze, creole ond utilize all types of rhythm, melody and harmony; the ability to adjust material to suit a particular instrument; and the ability to pion and construct an original musical com position . • The Schillinger approach to musi�ol composition provokes new ideas and offers the means of using these ideas efficiently and effectively. Complete two-volume set $30.00 CARL F I S C H ER, Inc. 62 COOPER SQUARE , NEW YORK 3, N . Y. Boston CIR. 41 ·1· 49 • Chicago • Dollas • Los Angeles ,