BUTTERF"IELD 8-2107 JOSEPH SCHILLINGER 875 FIFTH AVENUE NEW YORK December 16, 1942. Dear Dr. Gross: Besides a full teaching schedule, Joseph has been working hard, as you know, trying to complete the written course. So I want to add my thanks to his for your nice letter to him. • • • You didn•t have to apologize for bringing to his attention his use of the expression "permits to do 11 , etc. lie always appreciates that kind of suggestion. However, such things fall into my department; and the only reason I have not changed it is that I thought such foreign flavor added charm, and that while not idiomatic, it was not grammatically forbidden. But I may be wrong . There is one thing I have not been able to explain to Joseph, and that is when to use or not to use the definite article nthe 11• Sometimes, in typing his mP.. nuscript, I make these minor corrections myself, but more frequently, because what I type is so far beyond me, it is quite likely that I skip them. His vocabulary just knocks me for a goal? Wait until you see the part of Orchestration he is writing now. ' In perhaps another weeK or so I will send you what we have ready on Part 2 of Orchestration. The lessons are tremer1dous, both in length and depth. • Just to let you know how things stand financially, you have nearly finished paying for the complete course. When Orchestration is finished there will be only six more lessons to pay for, regardless of the actual number it takes • • The best of everything to you and Janet and the family for the New Year. Always, • • • • • • • I i \.. l I One of the most challenging and stimulating books to those interested in eathetics hae been the recently published System of �uaical Composition by • Jose�h Schillinger. Its novel and scientific approach have evoked both enthusiastic support and stubborn opposition. I am aware that anyone who projects himself into a controversial fray may find himself caught in the middle and mat is worse may emerge with a bloody nose fo r his temerity. However, since a good intellectual scrap always did intrigue me, and since the eight of blood does not disturb me, even ✓if it is my own, I did not hesitate to accept the invitation to write this article. • It so hal)pens that I knew Schillinger well and was hie pupil • I had numerous opportuni.t ies to discuss hie theory with ·him. Since I have had the privilege of both scientific and musical background, I feel I have a rieht to express my vi�ws. Thie I do without in the least trying to set myself up as an authorit; on music, science or esthetics. I will shed no tears if you disagree with me and I reserve • •• • • • • • - • • • the right to change my own mind in tl1 e future, if on the basis of further knowledGe and experience I find it correct to do so. \Jbat is required of anyone who would with all fairnees apJroach a study of •' Schill1nger'a work is an open mind, not hemmed in or hopelessly bound by dogma. • If you have made up your mind that the scientific method has no plBce in the arts and that nothing that anybody would any would sroke you loose from such an opinion, it would be best for you to atop re11d1.ng :right now. On many occasions I have induced this question into an evening's conversation to find ' some of my good friends in the musical world undergo frightening distortions of their blood pressure when I declared thq,t it ,.,ris not only poasible but most desirable to apply scientific procedure to an eathetic field like musical compoaition. Schillinger's ideas were at the other end of the pendulum from those who denied science's ndmiaaion into art. Scrill1nger believed that science could explain all art through the process of detective reasoning baaed upon scientific • • • • • • • • • • • • • • analysi$ of the music of the pa.st, and through lndl.1otive reasoning evolve new and more complex music of the future. He believed that where the composers of the past, including the g�ea.t master · e did their work through intuitive channels, it should be possible for scientific-, �lly trained composers to develop their art without having to rely on the fallible methods based on intuition and "inspiration•. Let me quote from Schillinger. "Intuitive artists of great merit are usually endowed with great sensitiveness and intuitive knowledge of the underlying scheme of things. This is why a composer like Wagner is capable of projecting spiral formations through the medium of musical intonations without any analytical knowledge of the process involved. On the other hand, scientific analysis shows that the efforts or greatly endowed and creative persona could h�ve been accomplished without any waste of time, introspection, special ability, or over-sensitiveness. Once the la.we underlying certain structures have been disclosed, anyone oa.n develop any number of structures in a class, throug� the mere use of a formula. This does not deprive an a,rtiat, ma.king an individual selection • ... • • • • • • • • • (whatever the value of sucl1 selection may be), from operating l.lnder the illusion of as great a freedom as the one he imagines he poaaeesee when creating through the channels of vaeue intuition and nebulous notions. " • . • Schillinger wns peculiarly well fitted by training and backgrovnd for the task thnt he set himself. He possessed one of the most brilliant minds that I have ever encountered. Jiie training included not only extensive study in music. He had studied extenei·vely in history and p hilosophy, mathematics, physics and languages. He had a studious, inquiring mind, not content to accept traditional teachings and explanations. He had no patience with those who insisted upon explaining artistic creation and phenomena by purely metaphysical methods. With him it wns the scientific approach w ithout compromise. The list of his accomplishments as composer, teacher, inventor, lecturer as enumerated in the "Encyclopedia of BiogJ:>aphy" is truly a.mazing. To me, as to many others who.admired his brilliant intellect, his premature death at the age of 47 was a great tragedy. There was much that he would • • • • • l • #5. have contributed to society and to Rrt had he lived longer. It is, of course, not fair that his monumental work on musical co1npoaiti0ns, consisting • of two large volumes, should be presanted in abridged form in an '\rticle 11ke this. Schillinger needed no defenders and his work s peaks most eloquently for itself. • In the projection of his theory Schillinger doeo not hesitate to discard many of the traditional methods. V, bether or not you can find yourself in agreement with his method and hta ideas I feel sure that if you were to approach the subject matter with an open mind you could not help but marvel and admire the brilliance of the concept. His system ie divided into twelve correlated branches& Theory of Rhythm Theory of Pitch-Scales Variations by Keane of Geometrical Projection Theory of kelody Special Theory of Harmony Correlat ion of H,i.rmony and J{elody Theory of Counterpoint Instrumental Forms • • • • • - • • • • • • • • • • • • • • General Theory of Harmony (S trata. llarmony) Evolution of Pitch-Families Theory of Composition Theory of Orchestration His rhythmie patterns are evolved from natural sources and by eoientifio method are evolved into complex patterns and formulae. In hie treatment of harmony, voice, leading, scales, melody and counterpoint, Schillinger coneistentlJ' applies the scient:lfio method. As I see it, the tv.u volumes provide an encycloped ic and statistical embodiment of all the possible devices and combinations that musical oompoaition hns to offer. Sohillinger's argument was that a good composer should be able to compose in any style, and through a mastery of the tec}-lnical devices involved in music of a given ' type, a composer should be able to compose with ease in that style. Thus, for example, if a composer wished to write in a style of the l?th century, it would be necessary for him to analyze the m1isio of that period and reduce it to its fundamental rhythmic. melodic and harmonic patterns and then apply these formulae in his compositio ns • Schillinger strongly believed that without • • • • • • • •• • • • • • • t' if7 • • the application of the scientific method the student and composer were restricted in their horizons. The student was enmeshed and weighted down by an insurmount­ able array of rules of dos and don'ts, which were in the main deduced from the v1ritinge of 17th and l'"tth century composers, many of them mediocre. When a student finally emerged from this quagmire, h1s experience permitted him to write in that otyle only, and ueually not as ell aa hie predeceesors. • it �orse he was �ccused of not being original. To raake On the contrary, according to Schillinger, the scientific metbod completely liberated the composer froo eubBervienoe - to the p st, if he so desired. A composer could be as original as he desired. Critics of Schillinger have stated that hie system did not allow for the factor of genius and insDira­ tion. Schillinger scoffed at this. He clairood that jt was perfectly possible to com1>ose music of a Bllt>erior quality without inspiration, provided that the com .,>oeer knew hie craft thoroughly and understood the "ingredients" • • • • ' • • • • • • ' J" .. • • • • • • • #8. which made up a given composition in a given style. Re claimed that once a certain style in regard. to its rhythm, harmony and melody was establ ished the composer could make selections within that field. The composer was given first the freedom of choice of the particular style and then freedom of choice within that particular There remains for me to comment upon my own experience as a student of compooition, and I must emphasize that at present I am only a student. I have found that the Schillinger system of composit ion has afforded me u moat delightful intellectual, mental • • experience. Despite assiduous study of the a,s·t�v.1 wr1cb was taken ma.inly through the oorreepondence?llllthod, I found that it was necessary for me to do further study with a well known composer in order to learn the olaesic idiom. I think that this has been greatly facilitated by my previous study of the Schillinger system in that it gave me a basis, a aeient1fic baais, if you will; for comprehension of the olasaic. Schillinger does not go into all the details of the classic method ,,1th idioms • I • • • • • , • • He is content t� formul�te m�n w of ite basic �rinci�les. For the rest, the student must d·g for himself. I know thnt Schillinger did not consider t��t � fault of bis treatise. lie considered much of past music as either a special case of music in general or as mediocre • material not worthy of much a�tention anyway • Certainly the Schillinger method has proven very fruitful to people w}o have worked in the arranging field a.nd to those who h<,-,.ve to turn out l1lrge volumes of music rapidly as for radio scripts or for t}e movies. This f�ct I ku1w to be so from personal conversation with peJple who do this kind of work. ,1hn.t seems to rne is the one really valid criticism is that from an esthetic standpoint, while cataloging all the poaeibilitiee which may unite in various ways to provide eathetic appeal, the Schillinger method does not teach the student how to distinguish between whA t is eathet ically ber1ut iful and what 1a not and as a correlary of this, how to produce such an esthetic response. It is at this point that the opponPnte of the scientific method in art would try • • • • • • • • • • • • • • • • ' • • to rise in their righteous ind igno.t ion to Jeer, "I tol d you so". \{ell, maybe so, 1t may be that here is the one epot where the factor of genius and inspiration may play the d ecisive role. In other words, all composers may learn the mathematical formulae, the • • methods and the craft of composition, but it is in the • selectivity of the various components at the proper time and in tl1e proper plel.Oe, in that eensit 1vity • to the stimuli thue produced that the illusive divine spark may be present • To which the determined scientist may reply that all the phenomena of nature. if not at present completely known or understood. are nevertheless capable of complete understanding in the future. To extra.ct truth ·?r•,:,m nature is difficult but in the end science must triumph. Human beings. ineluding their nervous systems and the matter which stimulates these nervous systems, are physical entities and therefore are capable of eventual, complete analysis and understanding. It is pr·obably this belief which encourages scientists to continue their relentless probing of the human mind. It ia at this point where many of my friends ' • • • . - ' 't #11. on one or the other side of the fence begin tu get hot under the collar on the question of the possibility and desirability of the scientific method in its application to the arts • • • • • . • • • • .. • BUTTERFIELD 8-2107 JOSEPH SCHILLINGER I 875 FIFTH AVENUE NEW YORK February 20, 1943. Dear Jerry: First of when you prompted show you • all, Joseph asks me to thank you for coming to New York did, and for everythi11g your kindness and human warmth you to· do for us. We both hope some day to be able to our gratitu de. Joseph came home on Thursday mornir1g and so far, everything seems to be more or less as can be expected. The chief difficulty lies in his not being able to consume much food. If he takes more than a.pint a day of the pabulum tube feeding he feels unbearable pressure and discomfort, and since that is such a small amount, we are trying to make up by giving him fruit drinks by mouth. Re has an unquenchable thirst. For the nausea, Dr. Garloclc prescribed two or three drops of novocaine on a small lu mp of sugar, and that has succeeded in quieting dovm that discomfort when it comes. This morning Dr. G. came here to see t1im, before leaving for a t,vo weeks trip to California, which he said is a cowbination government and pleasure trip. He said he wo1.lld also drop in sometime after he returns, but that in the meantime we could call Dr. LYons for anything, if necessary. • .... We have a practi� nurse who seems to be a jewel. She is crazy about Joseph, and he is most grateful for her competence and willing attitude. Therefore, so far, in spite of the discomforts and occasional upsets which v,e kriow we must expect, I guess ever�.rthing is all right. You can imagine how happy Joseph is to be in his beautiful, clean home again. Please give our very best to Janet and thank her, also, for her sweet attitude toward the time and energy you devoted to us. Next week I shall order the photostats of the rhythm and scale tables for you and shall send them as soon as they arrive. Love, (Do you knov, anything about the experimental vfork that Drs. Stein and Jacobs are doing at the Beth David Hospital? If y ou can think of anything, nox matter how great the chance, wo uld you tell me? Please ,,,rite all such tl1ings to my sister, Mrs. Elsa Snyder, 225 East 79 St., NYC, and anything you send to me here will be for Joseph to read, too.) • •. ' I ,t • • • • - - - • !ii� c....., '1"1 I .. -· ' ,1 • • • • • , BUTTE�FI ELD 8-21 07 I .• '. JOSEPH SCHILLINGER 875 FIFTH AVENUE NEW YORK December 16, 1942. Dear Dr. Gross: Thank you very much indeed for your letter of December 14, and for your check. It is good to have students like you who make me feel the hard w ork I do is worth while. Here are your questions, and the answers: • • 1. In polythematic composition, since the various themes and their recurrences appear in different keys, should themes Qf modulatorY character be used between other themes or can • theme B follow A or C or D without concern for modulatory interlude? Ans.: I consider connecting thematic units to be organic parts of the entire thematic structure and not as mere modulatory bridges connecting two themes. As a consequence of this (w hich is discussed in the Theory of Composition) such an intermediaty theme can be in any harmonic style, i.e., diatonic, diatonic-symmetric, symmetric, chromatic. Each such style as you knov1 has definite axial characteristics. So the whole question boils dow n to nothing. Even in Beethoven's Third Sonata for the Piano the first theme (or you may consider it an extension of the first theme) ends with a downv,ard scalewise unaccompanied passage: C nat. d4 (Myxolidian); but the next theme which is the second theme has a modulatorY character, though it starts in G - minor. As you see, the extension of the first theme (bridge) does not modulate toward the second theme. Thus the ending of one section leading into another may be either related or unrelated to the following section. Today direct contrasts are considered more expressive and are preferred to the process of leading on a leash. 1. Modulation in Strata Harmony. Are the commo11 tones, c. alt. • and ident. motifs employed in any sttatum? Ans.: Modulation becomes an outmoded concept when viewed from the "strata" - angle. In types I I and III everyth ing has an appearance of continuous modulations. Identical motifs, common tones and chromatic alterations are all part of the scale theory and refer to melody (or melodies) but not to harmony in strata. Each :E" vertically offers a set of pitches which can be used in any desirable manner. The progression itself rectifies everything in this case. ' • • • Dr. Gross -- page 2. 3. Only dissonances must be resolved according to the principles of scalewise (contrary or oblique) motion of one voice or both voices (plus added versatility of the step of fourth down or up by remair11.ng voice if one voice moves diatonically). Consonances, on the other hand, ma y resolve as above, or not resolve at all and proceed t o any otl1er consonar1ce or dissonance. .Ans.: Your own description is exactly correct. 4. In the first example, since the progression in the upper stratum is C-7, 1 J ascend. In almost all instances the • • '::, . rule has worked without causing octaves. In such an example, octaves are to be avoided by varying the type of resolution -­ here constant be? And the seventh here remains stationary. A resolution where it would have ascended vrould be wrong, vrhereas down\vard motion (or stationary) is permissible? .Ans.: There are very few such cases, and nothing can be done about thero without introducil1g new regulations. Thus there are two solutions: (l) to admit such parallel octaves; (2) to change the scheme of tension, that is to reconstruct the progression of chord-structu res just for such a place. letter. Frances has asked to answer the other parts of your I shall be glad to see you any time you get here. With cordial best wishes always, Sincerely, • •• • BUTTERFIELD 8-2107 JOSEPH SCHILLINGER 875 FIFTH AVENUE NEW YORK • • December 29, 1941. Dear Dr. Gross: This is the second of the three sets of lessons covered by your last check. This set completes Two-Part Melodization and begins Two-Part Harmonization. Your next set will complete Two-Part Harmonization and will begin Instrumental Forms. Though it is rather late to do so, beginning with the enclosed set I am changing the method of numbering pages. From now on, each branch will be numbered consecutively, and each new branch will begin with page one. Because you have divided your lessons into notebooks of separate branches this will be easier. The best of everything for you and your family for the New Year. Si ncerely, • • • • • • • • • • • MRS. JOSEPH SCHILLINGER 340 EAST 57TH STREl:T NEW YOR!( 22, NE\V YORK Septem ber 28, 1944. Dear Jerry, • Here are some copies of th e Newsweek articl e, with your go od name in it. I can let you have as many more as you like, if you want them. You will notice that credit for the drawing has been changed to Lyn Murray (a mistake on the part of someon e at Newswee k, whi ch I corrected). I sent some material to Widder, as you so kindly suggested, so maybe h e•ll do an article too. Received a nice letter from Myron Schaeffer Panama, wh o says he'll b e here in about six months, to stay a while. Love to you and Jan et. Always, • • / ... •• • • - -- t 'T'his is a full..,.ate Tdcgrum or Q.ble,. r,tem unl<:$S Its do­ f • • • • "'. ., � .:�':� - ,:; • •• • ' • • • � • • l • } .. 4 ••• • • • .,< • .!, •• • • • ' • , • • .. • • • • • •• • .. • • .... • • • " • � • ' • • • • C • • • • I ' Pann4r that it appears to be organic• al1va ., IP! �cimce 0£', �!N, pusie thus 'becomes the mecba�1cs or �cal, !OJ!l-Y• b - Tbe te.chniq,ue or this science enables the art or music to set"Ye its ultimate purpose, ,:h'- c�p.Yg�o_e gt ��$.,c,J. 14,eas. tg MI@ !1!wn,r .2 • • The sources , the Rd.1a and the instrWDm ts �t art ai-e created by (Mitur.e . !be forms, tbe :teiture, and the col.oring or rainbows, S\maets� birds• pluaqu, . crystals, abells . »lants, anim�l and hwean bodies are t;tte ,s,Jo!1£Ceft � tbe srt � pa1at1ng. 0 llin•ral.$� plants and vegetab1es are the ,iedia {pigments) and the sense or vision - �e ipll!3Y!ept or that art .. The thunder, the an:tmal. sounds oad the ecbo are aa mueh-- the source• � mos1.c • • al.l the 1DOrgan1c and orpti:1e fonus wbich s,roY1de the structural- patterne f{)r musical Jatonation and- cont.1n\ll.ty. Lungs and vocal cords ._ reed• and ania,al. ski.ns , as well as el.ect.r10it7 ere tbe •�1! (.ound Jroduct1on) cf the ut or Dnls1o, and the aenae r4 beari.Qg is the ,,Ul•��gt or tbat .rt. Natural forms originated as. a neeesai.ty, an 1ns.tt-u•at tor •tt�S.ent ex1stece • . MultLplioat1on ot forms and 1:aw.•ea (optJ.oal and acous t1cal refiex1on) as. well ,as offensive and. detensive (circwastantial.) m1llicr7 (aare.ss1•• and protect1ve - s1%e, sbap� and coloring) constitute t.be first step 1Q the evo1ution or (lrt tonis .. � • .. • • • ••• • • • • • • • • • .. - ., • • .,,. r • , • • • • • • • • • • • De4uot1on ot- esthetic (dogaat.io) norms, combined with 1m1:tation @d -rtt-.ad jus.tment of appearances accord­ ing to these nonns constitutes the ttol-1ow1ng step intent�cmal mimierJ. 4!he tinfll ste}> 1D the evolution of tbe arts 1s a seienti!i� method or- •rt production. where the works of art are manufactured and distri­ buted ac�ordtng to definite req�i:rements and epeci� •• ticat1.orut. This fiMl st-e.P becomes pos-aible only atter the laws of art haYe been disclosed. The dls� cover or the laws ot �t has . been an · old dream of bumant.t,-. Ill the Li-Ki.� or Mm<>rial Rites of the an­ cient Chinese we read t "IAlsie is 1nt.1matelT co,m,eet­ • ed With the ,aseential re1at1ons ot beings. . !bus, to mow sounds,, but not aJ..rs, is peculiar t-0 bird9 and brute beasts; to kno• au.s ,. but not- mua�c: .is p.«:1uliar to the common herd; to the wis.e alone it is r-eaened • to understand music. That 1s •hT sounds sr• studied to know a1:rs, al.rt: 1n order tQ mow aaue1�,. - end 11Usic to know how to I;;Ul9. • The science ot art-making must be concern­ ed with two tuad&mentals: , {l) The •eeban1o ot patte:-n-aald-og. (2) The mechanism ot reactions. • A theory or the arts mus\: be ult-1.metelT formulated as a a,cience dealing with the �elat1.onship • • ,. • • • •• J • • • ,, ,.. I • • • ,' • - • - ,. • ""' - -. • • ... " • .' " • • • • • • • • • • • • • ' • • • -' • • • which exlsta, between the forms ot exc1tors (works ot fft as tbeJ enst 1a tbeir physical torm 1n this case) and the for•s of. rf!!C,t,J.29�: (eJDOtional :responses •• they exist 111 theJ.J' psyceho-phy-Biolog1oal tora, 1.e . , 1n the tora of nen:ous illJ;>Ulses, reflexes- and psych6log1eal categor ies) .. As lon.g as any art-ton lHWi.festa itself· • f.hrougb a physical m�im, �d 1s perce1Yed through • an o:tgan (or organs) or sensaUon� 10ewry and asso­ ciative orienta'tion, 1t is a metispr�})1e 9.u�t�tz:, and me&S'tll'able qu&nt-i ties are stib2e.ctted to the la•• ot .aatheaaties ., Thus , the analysis of f'orms (even 1t they ue eoA&Hered e•tb•tic) requires matbeJla�cel tech­ niqa, and the synthesis of f'orms (the mek ing of tol!m s r-ealized in an art medium � 1n tb1$ case) requires tbe �!�sue.. or, en11neer1pg . There is no reason why Wtlsie or painting or !)Oetry oarmot be des.1gne4 a11d executed the wq engi!lt'fa ' or bridges ai,e. 'The · technical progress ()f today prod­ uces enough ffi"4enee ot the success wi1icb re-sults tram engi:aeer-irlg, i .e ., , rrom the method of. expedient economy and e.t£1ciency. And it this method transformed the most daring dream• of yesterda;y illto ao�r,.11t1e:s or today� it 1s bound to be equallf as su•cesstul 1n the tiel.d or art . .. - • r, t • THE SCHILLIKGER SYSTE:M' OF COl\liPOSITION • ------ ----------■ -·------ One of the most challenging and s t imulat ing books t o those interested in esthet ics has been the ' ' rec ently pub l i shed System of }!:us ical C omposit ion by Joseph Schill i nger . I t s novel and sc ient if'ic ap-proach have evoked both entl'1us iast ic support and stubborn o pp o s i t i o n . I am aware that anyone who pro j e c t s him.s elf int o a controversial fray may find hirns elf caught in the middle and m at i s worse may emerge with a bloody nose fo r his temer ity. However , s ince a good intellec tual scrap always did intr igue me , and s ince the s ight of blood does not d i s turb me , even i f it is my own, I d id not hes i tate t o accept the invitat ion t o wr i t e this art i c l e . I t s o ha.ppens that I knew Sch i l l i nger vrell and '\"las his pup i l . I had nunerous opportunit ies t o di scuss his theory with him. ;,.. " ' ..,t.,i .)� " lJ"k,/1 .( ... � /.,4. "(. ainee I have had the privi lege of both sc ient ific and ,.f,.. ' e a right t o express my mus i cal �ac k&rou :id , ; ., f ei 1 � � . 1 :..:, � viewJ.f This I do 'without in the least trying t o set myself up as an authority on mus i c , sc ience or esthe t i c s . I w i l l shed no tears if you d isagree with me and I reserve \ •I I '\ • I • • -.�-.r .... • . - - • . -- -- • - • J • • - f :t • • • T • .., • , J • • • ' • . .! • • • ,r • V <"l i: :t r .o • • . , • •r "I . r• • j f ••, • ... ' :;i •. • r • r ..,. ... • • t • , • - • t tl\ O • • I• • • [ . ,4, ' � II n' o·.ctno,::, s • j 1 ·t� r) . \ { • b� • b ) r ·"' r r 'I '1 a ·� � 't ') '1 - • • 'I- r ('f . '1 .• [ I 'f" • .. )J V • • • l r • .,•. r .. , , t '. r • • '! •• • • • • .. •' .. • £. • • (.; � • • • • • • lo •• n 't V • •• 0 r • '• j' " I • 0 • j • � ,.,, � • r J. • r r ,lt I • • #2. the right t o change my own mind ir1 tre futur e , i f on the bas i s of further knowledge and exper i enc e I f i nd it correct t o do s o . Wha,t i s re qt1ired of i:3. nyone who would Yfi th all fairness r1.pproa.ch a. study of Schill inger ' s work is an open :r.1ind , not hemmed in or hopelessly bound b�r dogma� � • 11«�� • • I f you have made up your mind that the s c i entific method has no place in the arts and that nothing that anybody would say would shake _you l oose from such an opinion, it would be best for you t o stop re�ding right now. On many occasi ons I have i�� this quest ion int o an evening ' s c onversat ion t o f ind some of :r.1y good fr i ends in tr1e mus ical world undergo fr ightening d i s t ort ions of their blood pressure when I declared that it v,ei.s not only possible but tnos t des irable to apply sci ent ific proc edure t o an esthet ic f i e ld l ike mus i cal composition. Schill inger ' s ideas were at the other end of the pendulum from those who denied s c i ence ' s adm i s s i o n into art . Schi l l i nger bel ieved that sc ience c ould explain all a.rt through ..., """.e. 1) . .,J. � � . • t 1• f 1c • the proce ss of �1�e reaso ning base d upon sc ien • / • • r • , ,. • • ...,. • • • • • • • ., • : 0 ,. • • "'0 • • • • rt t ' • • 1: • 0 • C •• ' • • • • • • • • • , • • • ... • • • J '• , • • ,. • . analysis of the mus i c of the past , and through induct ive reasoning evolve new and more complex mus i c o f the future. He bel ieved that where the composers of the pas t , including the gre at masters 1 did their work through intuitive cha nnel s , it should be possible for sc ientifi c - . • ally trained c omposers t o develop their art without " having to rely on the fallible methods based on intu ition and " i ns p ira t i on" . Let me quote from Schilltnger. " I ntuit ive artists of grea.t merit are usually endowed with gre at sensit iveness and intuitive knowledge of the underlying scheme of things. This i s why a c omposer like Wagner is c apable of - projecting spiral format ions through the medium of mus ical intonati ons wi thout any a nalyt ical knov,rledge of the process involved. On the other hand , sc ientific a nalysis shows that the efforts of greatly endowed and cre at ive persons c ould have been • ac compl i shed without any waste of t ime , introspec t io n , special ability, or over-sensitiveness. Once the laws underl:}ring certain structures have been disclosed, anyone c a n develop a ny number of structures in a clas s , through the mere use of a formula. This does not deprive an art ist , making an individu al selection l · .i. [j • { ;t 1o ' -f V • j ) • • • ,. r i.1 • L • • • • • • • • • • I • r -. .,. V • • •• • .. • • .a • • (, It )•• J; .. •• f • • .. J. • ;t . • ·o :t (l r • . .. . • • • • I �I • r • • • ., r , • , • - .. •• • • • • • • • • • .r #4 . (whatever tl1e value of such sel ection may be ) , from operat i ng under the i l lus i o n of a.s great a freedom as the one he imagines he possesses when creating through the channe ls of vague intuition and nebulous notions . " Schi ll i nger was pecul iarly wel l fitted by training and background for the task that he set • himself . He possessed one of the most bri ll iant minds that I have ever encountered . His training included • not only extensive study i n mus i c . He had stud ied extens ive ly i n history and phi los ophy, mat hemat i c s , physics and languages . He had a stud ious , inquir ing mind , not c ont ent to accept trad it ional teachings and explanat i ons . He had no patience with those who insiste d upon exp laining art i s t i c creat ion and phenomena by purely metaphys i c al methods . \Vi th him it was th.e sc ient ifi c ap�roach w ithout compr omi s e . The l ist of his accompli shments as c ompo ser, teacher, invent or #', c..,J lecturer as enumer·ated i n the "Encyc loped i a of Bi ography" is truly amaz ing. To me , as to many others who admired his bril l iant inte ll ec t , his premature death at the age of 47 was a great trage d3r. There was much that he would • ' ,. 1 • • • • • r t • • • • • rrt , • • r • • • • • ,. • • • • • • • • I • I • • • • • ,, 0 •• • • .. • • r r ) + ... .( V f • • ,. I\ t • •• • • r+ •) . ' • ' r • • . , • • .. . • have contributed t o s o c iety and t o art had he l ived longer . It i s , of c ourse , not fair that his monumental work on mus ical c omp o s i t i o n; , c onsist ing • of t,.,o 1·arge volumes, should be presented i n abridged form i n an �rt i cle l ike this . Schill inger needed no defenders and his work speaks most eloquently for itself. In the project i o n of his theory Schill inger does not hesitate t o dis card many of the traditional me thods. Whether or not you can f ind yourself in agreement �ith his method and his ideas I feel sure that if you were to approach the subj ect matter' with an open mind you could not help but marvel and admire the br ill iance of the concept: . "' Hi� system is divided int o twelve c orrelated branches : Theory of Rhythm Theory of Pit ch-Scales Var iat i o ns by Means of Geometrical Project ion Theory of Melody Special Theory of Harmony Correlat ion of Harmony and Melody Theory of C ounterpoint Instrumental Forms • .... • • • .. • ' t . t. • -.r - l :t ( • • , • • • r, 0 • ;t r • ... • • • • ..,. • • .., • - ... . • ·- -t • ... • •• • • .t . l rl C • r I ... . • • • .t • • •• • .. • • r .. ,- • .t • • ,. i.. • • r c-.. • • • • ,. • • General Theor:)r of Harmony ( Strata Harmony) Evolut i o n of Pit ch-Families Theory of C omposit ion Theory of Orchestrat ion II Hi s rhyt hmic patterns are evolved from natural sources and by sc ient if i c method are evolved int o c omplex • patterns and formulae . I n his treatment of harmony , vo i c e , leading, scal e s , melody and counterpoint, Schillinger c onsistently applies the sc ientific method . As I see it , the t�o volurnes provide an encyclopedic and stat i s t ical embodiment of all the possible devi ces and comb i nat ions that musica,l composit i o n has t o offer. Schill inger ' s argument was that a good composer should be able t o c ompose in any styl e , and through a mastery of the t ech.ni cal devices in,rolved in mus ic of a given type , a composer should be able t o c ompose with ease i n that style. Thu s , for example , if a c omposer wished to wr ite in a style of the 17th century, it would be ne cessary for him t o analyze the m1sic of that period and reduce it t o its fundamental rhythmic , melodic and harmonic patterns and then apply these formulae in his .I comn• o s i t i o ns • Schillinger strongly believed that without • • • • :t L • • r • • • • • • • • r. • • ,. r .[ 0 • ... • r r • • • • • • 'l • • • • • i r' • • • • r ,. • 9 • • • • • • ;. r ., J • \ r ,.. the appl i c at i on of the sc ient i f ic method the student and composer were restr icted i n their horizons . The student was enmeshed and weighted down by an insurmountable array of rules of dos and don' t s , which were in the main deduced from the writ ings of l?th and 18th • • century composers, many of them mediocre . When a student finally. emerged from this quagmire, his experience pernitted him t o wr ite in that style only, and usually not as well as his predecessors . To make � . 1t vrorse he v1as Rccused of not being original . On 1 the c o ntrary, according t o Schi l l inger , the sc ient ifi c method completely l iberated the composer from subservience to the pas t , if he s o de s ired. A composer could be as or iginal as he des ired. C r i t i c s of Sch i l l inger have stated that his system di d not allow for the factor of genius and inspira­ t i on . Schillinger scoffed at t h i s . He claired that j t was perfectly possible t o compose mus i c of a superior qual ity wi thout inspirat ion, provided that the composer knew h i s ere.ft thor oughly and llnderst ood the " ingred.ients 11 • • • • • r{j • .. • • • I • 0 ,- " ♦ • • • • [ ( • • '1J r ' • • p • • C) ... • • • • • ... • • • :t 'I . t , • • I C) f( • fl • • • • - • j' J.: ' • • • • 'I • • ,, • ; t r 0 • 0 • •� • 0J n • :t . • • r ' • • • f .t #8 . wh ich made up a given composit ion i n a given style . He cl aimed that once a certain style i n regard t o i t s rhythm , harmony and melody was established the composer could make selec t i ons within that f i eld. The c omposer v1as given first the freedom of cho ice of the part icular . • • style and then freedom of ch oi ce within that part icular style • There remains for me t o c omme nt upon my own exper ience as a student of c omposition, and I must emphasize that at present I am only a student . I have found tha.t the Schillinger system of c o1np o s i t ion has afforded me a most del ightful i ntellectual , mental ',rr,. experienc e . -despite assiduous study of the svstem ,1Vh ich y was taken mainly through the correspondence ne.thod, I found that it was neces sary for me to do further study with a well known composer i n order t o Je arn the classic id iom. I think that this has been greatly fac i l itated by my previous study of the Schi llinger s3rstem i n that it gave me a basis , a sc ient i f ic basi s, if you vril l , for compre]1ension of the class ics. Schill i nger does not go • int o all the details of the c lassic method with �id ioms • • • • • • I • ) • • • • • • • • ' • • • • • • • • • • • • • • • • • • • • • • • #9 . He is content t o formulate rn.P ny of its ba. s ic pr inc ip les . For the rest , the student must d:g for h ims elf . I know that Sch i l l inger did not cons ider that a fault of h i s treat ise . He considered much of past mus ic as e i ther a. Sl)ec ial case of mus ic in general or as mediocre • material not viorthy of mucl1 attent ion anyway • Certainly the Schill inger method has prove,l, very fruitful t o people who have worked in the arranging f ield and t o those who have t o turn out lei.rge volumes of mu s i c rapidly) as for radio scr ipts or for tre movies . This fact I know t o be s o from pers onal conversat j on with people who do this kind of work. Wha t seems t o 111e is the one really valid c r i t ic ism i s that from an esthe t i c standpoint , while cataloging all the possibil it ies which may unite in various ways t o provide e sthet ic appeal , the Schill inger method does not teach the student how t o d ist inguish between "''h�t is esthetically beaut iful and vrha t is not and as a coreffary of this , how t o produce such an esthet ic response . It is at thi s po int that the opponents of the sc ientific method in art would try • • • • • ( • • • • • • • • • • • • • • r • • • • • ... • r, ; • I l> • f C • • " rr· r • • • • • • • • • • • • • • • • • • .. • • ., #10 . to rise in their righteot1s i nd ignation t o jeer , t o ld you s o " . 11 1 We l l , mayb e s o , it may be thB.t here is the one spot where the factor of genius and inspirat ion may play the d e c i s ive role . In other words , all c omposers may learn t he mathemat ical formulae , the ; methods and the craft of c ompo s i t ion, but it is i n the • s e lect ivity of the var ious components at the proper t ime and in the proper plac e , in that sens it ivity t o the st imuli thus produced that the illusive divine sp ark may be present. , To which the determined sc ient ist may reply that all t he phenomena of nature , if not at present completely known or understood, are neverthe less capable of complete understanding in the future . To extract truth from nature is diffi cult but in the end sci ence must tr iumph. Human be ings , including their nervous systems and the matter which st imulates these nervous systems, are physical ent i t i e s and therefore are capable of eventua y c omplete analys i s and understand i ng . � ._, * It is probably this belief which enc ourages sci ent is t s r� c ont inue their r relent le s s probing of the human mind. I t i s at this po int where many of my fr iends • • ·.c • • • r • •I • • • ' r ' • • • j • ./ ... • • ' ♦ ,. • I ' • (I • "I • • • • t ,. • • , r , • • l • 00 ( ,. .. , • • • ... • • • • • • • • • • , • • J • • • • • i ! ' . .< I ,, #11 . on one or the other s ide of the fence begin to . get hot under the c ollar on the quest ion of the 1w�r possibil ity and des irab i l ity of the scient ific method in its applicat ion to the arts. 1-fNJ • • • 4-'r{ WO� do �� ) -{b,£c :lo ;-� ;-c ;vvVr-lv � I e A-":l",P {/''),�t • • • ,• • ,. • • • • • • • • • • • • • • • •