DR. ROME GRO CORRESPONDENCE COURSE 911 Park Avenue New York, N .,Y. •• • December 18, 1940 • • Dr. Jerome Gross 10300 Lake Shore Blvd. Cleveland, Ohio • Dear Dr. Gross : In your homev1ork please roalce all the sc ores on music paper, giving each part a separate staff arid v.rriti:r1g all n ot�s on the middle C (between the third and fourth lines). This gives them a more musical appearance. • D The rest, I believe, will be clear to you. • Mrs. Schillinger joins me in sending you l101iday greetings . Sincerely yuurs, JOSEPlf SCEIILLI}fGER. JS:,m • • • • • • • JOSl:l>t1 SCtilLLINE,1:� �11 l>A�r;. AVl:NUI: • N l:W .,,o�r;. • IBVTTl:�1'11:LI> S•:Z1f)7 Dece1nber 20, 1940 . • Dr. Jerome Gross 10300 Lake Shore Blvd. Cleveland, Ohio Dear Dr. Gross: • Thank you very rouch for your nice letter of December 17th. Your graphs are in order. \Vi th the ne�v information sent to you in the corres­ pondence lessons you will be able to �ut this material into �roper score form. I w�s glad to s�e that you lost no time i11 se11ding this v1ork. I am ha.P.!.JY to have you as a student, a116. I kno\t you will Wru!.e excellent progress. Sincerely yours, JOSEPH SCHILLINGER. JS:ro • • • • • • , ENCYCLOPEDIA OF BIOGRAPHY SCHILLINGER, JOSEPH, Composer, Lec­ • • - the Ukraine. During the last two years of this turer, Author-During the past decade the work period he ,vas head of the Composition Department and achievements of Joseph Schillinger have come and professor at the State Academy of Music, to be recognized as among the clearest, most Ukraine, and consultant to the Union of Soviet cogent and intensely personal forces in A1nerican Socialist Republics Board of Education. From musicology and other fornis of art. An active, 1922 to 1926 he held a similar post with the Lenin­ questing mind which will not rest content with grad Board of Education and was professor and traditional assumptions and methods unless they member of the State Institute of the History of are susceptible t o independent inquiry and verifica­ Arts, 1925-28. In 1927 Joseph Schillinger was tion, has been a motivating power in a career that commissioned to make phonograms of the native has made unique contributions to what are called, folk music of the Georgian tribes in the Caucasus; for lack of more definite terms, the arts. To the was senior instructor of the State Central Tech­ intelligentsia he is best known for his thesis, which nicu1n of Music, 1926-28; v:ice-president of the he can so ably demonstrate the "mathematical Leningrad Branch of the International Society for basis of the arts" ; for his varied musical composi- Contemporary Music, 1926-28, and was the or­ tions, and for his identificatio11 ,vith the develop- ganizer, lecturer and director of the first Russian ment of the electronic musical instrument, the jazz orchestra, 1927-28. theremin. A large number of Schillinger students In November, 1928, Joseph Schillinger came to in design and musical composition now hold pro­ New York City by invitation of the American fessional chairs in some of our great institutions Society for Cultural Relations with Russia to be a of higher education, or are prominent in orchestras lecturer on contemporary music. He migrated to as leaders, arrangers and performers. Although the United States in April, 1930, and in July, 1936, he has composed, been the author of prose and became a citizen. In the Ne\v World his dynamic poetry and lectured extensively, Joseph Schillinger energies and talents have found their widest out­ is best kno,vn to the public-at-large through the let. To outline his accomplishments of the past pleasure he has given it through various mediums decade would require many pages; in briefest sumand persons, rather than by name. Somehow 111ary they may be recorded as : Collaborator with time still remains the arbiter of when genius be­ Leon Therernin on research in musical acoustics comes a personality to the people he has served and design and construction of an electronic organ well. \vith micro-tuning and volume control of differen­ Although still a young man, Joseph Schillinger tial tones. The evolution of a compound tuning did not come to the United States until after his system, ,vhich elin1inates the controversies of all genius had matured and he had acquired a notable systeins previously offered, 1929-32; professor at background of education, experience and produc­ the David Berend School of 11usic, 1930-32; Lec­ tion. He was born on September 1, 1895, at turer at the New School for Social Research, 1932Kharkov, Russia, son of 1'Ioses and Anna Schil­ 1933; instructor and lecturer in rhythmic design at linger. At the age of five he manifested interest Florence Cane School of Art, American Institute in design, dramatics and verse; at ten he was ex� for Study of Advanced Education, and American perimenting in playwriting and music. In 1914 he Institute of City of New York, 1934, and at completed one phase of his formal education in a Teachers' College of Columbia University, Depart­ Classical College, and began studies at the St. ment of Music, Fine Arts and Mathematics, 1934Petersburg Imperial Conservatory of Music, spe­ 1936 (exhibition of geometrical design, Mathe­ cializing prior to 1918 in composition and con­ matics Museum, 1934); lecturer, New York Uni­ ducting. In more detail it might be indicated that versity, 1936. In 1932 he evolved a ne\v system of before he was twenty-five years of age he had projective geometry making all curves expressible acquired the Hebrew, Latin, German, French, in circular arcs, and evolved the first scientific English and Italian languages; covered a wide theory of the arts (individual and compound art range of ancient and modern history; studied the forms based on five senses, space and time) during annals of classical and oriental philosophy, of reli­ 1913-33. gious systems; mathematics under Koltovski and As already indicated, Joseph Schillinger began Anton Przieborgski (1920); versification with con1posing music when very young, but most of his Nikolai Schebouev; Slavonic mythology and his­ important works date from the early Great War tory o f Russian Literature, State University of period. Hardly a year has passed since then with­ Petrograd; physics, acoustics and many other sub­ out some major composition, among which, to jects. Habitually, Joseph Schillinger has learned choose almost at random, are : "March of the what the past had to teach before he has endeav­ Orient," 1924; "Japanese Suite,'' ("Merry Ghost,") ored to instruct. Nor has he ever ceased being a 1927; "Sym phonic Rhapsody,'' 1927; "First Air­ phonic Suite," for R. C. A. theremin and orchestra, student. From 1918 to 1922, Joseph Schillinger was head 1929 (played by Cleveland Symphony Orchestra of the music department, Board of Education, in under Nikolai Sokoloff with Leon Tberemin, Reprinted !ro111 the Bnci,ciopeclia o/ A,ne1'ica11 lJiog1·apJ1y of The Ainerican Historical Company, Inc. • ENCYCLOPEDIA OF BIOGRAPHY • soloist; first composition for electronic instrument with symphony orchestra); "North-Russian Sym­ phony" (commissioned for R. C. A. Photophone Company through Nathaniel Shilkret), 1930; bal­ let, "The People and the Prophet'' ( commissioned by Benjamin Zemach and performed by him and his group at Civic Repertory Theatre, New York City, 1931); music mathematically composed in Union of Soviet Socialist Republics and U. S. A. Other works include: Compositions in pure de­ sign and industrial design with Alexander Wino­ gradow and Virginia Pegram (Architectural Leagu.e of New York, 1936); compositions for stage design and interior decoration, and composi­ tions in photography; light-ray and wood-block • compositions in pure animated design ( cinema "Synchronizatioµ" with M. E. Bute and Lewis Jacobs), abstract animated color composition (with G. Goldberg, M. E. Bute and Elias Katz) . Emphasis already has been placed upon Joseph Schillinger as an instructor and lecturer in his native and foreign countries, from 1918 to 1928. In America he continued similar activities at the David Berend School of Mus•ic, 1930-32; the Music School of the Young Men's Hebre\v Asso­ ciation, 1931-32; the Theremin Studio, 1930-32; the New School for Social Research, 1932-33; Musical Culture League of New York, 1933; Flor­ ence Cane School of Art, 1934; Teachers' Col­ lege, Coltimbia University, 1934-36; New York University, 1936, all in New York City. He has lectured frequently and ,videly before a variety of organizations and during the past few years has also developed correspondence courses in the arts. The list of his students, present and past, includes many prominent names among \vhom we find col­ lege professors and educators; architects, artists and designers; motion picture and radio music directors, composers and conductors. The writer has seen an incomplete roster of those who have studied under Joseph Schillinger and among \Vhom we find top rank celebrities as ,veJl as beginners whom he built up to pro1ninence. This list enun1er­ ated more than one hundred and twenty-five \vell­ known names. Mr. Schillinger's music was broadcast on the Staadts-Rundfunk, Berlin, Munich and Ostmarken­ Rundfunk, Koenigsberg, Germany; WT AM, Cleveland, Ohio, and WEVD, New York City. He is the author of: "Musical Propedeutics," 1925; "Manual of Playing Space-Control There­ min," 1929; "Evolution of Musical Instruments," 1930; "Mathematical Basis of the Arts," 1932; "Excerpts from Theory of Synchr()!Jization," (Experimental Cinema), 1934; (with Margaret Lessueur) Poetry and Prose, mathematically de­ vised (presented before Faculty Club of Columbia University, Mathematics Division, 1934); "The Destiny of the Tonal Art" (published by Music Teachers' National Association, American Music­ ological Society, 1938). Of an earlier period is his poetical works: "Theurgian's Command1nents," published by "Seb," Kharkov, 1920, a poem on the fusion of senses and the arts to come. "Bright Message," published by "Seb," Kharkov, 1921, a book of mystical poems. From 1928 to 1932, Joseph Schillinger was a member of Genossenschaft Deutscher Tonsetzer ( Composers Society), Berlin, Germany. Since 1929 he has been a member of the New York Musicological Society, and later, since its organi­ zation, of the American Musicological Society and the American Society for Comparative Musicol­ ogy. His hobbies and recreations are photography, mountain-climbing and fishing, • • For Dr. Jerome Gross Joseph_ Schillinger Courses in Musical Compo�ition. General Course: I. II. III. IV. v. VI. VII. VIII. IX. • x. XI . XII. XIII. XIV. xv. XVI. XVII. Rhythm Pitch Scales Geometrical Projections Melody Harmony (special) Melodization Harmonization Correlated Melodies (Counterpoint) Part-Melodization • Part-Harmonization Instrumental Forws Harmony (general) Applications of General Harmony Evolution of Style • Com osition: a general b thematic c semantic Musical Acoustics (Instrumentation) Orchestration Special Courses: XVIII. Interpretatio11 XIX. xx. XXI. Conducting Song-writing Arranging XXII. Methodology of the Tl1eory, A11.alysi s and Criticism XXIII. Didactics XXIV. Varieties of' Musical Experience (Philosophy of Music) Mathematical Basis of Music XXV. • • • • , JOSll:1)11 SCl11LLIN611:� g11 1).4.�� .4.Vll:p..jlJII: N 11:W .,,O�� ISl!TTIE�l'IIELI). 8•!.Z 1()7 January 7, 1941 • • Dr. Jerome Gross 10300 Lake Shore Blvd. Cleveland, Ohio • • • Dear Dr. Gros s : I am enclosing a list of the rhythruic �atterns for which I niake records for the private use of my students. They v,ould be wost helpful· to you in studying rhytl1ws precisely executed. These records are not to be du �licated a.nd/or resold, or to be used for µublic �erforroance or broadcast, aria �11 students �re requested to sign an agreeme11t to this effect. The enclosed list of rhythmic patter11s 111Jh.ich I selected fox· recording are arra11ged for conver1ience in to sets, so that ea.ch set could be ordered sev&rately. The 1,rices o.re warked for each set. Please let me knO'-'' if you are interested. Viith best vrishes, Sincerely yours, • JOSEPJI SCHILLil{GER. JS:m • • • • • JOSEPH SCIIILLINGER -ss:.c... .::a, 911 Park Avenue rre'H YorK, rJ.Y. TABLE OF RHYTID.iIIC P�SULTANTS Binary Synchronization 3+2 4+3 5+2 6+5 7+'?, 8+3 9+2 5+3 5+4 7+3 8+5 7+4. 8+7 9+5 9+4 7+5 7+6 9+7 9+8 Set A Total: 19 Price; 57 dollars ___;;;. ��- - ==----�--------------- • lO+ti 11+2 11+9 12+5 l::S+� 1::5+9 14+3 15+2 16+3 10+7 11+3 11+10 12+7 13+'3 13+10 14+5 15+4 16+5 10+9 11+4 11+5 11+6 11+7 11+8 12+11 13+4 13+11 14+9 15+7 16+7 13+5 13+12 14+11 15+8 16+9 13+6 13+7 13+8 14+13 15+11 16+11 15+13 16+10 15+14 16+15 Set B Total: 45 Price: 135 dollars • Binary Srnchronization in Multiples 6+4 3+2 8+6 4+3 10+4 5+2 12+10 6+5 14+4. 7+2 14+6 7+3 14+8 7+4 14+10 7+5 14.+12 7+6 16+6 8+3 16+10 8+5 16+14 8+7 �· Set C Total. Price: 12 Set D Total: Price: 2 6 dollars 36 dollars 16+12 ,.. 12+8 6+4 :)+2 . 870 4+3 • ==-__..; ., 1, • • t -2Terµary Synchronization • 3+5+8 ::5+4+11 4+5+14 �+3+5 3+4+7 4+5+9 3-:-5+13 3+7+11 4+9+14 3+8+13 4+7+11 5+9+14 5+8+13 Set E Total: 13 Price. 39 dollars Ternary Syn�hro�ization in Multiples 6+10+16 3+5+8 4+6+10 2+3+5 6+8+14 3+4+7 Set F Total· 3 Price; 9 dollars Quaternary ?rnchronization �+5+8+13 3+4+7+11 4+5+9+1Ll. Set G Total� rPrice: !=I dollars • Grar1d Total. 97 Price: 291 dollars Each so1,1nd-tracl{ lasts about one minute. Records are made to order in 10 11 size, to be played outside-in at 78 R.P.M., unless requested otherwise. • -• • • ••• • • • • • -• • •• •• • • r • • • • ., • • -• • --- .....• ... • • ' • I ' • • • • • • 1 ,, • - 1 • - f..!...• I') .: • ,, • .• • . - L � n ' I • , .. -. • : . • • •• • I - - -• ' •, • - • .. - • 1/ )i / • • - • "" • - � ' - • • . • .. L I, ,.,.- • , . . • • � ' -ti • .. 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' ■ II ' - • • • I- . •- l I • • ; + • , I II I I . • -. .. �-! • • • .• • • • • / • • • • • • ,.. .• ':'••• . -• .,. .. - - \ .. • • . • • , n• • • • .;; . • . \ • 17 • • . '" ,,,.-.-.... •• � .- . • • • / ". . -, J ' t-,,,")1\JZc)f (.{ ... ' • • • •. ,.• · -• 1,..-- - \ • -,,.. (? • . • • • • • .. ..I I . • • ,,,,- � " •"'I • - --- - - - - No. 230 Loose Leaf 12 Stave Style - Standard Punch - - l .... . ..a I - -- .. � • . I u ,_ -n n,n,,.� -, - -� .. ' I ... . • ,,j- � , �- .,., \ J •. • .. . • • -c '\. \ �, • . • V •• I . . ---i-n -· • • \ / � • �=�r:i�fJ - .. '/ .. • - -. . • U- \ • • - • ------ - - �: ...... .... ,.- ;-�) '"i � , 1' � � • .' I " -- \ - �• • • I .- - • I I L .. . • • v vv � - • • . .• •• • • • . - • . • -' • v� ... I I . , . . .. • •• . .. . .1· \ - D . - -- - - -- • • . • , , • V v' :,,.-.- J • .. � • ,I ../ • - \ -• '-� - I •. • • • • . I . • \ �- • i v • . . I _.>- I .. • ' 1 +-CA'Vo-fk-.. • • . • . • • 1 . I\ i=:- • ;i � -. � I • • • I � • I ..,,I .. .,t-C.... . ., .. I /I � I I I �.,. I ' • - • . • I • • .,, • , ' ' , tli t- • • ' , ------ ---- - ,. •I • Cl . • • • • • • • • • • • • • • • • • • • • • • • • • • • ' • • • 0 ,.... ' s, j Ivv .., --e- , ' ;)i. •• ' � • • - • - . , ., ,_, .. • ,� I ...,, - � --0 • ., J ,, __, ) I • • II • • .. ' • • • .. • • • • • • •• S C H I l lI n 6 fR C fn lf R 4900 E U C L I D A V E N U E • of Cleveland IN dlcott 1 •2645 • C L E V E L A N D 3, O H I O AUTHOIIIIO TIACHR ICHILLINOll IYITIM B E R T I-I E N R Y Director February 28, 1956 Frances Sohi ll inger The Sehill , inger Society 340 East 57th Street New York 22, N.Y . . Dear M-rs. Schill inger: • • • Enclosed you will find. a check in the amount of $61 .01 which representB two percent of $8050.50 gross income earned by the Schill inger Center ot Cleveland for the year ending Uecember 81, 1965. I must first apologize for the unusu�l delay. This was not dne to any oversight but rather to a series of pressing circumstances. During the past year I have completed requirement& for a Bachelor of Scien.o9 degree --a major in mathematics and a double minor: in physiqs and psychology-­ which was awarded me by Western Reserve University on February 1, 1956. The following Monday, February 6th, my wife gave birth to a baby girl: Susan Regina, so that only this past week. was I able to close my office records for the past year 's activities. Secondly, I wish to thank you for your very nice let·ter of February 15th. I was particularly pleased with the news that Arnold Shaw spoke about the Schillinger System to Bill Randle. Although I have worked with Bill frequently during the past three or four years and on several occasions also discussed the System, I was unsuccessful in arouaing his interest beyond his expressing a desira to some day learn more about it. He has, however, referred severa.l prospective students to me but none of t}lese have as yet enrolled. With the knolfl edge I have acquired in advanced mathematics, physics and psychology, l can now clearly see the purpose and intent Joseph Schillinger had in his Kathemat,ical 'Bas is of the Arts. Only a ma.thematically analytical • mind can a.ppreci� the significance of his contribution to mankind. It is, therefore, unfort·unate that writers such as Suzanne K. Langer (Feel!� and Form, Scribner ' s 1953, ) should assume the role of critic jumping to pre�ature conclusions. I like to pe.rallel Schill inger'.s work with C�ark S. Hul l ' s A Behav ior System and Nicolas Rashevsky ' s Kathemattcal Biology of Soc tal Behavior--both of which I believe are major contributions to psychology--ooupled witp the Oybernettcs of Norbert Wiener ip th.e rapidly developing field of communica­ tions. The general aocepta.nce of the latter should assist to a. great degree ' -2i n weakening the dogmatic opposition I have face in this area while tryin� to promote an interest in the Schillinger System. I am now in the process of continuing the outline for a series of lectures on the Theory of Desi�n based on lathbart, a copy of which I will submit to you upon completion along with a formal request for permission to present the course here. With best wishes to you and Mr. Shaw, • • • BERT HENRY, Director SCHILLINGER CEffER of Cleveland • • - • • • • • • 0 -JOSl:l)li SClilLLINC31:� �1 1 1).4.�� .4.Vl:NUI: Nl:W �O�l'Z �VTTl:121'11:LI> S•�1C>7 January 17, 1941. Dr. Jerome Gross 10300 Lake Shore Blvd. Cleveland, Ohio - Dear Dr. Gross: The next set of lessons and your homework were mailed to you yesterday, Registered. Your work is magnificently done. Novl I can tell you that you Vient through the most complicated part of the Rhythm Theory, after v,hich everything will seem technically very simple. In yo11r new branch of Variatiuns, t.i-ie quantit.y of exercises is e11tirely up to you, as v1ell as the choice of tl1e original figures .. I believe my illustrations are suff1c ier1t to give you an idea of how to proceed. However, the most characteristic binomials, trinomials and quadrinowials in rel:...tior. to the different f�milies of Rhythm, are the ones that appear at the beginning of the fundamental rhythmic resultan ts. I would like you to cover this in your exercises. I h�ve an effective but very diffi cult Sonata for Violin and Piano, which was performed soroe time ago by Nathan Milstein and Naum Linder. I do11, t believe ti.De will permit you to learn this work, which takes fifteen minutes to play. I don r t kno1r ho\"1 much time there is before your recital but if yo u intend. t'-. come to New York soon, we could discuss a possible arra..ngement of 011e or two short composi tions which cvuld be �ffective for violin but which originally I wrote as concert vocalises with piano. If your further study will J:)rogress at tl1e present rate, it will ta.tee you curisiderably less time tv become a proficient comvoser of all types of music in the styles you choose for yourself. With warm regards, Sincerely yours, JOSEPH SCHILLINGER . JS :M • • - • I • • - • .' • \ t' • =' k l • \ ) • -- ...... January 2 0 , 1941 Mr. Joseph Schillinger 911 :Park Avenue • llew York C ity Dear Yr . Scbillinger: Your approval of my work makes me very happy indeed. It seems to me, . though, that the real credit ehould go to you because your presentation of the subj ect matter is so cleAr. As you are aware , I am anxious to attain my goal as quickly as possible. ln our first discussion you told me that at the rate of four lessons per month I should · complete your course .in three and a half years. Having been 1mpreseed with the meticulous prec ision and orderlines s with whieb your subject has been prepared and preaented, I am conTinced tbat the outline of �he ent ire c.QJ1ree must tie similarly develo�ed • • Therefore I would appreciate it vert, much if at our next meeting in person you would let me know the exact numbe� of les­ sons which you utilize to present your method t o your students. You have indicated to me that you are happy to allow your pupil to set his own rate of speed. • In no way are you to con... strue this letter as an attempt to tell you bow to teach your course. However, given an x number of lessons which requires the average pupil three and a half years to cover, it seems t o me that a more ambitious, more induetrioue and more enthusiaetic student of, l hope, at least average intelligence, with a willingness to burn the midnight oil, should be able to cut do1'J'll the amount o f time necessary by increasing the number of lessons per month and perhaps by the concentration of the contents of the lessons. le the length of tbe leeeona already determ•ned and 1• a leeaon tbe aame whether pupiltakes tbem frequently or infrequently? a I will be in �n York for one day only iebruar7 2. I would like to request that you g1Te me an appointment for two consecut1Te hours on tbat day• in the afternoon,if possible. I hope that at tbat time you will giYe me a plan­ ned schedule of the entire oouru, including the total nuaber of leaeona, ao that I ean plan further my social and economic life to enable me to complete the course in rapid" fashion. Aleo, we ought to consider a wq to eliminate excess losa of time becauee of the factor or corres­ pondence. I feel confident that you will proTe eager to cooperatewwith ... A fine teacber like you undoubtedly deriTes bis greatest eatiefaction f'rom the sti•lation and tbe development of hie pu-plla. I wae Yery much interested in your word• about your Sonata. r.e will talk about it further wbeb 1 SN 7ou on i'ebru.ar7 2. Attached is the homework tor leeeona nine through twelTe.and. a check for sixty dollar■• I aa wonderi,:g w)len we etart the port ion of the course dealing with harllOJlY• 1t1tb cordial regards, Sincerely youra, Jerome Gros• • • - I • -911 Park Avenue New York, Ii. Y. January 28, 194l. Dr. Jerome Gross 10300 Lake Shore Blvd. Cleve.l and, Ohio • Dear Dr. Gross : ' I received your homework and check yesterda7 , together with your letter (dated January 2 0) . Because I am aware of your desire to proceed as quickly as possible, I have prepared your lessons immediately, as I have done each . time. Your homework is excellent, as always. When you come here next Monday I shall have prepared for you some idea of the co11tents of my course in musical composition. At that time, too, we can discuss the other points of your letter. Lessons are the same regardless o f hovr often a student takes them. My schedule for Aioriday afternoor1 is complete, but I am trying to re-arrange it in order to give yuu two hours, if �ossible. So far I have succeeded in getting one hour open for you , at 2 P. M . If you will phone here as soon as you arrive next Mo11day mor ning , I shall be able to tell you v11hat other hour l1as been made available. I doubt, however, whether it can be two hours in succession. I shall look forward to seeing you next Monday , February 3rd, at 2 P.M. Sincerely yours, • JOSEPH SCHILLING ER. JS:m I I I I • • /\ • • Jr • J f 1} ,I > f, 0 5 i '/,I 1' J • I I • . I ..• •• n 'fJ-t + � -I- 4 t -+ � � -J- ,r;> -+ A.� + �-+ -i-y --1- • � -of. •• • •' r--" -+ /--a-r - � -1- "v)'.:'.7 .. -;y -I- ;f -t!'t>-t� . .,,.._ .. --Y-+ j"f � ----:) -1:--a -+ 1 -+ BUTTERFIELD 8-2107 JOSEPH SCHILLINGER 9 1 1 PARK AVENUE NEW YORK February 7 , 1941. Dr. Jerome Gross 10300 Lake Shore Blvd. Cleveland, Ohio • Dear Dr. Gross: • On Vlednesday the four lessons v:1hich completed the Theory of Rey·thm were sent to you by registered wail. Included here are the first four lessons of the The ory of Pitch Scales • . In another two or three days I expect to be able to send you · the next set of four lessons, v1bi ch will complete the twelve less ons covered by your check for 180 d ollars. I hope these will keep you busy and hapyy for a while! I c&nn ot always promise to send your lessons so quickly, but we shall do our best. Enclosed here also you v1ill find my Sonata for Violin and Piano. As you expressed the desire tu own tl1 is Sonata I thought the only so lution v1as t o photostat it for y ou. The cost of the negative and one positive is • 14. 50. I think it will be fair, in order to reduce this expense for you, if I keep the 11e gative and you pay for the p ositive -- • 7. 25. The fingering of the violin part was done by Milstein, which doesn ' t mean y ou mayJfind som ethi.11g dif ferent vmich will suit you better. As tl1is piece was writte11 in wa11y double flats some of my performers re-wrote it on the side in naturals. I believe this v1ill not cor1fuse you. If you see any musical footnote v1ith interp olation, it sirnply means a cue which s ome perf ormers found 11elpful. If you have any questions pertaini11g to the interpretation of this S onata, don ' t hesitate t o ask me, referring to the exact place in the score . With best wishes, C ordially, JOSEPH SCHILLII1GER. JS : LD I • • r February 26, 1941 . • • Dear Dr . Gross : By Registered mail I sent you on February 19th your corrected howework and Lessons 29-32; on February 21st, Lessons 33-36. In tl1is envelope you wil� find Lessons 37-40. As you will see, this set o f lessons finishes the Tl1eory of Pitch Scales and inc.Ludes tl1e first lesson in Geometrical Projections of Music. This completes the 12 lessons co vered by your check enclosed in your letter of February 15th. We b oth send you warm regards. Sincerely yours, Mrs. Josevh Schillinger. FS : m I• I• • • - • � ,,.,.. . • • • • - • . F,� ·y ... • • . . . . 1 C • • ?larch 15, 1941 Yr . Joseph Schill inger 911 Park Avenue New York City Dear Mr . Schillinger• • • Enclosed please find homework including the graphs and scores of rhythm of variable velocities and the re­ maind,er of the homework on the lessons concerning the theory of pitch scales. Pleas e let me know if there are any further procedures that I should perform at present with reference t o the theories of rhythm and pitch scales. There arises in my mind the . question as t o the proper plaoement of var1ouo intervals such as thirds, fourths 1 etc. in the various expansions. I have prepared on one of the sheets what I have det ermined is the proper placement for the so that you may indicate various intervals in E , E , and E to me whether or not I have the right idea. One other question. In evolving melodic continuity from the sectional scales of the fourth group of pitch scales, ie it permies,ble t o subj ect one of the sect ional scales to perwtation with its own expans ions, and 1s it also permise�blt to amplify or d iminish suc h a sectional sc ale insofar as the number of elements within it? Finally,ts it correct to treat such a sect ional scale according to the principles of pitch and interval displacement given for the first group of pitch scales? I have prepared at the conclusion of the homework an 1lluetrat ion involving the above resources for your opinion. I have found the work definitely absorbing and in some instances thrilling. twelve lessons. I remain �ncloeed is a check for $180 for the next With best regards t o you and Mr s . Scbill 1nger 1 Sincerely yours , • • • • 911 Park Avenue New York, N. Y. • March 21, 1941. Dear Dr. Gross : I am very pleased with your work. However , it is my duty to tell you that the technique of composing develops, like every other technique, through repetitious exercises. The branch of Symmetric S cales is immense, and you have to do more work in order to become acquainted with the various musical possibilities the different scales offer. Here are the answers to your ·tecmiical questions: • • Your table of relative placement of musical intervals in the different tonal expansions is correct, and even useful . • You may use different quantities of pitch�units in the sectional scales of one compound symmetric scale. Please do not expand any music made on symmetric scales. In the last lesson I am enclosing now, this problem is solved in its general form under the heading "Geometrical Expansions " (the completion of this branch will arrive in the next group of lessons) . The pitch and interval displacement is applicable to all the symmetric sectional scales. The choice of 1 or 2 or 3 pitch-units out of the entire sectional scale consisting of more units is very desirable. You made an exercise where you use one unit out of five. Try the same scale in such selection that 1 sectional scale appears with 2 units while the other with 5, or 1 with 3 units and the other with 5, etc. Each section follows its own sequence of permutations. • One of your exercises, to which I made a note, is interesting enough as a finished composition, and if you will supply it with phrasing marks and play it on the violin, it would be interesting to · make a phonograph record of it. Don ' t you feel. you already have been composing music of a certain type, expertly? I wi sh you would compose a group of etudes for violin in the manner wh ich you illustrate in a fragmentary form in your current exercises . With warm regards, Cordially, sct1 �l,A. · ---r 1' ........ JOSEPH SCHILLINGER. Enclosures : Corrected homework and first of three sets of lesso ns covered by your check enclosed in your letter of March 15th. JS :ro • • 911 Park Avenue New York, N ..Y. March 28, 1941. Dr. Jerome Gross 10300 Lake Shor e Blvd. Cleveland, Ohio Dear • . • • V Dr. Gross: As this set of lessons includes the beginning of the Theory of Melody, I would like you to understand that I am sending so much text 1n those two lessons because it does not offer any technical information, and there­ fore will not consume much of your time. All that is necessary is to adopt this viewpoint before you go into the peculiar business of making melodies by graphs and computation. The Theory of Melody, contrary to any other brancJ:1 , due to its peculiar nature, does not give you a clear view of composition of melody until you complete the whole branch. As you will see, melody can be built gradually like a piece of machinery, ,Nhere each part i.s manufactured separately and assembled afterwards. Therefore until you assemble the component parts you may not get the complete significance of each individual procedure. Thank you for sending me your record. I en joyed the composition and the performance as much as I en joyed the humorous presentation of it by the composer. Thank you, too, for the dedication. I value it highly. With best wishes, • Cordially, JOSEPH SCHILLINGER. JS: m • • • • • • April 10, 1941. Dear Dr .. Gross: I am very pleased with the h omev, ork you have sent me. Your consideration co ncerning geometrical pr ojecti ons, i.e. , expansi ons , is correct. S o long as the range adjustment is applied it ca.� be handle d freely • • and with a c onsideration for the capacities of an instrument. • The only perfect pure f o rm is the geometrical expansi on before it undergoes any range adjustment. I prefer such t o any altered f orm, and I think there are enough instruments besides violin that can be used throughout their range. C oncerning tr1e voice leading in chord progressions , your present handling, i.e . , through the nearest p ositi on of adjacent chords , is the most . desirable • one. Your last question is practically answered by y ourself -- let us wait until we reach the branch of instrumental forms of harmony and mel ody, where we discuss the exact technique of transforming the latter into instrumental forms. Permit me not to correct your last page, as the motivation o f such c orrecti ons would require the discussion of the entire branch I just mentioned. I believe you understand that my chief aim in the branches you have covered is to present t o you the 0 • • . • .• • 0 Dr. Gross -- 2. raw technique of rhythm, scales, harmony, ete . , and not the method s of composing a real piece of music. Many of the etudes you have done, and your piece with accompaniment, may surpass quite a number of compositions signed by very well-known names, but that should be their worry. We shall consider your present work merely exercises along the technical lines you are covering at present. After you study the enclosed" four lessons previous material on the combined with theATheory Of Melody, I would like you to do your homework merely in the form of graphs of the various axial combinations, their time and pitch ratios similar to the illustrations e1>closed. These axial combinations v1ill be realized in the near future into concrete forms of melody. Please don • t write any actual melodies on the waterial you bave received heretofore, as the exact technique of evolving a melody will follow. Try to educate yourself to think of any melodic structure in terms of axial combinatior1s vii th different time and pitch ratios. It v1ill help you \Vi th your future worlc . With warm regards, Cordially, SCM-...'�--'-"-�Y.....,,, JOSEPH SCHILLINGER . P . S . Thank you for returning so proroptlJ the signed agreement, carbon coyy of which is enclosed for your files . This set of lessons is the first of ti'1e three sets covered by your check enclosed in your letter of April 7th. • • . ' v This copy for Dr. Gross. JO�LPR SCllILLINGCR 911 PbrK Jv�nue New York, H.Y. FOR DR. J..Jt0-1, GROSS l0300 LL�te S.uorc Blvd . Cleve.11..JA 8•111 ()7 • • May 7 , 1941. Dear Dr. Gross : . • • Many thanks for your letters to me and to Mr. Schillinger. I a.ll!knclosing the reprints of the biography, which we would be glad to have you distribute. Please know that we both very much appreciate your finding time to be press agent for us. . • I shall be thrilled if you play the Sonata here in Town Hall next February 27th, a date I am n ot likely to forget, for it is my birthday. I am also enclosing a f old.er wl1i ch roentions sorue of Mr. Schillinger •s activities as a comp oser . Please note the date -- 1929 -- just after his arrival in America. Incidentally, you never told us how you liked the nDestiny of the Tonal Art" and ttKaleidophone". If you say you haven • t had time to read them, that won rt be hard to understand. We g o for our vacati on on August first for the two months of August and September. Perha�s it will be possible for you t o come to New York for a few lessons in person before then. We b oth h ope so, for it v;ould be nice to see y ou again . \�e spend our vacation in California. Sometime in June we ask our correspondence students hovi ma11y sets they want for the summer ., v The answers to your technical questions, as well as your corrected howework, will be sent to you soon. I didn ' t want to hold up th�s set of lessons until they were ready. I f you w�uld like to send a recor ding of the S onata, Mr. Schillinger would be glad t o make suggestions. We both send our best to you. Sine erely yo�rs, • - a • • May 12, 1941 . • Dear Dr. Gross: . • • Enclosed is a supplemen t to the Theory of Melody v1hich will be counted as a lesson. I t co11tains additional information and tne answers to your technical questions. That, to gether with the three lessons in the Theory of Fiarmony, co11stitute the second set of lessons c overed by y our last check f or three sets • I am returning to you the composition in melody to which the gravh did not match. The student wh o made this example is bey ond my reach n ow. I marked on the music the end of the theme, which you could gr aph easily and have the added pleasure of ana lyzing such melody in addition to the ones made by Beeth oven, etc. All your analyses and plotted melodies are a.m azing act1ievements for one ,m o co usuioed the wh ole The ory of Melody in s o short a time. If you will keep up with this technique of melody making, in a feyi mor1ths y ou will become a virtuos o. It is very imp ortant t o achieve facility, with out which n o wor thwhile original melodic theme can be c om�osed. Your Harmony set is just the beginning of the uctual technique, s o I believe the best thing you can do is t o 1'1armonize the basses of the i.11dividu al cycles and the cycle groups. Very s o on Harmony will keep you extremely busy. With best wishes always, C ordially, JOSEPH SCHILLiliGER. • • • - -....... June 2, 1941. Dear Dr. liross : May I express my great admiration for your accomplishments, with such handicaps as surgery, measles, and the like. I just don ' t see how and when you can find time to do every­ thing. I shall try to do my very best to satisfy your desire to go ahead with this course at the highest possible speed. Let us not make any definite commitments except one: that I will send you as many sets as possible until I leave for my vacation. It is difficult for me to tell up to which branch of my whole theory it will bring you. •. • • \J • I am under the impression that you underrate the quantity on the Special Course . of Harmony, for this is the longest of all departments. After you will complete it you will see what amazing material it offers. At present you are simply going through the improved stage of the beginnings of harmony. My Special Course of Harmony emphasizes all resources preceding the XX Century, and covers practically every possibility in the field. After this course you won ' t have to compose harmonies : they will all be at your disposal. All other harmonic developments are in the General Course of Harmony, which is shorter, yet contains much material and is still much broader in emphasis, covering everything from the past to the remote future (which you may bring into the present) . My Special Course of Harmony contains more lessons than all the preceding branches, combined. Concerning the financial arrangements, I would suggest that you send your check for three or four sets each t ime, at your convenience, when you receive the preceding sets. It is difficult for me to give the exact figure as to the quantity of sets, but we have employed someone to help just with your lessons alone , and it may be possible to send you a maximum of two or three sets (8 or 12 lessons) a week for tl�e next three weeks, and after that, one or two sets· a week until I leave . When you come to New York for any instruction in person, I would like to devote all such hours to additional suggestions on the material you have covered, on dis­ cussion of applications, and on demonstrating to you and analyzing for you the phonograph recordings which illustrate the techniques which you have mastered already. Please let me know as far in advance as possible , when you expect te be here. I hope you can plan to come as early as possible, for we are planning to move on August first to a new apa.rtment, just before leaving for our vacation. As it is a very complicated job because of : wiring, sound installation, etc., I would pre-fer to see you before July first, if possible. ' • • • . • ,,,; Dr . Gross -- page 2 . Referring to the fur ther refinements of rhythm : it does belong to the department of Composition • . • I am very grateful for your brilliant pe rformanc e of my Sonata which you gave in Cleveland, and I shall be most delighte d to bear you play it next February in New York. I believe at that time I co u ld make a recording of your performance at my studio, if that would suit you . I know the pianists you mention by reputation only, and my choice wo u ld be either Kaufman (Philadelphia) or Rabinowitz (Hollywood) . I have an early cello Sonata written in not sure I have it here in Amer ica. If opportunity I may write another one and glad to send it to your friend. I have Cello alone, hoviever ( composed in 1928) interesting enough to be p'e rformed now . • 1918, but I am I have time and then I would be a Suit e for which I consider I t will be a g reat pleasure to see you when you com e to New York . Though my schedule is comple te a t pre sent, if you will let me know in advance, I shall certainly try to give you as much time as you would like. Cordially, JOSEPH SCHILLINGER . • P.S. Enclosed are two sets of lessons which were prep are d for you in advance . The third set , covered by your last check, will be sent to you in a couple of day s. We shall continue to prepare further se ts. • • • - • • June 4, 1941. near Dr . Gross : •• • I am vecy pleased with your work on Harmony, and I would like to compliment you on your handling of melodies on symmetric s cales and the use of modulations by graphs. Imagine what results you can get when you use this technique after much practise • Please look over my remarks and correc tions in your homework. I am attaching a note answering your technical questions . Enc losed in this package are your corrected homework, and the third set of lessons covered by your last check. We are continuing to prepare further sets for you, at full speed. Cordially, • JOSEPH SCHILLINGER . • .' • • June 4 , 1941. For Dr. Gro ss: I f you follow my formulae, you will never get consecutive octaves. Consecutive fifth' appear in the variable doublings, and S(6) under definite conditions specified by formulae: • 5 -➔ ;} 5 l ) 1 In the theory of seventh chords consecutive fiftrr appear in c, transformation: 7 ;) 5 3 >1 They are non-identi cal fif th l' and are known as "Mozartian 11 • * * * * * * • My formulae include all the possibilities of voice-leading , but you are fully protected against anything that would be wrong by the standards of musical technique established by the re cognized composers of the past. JS • • • • June 13, 1941 . Dear Dr . Gross : Enclosed is the first of the four sets covered by your last cbeck , which also yaid for your four lesso11s in person. Other sets will be sent to you in a few days. We are delighted that you are bringing Mrs. Gross with you, for we are both so eager to meet her . We shall try to give you a nice evening. Cordially, • • I • • • • • • • June 9 , 1941 . Dear Dr . Gross : Thank you for your letter of June 5th and for your check for 240 dollars , to cover four sets of les son s. • • Enclosed in this package are three sets . The fourth set is fini shed, but Mr. Schillinger has not had time to proofread it yet. I t will be sent to you within the next day or two . Other sets are being prepared • Though there · are no open hours now , I guarantee you two hours for each day on Monday , June 30th and Tuesday , July 1st ( I take it , from your letter, that that is what you want) . As soon as I can, I shall let you know which hours the y will be. We hope you will want to spend Tue sday evening , July 1st, with us. We should like t o take you for dinner and then spend the rest of the time here . I suggest Tuesday evening becaus e Mr . Schillinger doesn • t have any students on Wednesday, so that he could devo te a long evening to you. However, if you plan to return to Cleveland on Tuesday even ing , then we shall make it for Monday evening , if that is more c onvenient for you . Please let me know . And nov, I shall go on v,i th some more lessons for you I Cordially, Mrs. Joseph Schillinger . • • • u • June 17, 1941 • • Dear Dr. Gross: • Enclosed are two sets of lessons. The fourth set of this present group will be sent to you in a day or two . The fourth set will contain two lessons in Melodic Figuration, which is the last branch of this Special Course of Harmony. There are ten more lessons in Melodic Figuration, wl1ich will complete this Special Course . If you would like those ten lessons sent to you before you come here, I could send them to you. In that case, would you please send a check for 150 dollars to cover just those ten lessons , which I shall make into two sets of five lessons each. That, incidentally, was the goal which I myself for you -- the completion of this Course of Harmony by July first -- so I pleased to have been able to do this for had set Special am very you. For Monday , June 30th, I have arranged tv10 hours in succession for you -- from 2 to 4 P.M. I have two tentative hours for Tuesday , July 1st , and when they are definite I shal.l let you know. I am enclosing an article, ttTbe Engineering of Art" , which Mr. Schillinger thought would interest you. It won • t be long now before we • ll be seeing youl Cordial ly , • • • • • • • • • ... • 0 June 18 ,. 1941. Dear Dr . Gross : • • ,fo How nice of you �talk t o the music edit or of the Cleveland News about Mr. Schillinger. I am glad to send you six more copies of the Metr onome article, for I have been given two hundred of them l I also enclose an article which appeared in the Hammond Tilnes in January -- I don 't remember whether or not I sent it to you at that time . I enclos e, to o, the latest story which has • appeared -- in a Philadelphia paper a couple o f m onths ago. I know I didn • t s end you that one, f or it is a stupid article, and a perfect example of what we d o n ' t wantl Mr. Schillinger hates to give interviews, and this is one reason why . The article I se11t you yesterday, nThe Engineering of Art ", he considers the best explanatory article he can write. The difficulty s eems to be in making it simpler f or the masses, so that several inter­ viewers, after giving it much thought and time, gave up the j ob altogether. We shall be extremel y interested t o hear the reactio1is of y o ur Cleveland friends v1hen you tell them about the Theor-f . I hope Mrs . Gr oss likes music, because my husband is certainly planning to give you a lot of it when y ou get here . The enclosed is the fourth set of less ons of this g roup . We have a hard enough time getting them out so fast; I thin k you •re wonderful to swallow them at such a rate. Cordially, • • •.· • •