DR.

ROME GRO

CORRESPONDENCE COURSE

911 Park Avenue
New York, N .,Y.
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December 18, 1940 •
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Dr. Jerome Gross
10300 Lake Shore Blvd.
Cleveland, Ohio

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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.

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The rest, I believe, will be clear to
you.

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Mrs. Schillinger joins me in sending
you l101iday greetings .
Sincerely yuurs,

JOSEPlf SCEIILLI}fGER.

JS:,m

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JOSl:l>t1 SCtilLLINE,1:�
�11 l>A�r;. AVl:NUI:
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N l:W .,,o�r;.

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IBVTTl:�1'11:LI> S•:Z1f)7

Dece1nber 20, 1940 .

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Dr. Jerome Gross
10300 Lake Shore Blvd.
Cleveland, Ohio
Dear Dr. Gross:

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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

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ENCYCLOPEDIA OF BIOGRAPHY
SCHILLINGER, JOSEPH, Composer, Lec­

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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.

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ENCYCLOPEDIA OF BIOGRAPHY

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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,

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For Dr. Jerome Gross
Joseph_ Schillinger Courses in Musical Compo�ition.
General Course:

I.

II.

III.
IV.

v.

VI.

VII.
VIII.
IX.

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XI .
XII.
XIII.

XIV.
xv.

XVI.
XVII.

Rhythm
Pitch Scales
Geometrical Projections
Melody
Harmony (special)
Melodization
Harmonization
Correlated Melodies (Counterpoint)
Part-Melodization
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Part-Harmonization
Instrumental Forws
Harmony (general)
Applications of General Harmony
Evolution of Style
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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.

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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 •
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Dr. Jerome Gross
10300 Lake Shore Blvd.
Cleveland, Ohio

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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,

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JOSEPJI SCHILLil{GER.

JS:m

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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
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��- - ==----�---------------

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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

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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

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.,

1,

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-2Terµary Synchronization

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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
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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.

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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

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of Cleveland

IN dlcott 1 •2645

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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:
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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,

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BERT HENRY, Director

SCHILLINGER CEffER of

Cleveland

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-JOSl:l)li SClilLLINC31:�
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January 17, 1941.

Dr. Jerome Gross
10300 Lake Shore Blvd.
Cleveland, Ohio

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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

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January 2 0 , 1941
Mr. Joseph Schillinger
911 :Park Avenue

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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 •
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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.

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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•

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-911 Park Avenue
New York, Ii. Y.
January 28, 194l.
Dr. Jerome Gross
10300 Lake Shore Blvd.
Cleve.l and, Ohio
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Dear Dr. Gross :

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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,
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JOSEPH SCHILLING ER.
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BUTTERFIELD 8-2107

JOSEPH SCHILLINGER
9 1 1 PARK AVENUE
NEW YORK

February 7 , 1941.
Dr. Jerome Gross
10300 Lake Shore Blvd.
Cleveland, Ohio

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Dear Dr. Gross:

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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

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February 26, 1941 .

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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.

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?larch 15, 1941
Yr . Joseph Schill inger
911 Park Avenue
New York City
Dear Mr . Schillinger•

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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 ,

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911 Park Avenue
New York, N. Y.

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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:
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Your table of relative placement of musical intervals in
the different tonal expansions is correct, and even useful .

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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.

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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.
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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

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911 Park Avenue
New York, N ..Y.
March 28, 1941.
Dr. Jerome Gross
10300 Lake Shor e Blvd.
Cleveland, Ohio
Dear

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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,
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Cordially,

JOSEPH SCHILLINGER.
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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

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and with a c onsideration for the capacities of an
instrument.

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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
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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

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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.

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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
It .1.s herelr/ i1.greed ta... t tue Theory
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of Uusic�l Cc��ositiwn evulved by Jose�h Sehillinger,
an<1 se11t to ..ie 1D ti10 for...i of curres,t10l1ue11ce lessor.s,
is for Ljy �ers\,L,t-1 unu vriv&te use only;
A.nu tnat none of 1ts tecbD1cal cotitents
is to be aivulged in bLY public i..wu,ttr;
An<1 t11ut- no part of tho contet1ts sh...ll
be

duplicttted. bnd/or svla by we to anyo11e else .
It is understoo.. lui. t ...r . Schill1.t1ger

alone 01r.,ns the co..;!'1lcte riehts to t,1.s m�terial •

Date el'lrolle.d
December 16, 1940.

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April 17, 1941.

Dear Dr. Gross :

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This set of lessons concludes
the Theory of Melody.
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Mr. Schillinger would

like you to send in about a million exercises
for your homework on this branch.
This is the third set of
lesso11s covered by your last check.
Yo�r next lessons will start
you on Harmony.
you show.

I am fascinated by the speed

My husband says he had only one

other student who went so far, so fast -- and
that v1as in Russia.
Cordially,

Mrs. Joseph Schillinger.
FS:m
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JOSl:Vli SClilLLIN4;1:�
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May 7 , 1941.

Dear Dr. Gross :

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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.
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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 .,

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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,

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May 12, 1941 .

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Dear Dr. Gross:

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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.

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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.
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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.

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Dr . Gross -- page 2 .
Referring to the fur ther refinements of rhythm : it does
belong to the department of Composition • .
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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 .

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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 .
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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.

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June 4, 1941.

near Dr . Gross :

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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,

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JOSEPH SCHILLINGER .

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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:
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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 •

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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

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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,
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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.
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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 .

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June 17, 1941 •

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Dear Dr. Gross:

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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 ,

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June 18 ,. 1941.
Dear Dr . Gross :

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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,

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