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This series is comprised of Jerome Gross and Bert Henry's correspondence with the Schillingers, as well as clippings and other memorabilia related to Joseph Schillinger and the Schillinger System of Musical Composition (SSOMC). Correspondence topics include Dr. Gross' progress in the Schillinger correspondence course, and Bert Henry's Schillinger Center of Cleveland. Memorabilia includes articles and essays by and about Joseph Schillinger and his methods, as well as publicity materials.

Musical exercises and mathematical equations.

This series is comprised of lessons from Jerome Gross' correspondence course with Joseph Schillinger. Included here are lessons 57-103, 130-185, and 258-274 in the areas of Theory of Melody, Special Theory of Harmony, The Correlation of Harmony and Melody, Theory of Counterpoint, and Theory of Orchestration.

This series is comprised of exercises which appear to have been completed by Jerome Gross and Bert Henry in the areas of: Theory of Counterpoint, Art of the Fugue, and Theory of Orchestration.

The materials in this folder appear to have been passed on from Jerome Gross and/or his widow to Bert Henry. Includes promotional materials for the Schillinger System of Musical Composition, a Kaleidophone article ("Plain Talk on Musical Genius"), and a "Music News" pamphlet.

The materials in this folder appear to have been passed on from Jerome Gross and/or his widow to Bert Henry and include the following items. A 1942 letter to Jerome Gross from Frances Schillinger explaining she is sending parts 1 & 2 of Orchestration and indicating he paid in full for the correspondence course. An unattributed essay: "On the Schillinger System of Composition." Letters to Dr. Gross from Mrs. Schillinger mentioning Joseph Schillinger's illness and thanking Dr. Gross for his visit, dated one month before Mr. Schillinger's death. A 1942 letter from Mr. Schillinger to Dr. Gross with homework corrections. A 1944 Newsweek article "Music by Slide Rule." A Western Union telegram from Mrs. Schillinger to Dr. Gross announcing Joseph Schillinger's death. A copy of Mr. Schillinger's essay "The Engineering of Art."

Correspondence between Bert Henry and Frances Schillinger regarding payments to use the Schillinger name, as well as his plans for the Schillinger Center of Cleveland, including its eventual dissolution and his decision to pursue a career in mathematics rather than music for financial reasons. Also includes exchanges between Mr. Henry and Stan Kenton regarding his student Roger Kiraly; and between Bert Henry and Carl Fischer.

Correspondence between Dr. Gross & the Schillingers, discussing the course and Dr. Gross' progress. Other materials include an assignment on Instrumental Form, as well as a 1956 letter to Frances Schillinger from Bert Henry regarding proceeds paid to her from his Schillinger Center of Cleveland.

The materials in this folder appear to have been passed on from Jerome Gross and/or his widow to Bert Henry and include the following items. A New York Times obituary for Joseph Schillinger. An article from the Hammond Times: "Joseph Schillinger: His Theories Work." A pamphlet written by Lyle Dowling: "A Brief Note on the Schillinger System: The Scientific Way to Success in Music," which accompanied the Schillinger System of Musical Composition (SSOMC). A pamphlet written by Joseph Schillinger: "The Destiny of Tonal Art." An article about Joseph Schillinger entitled "Finding the Cube Root of Inspiration," as well as two Metronome articles. A note to Bert Henry from Mrs. Gross, which mentions sending him Schillinger memorabilia.

These materials appear to be related to SSOMC Book VII (Theory of Counterpoint), Chapters 1-8, on the topic Art of the Fugue.

These materials appear to be similar to those of Schillinger System of Musical Composition Book V (Special Theory of Harmony). Topics include: harmony (diatonic system); symmetric zero cycle (Co); irregular doublings; sixth chords, passing chords, G 6/4, continuity; G6 in symmetric harmony; G 6/4 in symmetric harmony. The handwriting in this series appears to be Lawrence Berk's.

These materials appear to be similar to those of Schillinger System of Musical Composition Books VI (The Correlation of Harmony) and VIII (Instrumental Forms). Topics include: pedal point in symmetric system; melodic figuration; melodization of harmony (diatonic); instrumental forms of harmony; symmetric melodization; chromatic melodization; harmonization of melody (D-M) (D-H). The handwriting in this series appears to be Lawrence Berk's.

This appears to be an introductory course in arranging written by Lawrence Berk and possibly James McInerney and/or Lyle Dowling.

These materials appear to be similar to those of Schillinger System of Musical Composition Book V (Special Theory of Harmony). Topic include: seventh chords, exchange of common tones, diatonic zero cycle; resolution, preparation, application, symmetric system; hybrid 5 part harmony, symmetric system, S(9) resolution & preparation; forms of transformation, symmetric, forms of S(9); general system, S(11) diatonic harmony & symmetric system, chromatic system; modulation technique; the scale of key signatures; chromatic harmony. The handwriting in this series appears to be Lawrence Berk's.

These materials appear to be similar to those of Schillinger System of Musical Composition Book V (Special Theory of Harmony). Topics include: harmony (diatonic system); symmetric system progressions and structures; symmetric zero cycle; irregular doublings, 6th chords, doublings in S(6); G6 in symmetric harmony; G 6/4 in symmetric harmony; chromatic system. The handwriting in this series appears to be both Joseph Schillinger and Lawrence Berk's.

These materials appear to be similar to those of Schillinger System of Musical Composition Book I (Theory of Rhythm). Topics include: variations (2 elements, 3 elements, 4 elements); permutations of the higher orders; simultaneity and continuity (homogeneous); series of factorial and fractional continuity, square of a binomial; square of a trinomial; generalization of the square; cube of a binomial, cube of a trinomial; generalization of all powers, rhythm of variable velocities. The handwriting in this series appears to be Lawrence Berk's.