Joseph Schillinger (1895-1943): Music Science Promethean

Author(s): Warren Brodsky

Reviewed work(s):
Source: American Music, Vol. 21, No. 1 (Spring, 2003), pp. 45-73
Published by: University of Illinois Press
Stable URL: http://www.jstor.org/stable/3250556 .
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WARREN BRODSKY
J o s e p h Sch illinge r
(1895-1943):
M u s ic Scie nce Pro me th e an
J o s e p h Sch illinge r
is a cu lt
figu re amo ng
mu s ic th e o ris ts . Wh ile h e
co mp o s e d
o ve r
th irty p ie ce s
be twe e n 1917 and
1941,
inclu ding
th e
firs t kno wn wo rk fo r an e le ctro nic ins tru me nt and o rch e s tra in
1929,
h e is be s t kno wn as th e te ach e r o f
Ge o rge
Ge rs h win,
Be nny
Go o d-
man,
Gle nn
M ille r,
To mmy Do rs e y,
Ve rno n
Du ke ,
Os car
Le vant,
Ch arle s
Pre vin,
and Carmine
Co p p o la.1
Ho we ve r,
mo re th an
anyth ing
e ls e
Sch illinge r
was a mu s ic s cie ntis t
re ce p tive
to ne w
te ch no lo gie s
and
e xp e rime ntatio n
re late d to th e arts . He
h e lp e d
s o lve th e
p ro ble m
o f
artis tically co o rdinating
s o u ndtrack with film
track,
p ate nte d
in-
ve ntio ns th at fo re s h ado we d th e
rh yth m
bo x and co lo r
o rgan,
and
co de ve lo p e d
with Le o n Th e re min th e firs t e le ctro nic
s ynth e s ize r
(manu factu re d by
RCA in th e
e arly
1930s ).
It is claime d th at h is tre a-
tis e
de s cribing
th e math e matical bas is o f art was h e ralde d
by
Albe rt
Eins te in and Be rtrand Ru s s e ll.2
Sch illinge r s ys te matically ap p lie d
h is th e o rie s to mu s ic
(co mp o s i-
tio n and
o rch e s tratio n),
art
(p ainting
and
mo de l-making), de s ign (ar-
ch ite ctu re ,
grap h ics ,
te xtile s ,
and
fas h io n),
dance
(mo ve me nt
and ch o -
re o grap h y), p h o to grap h y,
and
cine mato grap h y;
h e
p ro je cte d
to
co ns o lidate th e s e
inde p e nde nt dis cip line s
in o ne
all-e nco mp as s ing
"Ins titu te o f th e Unite d
Arts ."3
Th e
majo rity
o f h is
s ys te m
was e ve n-
tu ally p u blis h e d p o s th u mo u s ly
in fo u r vo lu me s
co ns is ting
o f o ve r
3,000
p age s
o f
te xt.4
Sch illinge r's p e rs o nal
no te bo o ks and
manu s crip ts
Warre n
Bro ds ky
is a re s e arch e r and le ctu re r o f mu s ic s cie nce in th e
De p art-
me nt o f th e Arts at Be n-Gu rio n
Unive rs ity
o f th e
Ne ge v
in Is rae l. His re s e arch
h as fo cu s e d o n mu s ic
p e rfo rmance anxie ty,
mu s ic
th e rap y,
th e e ffe cts o f mu -
s ic o n
driving
be h avio r,
mu s ical
image ry,
and
te mp o p e rce p tio n.
Be twe e n
1999 and 2001 h e s e rve d as th e
Sch illinge r
Fe llo w o f th e M u s ic Scie nce s .
Ame rican M u s ic
Sp ring
2003
@ 2003
by
th e Bo ard o f Tru s te e s o f th e
Unive rs ity
o f Illino is
46
Bro ds ky
de p icting e arly
ve rs io ns o f h is writte n wo rks and le ctu re no te s we re
me th o do lo gically arrange d
and
p re s e rve d
in th e ir
o riginal
fo rm
by
h is
wife ,
France s .
To ge th e r
th e s e
p ro vide imp o rtant
e vide nce abo u t
th e
de ve lo p ing
wo rld o f mu s ic s cie nce and re s o nate with
ane cdo te s ,
re fe re nce s ,
and
qu e rie s
o n
to p ics inclu ding
"M u s ic and
Evo lu tio n,"
"Th e Varie tie s o f M u s ical
Exp e rie nce ,"
"Th e Effe cts o f
M u s ic,"
"Th e
Natu re o f M u s ical Tale nt and
Ge niu s ,"
"Th e
Po p u larizatio n
o f Ele c-
tro nic
Ins tru me nts ,"
"So cio lo gical Imp licatio ns
o f th e
Bu rge o ning
Bro adcas ting Indu s try,"
and "Th e
Pro p h e cy
o f an
Inte rdis cip linary
Fo cu s o n Scie nce and M u s ic."
As p e cts
o f th e
Sch illinge r Sys te m
h ave be e n s o
p e rvas ive
th at
th e y
co ns titu te a
h idde n,
ye t large ly u nackno wle dge d,
u nde rcu rre nt in
Ame rican
p o p u lar
mu s ic fro m th e 1930s . Eve n th e ce le brate d and dis -
tingu is h e d
s ch o o l o f
jazz,
th e Be rkle e
Co lle ge
o f
M u s ic,
was firs t e s -
tablis h e d as th e
Sch illinge r
Ho u s e o f M u s ic
by
its
fo u nde r,
Lawre nce
Be rk,
h ims e lf a ke e n
s tu de nt-dis cip le
o f
Sch illinge r.5
Be rk's o wn no te -
bo o ks
p ro vide
s o me
inte re s ting ins igh ts
into th e e vo lu tio n o f th e Be rk-
le e cu rricu lu m and
p o int
to
p aralle ls
be twe e n Be rk and
Sch illinge r.6
Acco rdingly,
wh ile
Sch illinge r
to o k an u no rth o do x math e matical
ap -
p ro ach
to th e
o rganizatio n
o f mu s ical
e le me nts ,
Be rk inte rnalize d
th e s e and to o k an u no rth o do x
ap p ro ach
to mu s ic e du catio n
by s ys -
te matically o rganizing
th e ru dime nts o f
jazz
and o th e r fo rms o f mo d-
e rn mu s ic.
Cle arly
th e n,
Sch illinge r's
influ e nce o n Be rk
may re p re -
s e nt an
imp o rtant
co ntribu tio n to Ame rican
co nte mp o rary
mu s ic.
Unfo rtu nate ly, Sch illinge r's
mu s ic and th e o rie s s u ffe re d a bizarre and
almo s t to tal
e clip s e
afte r h is de ath and re main
to day
an
ins ignificant
fo o tno te in Ame rican mu s ic
h is to ry.
It s h o u ld be no te d th at mo s t o f wh at is kno wn abo u t
Sch illinge r
s u r-
face s fro m
vigne tte s
o r
ane cdo te s ,
and th e s e s h o u ld be tre ate d s o me -
wh at as
h e ars ay
and
fo lk-le ge nd.
Fo r
e xamp le , re p o rts
th at Ge rs h win
s tu die d with
Sch illinge r
o n a
re gu lar
bas is fo r fo u r-and-a-h alf s o lid
ye ars
canno t be
ve rifie d;
p e rh ap s
th e s e s tu die s we re mo re
irre gu lar
th an
p re vio u s ly
acco u nte d fo r
by Sch illinge r
and h is
dis cip le s .
In ad-
ditio n,
Eins te in's e ndo rs e me nt o f th e math e matical
co nce p tio ns
e m-
p lo ye d by Sch illinge r
in h is
co mp re h e ns ive s ys te m may s imp ly
h ave
be e n a cre ative
le ge nd
th at co u ld be ch aracte rize d in
Ho llywo o d
lan-
gu age
as a
"bu ildu p ."7
Wh ile
many magazine
article s and ne ws co l-
u mns acco u nt fo r s o me
bio grap h ical backgro u nd
and
co nce p tu al
u n-
de rp innings
o f th e
s ys te m,
th e re is little do cu me nte d
jo u rnal
lite ratu re
o f a s e rio u s
natu re ,
and
o nly
a fe w
mu s ico lo gis ts
h ave u nde rtake n in-
ve s tigative
th e s e s o r
dis s e rtatio ns .8 One mu s t, th e n,
qu e s tio n
th e va-
lidity
o f th is co lle ctive mate rial
e s p e cially
as th e mo tive o f
many
writ-
e rs was e ith e r to
p ro mo te
o r de bu nk
Sch illinge r
and h is th e o rie s . In
do ing s o , it s e e ms th at s o me au th o rs
may
h ave
s ligh tly
mo lde d th e
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 47
s to ry.
No t th e
le as t,
mu ch o f th e
e xis ting
mate rial th at h as s e rve d as
"au th e ntic"
backgro u nd
info rmatio n was
p re p are d by Sch illinge r's
lo ving wife -p ro mo te r.
On a
re gu lar
bas is France s drafte d
"p re s s
re le as -
e s "
o f
Sch illinge r's p u blicatio ns
and
p ro fe s s io nal
activitie s ,
as we ll as
"e xce rp ts "
o f
magazine
article s
h igh ligh ting Sch illinge r.
Th e s e fo lde rs
inclu de
p as te -u p s
o f s e le cte d te xt s e ctio ns with
p h o to s (no t
ne ce s s ari-
ly
fro m th e s ame
s o u rce s ),
with ins e rte d h andwritte n
p u blicatio n
date s
(bu t rare ly
a
lite rary
citatio n o r
o riginal
au th o r's
name ).
No ne th e le s s ,
by
cro s s
re fe re ncing many
o f th e s e re s o u rce s with additio nal
p u blis h e d
mate rials -s u ch as re tail bro ch u re s and PR
mate rials ,
th e fo u r-vo lu me
bo o k
s e t,
bio grap h ie s
and bo o k
re vie ws , me mo irs ,
and mu s e u m e x-
h ibit no te s -th e
fo llo wing
ch ro nicle can be te as e d o u t.9
Bio grap h ical
Ske tch
J o s e p h M o is e ye vich Sch illinge r
was bo rn o n
Se p te mbe r
1, 1895,
in
Kh arko ff, Ru s s ia,
th e
o nly
ch ild to Anna
(nde
Gie lgu r)
and M o s e s
Sch illinge r.
His
p are nts
we re
u p p e r-middle -clas s
J e wis h
bu s ine s s -
p e o p le ,
th e ms e lve s ch ildre n o f
immigrants
to Ru s s ia fro m Ho lland.
Alre ady
in h is
ch ildh o o d,
at
age
five ,
Sch illinge r
s h o we d
p articu lar
inte re s ts in
de s ign,
dramatics ,
and ve rs e .
By age
te n h e h ad
e xp e ri-
me nte d with
p laywriting
and
co mp o s ing
mu s ic;
h e
tau gh t
h ims e lf
to
p lay
th e
p iano ,
and
p ractice d Yo ga. By age
fifte e n h e
gradu ate d
fro m th e
Gymnas iu m."o
Sch illinge r's yo u ng
adu lth o o d was inte ns e . In
1914,
at
age
nine te e n,
h e
co mp le te d
h is fo rmal e du catio n at Clas s ical
Co lle ge alo ng
with
s tu die s at St.
Pe te rs bu rg Imp e rial Co ns e rvato ry
o f M u s ic. Fo r th e ne xt
fo u r
ye ars Sch illinge r majo re d
in
co mp o s itio n
u nde r
Kalafati,
Ch e r-
no ff,
Ch e re p nin,
and
Wih to l,
and th e n co nce ntrate d o n
co ndu cting
u nde r
Ch e re p nin.
At th e
age
o f
twe nty-th re e
h e be came s e nio r ins tru c-
to r o f
co mp o s itio n
at th e Kh arko ff
Co ns e rvato ry,
and fo r th e ne xt fo u r
ye ars
h e s e rve d as th e "He ad o f M u s ic
De p artme nt"
fo r th e Bo ard o f
Edu catio n
(Ukraine ),
as we ll as co ns u ltant to th e State
Op e ra. By
h is
mid-twe ntie s
Sch illinge r
was
alre ady
flu e nt in s ix
fo re ign langu age s
(He bre w,
Latin, Ge rman, Fre nch ,
Englis h ,
and
Italian).
He h ad be e n
e xp o s e d
to clas s ical and o rie ntal
p h ilo s o p h y
and
re ligio u s s ys te ms ,
h ad take n co u rs e s in math e matics with Ko lto vs ki and Anto n Przie -
bo rgs ki, e xp lo re d
ve rs ifictio n with Nich o lai
Sch e bo u ve r,
re ad Slavo nic
myth o lo gy
and
h is to ry
o f Ru s s ian lite ratu re
(at
th e State
Unive rs ity
o f
Pe tro grad),
and s tu die d a h o s t o f
s u bje cts inclu ding p h ys ics ,
aco u s -
tics ,
e le ctrical
e ngine e ring, de s ign,
mu s ic,
drama, art,
and dance h is -
to ry."
In 1920
Sch illinge r
re ce ive d a
p ro fe s s o rs h ip
and was
ap p o int-
e d de an o f th e
facu lty
o f
co mp o s itio n
at th e State
Acade my
o f M u s ic
(Kh arko ff Co ns e rvato ry)
in
Ukraine ; h e re taine d th is
p o s itio n
fo r a
48
Bro ds ky
te rm o f two
ye ars .
Wh ile at th e
acade my Sch illinge r
s e rve d as co n-
du cto r o f th e Unite d Stu de nts '
Symp h o nic
Orch e s tra and Ukraine
Symp h o ny.
In additio n h e co ns u lte d fo r th e USSR Bo ard o f Edu ca-
tio n and le ctu re d in mu s ic
co mp o s itio n
at th e State Ins titu te o f M u s i-
cal Edu catio n.
Be twe e n 1922 and 1926
Sch illinge r
was a co ns u ltant to th e Le nin-
grad
Bo ard o f Edu catio n.
Th e n,
in 1925 h e be came a
p ro fe s s o r
at th e
State Ins titu te o f th e
His to ry (Scie nce )
o f th e Arts at St.
Pe te rs bu rg
(late r
re name d th e Ins titu te o f M u s ical Scie nce in
M o s co w);
th is was
h is las t
majo r
acade mic
p o s itio n
in Ru s s ia u ntil 1928 wh e n h e le ft fo r
Ame rica. Als o
ro u gh ly
abo u t th is
time ,
Sch illinge r
marrie d
Olga,
an
e xtre me ly
be au tifu l and
inte llige nt
actre s s ,
bu t th is
marriage
was no t
a
h ap p y
o ne and e nde d two
ye ars
late r. In 1926 h e le ctu re d at th e State
Ce ntral M u s ical
Te ch niu m,
and fo r th e ne xt two
ye ars
h e s e rve d as
vice -p re s ide nt
o f th e
Le ningrad
branch o f th e Inte rnatio nal
So cie ty
fo r
Co nte mp o rary
M u s ic
(late r
re name d th e
Le ningrad
As s o ciatio n fo r
M o de rn
M u s ic).
One o f h is
majo r
(albe it
no t
gre atly ackno wle dge d)
co ntribu tio ns to th e wo rld o f mu s ic was h is
e th no mu s ico lo gical
fie ld
re s e arch .12 In 1927 th e State Ins titu te o f th e
His to ry
o f Arts co mmis -
s io ne d
Sch illinge r
to do cu me nt via
p h o no grap h ic re p ro du ctio n
th e
fo lk mu s ic o f fo u r
Ge o rgian
tribe s
(Kh e vs o u ri,
M o kh e vi, M tio u le ti,
and
Ajara)
in th e Cau cas u s . Th e s e tribe s we re
p re vio u s ly
u nkno wn
to
mu s ico lo gis ts ,
and
Sch illinge r
was th e firs t to
"cap tu re "
th e ir mu -
s ical
cu ltu re ;
th is mu s ic
re p re s e nte d Eu ro p e an p o lyp h o nic
mu s ic
fo rms o f th e te nth to
e igh te e nth
ce ntu rie s .
Pu blic
re co gnitio n finally
o ccu rre d in 1927 wh e n
Sch illinge r's Sym-
p h o nic Rh ap s o dy
(als o
calle d
Octo be r)
was ch o s e n
by
th e So vie t State
Co mmitte e o n
Symp h o nic
and Ch ambe r M u s ic as th e be s t wo rk co m-
p o s e d du ring
th e firs t te n
ye ars
o f So vie t Ru s s ia. Th is
co mp o s itio n
was a
co mp e titive
win o ve r Re d
Po p p y by
Glie re
and
Symp h o ny
No .
1
by
Sh o s tako vich . At th is time
Sch illinge r's p iano
mu s ic was
re gu -
larly p e rfo rme d alo ngs ide
wo rks
by Stravins ky,
Pro ko fie v,
and Hin-
de mith . His
co mp o s itio nal s tyle
dre w
ins p iratio n
fro m
Scriabin,
as
we ll as
inco rp o rating
mu s ic ch aracte ris tics o f th e mo s t ancie nt cu l-
tu re s o f th e Cau cas u s
(wh ich
h e h ims e lf h ad do cu me nte d
p re vio u s -
ly). Finally,
a
s u p re me
h o no r was be s to we d
u p o n Sch illinge r
wh e n
th e o fficial
p ro gram co mme mo rating
th e Te nth
Annive rs ary
o f th e
So vie t Unio n
e xclu s ive ly
fe atu re d th e mu s ic o f
Sch illinge r
and Be e -
th o ve n. Th is e ve nt ro u s e d h is frie nd and
co lle agu e
Dimitri Sh o s tak-
o vich to
indu lge
in a
p rank by cre ating
a
p h o to co mp o s ite
o f th e two
co mp o s e rs s itting to ge th e r
in th e fo re s t with
Lu dwig cle arly o ffe ring
a
frie ndly s u p p o rtive h u g
to
J o s e p h .13
Fo r two
ye ars ,
1927 and 1928, Sch illinge r o rganize d,
le ctu re d, and
dire cte d
(with Le o p o ld Te p lits ky)
th e Firs t Co nce rt
J azz
Band.14 Th is
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 49
activity
was vie we d
by
th e GPU
(a p re -KGB) s e cu rity o rganizatio n
as
p o te ntially dange ro u s
to th e s tate be cau s e
p o p u lar jazz
mu s ic was
p e rce ive d
as
de cade nt,
and th o s e
p ro mo ting
s u ch mu s ic we re vie we d
as
de fe nding
Ame rican cu ltu re .
Su bs e qu e ntly, Sch illinge r
was h ars h -
ly inte rro gate d
o n s e ve ral o ccas io ns .
No ne th e le s s ,
in 1928
Sch illinge r
was
ap p o inte d
Office r o f th e Co mmitte e fo r
Co nte mp o rary
M u s ic at
th e State Ins titu te o f th e
His to ry
o f
Arts ,
and in th is
cap acity
was co n-
s ide re d to be th e au th o rize d
re p re s e ntative
o f th e
Le ningrad
As s o ci-
atio n o f M o de rn M u s ic to We s te rn
Eu ro p e
and
Ame rica.15
As a
re s u lt,
in 1928 h e was invite d to le ctu re in Ame rica o n
co nte mp o rary
mu s ic.
Th is vis it was
co s p o ns o re d by p h ilo s o p h e r-e du cato r
J o h n
De we y
and
th e Ame rican
So cie ty
fo r Cu ltu ral Re latio ns with
Ru s s ia,
wh o s e mu -
s ic co mmitte e me mbe rs inclu de d
J o s e p h
Ach ro n,
Ku rt
Sch indle r,
Le -
o p o ld
Sto ko ws ki,
Se rge i Radams ky,
and
Edgard
Vare s e .
Once in
Ame rica,
Sch illinge r
co llabo rate d with h is frie nd and fe l-
lo w
Ru s s ian,
th e inve nto r Le v Te rme n
(late r
Le o n
Th e re min)
in Ne w
Yo rk. Be twe e n 1928 and 1931 Th e re min and
Sch illinge r
s tu die d mu -
s ico -s cie ntific
p ro ble ms
and co ns tru cte d s e ve ral mu s ical
ins tru me nts ,
inclu ding
s o me o f th e firs t e le ctro nic mu s ical ins tru me nts
(s u ch
as th e
Th e re min,
th e
Rh yth mico n,
and a mu s ic
s ynth e s ize r). Sch illinge r
als o
fo cu s e d atte ntio n o n th e
p ro ble m
o f artis tic
s ynch ro nizatio n
o f
s o u ndtrack in
e arly
mo vie s ;
th e s e
inve s tigatio ns e ve ntu ally de ve lo p e d
into a mo re
s ys te matic
me th o d o f mu s ical
s co ring
fo r film
s e qu e nc-
e s . In 1929
Sch illinge r jo ine d He nry
Co we ll,
J o s e p h
Yas s e r,
Otto
Kinke lde y,
and Ch arle s
Se e ge r
in
fo u nding
th e Ne w Yo rk
M u s ico lo g-
ical
So cie ty (late r
th e Ame rican
M u s ico lo gical So cie ty
and th e Ame r-
ican
So cie ty
fo r
Co mp arative M u s ico lo gy).
Afte r wh at
ap p e ars
to h ave be e n a rath e r itine rant e xis te nce du r-
ing
h is firs t fe w
ye ars
in th e Unite d
State s ,
th e
e arly
1930s o ffe re d
Sch illinge r
a nu mbe r o f
e mp lo yme nt o p p o rtu nitie s . Initially
h e
tau gh t
at th e David Be re nd Sch o o l o f M u s ic and le ctu re d at Le o n Th e re m-
in's
s tu dio .16
In 1932
Sch illinge r o p e ne d
h is o wn
p rivate
mu s ic s tu -
dio ,
and with in s ix
ye ars
h is clie nte le h ad
gro wn
to 112 le s s o ns
p e r
we e k at
$10.00
p e r
h alf-h o u r le s s o n
(a
fo rmidable inco me at th e
h e igh t
o f th e
De p re s s io n).17 Sch illinge r
co ntinu e d to te ach fro m time to time
at vario u s ce nte rs fo r adu lt e du catio n and ins titu tio ns o f acade mic
h igh e r le arning,
and wh ile th e s e
bro u gh t p re s tige th e y
o ffe re d little
mo ne y.
Fo r
e xamp le ,
h e le ctu re d at th e mu s ic s ch o o l o f th e
Yo u ng
M e n's He bre w As s o ciatio n
(1931),
th e Ne w Sch o o l fo r So cial Re s e arch
at Ro cke fe lle r Ce nte r
(1932),
th e M u s ical Cu ltu ral
Le agu e
o f Ne w Yo rk
(1933),
th e Flo re nce Cane Sch o o l o f
Art,
th e Ame rican Ins titu te fo r th e
Stu dy
o f Advance d Edu catio n,
and th e Ame rican Ins titu te o f Ne w
Yo rk
City (1934).18
Th e s e le ctu re s and
wo rks h o p s e ve ntu ally
de ve l-
o p e d
into a mo re s u bs tantial acade mic cu rricu lu m fo r
o n-go ing
50
Bro ds ky
co u rs e wo rk o ffe re d be twe e n 1934 and 1936 at th e Te ach e r's
Co lle ge
o f Co lu mbia
Unive rs ity,
in th e
de p artme nts
o f
M u s ic,
Fine
Arts ,
and
M ath e matics ,
and th e n at Ne w Yo rk
Unive rs ity
in
1936.19
Amo ng
th e
s u bje cts Sch illinge r tau gh t
we re "Th e
Varie ty
o f M u s ical
Exp e rie nce ,"
"Ph ys ical
and
Ps ych o -Ph ys io lo gical
Natu re o f
So u nd,"
"Natu ral and
Te mp e re d Sys te ms
o f
Tu ning,"
"To ne
Sp ace
and M u s ical
M atte r,"
"Statics and Kine matics o f M u s ical
M atte r,"
"Th e o ry
o f M u s ical Pe r-
ce p tio n,"
"Pro ce s s e s o f M u s ical
Stru ctu re ,"
"Rh yth mic De s ign,"
and
"Sp e cu lative
Th e o rie s o f Art and Ne w Artfo rms ." Th e las t two co u rs e s
we re bas e d o n
Sch illinge r's
o wn
e xp lo ratio ns
with vis u al and
p las tic
arts ,
wh ich h e te rme d "Ge o me tric and
Rh yth mic De s igns ."
In 1934
s e ve ral o f h is
p aintings , p h o to grap h s ,
and th re e -dime ns io nal mo de ls
(co ns tru cte d
o f wo o de n blo cks and
mirro rs )
we re e xh ibite d at th e
M ath e matics M u s e u m o f Ne w
Yo rk,
an ach ie ve me nt o f wh ich h e was
e s p e cially p ro u d
as h e co ns ide re d th e s e to re fle ct a ne w art fo rm.
In
J u ly
1936
Sch illinge r
be came a citize n o f th e Unite d State s .
By
th at time h is
re p u tatio n
h ad be co me s o
wide s p re ad
th at h e co u ld af-
fo rd to
give u p co lle ge te ach ing
and
p u blic le ctu ring
in o rde r to de -
vo te all h is time to h is
p rivate
s tu de nts .
Du ring
h is
fifte e n-ye ar p ri-
vate -te ach ing
care e r,
Sch illinge r
is
re p o rte d
to h ave
tau gh t
o ve r 500
s tu de nts
(o f
wh o m fo u r we re
fe male ).20 Acco rdingly,
h is mo s t famo u s
s tu de nt,
Ge o rge
Ge rs h win,
s ch e du le d th re e le s s o ns a we e k
du ring
a
fo u r-and-a-h alf
ye ar p e rio d.
Afte r an inte ns e s ix-we e k ro mance in 1938
Sch illinge r
marrie d
France s Ro s e nfe ld
Singe r,
a fo rme r
co ve r-girl,
artis ts '
mo de l,
Zie gfe ld
girl,
nu de -mo de l to
p h o to grap h e r
Edward
Ste ich e n,
s e cre tary
to bo th
Dale
Carne gie
and Ro ckwe ll
Ke nt,
and a natio nal wo rke r o f th e
Bo y
Sco u ts o f Ame rica. Six
ye ars
late r,
at th e
age
o f
fo rty-s e ve n, Sch illinge r
die d o f cance r at h is h o me in Ne w Yo rk
City.21
Wh ile at th e time o f
h is de ath th e re we re
o nly
s e ve n au th o rize d te ach e rs o f th e
Sch illinge r
Sys te m,
as a re s u lt o f th e GI Bill a
p h e no me nal
inte re s t in th e
s ys te m
by re tu rning
s e rvice me n
p ro mp te d
th e e s tablis h me nt o f accre dite d
Sch illinge r
co u rs e s . Se ve ral au th o rize d te ach e rs we re
be s ie ge d by
s tu -
de nts in th e late
1940s ,
and
by
1947 mo re th an
fo rty ne wly
ce rtifie d
Sch illinge r
te ach e rs we re
te ach ing
th e
Sch illinge r Sys te m
to o ve r 600
s tu de nts e nro lle d in co u rs e s in Ne w Yo rk
City,
Bo s to n,
Ch icago ,
San
J o s e
and
Ho llywo o d,
Calif.,
Ph ilade lp h ia,
Hartfo rd, Co nn.,
and
Sp ar-
tanbu rg,
S.C.22
Es p e cially
we ll-kno wn te ach e rs o f th e
s ys te m
we re
Ru do lp h
Sch ramm at Ne w Yo rk
Unive rs ity,
Te d
Ro yal
at
J u illiard,
As h -
e r Zlo tnick at
Pe abo dy,
and Franklin M arks in
Ho llywo o d.
Sch illinge r's
wido w, France s ,
s p e nt
th e re s t o f h e r life
p re s e rving
and
p ro mo ting J o s e p h 's
wo rks and
s ys te m.
In 1951 s h e marrie d Ame rican
mu s ico lo gis t
Arno ld Sh aw, a
natio nally
acclaime d and
acade mically
ackno wle dge d e xp e rt
o f th e
Sch illinge r Sys te m.23
Sh aw was th e dire c-
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 51
to r o f th e
Sch illinge r So cie ty
fro m 1946 and be came th e vindicato r and
h e ir to th e
Sch illinge r Sys te m. Alo ng
with
Lyle Do wling,
Sh aw co e dit-
e d and
p ro mo te d
th e
p o s th u mo u s p u blicatio n
o f
Sch illinge r's
manu -
s crip ts
in th e late 1940s . France s and Arno ld Sh aw
s e p arate d
in 1957.
De ris io n
Sch illinge r's bio grap h y
is
u ndo u bte dly imp re s s ive ,
and
cle arly
h e
de mo ns trate d
h igh e r ability
in s e ve ral
fie lds .24
Ye t h e was u nackno wl-
e dge d
and
e ve ntu ally
u nwe lco me d
by
th e mains tre am clas s ical-mu -
s ic e s tablis h me nt. Th is is rath e r
baffling e s p e cially
as h is mu s ical
ach ie ve me nts in Ru s s ia we re
co nvincing.
He h ad be e n h e ralde d
by
Dimitri Sh o s tako vich and Vladimir Ho ro witz as a mas te r
co mp o s e r
e qu al
to Be e th o ve n. Prio r to h is arrival in
Ame rica,
and
du ring
th e
e arly days
o f h is
vis it,
Sch illinge r's co mp o s itio ns
we re
p e rfo rme d by
th e be s t o rch e s tras in
Eu ro p e
and th e Unite d
State s ,
and
by
a h o s t o f
p re s tigio u s
co ndu cto rs and s o lo is ts
inclu ding
th e Cle ve land Orch e s -
tra,
Le o p o ld
Sto ko ws ki,
Niko lai
So ko lo ff,
Be njamin
Ze mach ,
Nath an
M ils te in,
and Vladimir Ho ro witz.25
So ,
wh at
h ap p e ne d
in Ame rica
th at cau s e d
Sch illinge r
to be co me
p e rs o na
no n
grata? Ultimate ly,
h is
failu re to s u cce e d in acade mic circle s can be trace d to h is u nco nve n-
tio nal
te rmino lo gy
and
me th o ds ,
h is ridicu le o f th e acade mic e s tab-
lis h me nt,
and h is attach me nt to th e co mme rcial s ide o f mu s ic
th ro u gh
h is tie s to Tin Pan
Alle y
and
Ho llywo o d.
Fo re mo s t,
Sch illinge r
and h is "bro th e rh o o d" u s e d an u nco nve ntio n-
al
te rmino lo gy
to
de p ict
mu s ical
co nce p ts .
In
additio n,
h e
re p lace d
s tandard mu s ical no tatio n with
grap h
no tatio n
wh e re by
th e h o rizo n-
tal
line ,
o r th e
abs cis s a,
indicate d re lative du ratio n and th e ve rtical
line ,
o r th e
o rdinate ,
s h o we d th e nu mbe r o f
s e mito ne s .
Wh ile h e
may
h ave
th o u gh t
th at th e s e we re
s igns
o f
h igh e r
s cie ntific inte lle ctu al-
is m,
th e y
did in fact cau s e
many gre at mis co nce p tio ns .
Fo r
e xamp le ,
h is s h o rt-h and te rm I =
S3p
(El)
was u s e d to indicate a
give n
h armo nic
aggre gate
(th e
Gre e k le tte r
s igma
Z)
co ns tru cte d o f a s tru ctu re
(S)
in
th re e
p arts (p )
in th e firs t
e xp ans io n (E),
o r wh at is mo re
co mmo nly
kno wn as a
majo r
triad.
Pe rh ap s
as a
re s u lt,
Sch illinge r's s ys te m
was
s e e n as o ne th at
re p lace d
intu itio n and
ins p iratio n
with fo rmu lae and
inte lle ctu al
p ro ce s s e s .
His o bs e s s ive fo cu s o n th e math e matical natu re
o f th e
s ys te m
co ntribu te d,
and e ve n
p e rp e tu ate d,
th e
wide s p re ad
be -
lie f th at
anyth ing
artis tic th at h as co ntact with math e matics wo u ld
be co me me ch anical and co ntrive d.26
M o re o ve r,
Sch illinge r's flambo yant
tactics to
p ro ve
th e valu e o f h is
s ys te m
s e e me d to h ave backfire d and in
re tro s p e ct
co u ld be co ns id-
e re d
ch aracte ris tically s e lf-de fe ating
be h avio r.27 A
p articu lar e xamp le
was h is
fre qu e nt p u blic
ridicu le o f th e acade mic e s tablis h me nt: at h is
52
Bro ds ky
le ctu re s in le arne d
mu s ico lo gical
s o cie tie s h e de clare d s e ve ral we ll-
kno wn
co mp o s e rs inclu ding Wagne r
and Be e th o ve n as u nmu s ical
(mo s tly
be cau s e
th e y co mp o s e d th ro u gh
trial and e rro r as e vide nce d
by
th e ir
many s ke tch e s ).28
He criticize d
Rims ky-Ko rs ako v
fo r h is
h e lp -
le s s
atte mp ts
at mo du latio ns in mo de s
(with
th e
e xce p tio n
o f th e
Do rian and
M ixo lydian),
and
gu ffawe d
at
Ch o p in
and
Sch u mann,
wh o h ad ch ao tic
s tyle s
o f
p iano writing (de mo ns trating
th at th e ir
co mp o s itio ns bas ically e me rge d
fro m
p iano imp ro vis atio ns ).
Sch ill-
inge r
e ve n fo u nd Bach de ficie nt in
u tilizing
h is
re s o u rce s ,
wh e re by
h e ne ve r
re ally
re ach e d h is
p o te ntial (de mo ns trating
Bach 's
p o o r
u s -
age
o f inve rs io ns
re s u lting
in
do gmatic
and intu itive
co mp o s itio ns
rath e r th an
be co ming
tru e mu s ic bas e d o n math e matical th e o rie s o f
ge o me try).29
In
additio n,
Sch illinge r re p e ate dly re p o rte d
in th e
p re s s
th at e ve n h is mo s t co ve te d
s tu de nts -Ge o rge
Ge rs h win and Gle nn
M ille r-came to h im "o u t o f
de s p e ratio n,"
and
co mp o s e d
th e ir be s t
p ie ce s (Po rgy
and Be s s and
"M o o nligh t Se re nade ")
as h o me wo rk e x-
e rcis e s .30 Finally, Sch illinge r
made fatal s tate me nts abo u t s e ve ral
gre at
co nce rt s o lo is ts wh o we re
p o p u lar
in th e late 1920s and
e arly
1930s ,
h igh ligh ting
th e fact th at wh ile
s o cie ty migh t glo rify
th e m as
h e ro e s ,
a natu ral-s cie nce s
vie wp o int
wo u ld rath e r
clas s ify
th e m as
p aras ite s .31
Sch illinge r
vo ice d a lo w and abu s ive
o p inio n
o f co nve ntio nal
s ym-
p h o ny
o rch e s tra ins tru me nts and was
re p e ate dly qu o te d
o n th e s u b-
je ct
in
many ne ws p ap e r
and
magazine
article s . He
p e rce ive d
and de -
p icte d s ymp h o nic
ins tru me nts as
s o u nd-p ro du cing
to o ls
(made
fro m
wo o de n bo xe s and
bars ,
wo o de n
p ip e s ,
drie d
s h e e p 's gu t,
h o rs e
h airs ,
and th e
like ),
wh ich are in fact
inade qu ate
mu s ic
de vice s ,
h aving
e vo lve d o n u ns cie ntific trial-and-e rro r me th o ds
th ro u gh o u t
th e
ye ars .32
He u nde rline d th e
ne ce s s ity
o f
de ve lo p ing
ne w ins tru me nts
and
p ro p o s e d
th at th e fu tu re o f mu s ic was to be fo u nd with e le ctro nic
ins tru me nts ;
th e s e wo u ld mo s t
ce rtainly re p lace
th e
antiqu ate d
o r-
ch e s tra in th e ne ar fu tu re . To th is
e nd,
h e o u tline d th e
h is to ry
(e vo -
lu tio n)
o f mu s ical ins tru me nts .33 He de mo ns trate d fu tu ris tic ins tru -
me nts s u ch as th e Hammo nd
Organ (o f
wh ich h e was o ne o f th e
o riginal
o wne rs )
to a wide au die nce o f
co mp o s e rs
and
arrange rs .
Th e
e le ctric
o rgan
was s e e n as an
e xamp le
o f an ins tru me nt th at co u ld
p ro du ce
th e s o no ritie s o f all o th e r ins tru me nts o f th e o rch e s tra "at th e
to u ch o f a bu tto n." In a
co o p e rative
e ffo rt,
Th e re min and
Sch illinge r
de ve lo p e d
fo r
He nry
Co we ll th e
Rh yth mico n,
th e firs t e ve r
rh yth m-
bo x
dru m-mach ine ,
wh ich was
re p o rte d
to
p ro du ce rh yth mic figu re s
and
co mp o u nd
me te rs
u nimaginable
to e ve n th e mo s t
h igh ly
traine d
e ar. Th e de mo ns tratio ns o f
e le ctricity's
co ntribu tio n to th e fu tu re o f
mu s ic,34 wh ich
o fte n invo lve d
e arly p h o no grap h ic re co rding
te ch -
niqu e s , p e rp e tu ate d
th e
mys te rio u s
and
magical atmo s p h e re
as s o ci-
ate d with Th e re min and
Sch illinge r. Sch illinge r's
th irte e n-ro o m lab-
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 53
o rato ry
/
wo rks h o p
/
s tu dio was
e qu ip p e d
fo r th e
inve s tigatio n
o f
s o u nd and
mu s ic,
to as ce rtain facts abo u t
mu s ic,
and to te s t mu s ical
p ro ce du re s .35
It
was
fitte d with a
batte ry
o f
e qu ip me nt inclu ding
th e
u s u al mu s ical
ins tru me nts ,
as we ll as a Hammo nd e le ctric
o rgan,
a
s o u nd
re co rding s ys te m by
M P Co nce rt
Ins tallatio ns ,
a
Rh yth mico n,
an
o s cillo grap h ,
and o th e r aco u s tical and
o p tical e qu ip me nt.
Sch illinge r p u blicly
dis cre dite d abs o lu te
p itch
as a
"gift"
and fu r-
th e r de clare d th at
p ractice re gime ns
do no t le ad to e nh ance me nt o f
mu s icality.36
He de no u nce d th e mu s ic e du catio n o f h is
day
as
e mp lo y-
ing
u ns cie ntific
me th o do lo gie s
and calle d o n
p e dago gu e s
to
p u rify
mu s ic e du catio n fro m all its "cas u al
p aras itical
fo rms ,"
s u ch as th e
u s e o f mu s ical
vo cabu lary,
wh ich co ntribu te d to its is o latio n fro m o th -
e r fie lds o f
s tu dy.37 Sch illinge r
ch as tis e d
yo u ng p ro digio u s
tale nts
by
re fe rring
to s u ch individu als as "mu s ical
co rp s e s ."38
He fe lt th at wh e n
mu s ic e du cato rs wo u ld te ach
facts
ins te ad o f
myth s , s o cie ty
wo u ld
tu rn its admiratio n fo r th e
gift
o f
mu s icians h ip
to ward an
e ntire ly
diffe re nt co u rs e . Fo r
e xamp le ,
wh ile it was
co mmo nly
vie we d th at a
gre at co mp o s e r re qu ire s
60
p e rce nt
tale nt,
30
p e rce nt fe e ling/ins p i-
ratio n,
and 10
p e rce nt kno wle dge ,
in
re ality th e y o nly e mp lo y
20
p e r-
ce nt tale nt and 10
p e rce nt fe e ling/ ins p iratio n,
bu t 70
p e rce nt
kno wl-
e dge .
No ne th e le s s ,
Sch illinge r's gu ide line s
to cre ate
co mp o s e rs
we re
a bit
diffe re nt;
h is
training
was to
e qu ip
th e m with 100
p e rce nt
kno wl-
e dge
and
inte llige nce .39
To
e xe mp lify
th is
co nce p t, Sch illinge r
co ndu ct-
e d a
camp aign co nve ying
th e
me s s age
th at
any
individu al
acqu iring
th e
kno wle dge
o f
mu s ic,
e ve n s o me o ne
lacking
th e
ability
to
p lay
an
ins tru me nt,
co u ld be co me a
cap able co mp o s e r-all
th at was ne e de d
was a
h igh -s ch o o l-le ve l
e du catio n,
re as o nable
inte llige nce , h igh
mo -
tivatio n,
and th re e -and-a-h alf
ye ars
tu itio n to mas te r th e
s ys te m.40
Th is
co nce p tio n
and
p u blic camp aign
did mu ch to alie nate
Sch illinge r
fro m
acade mic circle s th at advo cate d an
ap p ro ach
to
co mp o s itio nal
train-
ing
bas e d mo re o n mu s ic
ability
and s kills .
Ho we ve r,
th e mo s t no to rio u s o f
Sch illinge r's
antics was wh e n h e
p u rp o s e fu lly du p e d
mu s ic acade mics into
ide ntifying p ie ce s
o f mu -
s ic as if
be lo nging
to th e we ll-kno wn mu s ic
re p e rto ire , wh e re by
h e
wo u ld th e n u nve il h ims e lf as th e
co mp o s e r, h aving
writte n th e mu s ic
o nly
an h o u r o r s o
ago (u s ing gu ide line s
fo u nd in h is
s ys te matic ap -
p ro ach
to
co mp o s itio n, e mp lo ying
s o u rce s s u ch as th e
mo rning's
s to ck
marke t,
o r th e
grap h ic re p re s e ntatio ns
o f th e Ne w Yo rk
City s kyline ).41
Wh ile
Sch illinge r
lo o ke d
u p o n
th e s e s e ns atio nal s tu nts as h armle s s
p arlo r game s ,
wh ich
cle arly de ligh te d
s o me
p articip ants
in th e au di-
e nce ,42 th e y
als o dis tracte d
co ns ide rably
fro m th e mo re s e rio u s
as p e cts
o f h is wo rk and
s ys te m. Fu rth e r, th e s e mis ch ie vo u s tricks cau s e d an-
gu is h
and e mbarras s me nt
amo ng
th e
p ro fe s s o rial
ranks wh o we re
s u cke re d and victimize d in fro nt o f th e ir o wn
p e e rs
and s tu de nts .43
54
Bro ds ky
As a
re s u lt,
many
diffe re nt
(and indiffe re nt)
individu als co nte m-
p late d
th e mu s ic o f
Sch illinge r
and h is
ne wly
fo u nd flo ck.
Sch illinge r
was o fte n criticize d be cau s e h e did no t ch o o s e to dis s e minate h is
s ys -
te m
th ro u gh
th e acade mic ch anne ls and
life s tyle (o f
wh ich h e was
ve ry
mu ch a
p art
o f in
Ru s s ia),
bu t rath e r
th ro u gh
th e mo re lu cra-
tive o u tle t o f Tin Pan
Alle y
and
Ho llywo o d.44 Ce rtainly,
th e
majo rity
o f h is s tu de nt-cu s to me rs we re
crafts me n, tu ne s mith s ,
and
arrange rs
mainly
inte re s te d in
acqu iring te ch niqu e s
to facilitate
grinding
o u t th e
co mme rcial
clich e s
in wh ich
th e y s p e cialize d.
Th e s e
affiliatio ns ,
with
th e ir as s o ciate d me rcantile mo tivatio ns fo r
s e e king
ins tru ctio n with
Sch illinge r, bo o me range d by
fu rth e r
blacke ning
th e name s o f bo th
Sch illinge r
and h is mo re s e rio u s
dis cip le s .
Th at
is ,
wh ile mo s t o f th e
re no wne d
arrange rs
and
co mp o s e rs
o f
Ho llywo o d
and Ame rican ra-
dio
bro adcas ting (in
th e
1930s )
we re
dis tingu is h e d
s tu de nts and
p ro -
p o ne nts
o f
Sch illinge r,
th e ir te s timo nials did no t advance th e
acce p -
tance o f th e
Sch illinge r Sys te m amo ng
acade mic mu s ic th e o ris ts . No r
was it be ne ficial to
Sch illinge r
wh e n h is
p ro te ge s
co nfe s s e d to h av-
ing
writte n th e ir mo s t famo u s
p ie ce s
with me lo die s take n fro m inci-
de ntal s o u rce s s u ch as
p lo tte d grap h p ap e r,
lis ts o f
te le p h o ne
nu m-
be rs ,
financial
ch arts ,
vital
s tatis tics ,
o r
"co mp o s e -a-tu ne " game s .45
By
1940
Sch illinge r
was
p e rce ive d
as a dile ttante fo r h is no ns tand-
ard no tatio n and
p s e u do s cie ntific ap p ro ach ,
as we ll as an ico no clas t
wh o
s p e nt
h is time
de s e crating
th e s acre d traditio ns o f
mu s ic,
mu s i-
cians ,
and mu s ical
p ractice .46
In
p art,
th e e s tablis h me nt re taliate d
by
p o inting
to th e fact th at
du ring
h is o wn life time no ne o f h is
co mp o -
s itio ns h ad e ve r be e n
p u blis h e d. By
th e time
th e y u ltimate ly ap p e are d
in
p rint,
th e valu e and
imp o rtance
o f h is wo rks we re
large ly
dis mis s e d
alto ge th e r, e xce p t by
a fe w
imp o rtant
frie nds s u ch as
He nry
Co we ll,
Ch arle s
Se e ge r
and Nico las
Slo nims ky.
Co nve rge nce
Wh ile no t a
p ro p h e t
in th e biblical s e ns e o f th e
wo rd,
Sch illinge r
cle ar-
ly e ngage d
a
p ro p h e tic-like
vis io n
re garding
th e
co ming
o f ne w me -
dia and th e
e ngage me nt
o f
h igh e r te ch no lo gie s by
art.
Sch illinge r's
vis io ns and s cie ntific ach ie ve me nts are we ll
be yo nd
th e
s co p e
o f
any
o ne article .
Th e re fo re ,
a wide
p ictu re
h as be e n
p ainte d
to illu s trate
th e e xte ns ive
s co p e
o f h is
e ne rgie s .
Sch illinge r
was th e firs t
(and p e rh ap s
th e
o nly)
s cie ntis t to de lin-
e ate th e art fo rms
acco rding
to h u man
s e ns o ry
abilitie s .
Th ro u gh
an
u nu s u al co mbinatio n o f th e five s e ns e s , h e
p ro p o s e d
and o u tline d
fu tu ris tic
cro s s -mo dality
and
mu ltis e ns o ry co nfigu ratio ns
o f art. Th is
p e rmu tatio nal ap p ro ach
to th e arts
(fo rty ye ars
be fo re th e
co mp u te r
e ra)
de fine d
e igh te e n
diffe re nt art fo rms
invo lving
s o u nd, mas s , o do r,
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 55
flavo r,
ligh t, p igme nt,
and s u rface in re latio n to
ge ne ral co mp o ne nts
o f time and
s p ace .47
He
s p o ke
o f
s ynth e tic
and
mu ltis e ns o ry
as s o cia-
tio ns ,
as we ll as abo u t th e fu s io n o f
s e ns atio ns ,
wh ich h e re fe rre d to
as
"co lo re d h e aring,"
"s o u nd
s e e ing,"
and "kine s th e tic
te mp e ratu re /
te xtu re re actio ns " o f to ne
qu ality. Sch illinge r
als o rais e d th e
qu e s tio n
o f trans fo rmatio n and co e xis te nce o f
o p tical
fo rms bas e d o n mu s ical
p atte rns .
Fu rth e r,
h e e nvis io ne d and
p ate nte d
s e ve ral ins tru me nts
(de vice s
we wo u ld
to day
call
s ynth e s ize rs )
re fe rre d to as "M u s ma-
to ns ." He o u tline d two
majo r typ e s : "Grap h o mato ns ,"
o r ins tru me nts
fo r
p ro du cing
line ar
de s igns ;
and
"Lu minato ns ,"
o r ins tru me nts fo r
p ro du cing de s igns by p ro je cte d ligh t.
In
additio n,
Sch illinge r p ate nt-
e d an ins tru me nt calle d th e "So lidrama"-a de vice th at allo we d art-
is ts to
re p re s e nt
mo tio n and trans fo rmatio n o f s o lids
by u s ing mag-
ne tic drive s and
s cre e ns .48
With th is
ap p aratu s ,
mo ve me nt co u ld be
s ynch ro nize d
with
ligh t
and s o u nd.
Finally, Sch illinge r
e nvis io ne d
and wro te a mu ch de taile d
de s crip tio n
o f a ne w
typ e
o f kine tic art
th at wo u ld
ap p e al
to all o f th e five h u man s e ns e s at o ne time . In th is
"Scie ntific Vau de ville " th e re wo u ld be s e ve ral
typ e s
o f h u man
acto rs ,
inclu ding
th o s e
e ngaging
in
p anto mime ,
drama, dance , acro batics ,
s o ng,
and
de clamatio n.49
He de s cribe d th e actu al
p e rfo rmance s
as in-
vo lving s tage s e ttings
o f diffe re nt
typ e s , inclu ding
s tatic, kine tic,
s h ad-
o w-p lay,
and cine matic
s e ttings . Acco rdingly,
diffe re nt kinds o f
ligh t-
ing,
and
o p tical
variatio ns o f
ap p e arance s
o f
s ce ne ry
and th e
acto rs ,
wo u ld re s u lt in incre as e d atte ntio n o f th e au die nce be cau s e o f th e
e xcite me nt o f two o r mo re s e ns e s with th e co ns tant
p re do minance
o f
o ne . Th e co ntinu al mo dificatio n o f o ne mate rial into
ano th e r,
ap p e al-
ing
to s e ve ral s e ns e s
s imu ltane o u s ly,
wo u ld
h e igh te n
th e
p s ych o lo g-
ical re actio n o f th e au die nce .
Th e
p ro ble m
o f
artis tically co o rdinating
s o u ndtrack with th e film
track was s o lve d
by Sch illinge r's co nce p t
o f
backgro u nd
mu s ic to fit
th e
time , mo o d,
and e xcite me nt o f mo tio n
p ictu re s .
Fu rth e r,
h e de -
vis e d a
catalo gu e
th at
s ys te matically ap p ro ach e d
th e mu s ical e le me nts
and th e ir co mbinatio ns in o rde r to
p rime
and facilitate th e vie we r's
p e rce ive d fe e lings
o f mo tio n wh ile s e ate d in a mo vie
th e ate r.s 0
M o re -
o ve r,
h e
de ve lo p e d
a
p ractical
de vice fo r
co rre lating
mu s ic with e mo -
tio n,
wh ich h e re fe rre d to as th e
"Ps ych o lo gical Dial."51
Th e dial was
u s e d as a didactic aid in h is
p rivate te ach ing
s tu dio to
p re s e nt
to h is
s tu de nts a s e t o f
ge ne ral
laws
go ve rning
th e
re latio ns h ip
o f s o u nd and
e mo tio nal re actio ns in an
atte mp t
to
e nco mp as s
th e e ntire
range
o f
h u man e mo tio nal
re s p o ns e s
to mu s ical s timu li.
Sch illinge r
s aw film
and mu s ic as
p ro ce s s e s
o f "fo rm and s tru ctu ral
o rganizatio n."
He
analyze d
th e
rh yth m
o f e ve nts
(p lo t),
th e
rh yth m
o f actio ns
(acto rs '
mo tio ns ),
th e
s p atial
and
te mp o ral rh yth m
o f fo rms and dime ns io ns
(s ce ne s ),
th e
s p atial
and
te mp o ral rh yth m
o f th e o ve rall co lo r
s e qu e nc-
56
Bro ds ky
e s ,
and th e
rh yth m
o f th e o ve rall
acco mp anying
mu s ical
s e qu e nce s .
He als o lo o ke d at inte ractio ns o f th e s e
co mp o ne nts ,
th at
is ,
th e co o r-
dinatio n o f th e
p lo t
with th e vis u al fo rms and
co lo r,
th e co o rdinatio n
o f th e
p lo t
with th e
au dito ry
fo rms ,
and th e co o rdinatio n o f th e vis u -
al and
au dito ry
fo rms .52
Sch illinge r
was atte ntive to is s u e s o f mu s ic
th e o ry,
albe it
re fe rring
to th e s e as "mu s ico -s cie ntific
p ro ble ms ."
He
de ve lo p e d grap h ic
me th -
o ds o f mu s ical
no tatio n,
and a
s ys te m
o f mu s ic
co mp o s itio n
bas e d
o n
rh yth m
rath e r th an
h armo ny.53
He was co nce rne d with th e
p ro b-
le m o f
inte rp re tatio n, e s p e cially ch ange s
in
te mp i,
wh ich in h is vie w
s h o u ld no t be le ft to th e dis cre tio n o f th e
p e rfo rming
mu s ician. In h is
o wn mu s ic h e wro te o u t in e xact no tatio n th e valu e s o f th e no te s o f a
re tard o r acce le ratio n wh ich th e n bo re
co mp licate d
me tric
s ignatu re s .
He
catalo gu e d
th e nu mbe r o f ch o rds th at co u ld be co ns tru cte d o u t
o f
majo r
and mino r th irds and fo u nd th at th e re we re
th irty-s ix
co m-
binatio ns as
o p p o s e d
to th e
p o p u lar
fo u r th at h ad be e n
traditio nally
u s e d in mu s ic
p rio r
to th e
1920s .54
It
is
claime d th at
Sch illinge r
re vo -
lu tio nize d th e art o f o rch e s tratio n
by u tilizing
co mbinatio ns o f
s cale s ,
ch o rds , h armo nie s ,
and ins tru me nts in
ways
th at we re u ntil th e n u n-
familiar.
Finally, Sch illinge r
e vo lve d a
co mp o u nd tu ning s ys te m
th at
e liminate d th e co ntro ve rs ie s o f all
s ys te ms p re vio u s ly
o ffe re d,
re fe rre d
to as "Do u ble
Equ al Te mp e rame nt."55
Th is
tu ning
u nifie d all
s ys te ms
o f into natio n u s e d in th e We s te rn wo rld as it co ns is te d o f twe lve ba-
s ic
inte rvals ,
co mbine d with 144 micro -inte rvals . Th is co mbinatio n
p e rmitte d
o ne to e xe cu te with a
h igh de gre e
o f
p re cis io n
twe lve -u nit
Equ al Te mp e rame nt,
M e an
Te mp e rame nt,
J u s t Into natio n,
and th e
s tring
and vo cal infle ctio ns o f
s p e cial typ e s
o f into natio n
(as
fo u nd
in s o me
ch ambe r,
jazz,
and
gyp s y mu s ic).
Sch illinge r
o fte n
qu o te d
ancie nt
p h ilo s o p h e rs
wh o
lo ng ago
s u s -
p e cte d
th e re we re u nco ns cio u s math e matical
p ro ce du re s
be h ind co n-
s cio u s mu s ical inte ntio ns . He
co nte mp late d
bo th th e
p h ilo s o p h ical
and ae s th e tic
qu e s tio n:
Wh at is mu s ic? He made s e ve ral e ntrie s in h is
p e rs o nal
no te bo o ks
p o nde ring
if mu s ic is "wh at th e
co mp o s e r imag-
ine d,"
"wh at th e
co mp o s e r
wro te ,"
"wh at th e
p e rfo rme r p laye d,"
"wh at
th e lis te ne r
h e ard,"
o r "wh at th e critics
re p o rte d."
He re alize d
th at th e s e
may
no t be
e qu ate d:
th e ans we r
may
be
mu ltile ve le d,
mu l-
tiface te d,
o r e ve n
co de p e nde nt
o n o ne o f s e ve ral facto rs .
Le o n
Th e re min,
th e
gre at
Ru s s ian inve nto r and
p h ys icis t,
co llabo -
rate d with
Sch illinge r
in re s e arch o n mu s ical aco u s tics and
de s ign.
In 1932
th e y
co ns tru cte d
wo rking
ve rs io ns o f an e le ctro nic
o rgan
with
micro tu ning,
vo lu me co ntro l o f diffe re ntial
to ne s ,
and a
s p e cially
de -
s igne d ke ybo ard
fo r th e
p e rfo rmance
o f Do u ble
Equ al Te mp e rame nt.56
Fu rth e r,
th e y
bu ilt th e firs t e le ctro nic
s ynth e s ize r (manu factu re d by
RCA). Sch illinge r
and Th e re min als o co ns tru cte d th e
Rh yth mico n,
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 57
wh ich cre ate d
rh yth mic p atte rns
in th e aco u s tical s cale o f into natio n;
th e de vice was co mmis s io ne d
by He nry
Co we ll and
p aid
fo r
by
Ch arle s
Ive s .57
Acco rdingly,
th e s e
p atte rns
we re
p ro du ce d by
th e in-
te rfe re nce o f o ne to s ixte e n
ge ne rato rs , re s u lting
in
ap p ro ximate ly
65,535
p o lyrh yth mic
p o s s ibilitie s .5s
Sch illinge r
calcu late d th at it wo u ld
take
10,922.5
h o u rs to
p lay
all th e co mbinatio ns o f th e
Rh yth mico n
if
an
ave rage
te n s e co nds was
re qu ire d
to
p lay
e ach co mbinatio n. It
wo u ld th u s take 455
days ,
2
h o u rs ,
and 30 minu te s to
p lay
all th e
rh yth mic p atte rns
th at we re
re adily
available
th ro u gh
th is
te ch no lo g-
ical
bre akth ro u gh .
Sch illinge r
h ad
s tro ng
be lie fs abo u t th e fu tu re o f mu s ic
co mp o s i-
tio n
training.
He
e xp e cte d
th at
co mp o s e rs
o f th e fu tu re wo u ld be co n-
fro nte d with th e tas k o f
s tu dying
s o u nd fro m a
p h ys ical angle ,
with -
o u t wh ich th e
s tu dy
o f
co mp o s itio n
wo u ld be
imp o s s ible .
Th e re fo re ,
th e e du catio n o f
co mp o s e rs
wo u ld no t be
co mp le te
with o u t th e
s tu dy
o f
p h ys ics
o f s o u nd in re latio n to mu s ic
co mp o s itio n
and e le ctro nic
mu s ical
ins tru me nts .59
Sch illinge r p ro p o s e d
th at a ne w ratio nal mu -
s ic e du catio n wo u ld
p ro ve
mo re e ffe ctive th an th e
acqu is itio n
o f o ne
typ e
o f ro u tine
(h is
vie w o f ins tru me ntal
p ractice ). Co ns e qu e ntly,
mu s ic e du catio n s h o u ld inclu de te ch nical
training,
a
th o ro u gh
kno wl-
e dge
o f s o u nd
mate rial,
and a
co mp le te u nde rs tanding
o f
ge ne ral
me th o ds invo lve d in mu s ical
p ro ce du re s .60
In 1940
Sch illinge r p re dicte d
th at th o s e wh o wo u ld be
re s p o ns ible
fo r th e mu s ic o f radio and te le vis io n wo u ld be ne ith e r
co mp o s e rs
no r
p e rfo rme rs ,
bu t a ne w bre e d o f mu s ic
e ngine e r o p e rating
th e ma-
ch ine s th at
co mp o s e
and
p e rfo rm
mu s ic. He
p re dicte d
th at te le vis io n
wo u ld
u ndo u bte dly
s timu late fu rth e r th e fu s io n o f
e xis ting
art fo rms .
He als o fe lt th at as
e le ctro nically p ro du ce d
s o u nd was far
s u p e rio r
to th at o f co nve ntio nal
ins tru me nts ,
s o me day
an all-e le ctric
"s ymp h o -
ny"
o rch e s tra wo u ld make
p re s e nt-day
o rch e s tras o bs o le te . He
p o s -
ite d th at mu s ic in th e mach ine
age
wo u ld be co me a me diu m o f "mu -
s ic fo r wh o le s ale e nte rtainme nt in th e
p ro mo tio n
o f s ale s ." He
s h o cke d bu s ine s s me n and
layme n
alike
(as
we ll as mu s icians th e m-
s e lve s ) by qu o ting
h is o wn s tatis tical
co mp u tatio ns atte s ting
to th e
fact th at in 1936 alo ne 200 NBC
adve rtis ing
firms we re
alre ady s p e nd-
ing ap p ro ximate ly
$32,000,000
in
bro adcas ting.
In 1943
Sch illinge r
be gan
to
p lan
a
re vo lu tio nary
ne w
p ro je ct invo lving
th e e le ctro nic
re p ro du ctio n
o f mu s ic with o u t th e u s e o f co nve ntio nal mu s ical ins tru -
me nts o r mu s icians ! He fe lt th at mu s ic
(as
kno wn in th e
1940s )
wo u ld
s u re ly dis inte grate ,
bu t
p rio r
to th at
dis inte gratio n
it wo u ld be man-
u factu re d and dis tribu te d in th e
ways
th at o th e r indu s trial
p ro du cts
are manu factu re d and dis tribu te d.61
Fu rth e r, th at mu s ic wo u ld e ve n-
tu ally
influ e nce th e allie d arts and co me into fu s io n with th e m.
Sch illinge r
s aw th e
co ming age
o f th e cine ma. Two o f h is mo s t ch e r-
58
Bro ds ky
is h e d h o bbie s we re
p h o to grap h y
and
cine mato grap h y.
He
co mp o s e d
p ictu re s de mo ns trating
co lo r h armo nie s . He
de ve lo p e d
h is o wn film
in h is
p e rs o nal
darkro o m
labo rato ry (mas te ring
th e s kills
re qu ire d
fo r
e xp o s u re timings , ligh ting
s o u rce s ,
ch e mical mixtu re s and co mbina-
tio ns ,
p ap e r
s e le ctio n,
and
re p ro du ctio n p ro ce du re s ),
and dabble d in
mo vie -making
(bo th
dire cting
and
p ro du cing e arly s h o rts ).
He
e xp e r-
ime nte d with s h ado ws
cau s ing p h o to grap h ic
e ffe cts
(vis u al
o p tical
illu s io ns ),
as we ll as
inve s tigating
th e e ffe cts o f animatio n and
s yn-
ch ro nize d s o u nd.
Sch illinge r p ro du ce d ge o me tric mo ving p ictu re s
and
e xp e rime nte d
with co lo r-animate d
abs tractio ns ,
wo rking
with
M ary
Elle n Bu te
amo ng
o th e rs .
Sch illinge r
re fe rre d to th e s e as trans -
fo rmatio n and co e xis te nce o f
o p tical
fo rms bas e d o n mu s ical
p at-
te rns .62
He was
amo ng
th e firs t to te ach th e "co rre ct" s e t
de s ign
to
e nh ance th e vis u al
p e rce p tio n
o f a
s ce ne ,
as we ll as me th o ds fo r find-
ing
th e be s t
angle
fo r
filming (u tilizing
a h o s t o f
ge o me trical
fo rmu -
lae and
calcu latio ns ).
It is
wo rth y
o f no te th at
Sch illinge r's
inte re s t in th e
s ynch ro nizatio n
be twe e n au ral
te mp o ral
s timu li and vis u al mo tio n e xte nde d to th e
wo rld o f dance : h e wro te a
mo no grap h
in 1932
de p icting
a dance no -
tatio n,
th o u gh
th is was be lie ve d lo s t
du ring
Wo rld War
II.63
Ho we ve r,
th e
mo no grap h miracu lo u s ly
s u rvive d and re s u rface d in th e 1980s in
th e h ands o f Walte r
To s canini;
it was
s u bs e qu e ntly p u blis h e d
in 1985.
In th is
grap h ic
no tatio n o f h u man
mo ve me nt,
Sch illinge r
u s e d th e me t-
ap h o r
o f an o rch e s tra to
de p ict
th e mo ve me nt o f th e h u man
bo dy
rath e r
th an th at o f a
s ingle
ins tru me nt.64 He
analyze d
e ach mo ve me nt acco rd-
ing
to its
ge o me trical s h ap e , p lo tting
it o nto a
grap h ,
th e n co o rdinat-
ing
th e mo ve me nt in two dime ns io ns
(i.e ., traje cto ry
and
time ).
Amo ng
o th e r ach ie ve me nts cre dite d to
Sch illinge r
is a ne w
s ys te m
o f
p ro je ctive ge o me try, making
all cu rve s
e xp re s s ible
in circu lar ar-
e as .65 As h e was inte re s te d in
fas h io n,
h e tu rne d th e s e
ge o me tric p ro -
je ctio ns
into
layo u ts
and
de s igns re s e mbling figu re s
o btaine d with th e
1960s
Sp iro grap h game . Re fe rring
to th e s e as
"Rh yth mic De s igns "
Sch illinge r
u s e d th e
p atte rns
fo r a h o s t o f
p ro du cts inclu ding
wall-
p ap e r,
le tte r
s tatio ne ry,
bo o k
co ve rs , te xtile s , fabrics , lino le u m,
ru gs
and
carp e ts , lamp s ,
as s o rte d h o u s e h o ld
ite ms ,
and fu rnitu re .66 He
co llabo rate d o n
co mp o s itio ns
in
p u re
and indu s trial
de s ign
with Wi-
no grado w
and
Pre gram
at th e Arch ite ctu re
Le agu e
o f Ne w
Yo rk,
and
e ve n h ad h is
p e rs o nal grand p iano
(manu factu re d by Ste inway)
bu ilt
o n h is o wn
de s ign
as a
ge o me tric o blo ng figu re .
Sch illinge r jo tte d
do wn a mu ltitu de o f
s u bje cts
in h is no te bo o ks .
Th e s e
p age s
are writte n in a
h yp o th e tico -de du ctive ap p ro ach
wh e re -
by
firs t an
argu me nt
with minimal citatio ns is
p re s e nte d,
and th e n
typ ically
s u mmarize d into o ne
all-e nco mp as s ing
s tate me nt. Su ch
s yn-
o p s e s
co u ld
e as ily
be
qu o te d
in an
u p co ming
le ctu re , o r
p re s e nte d
to
J o s e p h Sch illinge r:
M u s ic Scie nce
Pro me th e an
59
s tu de nts
le arning
fro m a dis tance via writte n
co rre s p o nde nce .
In ad-
ditio n,
s u ch
qu o tatio ns
we re als o
re adily
available fo r
p re s s
inte r-
vie ws . Fo r
e xamp le ,
An e s th e tic
re ality may
be e ith e r a natu ral
p ro du ct,
a
p ro du ct
o f
h u man cre ative
intu itio n,
o r a
p ro du ct
o f s cie ntific
s ynth e s is ,
re -
alize d
th ro u gh co mp u tatio n by
math e matical
lo gic.
In
actu ality,
all th re e
as p e cts
co e xis t in
p e rce p tu al
inte ractio n.
Amo ng
th e
s u bje cts
fo u nd in th e no te bo o ks we re "Th e
Ph ys ical
Ba-
s is o f
Be au ty," "Ne u ro lo gical
Co rre late s o f
Se ns atio n,"
"Ge o me trical
Pro je ctio ns
o f
Ps ych o lo gical Cate go rie s ,"
and "No tatio n o f
Te mp o ral
Stimu li."
Sch illinge r s u gge s te d
th at
p h as ic
diffe re nce s ,
cau s ing ins tability
in
wave
mo tio n,
are th e actu al facto rs
co ntro lling
e s th e tic varie tie s .67
Th at
is ,
th e s e ns atio n and
p e rce p tio n
o f s timu li
(vis u al
and
au dito ry)
le ad to
u ns table ,
s ynch ro nize d,
o r o ve ractive
bio lo gical rh yth ms
and
can be
re p re s e nte d
as e ith e r
s u bbio lo gical, bio lo gical,
o r
s u p rabio lo g-
ical
p ro ce s s e s .
He nce ,
th e
p h as ic qu alitie s
are
u nde rs timu latio n,
no r-
mal
s timu latio n,
and
o ve rs timu latio n;
th e
p s ych o lo gical
e ntitie s are
e ith e r
s u bno rmal, no rmal,
and
s u p e rno rmal.
As th e s e ns e
o rgans
re -
act to
fre qu e ncie s
and
inte ns itie s ,
e s th e tic
o bje cts
are
cap able
o f di-
re ctly s timu lating
th e s e ns e s
by
th e nu mbe r o f
fre qu e ncie s
and
p ro -
p o rtio ns p re s e nt
in th e artis tic me dia
(and
are no t
ju s t
as s o ciative
p s ych o lo gical
fo rms and
image s ,
wh ich was th e be lie f o f mu s ic e s -
th e ticians in
Sch illinge r's day).
Th e re fo re ,
e s th e tic
p le as u re
co rre late s
dire ctly
to
fre qu e ncie s
o f s timu li
(albe it
vis u al and
au dito ry
mo de s
diffe r in th e ir cas u al
affe cts ).
Co nditio ne d re fle xe s as s o ciate d with
p le as u re
and
de ligh t gro w th ro u gh re p e ate d e xp e rie nce s . Be au ty
in
a
co mp o s itio n,
th e n,
wo u ld re s u lt fro m th e h armo nic re latio ns o f h ar-
mo nically de ve lo p e d co mp o ne nts (s p atial
and
te mp o ral co mp o ne nts ).
Fo r
e xamp le ,
th e lo w
fre qu e ncy
o f "re ds " affe cts
p e o p le
as u nde rs tim-
u latio n;
th e middle
fre qu e ncy
o f
"ye llo ws ," "gre e ns ,"
and "blu e s "
cau s e no rmal
s timu latio n;
and th e "vio le ts " re s u lt in o ve rs timu latio n.
Sch illinge r
o bs e rve d th e s e
p h e no me no n
in th e re actio ns o f th e e mu l-
s io n in co lo r films o f
p h o to grap h ic s e ttings
o f a s u ns e t
(o ve rabu n-
dance o f
re ds ),
a
midday (balance d s p e ctru m),
and a fo re no o n
(u l-
travio le t
p re do minance ).
As far as
Sch illinge r
was
co nce rne d,
th e s e
p h o to ch e mical
re actio ns
p ro vide d
h ard e vide nce o f th is
th e o ry.
Tu rning
to
au dito ry
s timu li,
Sch illinge r p o inte d
o u t th at th e re ac-
tio n to s o u nd h as mu ch to do with its
qu ality,
and th at
large ly
de -
p e nds u p o n
fo rm and
fre qu e ncy.68
Fo r
e xamp le ,
wh e n th e
fre qu e ncy
is to o lo w
(be lo w
five
cycle s p e r s e co nd)
th e
imp re s s io n
is o f in-
s u fficie ncy
and re tarde d life
s p e e d;
wh e n th e
p u ls e
is no rmal
(five
to
s ix
cycle s p e r s e co nd)
th e
imp re s s io n
is o f
h e alth y
e xis te nce and we ll-
60
Bro ds ky
be ing;
and wh e n th e
p u ls e
is abo ve th e no rmal
(abo ve
s ix
cycle s p e r
s e co nd)
th e
imp re s s io n
is o f
acce le rate d,
p re cip itate d,
and te ns e e x-
is te nce . Lo w
p itch e s (o r
lo w
fre qu e ncie s ) p ro du ce qu ie s ce nt,
no ctu r-
nal,
s u bbio lo gical u nde rs timu lating
e ffe cts . Th e middle
range , p artic-
u larly
th at
co rre s p o nding
to th e h u man vo ice
(ap p ro ximate ly
64-1200
h z),
e mbrace s th e
p s ych o lo gical range
o f no rmal s timu latio n. Th e
h igh
fre qu e ncie s p ro du ce
o ve rs timu latio n,
p articu larly
wh e n abu ndant
with be ats .
Su bs e qu e ntly, Sch illinge r
e nvis io ne d an o ve rall
o rganiz-
ing p o we r
o f mu s ic. Th at
is ,
a s o u nd co u ld e ith e r
s ignal
and indu ce
re actio ns o f fe ar and e vil o r attract th e favo rable and
go o d. Sch illinge r
fo re s aw in th is
p o s s ibility
a me dicinal
ap p licatio n
o f mu s ic as a h e al-
ing
de vice in th at individu als
migh t s o me day
be tre ate d
by
s o u nd-
wave s
(be lie ving
th e re to be a
qu antitative
diffe re nce be twe e n lo w-
and
h igh -fre qu e ncy s o u ndwave s ).69
M o re o ve r,
h e fe lt th at th e me an-
ing o f
mu s ic is re late d to
p s ych o p h ys io lo gical co rre s p o nde nce s .70 Re g-
u larity
me ans
s tability, s imp licity
me ans
re laxatio n,
and th u s th e s im-
p le o rganis m
at re s t is
co mp arable
to
s imp le
h armo nic mo tio n. Th e
lo s s o f
s tability
is cau s e d
by p o we rfu l
e xcito rs
affe cting
th e
ve ry
e x-
is te nce o f th e
o rganis m.
Th e aware ne s s o f
ins tability
co me s
th ro u gh
variatio n in blo o d
circu latio n,
s e ns e d
th ro u gh
h e artbe at and in blo o d
p re s s u re , re s u lting
in
re s p irato ry
mo ve me nts . Th e wh o le
o rganis m
is
a variatio n o f
s tability, flu ctu ating
be twe e n ce rtain e xtre me s o f re s t-
fu lne s s and re s tle s s ne s s .
Sch illinge r
claime d th at th e co ns titu tio n o f
mu s ic is
e qu ivale nt
to th at o f an
o rganis m.
Th at
is ,
it is a variatio n o f
th e
s tability
in
fre qu e ncy
and
inte ns ity.
He was co nvince d th at th e
co ntro ve rs ie s
as cribing
to s e mantic co nno tatio n
(de s crip tive
o r
s ym-
bo lic)
wo u ld vanis h o nce th e re al
me aning
o f mu s ic h as be e n u n-
ve ile d.
Acco rdingly,
th e
me aning
o f mu s ic e vo lve s in te rms o f
p h ys i-
co -p h ys io lo gical co rre s p o nde nce s ,
wh ich are
qu antitative ,
and th e
qu antitie s
s e e m to
e xp re s s
fo rm. Fo rmatio n o f
p atte rns
is du e to
co nfigu ratio n
and
p e rio dicity. Co nfigu ratio n may
be
s imp le
o r co m-
p licate d (in
a math e matical
s e ns e ),
and th e
p e rio dicity
de fine s th e re -
cu rre nce ,
wh ich
may
als o be o f diffe re nt
de gre e s
o f
co mp le xity.
It is
inte re s ting
to s e e h o w
Sch illinge r
co nne cte d th e s e th e o rie s
de p icting
th e
p ro ce s s
o f h u man e mo tio ns to ce rtain
p s ych o p h ys io lo gical
te n-
s io ns th at are
p ro du ce d by
mu s ical
dis s o nance .7
In
additio n,
Sch ill-
inge r
came to th e
p re ce p t
o f
training e ffe cts
th at o ccu r as a re s u lt o f
re p e ate d e xp o s u re amo ng
s tu de nts fro m mu s ic
de p artme nts ,
wh o
wo u ld e xh ibit
ch aracte ris tically
diffe re nt re actio ns to mu s ic
co mp are d
to s tu de nts fro m no nmu s ic
de p artme nts .
Sch illinge r
was a
p ro p o ne nt
o f
ke y co nce p ts re garding
th e inte r-
ch ange
be twe e n art and co rtical
activity.
He de clare d th e re to be a re -
latio ns h ip
be twe e n th e
p e rce p tio n
and cre atio n o f ne w e s th e tic
p atte rns
with bio ch e mical
co nfigu ratio ns
in brain
fu nctio ning. Acco rdingly,
o u r
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 61
bio ge ne rato r
as s e rts ce rtain
te nde ncie s ,
wh ich in tu rn
p ro du ce
ce rtain
co nfigu ratio ns
and ce rtain co lo rs o r s o u nds .
Sch illinge r p re dicte d
th at
in th e ne ar fu tu re we wo u ld le arn th at cre ative
e xp e rie nce s
are
me re ly
ge o me trical p ro je ctio ns
o f th e e le ctro ch e mical
p atte rns
o f
th o u gh t
o n
vario u s mate rials
h aving s e ns o ry
e ffe cts o n u s . He fe lt th at wh ile le arn-
ing
to
p lay
an ins tru me nt an individu al
acqu ire s ability
and co o rdina-
tio n o f h is mu s cle s and
re s p irato ry te ch niqu e s ;
and
by writing
and an-
alyzing
mu s ic,
o r
by s tu dying
mu s ic
th e o ry,
an individu al
acqu ire s
s imilar
agility
and co o rdinatio n o f th e
mind.72
Two
s u bje cts
th at
Sch illinge r
was adamant abo u t we re
"p e rfe ct
p itch "
and mu s ic no tatio n.
Co nce rning
th e
firs t,
h e tackle d th e co n-
ce p t
and s tate d th at s u ch
p e rce p tive qu alitie s
h ave
no th ing
to do with
mu s icality.
He o fte n wro te and s tate d th at abs o lu te
p itch
h as no ch ance
wh ats o e ve r to with s tand
co mp aris o n
to o th e r abs o lu te s s u ch as ab-
s o lu te ze ro
te mp e ratu re
o r th e abs o lu te
me lting /bo iling p o int
o f ce r-
tain s u bs tance s and mate rials .
Acco rdingly,
to
Sch illinge r
abs o lu te A
= 440 is
no th ing
mo re th an a s tandard s e t
by
vario u s natio nal and
inte rnatio nal co nfe re nce s . In h is
o p inio n,
th e fact th at a ce rtain wave
fre qu e ncy
is calle d A is no t th e re fo re a natu ral
p h e no me no n,
bu t s im-
p ly
a mu tu al
agre e me nt by
a
gro u p
o f
e xp e rts
valid in ce rtain lo cali-
tie s and in ce rtain
p e rio ds
o f time .
Re garding
th e s e co nd
is s u e ,
Sch illinge r p e rce ive d
th e re to be s e ri-
o u s
s h o rtco mings
in s tandard mu s ic no tatio n. He o bs e rve d th at no -
tate d mu s ic do e s no t
p o rtray
th e
te mp o ral
mo de o f mu s ic.
Owing
to
its
natu re ,
th e no tatio nal re co rd is no t a mu s ical wo rk in its e lf bu t is
me re ly
a s tatic s ch e matic o r
"s nap s h o t"
th e re o f,
and h e nce it canno t
trans mit th e mo s t e s s e ntial
p ro p e rty
o f
mu s ic,
wh ich is mo tio n. Sch ill-
inge r
be lie ve d th at wh e n
making
u s e o f no te
writing,
a
co mp o s e r
can-
no t
p ro je ct p re cis e ly
th e
p ro ce s s
th at
go e s
o n in h is co ns cio u s ne s s .
Wh ile s till in
Ru s s ia,
h e co nce de d
p rincip al p re fe re nce
to
p ap e r
ro lls ,
e s p e cially
if
th e y
we re
p re p are d by
th e
co mp o s e r
h ims e lf.73
In
co n-
tradictio n to th e no tatio nal
s ys te m,
ro lls
give e xp re s s io n
to a
p ro ce s s
th at is
ge o me trically p re cis e
and
ade qu ate
to
te mp o ral
re latio ns . Wh e n
s e t in mo tio n th e ro lls
re p re s e nte d e xactly
(as
far as th e me ch anis ms
o f th e ins tru me nt
p e rmits )
th e mu s ical
wo rk,
trans fe rring
it
by
me ans
o f a
mo ving s p e cial p ro je ctio n,
fro m th e
cate go ry
o f co ns cio u s ne s s into
th e
cate go ry
o f
be ing.
Eve n afte r h is arrival in
Ame rica,
Sch illinge r
s till vie we d s tandard mu s ic no tatio n as
inade qu ate
and
ine p t.
In h is
o p inio n,
mu s ic no tate d o n s tave s
s imp ly
co u ld no t
co nve y au rally
co nce ive d
imp re s s io ns ,
and th u s h e tu rne d to o th e r
grap h ic re p re s e n-
tatio ns
th ro u gh o u t
h is
life time .
As far as
Sch illinge r
was
co nce rne d, th e re we re s till
many
"u nan-
s we re d
qu e s tio ns "
to be
inve s tigate d (wh ich
h e
u nfo rtu nate ly
ne ve r
acco mp lis h e d
be cau s e o f h is
p re matu re de ath ).
His
lis ting
o f s u ch
62
Bro ds ky
ite ms in h is no te bo o ks was
p e rh ap s
h is
way
o f
o rganizing
wh at is
kno wn abo u t mu s ic and mu s ic be h avio r. Fo r
e xamp le , amo ng
th e
qu e s -
tio ns h e
p o s e d
we re "Are th e re u nco ns cio u s math e matical
p ro ce du re s
be h ind co ns cio u s mu s ical inte ntio ns ?" "Wh at facilitie s co ns titu te
mu s icians h ip ?"
"Since th e re are vis u al
ge o me tric s h ap e s
in
natu re ,
do e s s o u nd in natu re als o cau s e
ge o me trical
and math e matical
o rga-
nizatio n?" and "Are th e re diffe re nt
typ e s
o f
te mp e rame nts
and
p e r-
s o nality s tyle s amo ng
lis te ne rs wh ich
bring
abo u t diffe re nt re actio ns
to
mu s ic,
and if s o can th e s ame be s aid abo u t mu s ic critics ?"74
In 1940
Sch illinge r
s aw an
o p p o rtu nity
fo r imme diate marke t
ap -
p licatio n
o f h is th e o rie s . Had h e be e n s u cce s s fu l in
p ro mo ting
h is
s ys -
te m,
and h ad it be e n
p u t
into
p ractice ,
h e wo u ld
s u re ly
h ave made
an
imp act
o n a
glo bal
le ve l in h is life time . Walt
Dis ne y
re le as e d th e
film Fantas ia in 1940. Fro m a
co nce p tu al p o int
o f
vie w,
Fantas ia co n-
taine d no
dialo gu e .
It match e d a
p anto mime
o f animate d be as ts and
fantas tic cre atu re s to
p as s age s
o f clas s ical
mu s ic,
cre ating
wh at s o me
critics ce le brate d as a
p artne rs h ip
be twe e n fine mu s ic and animate d
film. Fo r
e xamp le ,
in o ne
s e qu e nce
th e film fe atu re d
allu ring,
bare -
ch e s te d,
p u rp le
and
be ige
fe male ce ntau rs
cavo rting
to Be e th o ve n's
"Pas to ral"
Symp h o ny
as
th e y
trie d to attract th e affe ctio ns o f th e ir
mate s -to -be . In ano th e r
s e gme nt
o s trich e s we re s e e n
p iro u e tting
to
Po nch ie lli's Dance
o f
th e Ho u rs . Th e re we re als o
s e gme nts
th at invo lve d
inte re s ting dis p lays
o f co lo r as an animatio n o f au dible s o u nd e ffe cts
u s ing
mu s ical ins tru me nts as
figu re s
and ch aracte rs .
Amo ng
o th e r
co mp o s itio ns ap p e aring
in th e s o u ndtrack we re
p ie ce s by
Bach ,
Du -
kas , Sch u be rt,
Tch aiko vs ky,
and
Stravins ky.
Fo r th e
p ro du ctio n
o f Fan-
tas ia
Dis ne y
re cru ite d
Le o p o ld
Sto ko ws ki and th e
Ph ilade lp h ia
Or-
ch e s tra in an e ffo rt to
p u t
th e ir
h igh -art
cre de ntials to th e
s o u ndtrack.75
Fu rth e r,
De e ms
Taylo r (wh o
h ad a
p o p u lar
radio
fo llo wing)
was co n-
tracte d to intro du ce e ach
s e gme nt.
Ne ve rth e le s s ,
Fantas ia was a mu ch -
p rais e d
co mme rcial dis as te r afte r it
o p e ne d
at th e
Bro adway
Th e ate r
in Ne w Yo rk
City. Pe rh ap s
th e 1940s au die nce s we re
p re o ccu p ie d by
war o r
p u t
o ff
by
th e film's
h igh bro w image .
Bu t ano th e r
p o s s ibility
(as
co ns tru e d
by Sch illinge r)
was th at Dis -
ne y
h ad mis calcu late d th e
inte gratio n
o f vis u al animatio n with mu -
s ical
co mp o ne nts .
Eve n be fo re th e
p u blic
s aw
Dis ne y's
film fo r th e
firs t
time ,
th e re we re co nte ntio ns abo u t th e
qu ality
o f Fantas ia as a
p ro du ct
re late d to art and mu s ic. Th e fame d Ge rman artis t and
h igh -
art animato r Os kar
Fis ch inge r,
wh o was h ire d to wo rk o n th e
s e gme nt
o f Bach 's To ccata and
Fu gu e
in D
M ino r,
e ve ntu ally
le ft th e s tu dio
and
abando ne d
th e
p ro je ct. Fis ch inge r p u blicly
dis o wne d h is o wn
co ntribu tio ns to Fantas ia, s tating
th at no wo rk o f art co u ld be made
with th e
p ro ce du re s
u s e d in th e
Dis ne y
Stu dio .76
Acco rdingly,
h e fe lt
th at th e re was no
p o s s ibility
o f
co mbining h igh
art with
Dis ne y
car-
J o s e p h Sch illinge r:
M u s ic Scie nce
Pro me th e an
63
to o ns . At th e ce nte r o f th e de bate s e e ms to be th e
qu e s tio n
o f "Re fe r-
e ntialis m." At time s th e is s u e to o k o n th e de bate o f
"drawing
as lan-
gu age "
ve rs u s "mu s ic
s yntax
in
p ainting."
Th e
dis p u te
s e e ms to lo o k
at th e mu s ic-its
p u rp o s e
and
re p re s e ntatio n. Cle arly, Dis ne y
was no t
cre ating
s o u nd to
acco mp any
h is wo rk bu t was
de s igning
animatio n
to
acco mp any
we ll-kno wn
h igh -art
mu s ic. As
s u ch ,
many
critics
qu e s -
tio ne d th e
s ys te matic
u s e o f
Dis ne y's
Fantas ia to
e xp o s e
and te ach th e
ge ne ral p u blic
abo u t mu s ic.
Amo ng
th e
mu s ically
cu ltu re d and s e n-
s itive ,
Fantas ia was
p e rce ive d
as dis tas te fu l be cau s e
Dis ne y
fo rce d h is
u niqu e
vis u al
image s
o n de fe ns e le s s vie we rs
(and lis te ne rs )
wh o
migh t
h ave
qu ite
diffe re nt as s o ciatio ns with th e mu s ic. Critics
p o int-
e d o u t th at
h is to rically,
wh e re mu s ic and th e vis u al arts h ave be e n
jo ine d,
mu s ic h as be e n
e mp lo ye d me re ly
to e nh ance th e
s to ry:
no t s o
with
Dis ne y,
wh o re ve rs e d th e
p ro ce s s .77 Acco rdingly, Dis ne y
co m-
mitte d th e u nth inkable act o f
s trip p ing away
th e infinite
varie ty
o f
p las tic me anings
th at can be fo u nd in mu s ic.
In
Sch illinge r's e ye s , Dis ne y's p ro je ct
was an
e xamp le
o f
p o o rly
co o rdinate d art fo rms th at we re vo id o f a s cie ntific me th o d. In a s e -
rie s o f le tte rs h e o ffe re d
Dis ne y
h is
s ys te m
and o u tline d h is
ide as .78
Unfo rtu nate ly, Dis ne y
did no t
gracio u s ly acce p t
th e s e . As a
re s u lt,
Sch illinge r
fe lt
be little d,
u nap p re ciate d,
de valu e d,
and e ve n ridicu le d.
He we nt o n
p u blic
re co rd
re p o rting
th at
Dis ne y
did no t kno w h o w
mu s ic s h o u ld be
p ro je cte d
into fo rm and
co lo r,
and th e re fo re re s o rt-
e d to th e "acce s s o rie s o f mu s ic."
Sch illinge r
o ve rs tate d
Dis ne y's
mis -
take in
s e e king
a fu ndame ntal
re latio ns h ip
be twe e n fo rms o f mu s i-
cal s o u nd and th e
p h ys ical
fo rms o f mu s ical
ins tru me nts ,
and
co nce de d th at
u nity
was abs e nt fro m th e
p ro du ctio n
in o th e r
ways
as we ll.
Sch illinge r
claime d th at e ve n with th e
h e lp
o f
Le o p o ld
Sto ko ws ki and De e ms
Taylo r,
Fantas ia faile d to s o lve th e fu ndame n-
tal
p ro ble m
o f
co mbining
vis u al
image s
with mu s ic. He e nvis io ne d
th at s o lu tio ns to s u ch
p ro ble ms
co u ld be
acco mp lis h e d th ro u gh
th e
math e matical me th o ds
re p re s e nte d
in h is
s ys te m. Iro nically,
s u bs e -
qu e nt
re le as e s o f Fantas ia to mo vie th e ate rs
p ro ve d
mo re lu crative
th an th e 1940
p re mie r:
with e ach
re is s u e ,
Fantas ia
e ve ntu ally gaine d
p o p u larity,
and
by
its las t th e atrical re le as e in 1990 it h ad e arne d
$78,300,000.00.
A
vide o tap e
be came available fo r
p u rch as e
in
1991,
and an
all-ne w,
u p date d
ve rs io n
(with
diffe re nt
re p e rto ire
and vo ic-
e s )
was mo re
re ce ntly
re le as e d u nde r th e title Fantas ia 2000.
Re s o lu tio n
Wh ile th is is no t an
atte mp t
to
e vange lize Sch illinge r,
it is
p e rh ap s
re a-
s o nable to
p ro p o s e
th e
fo llo wing
co nclu s io n and in
do ing
s o
lay
th e
fo u ndatio n fo r a re s o lu tio n to th e
qu e s tio nable imp act
o f
Sch illinge r's
64
Bro ds ky
care e r. As a
co mp o s e r J o s e p h Sch illinge r
was
ce rtainly
o ne o f th e ris -
ing
s tars in th e
yo u ng
So vie t Unio n. His
p iano
and o rch e s tra wo rks
ap p e are d re gu larly
in So vie t co nce rt
p ro grams .
He was o ne o f th e
many
re markable Ru s s ians wh o le ft th e So vie t Unio n wh e n it be came
ap p are nt
th at th e
s p irit
o f fre e artis tic
e xp re s s io n
o f th e
e arly
1920s
was
be ing re p lace d by re p re s s io n,
as Stalin's
p arano id
cu ltu ral
p o li-
cie s
be gan
to take
h o ld.79
Once in
Ame rica,
Sch illinge r gaine d
acce s s
to Ne w Yo rk's acade mic and mu s ical circle s and
be gan
a care e r invo lv-
ing p rivate
and
p u blic te ach ing
and
le ctu ring.
He
qu ickly
be came a
magne t
fo r
p ro fe s s io nal arrange rs , co mp o s e rs ,
and bandle ade rs -e s -
p e cially
th o s e
wo rking
in
jazz
o rch e s tras , radio ,
and mo tio n
p ictu re s .
Ne ve rth e le s s ,
h is inte re s t in th e
s p e cu lative
s ide o f mu s ical
kno wle dge
was far to o
gre at,
and h is
e ne rgie s
we re dire cte d to ward mu s ico -s ci-
e ntific
p ro ble ms ,
th e o rie s ,
and inve ntio ns . Th e s e we re th e n re ch an-
ne le d back into h is cu rricu lu m and u s e d to bro ade n th e cu ltu ral and
mu s ical o u tlo o k o f h is s tu de nts . Th is is wh at all th e talk was abo u t-
s o mu ch s o th at
Sch illinge r
be came a
le ge nd
in h is o wn time
(at
le as t
fo r
s o me ). Es p e cially
afte r s e ve ral
dis cip le s
ach ie ve d
gre at
s u cce s s ,
wh ich invo lve d mu ch
p u blic
fame and
fo rtu ne ,
th e
le ge ndary
Sch ill-
inge r qu ickly
ro s e to
myth ical
s tatu s .
Sch illinge r e ve ntu ally
be lie ve d
in h is
"calling"
as a mu s ic s cie ntis t. He is
qu o te d by
h is wife as h av-
ing
s aid,
"M y
th e o rie s are mo re
imp o rtant
th an
my
mu s ic,
fo r no mat-
te r h o w
go o d my
mu s ic
may
o r
may
no t
be ,
I am o ne o f
many
co m-
p o s e rs .
Bu t
my
th e o rie s are
o riginal
and
u niqu e ."80
He be lie ve d th at
h e made dis co ve rie s th at h u mankind h ad be e n
s e e king
fo r h u ndre ds
o f
ye ars .
He
s tate d,
"M y
th e o rie s ,
p articu larly my Th e o ry
o f
Rh yth m,
h ave
s ignificance
fo r s cie ntis ts in o th e r fie lds . Wh e n
th e y
be co me fa-
miliar with
my
dis co ve rie s ,
th e y
will find th e ans we rs to
p ro ble ms th e y
h ave be e n
wo rking
o n fo r
many ye ars ."81 Sch illinge r
s e e ms to h ave
be e n o ve rrambu nctio u s and e ve n o bs e s s e d with h is o wn
p re o ccu p a-
tio ns ,
and th is
may
h ave le d mu ch o f th e traditio nal acade mic mu s ic
e s tablis h me nt to fe e l th at h e o ve rvalu e d h is o wn th e o rie s . As a re s u lt
th e y re je cte d
h im as a mas te r
co mp o s e r
and mu s ic th e o ris t.
Ye t,
wh ile
Sch illinge r
was no t th e be s t ambas s ado r o f h is o wn find-
ings ,
h is
p e rce p tio ns
we re
ve ry
advance d and
imp re s s ive ly p ro p h e t-
ic. Th e e s tablis h me nt-minde d mu s ic
s o cie ty may s imp ly
no t h ave be e n
re ady
fo r h im.
Pe rh ap s
mo re th an
any
o th e r
p ro mine nt
mu s ical
figu re
be twe e n 1930 and
1940,
Sch illinge r
was able to cro s s
dis cip line s
and
make inte lle ctu al co nne ctio ns th at h ad ne ve r be fo re be e n
co nce p tu al-
ize d. It
may
h ave s e e me d to s o me
p e o p le
th at
Sch illinge r
was no t de -
ve lo p ing
a mu s ic s cie nce , bu t a fu tu ris tic
mu s ico lo gical
s cie nce -fictio n,
and th is
may
h ave cau s e d s o me to re act with fe ar and e ve ntu al
re je c-
tio n to s u ch ne w, u nfath o mable , and
mys te rio u s
s ch e me s . Bu t Sch ill-
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 65
inge r's
cre ative
imaginatio n
kne w no limits and far
s u rp as s e d
wh at
was
co mp re h e ns ible
in h is
day;
h e
p o inte d
to ne w
dire ctio ns , tre nds ,
th e o rie s ,
and dis co ve rie s .
J o s e p h Sch illinge r atte mp te d
to cre ate a ne w
wo rld-and to
h im,
h is wo rld was th e wo rld o f to mo rro w.
Po s ts crip t
France s
Sch illinge r-Sh aw
die d in 1998. Prio r to h e r de ath s h e
e xp e nd-
e d mu ch o f h e r time
dis p e rs ing
h e r and
J o s e p h 's p e rs o nal
e ffe cts
(in-
clu ding
s e ve ral valu able
mu s e u m-qu ality
co lle ctio ns o f
p aintings , je w-
e lry,
and
fu rnitu re ),
as we ll as
J o s e p h 's
mu s ic
(inclu ding
s co re s , te xts ,
rare
p h o no grap h re co rdings ,
and mu s ical
ins tru me nts ).
France s bo th
do nate d and s o ld th e co lle ctio ns and wo rks to mu s e u ms and u nive r-
s ity
librarie s in th e
h o p e
th at
th e y
wo u ld
p e rp e tu ate Sch illinge r's
me mo ry
and
s ys te m.82
In 1998 Fre de rick
Sie gmu nd
o f Ne w Yo rk
City,
th e e xe cu to r o f th e
e s tate ,
imp le me nte d
th e ins tru ctio ns o u tline d in France s 's will to e n-
do w a s u m o f
mo ne y
to an acade mic ins titu tio n o f
h igh e r le arning.
Th e e ndo wme nt came to Be n-Gu rio n
Unive rs ity
o f th e
Ne ge v
in Is -
rae l and was u s e d to fu nd a
two -ye ar p o s tdo cto ral fe llo ws h ip (o f
wh ich th e cu rre nt au th o r was th e
re cip ie nt).
Th e
Sch illinge r
Fe llo w
was mandate d to
co mp le te
th re e tas ks . Th e firs t tas k was to
imp art
info rmatio n abo u t
J o s e p h Sch illinge r
to
acade mic,
p ro fe s s io nal,
and
p u blic figu re s .
Th is was ach ie ve d
th ro u gh
an inte rnatio nal
s ymp o -
s iu m
ce le brating
th e life and wo rks o f
J o s e p h Sch illinge r.
Th e s e co nd
tas k was to
imp le me nt
an
e mp irical
re s e arch
s tu dy
o n a
s u bje ct
re -
late d to
Sch illinge r's le gacy-take n
fro m h is
u np u blis h e d
no te bo o ks
de s cribing
h is
fas cinatio ns ,
imaginatio ns ,
and
p ro p h e tic
vis io ns -and
to
re p o rt
s u ch
findings
and
imp licatio ns
in th e
p ro fe s s io nal
lite ratu re
as an
ackno wle dgme nt
o f
Sch illinge r's
co ntribu tio n to mu s ic
s cie nce .83
To ach ie ve bo th o f th e s e
go als ,
s e ve ral o f
Sch illinge r's
o wn co lle ctio ns
th at are h o u s e d in arch ive s and
de p o s ito rie s
in Ame rica we re e xam-
ine d. Th e s e arch fo r re le vant mate rial le d to th e
dis co ve ry
o f
J o s e p h
Sch illinge r's p e rs o nal
no te bo o ks ,
wh ich h ad be e n
s ave d,
wrap p e d,
and bu rie d in wh ite tis s u e
p ap e r by
h is wife France s . Th e s e are fo u nd
at th e Arth u r Frie dh e im
Library
in th e
Pe abo dy
Ins titu te at th e
J o h ns
Ho p kins Unive rs ity
in Baltimo re . Th e th ird tas k was to
lay
th e fo u n-
datio n fo r th e fu rth e r e s tablis h me nt o f a mu s ic-s cie nce
labo rato ry
to
s tu dy
th e e ffe cts o f mu s ic o n
ge ne ral
h u man
be h avio r,
and th e h u -
man
de ve lo p me nt
o f
s p e cific
mu s ical s kills . Th is re s e arch
labo rato ry,
e s p e cially
de vo te d
to
an
e mp irical ap p ro ach ,
was
p art
o f
Sch illinge r's
vis io n as o u tline d in h is
u np u blis h e d manu s crip t
title d "Th e Ins titu te
fo r M u s ical Scie nce ."84
66
Bro ds ky
No te s
Th e au th o r wo u ld like to th ank M r. Edwin "Ne d"
Qu is t
o f Bro wn
Unive rs ity,
fo rme r
dire cto r o f Info rmatio n Se rvice s and th e
Sch illinge r
Arch ive in th e
Pe abo dy
Ins titu te
at th e
J o h ns
Ho p kins Unive rs ity
in
Baltimo re ,
fo r h is
p e rs o nal
as s is tance ,
active co l-
labo ratio n,
and
p articip atio n
at th e Is rae l
s ymp o s iu m ce le brating
th e life and wo rks
o f
J o s e p h Sch illinge r,
as we ll as fo r h is co mme nts o n e arlie r ve rs io ns o f th is
manu s crip t.
In
additio n,
th e au th o r wo u ld like to th ank Pro fe s s o r
Eliyah u
Sch le ife r,
dire cto r o f mu s ic
at He bre w Unio n
Co lle ge
in
J e ru s ale m, Is rae l,
fo r h is re vie w o f th e cu rre nt
manu s crip t.
Th is re s e arch was
s u p p o rte d by
th e e s tate o f
J o s e p h Sch illinge r
and France s
Sch illinge r-
Sh aw. Th e au th o r wis h e s to
ackno wle dge
th e as s is tance o f th e e s tate 's
e xe cu to r,
Fre d-
e rick
Sie gmu nd.
1. Se e Ne d
Qu is t,
"To ward a Re co ns tru ctio n o f th e
Le gacy
o f
J o s e p h Sch illinge r,"
M LA No te s 58
(J u ne 2002): 765-85,
and Th e Wo rks
o f J o s e p h Sch illinge r (Baltimo re :
Au -
th o r, 2000),
th e mo s t
u p -to -date co mp re h e ns ive lis tings
o f
Sch illinge r's
wo rks ,
wh ich
we re
co mp ile d
fo r th e
Ap ril
17, 2000,
"Inte rnatio nal
Symp o s iu m
o n
J o s e p h Sch illinge r:
His Life and Wo rks in
Pe rfo rmance ,
Co mp o s itio n,
and M u s ic
Scie nce ,"
in Be e r
Sh e va,
Is rae l. Th e
catalo gu e s s u rve y Sch illinge r's p u blis h e d writings ,
article s and
p amp h le ts ,
p o e try,
s o me
u np u blis h e d writings ,
th e mu s ical
wo rks ,
re co rdings ,
vis u al
wo rks ,
and
o th e r
mate rials ,
as we ll as
p ro viding
a co ncis e
biblio grap h y
and a lis t o f all
p u blis h e d
re vie ws o f
Sch illinge r's
wo rks . A limite d nu mbe r o f Th e Wo rks
o f J o s e p h Sch illinge r
are
available at Be n-Gu rio n
Unive rs ity.
Ano th e r lis t is available o n-line at
www.p e abo dy.jh u .e du / cu rre nt/js .
Th e No ve mbe r
28, 1929,
p e rfo rmance
o f th e Firs t
Airp h o nic
Su ite
fo r
Th e re min and
Orch e s tra
by
th e Cle ve land Orch e s tra co ndu cte d
by
Nich o lai
So ko lo ff,
with Le o n Th e r-
e min as
s o lo is t,
was
s u rve ye d by
bo th th e lo cal and natio nal
p re s s .
Se e "Radio
Brings
abo u t Ne w
Typ e
o f Orch e s tratio n Th at
Plays
to Wave o f
Arms ,
Ho w an Artis t Pictu re s
th e
Symp h o ny
Orch e s tra o f M o de rn
Age , Playing
M u s ic
Sp e cially
fo r Pe cu liar Ins tru -
me nts ,
Ele ctrical M u s ic Ins tru me nts to Be He ard He re
Friday;
Ens e mble to
Play
With -
o u t
Ke ybo ard, Strings ,
o r
M o u th p ie ce s ,"
Ne w Yo rk He rald
Tribu ne ,
Ap ril
20, 1930;
Ar-
ch ie
Be ll,
"No table So lo is ts with Orch e s tra to Be He ard:
Symp h o ny
Co nce rts Th is We e k
to Fe atu re
Sch illinge r's
Th e re min
Nu mbe r,"
Cle ve land
Ne ws ,
No v.
24, 1929;
and
Be ll,
"Ne w M u s ical Ins tru me nt Te s te d He re Ge ts
Ap p lau s e ,"
Cle ve land
Ne ws ,
No v.
29, 1929,
22.
Fu rth e r,
s e ve ral co mme mo rative
p ro grams
o fte n cite th is
fact,
fo r
e xamp le ,
"NY
Pu blic
Library
Cite s Th irtie th
Annive rs ary
o f
J o s e p h Sch illinge r's
De ath ,"
ne ws arti-
cle o f u nkno wn
s o u rce ,
date d
J u ne
1972.
2. Wh ile th e s e te s timo nials are o fte n
cite d,
it mu s t be
p o inte d
o u t th at th e re is no
do cu me nte d
h ardco p y
o f
s u ch ,
and h e nce th e re are s o me wh o co nte s t if s u ch
s u p p o rt
was inde e d o ffe re d.
Re p o rts
o f te s timo nials can be fo u nd in Alfre d
Au e rbach ,
"A M e th -
o d o f
Evo lving Rh yth mic De s ign: J o s e p h Sch illinge r
Offe rs a Ne w
Ap p ro ach
to th e
Co mp o s itio n
o f Line ar
Patte rns ,"
Re tailing,
Ho me
Fu rnis h ings
Editio n,
No v.
19, 1934, 3,
22. Als o s e e "M u s ic M ake rs to Be
'Engine e rs ': Sch illinge r
Te ach e s
Co mp o s itio n
o n th e
Bas is o f Pu re
M ath e matics ,"
Ne w Yo rk
Su n,
M ay
11, 1940, 26;
Ho race M .
Kalle n,
"M ath e -
matics and
Be au ty:
M atila
Gh yka, J o s e p h Sch illinge r,
and Be rtrand
Ru s s e ll,"
in Art and
Fre e do m
(Ne w
Yo rk:
Du e ll,
Slo an and
Pe arce , 1942),
784-85;
"Sch illinge r,
47,
Fo rmu la-
M u s ic
Co mp o s e r
Die s ,"
He rald
Tribu ne ,
M arch
24, 1943;
"Se tting
a Financial State me nt
to
M u s ic,"
M agazine Dige s t (1947):
7-12;
Alfre d
Hu man,
"Sch illinge r Ch alle nge s
Ge -
niu s ,"
M u s ical
Dige s t
29
(1947):
12-14,
16.
3. A h o s t o f
u np u blis h e d manu s crip ts
h ave be e n arch ive d at th e
Pe abo dy
Ins titu te o f
M u s ic at th e
J o h n Ho p kins Unive rs ity
in Baltimo re . M o s t o f th e s e we re
trans cribe d,
p re -
p are d,
and
p lace d me ticu lo u s ly
in
th re e -ring
binde rs
by
France s
Sch illinge r.
Th e s e h ave
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 67
be e n ide ntifie d
by
th e title
ap p e aring
o n th e
manu s crip ts ,
and no t as th e
s u bs e qu e nt
ch ap te r de s ignatio n
th at we re
e ve ntu ally p u blis h e d
in th e fo u r vo lu me s . Se e
J o s e p h
Sch illinge r,
"A
Sys te m
o f
Pro je cts
fo r th e
De ve lo p me nt
and Advance me nt o f Scie ntific
Fu nctio ning
o f th e
Arts ,"
u np u blis h e d typ e d manu s crip t, Pe abo dy
Ins titu te o f M u s ic.
4. Th e fo u r vo lu me s o f
p o s th u mo u s ly p u blis h e d
bo o ks are Th e M ath e matical Bas is
o f
th e Arts
(Ne w
Yo rk:
Ph ilo s o p h ical Library,
1948;
Ne w Yo rk: Da
Cap o
Pre s s , 1976);
Sch ill-
inge r Sys te m o f
M u s ical
Co mp o s itio n,
2 vo ls .
(Ne w
Yo rk: Carl Fis h e r, Inc., 1946; Ne w Yo rk:
Da
Cap o
Pre s s , 1977);
and
Encyclo p e dia o f Rh yth ms (Ne w
Yo rk: Ch arle s , 1966; Ne w Yo rk:
Da
Cap o , 1976).
5. "Anno u nce me nt o f Clas s e s and
Sp e cial
Su mme r Co u rs e s in th e
Sch illinge r Sys -
te m o f
Arranging
and
Co mp o s itio n
at th e
Sch illinge r
Ho u s e
by
Lawre nce
Be rk,
Dire c-
to r,"
Bo s to n
Su nday
He rald, J u ne 9, 1946;
and "Lawre nce Be rk Anno u nce s Ne w Se me s -
te r in th e
Sch illinge r
Ho u s e ," Do wnbe at,
De c.
17,
1947.
6. "Th e
Sch illinge r/Be rkle e
Co nne ctio n,"
Be rkle e
To day (Fall 2000);
o n-line at
www.be rkle e .e du
/
bt
/
122
/
co nne ctio n.h tml.
7. So me write rs h ave
qu e s tio ne d
diffe re nt
as p e cts
o f th e
Sch illinge r le ge nd.
Fo r e x-
amp le ,
Ge rs h win's
le ngth
o f
s tu dy
with
Sch illinge r
h as be e n rais e d
by
Gill Go lds te in.
Se e
Go lds te in,
"J o s e p h Sch illinge r:
A Brie f Lo o k at His Life and His Th e o re tical
Sys -
te m,"
Co nte mp o rary Ke ybo ard (J anu ary 1980):
8. Pau l
Nave rt,
"Th e o ry
and Practice in
Po rgy
and Be s s : Th e
Ge rs h win-Sch illinge r
Co nne ctio n,"
M u s ical
Qu arte rly
78
(Sp ring
1994):
9-31. In
additio n,
th e s to rie s abo u t th e
s u p p o rtive
te s timo nials o f Eins te in h ave
be e n
qu e rie d by
Hu man,
"Sch illinge r Ch alle nge s
Ge niu s ."
8. One re s e arch e r wh o h as co mmitte d h ims e lf to
do cu me nting o riginal Sch illinge r
p u blicatio ns ,
as we ll as
s u bs e qu e nt
s tu die s , article s , th e s e s ,
and dis s e rtatio ns is Lo u is
Pine . Se e Lo u Pine 's 1997
lis ting
title d,
"J o s e p h
M .
Sch illinge r-A Biblio grap h y,"
o n-
line at
www.p e abo dy.jh u .e du
/
cu rre nt/ js
/
p ine .h tml.
Als o s e e
Qu is t's
Wo rks
o f J o s e p h
Sch illinge r.
9. Vario u s as s o rte d adve rtis e me nts and
bro ch u re s ,
all o f wh ich inclu de
bio grap h i-
cal
de tails ,
can be fo u nd in th e
Sch illinge r
Arch ive s at th e
Pe abo dy
Ins titu te . Th e s e
we re
p re s e rve d,
s o rte d,
and
arrange d by
France s
Sch illinge r.
Se e
"Pre s e nting
th e Sch ill-
inge r Sys te m
o f M u s ical
Co mp o s itio n,"
"Th e
Sch illinge r Sys te m
No w in Its Fo u rth
Printing,"
"Th e Au th o ritative Ans we rs to Yo u r
Qu e s tio ns
abo u t th e
Sch illinge r Sys -
te m"
(Carl Fis ch e r, Inc.,
Ne w
Yo rk).
Als o s e e "Th e
Sch illinge r Sys te m" (Carl Fis ch e r,
Inc.,
Ne w
Yo rk;
re p rinte d by
Da
Cap o
Pre s s ,
Ne w
Yo rk,
1977).
Als o "Carl Fis ch e r Re -
le as e s
Sch illinge r
Editio n,"
Th e Sch o o l M u s ician 16
(M ay 1947):
42.
Amo ng
th e
imp o rtant bio grap h ical
s ke tch e s are
"J o s e p h Sch illinge r,"
Pro M u s ica
Qu arte rly (M arch /J u ne 1929):
44. Als o s e e
o riginal p u blic-re latio ns
bro ch u re
p ro du ce d
by
h is
e arly
artis tic
manage r,
th e
imp re s ario
Rich ard
Co p le y, "J o s e p h Sch illinge r-1929
Bio grap h y
and Lis t o f Wo rks "
(Rich ard Co p le y,
Ne w
Yo rk, 1929).
Oth e r mate rials are
lis tings
and e ntrie s in
bio grap h ical e ncyclo p e dias ,
s u ch as
"J o s e p h Sch illinge r,"
in En-
cyclo p e dia o f
Ame rican
Bio grap h y (Ame rican
His to rical
Co mp any,
Inc.,
ca.
1938);
and
Edwin "Ne d"
Qu is t's
1996
bio grap h ical
de tails o f
Sch illinge r
title d,
"J o s e p h Sch illinge r:
Cu rricu lu m
Vitae ,"
o n-line at
www.p e abo dy.jh u .e du /cu rre nt/js /
cv.h tml.
Amo ng
th e
imp o rtant
bo o k re vie ws
(wh ich
als o o ffe r
bio grap h ical de tails )
is
Lyle Do wling,
A
Brie f
No te o n th e
Sch illinge r Sys te m:
Th e
Scie ntific Way
to Su cce s s in M u s ic
(Ne w
Yo rk: Allie d
M u s ic,
1942).
Als o s e e Nico las
Slo nims ky,
"Bo o k Re vie w: Th e
Sch illinge r Sys te m
o f
M u s ical
Co mp o s itio n,"
M u s ical
Qu arte rly
32
(J u ne 1946):
465-70. Th e me mo ir to wh ich
I re fe r is France s
Sch illinge r, J o s e p h Sch illinge r:
A M e mo ir
(Ne w
Yo rk:
Gre e nbe rg,
1949;
Ne w Yo rk: Da
Cap o , 1976).
Finally,
s e ve ral e xh ibits h ave
dis p laye d Sch illinge r p arap h e rnalia co mme mo rating
annive rs arie s o f h is birth o r de ath . M o s t o f th e s e o ffe r a
bio grap h ical s yno p s is .
Se e
M ario n L.
Simmo ns ,
"Exh ibit o f
Sch illinge r
M u s ic
Care e r,"
Ne w Yo rk Pu blic
Library,
68
Bro ds ky
u np u blis h e d p re s s
re le as e ,
M arch
22, 1967;
a
p re s s -re le as e p amp h le t
o f an e xh ibit abo u t
Sch illinge r
at th e
Co o p e r-He witt
M u s e u m
(Th e
Smith s o nian Ins titu tio n's Natio nal
M u s e u m o f
De s ign
in Ne w
Yo rk),
"Co o p e r-He witt
M u s e u m
Sch illinge r
Exh ibit"
(Fall
1990);
Clive
Ph illp o t, "J o s e p h Sch illinge r:
No te bo o ks and
De s igns ,"
M u s e u m o f M o d-
e rn Art
Library, Library
Bu lle tin 82
(M ay-Au g. 1991): 3-5;
Ge o rge
Bo ziwick,
"J o s e p h
Sch illinge r's
Wo rld o f To mo rro w: An Exh ibitio n
Ce le brating
th e Ce nte nnial o f His
Birth ,"
Ne w Yo rk Pu blic
Library,
1995;
and He rb Sch e r and Ale x
Wing, "M aking
M u -
s ic fro m M ath :
J o s e p h Sch illinge r's Uniqu e Sys te m
o f M u s ical
Co mp o s itio n Exp lo re d
in Exh ibitio n o f th e Ne w Yo rk Pu blic
Library
fo r th e
Pe rfo rming
Arts ,"
u np u blis h e d
e xh ibit
p ro gram,
1996.
10. Th e re is little e vide nce o f
Sch illinge r's re ligio u s
o rie ntatio n o r affiliatio ns .
France s 's me mo irs o ffe r no
de tails ,
and th is
p e rh ap s
is a
s ign
th at h e was
fu lly
as s imi-
late d into an Ame rican s e cu lar
s o cie ty. Cle arly
h is fath e r's name
(M o s e s )
and h is mid-
dle name
(M o is e yvich )
wo u ld
s u gge s t
th at
Sch illinge r
was o f a
J e wis h
family
back-
gro u nd.
Ye t no
p ictu re s
fro m h is ch ildh o o d o f
J e wis h
h o lidays
o r fe s tivals as s o ciate d
with
we aring
a Yalmu lkah
s ku ll-cap
are
amo ng
th e co lle ctio ns in th e arch ive s .
Fu rth e r,
no
p ictu re s
o f
typ ical rite s -o f-p as s age
s u ch as a
J e wis h
bar-mitzvah at
age
th irte e n e x-
is t.
Ho we ve r,
h is
bio grap h ical
s ke tch e s
cle arly
de line ate He bre w as o ne o f th e s ix lan-
gu age s
h e mas te re d
(a langu age
th at wo u ld no t h ave be e n s tu die d
by
a
no n-J e w
in
th e firs t de cade o f
twe ntie th -ce ntu ry Ru s s ia). M o re o ve r,
Sch illinge r
was lis te d as o ne
o f th e
ris ing
Ru s s ian
J e wis h
co mp o s e r immigrants
to Ame rica. Se e Erminie
Kah n,
"Aid
So u gh t
fo r
Wo rth y
J e wis h
Co mp o s e rs :
Lazare
Samins ky
Is
Fo rming
Inte rnatio nal So -
cie ty
to Ach ie ve Th at
End,"
Th e Ame rican
He bre w,
Fe b.
15, 1929, 515,
523.
Finally,
Sch ill-
inge r's
CV lis ts th at in 1931 h e
ap p lie d
h is
p e dago gical
s kills at Ne w Yo rk's
Yo u ng
M e n's He bre w As s o ciatio n
(YM HA). He nce ,
o ne co u ld co nclu de fro m th e s e
p ie ce s
o f
info rmatio n th at h is
p are nts
we re
J e wis h ,
and th at
u p o n
h is arrival in Ame rica h e ide n-
tifie d h ims e lf as a
J e w (at
le as t fo r th e
p u rp o s e s
o f financial
s u p p o rt
and
inco me ).
Se e
Sch illinge r, J o s e p h Sch illinge r:
A
M e mo ir; "J o s e p h Sch illinge r"
in
Encyclo p e dia o f
Ame ri-
can
Bio grap h y.
11.
"J o s e p h Sch illinge r"
in
Encyclo p e dia o f
Ame rican
Bio grap h y;
Ro be rt
Bagar,
"Sch ill-
inge r
M u s ic
Sys te m
Printe d: It's
High e r
M ath e matics fo r
Co mp o s e rs ,"
Ne w Yo rk Wo rld-
Te le gram,
M arch
23, 1946,
7.
12. No t mu ch h as be e n writte n abo u t
Sch illinge r's mu s ico lo gical
fie ld
e xp e rie nce ,
no r h is actu al
findings .
Ne ve rth e le s s ,
many bio grap h e rs h igh ligh t
th is co mmis s io n as
an
imp o rtant u nde rtaking
th at co ntribu te d
gre atly
to h is
p re s tige
and acade mic s tand-
ing.
Se e
"J o s e p h Sch illinge r"
in Pro M u s ica
Qu arte rly.
Als o s e e
"J o s e p h Sch illinge r"
in
Encyclo p e dia o f
Ame rican
Bio grap h y.
13. Th e
o riginal p as te -u p
can be fo u nd at th e Linco ln Ce nte r fo r th e Arts in Ne w
Yo rk.
14.
S.
Fre de rick
Starr,
Re d and Ho t: Th e Fate
o f J azz
in th e So vie t
Unio n,
1917-1980
(Ne w
Yo rk: Oxfo rd
Unive rs ity
Pre s s , 1983).
15.
"J o s e p h Sch illinge r"
in Pro M u s ica
Qu arte rly.
16. Se ve ral
catalo gu e s
and le afle ts we re
co mp ile d by
France s
Sch illinge r
do cu me nt-
ing J o s e p h Sch illinge r's e arly
activitie s .
Amo ng
th e s e are h andbill circu lars . Se e
"Op e n-
ing
o f th e
De p artme nt
o f M u s ical
Analys is
and
Co mp o s itio n,
Dire cte d
by J o s e p h
Sch ill-
inge r,"
Th e re min
Stu dio ,
Ne w
Yo rk,
ca. 1930. Als o s e e
"Ru dime ntary Analys is
o f
M u s ical Ph e no me na: A Se rie s o f Twe lve Le ctu re s
by J o s e p h Sch illinge r,"
Th e re min Stu -
dio ,
Ne w
Yo rk,
Ap ril
17,
1931.
17. "M u s ic
by
Slide
Ru le ,"
Ne ws we e k 24
(Se p t.
25, 1944): 81-82;
Twe e d
Bro wn,
"M u -
s ic
by
M ath e matics : Th anks to
J o s e p h Sch illinge r, Bu s y Co mp o s e rs
Can Grind Ou t
Slide -Ru le Sco re s
by
th e
Yard,"
u nkno wn s o u rce and
date ,
in
Pe abo dy
Ins titu te .
18. "Ne w Art Fo rms : A
Sp e cu lative Th e o ry
o f
Art-J o s e p h Sch illinge r,
12-Se s s io n
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 69
Le ctu re
Se rie s ,"
1932-33 Co u rs e
Catalo gu e (Ne w
Yo rk: Th e Ne w Sch o o l fo r So cial Re -
s e arch , 1932);
"Anno u nce me nt o f Le ctu re Se rie s at th e Flo re nce Cane Sch o o l o f Art,"
u np u blis h e d p re s s
re le as e ,
Oct.
31,
1931.
19.
J o s e p h Sch illinge r, "Rh yth mic De s ign: Trans crip tio n
o f 12-Se s s io n Co u rs e Le c-
tu re at Te ach e rs
Co lle ge ,
Co lu mbia
Unive rs ity," u np u blis h e d typ e d manu s crip t,
1934.
20. Wh ile it h as no t be e n
p o s s ible
to
ce rtify
th is nu mbe r with
h ardco p y
e vide nce
(s u ch
as re co rds o f
p ayme nt
o r
ap p o intme nt s ch e du le s ),
th e
fo llo wing nine ty-nine
name s
ap p e ar
in
Sch illinge r's
o wn
no te bo o ks ,
mo no grap h s ,
and
p o s th u mo u s p u bli-
catio ns ,
as we ll as
amo ng lis tings
fo u nd in co mme rcial PR
bro ch u re s , adve rtis e me nts ,
and
magazine s
abo u t
Sch illinge r
o r
de s cribing
h is me th o ds and s tu de nts ach ie ve me nts .
Amo ng
th o s e wh o s tu die d with
Sch illinge r
we re
J e ff Ale xande r,
M e ye r
Ale xande r,
Fa-
bian
Andre ,
Edwin
Bave ,
Victo r
Bay,
Rich ard
Be nda,
Lawre nce
Be rk,
Eu bie
Blake ,
Wil-
liam H.
Bo rde n,
Lawre nce H.
Bracke n,
Will
Brade ly,
Nat
Brandwynne , Irving
Bro d-
s ky,
Earle
Bro wn, J o h n
Cage , M argare t
Carlis le ,
William
Ch allis ,
Nath an L. van
Cle ave ,
No rman
Clo u tie r, J o h n Co ltrane ,
Carmine
Co p p o la,
Clare nce
Co x, J e s s e Crawfo rd,
Edward
Lo dge
Cu rran,
Ro be rt Emme tt
Do lan,
To mmy Do rs e y,
Vladamir
Du ke ls ky
(Ve rno n Du ke ),
Alfre d
Evans ,
Be lle
Fe ns to ck,
Harry
Ge lle rt,
Ru s s e l
Ge nne r,
Edwin
Ge rs ch e fs ki,
Ge o rge
Ge rs h win,
Fe lix
Giardina,
M arjo rie
Go e ts ch iu s ,
Be nny
Go o dman,
Ralp h
Go rdo n
(Gu s Le vine ),
Ro s s
Go rman, J e ro me
J e rry
Gro s s ,
M ich e l
Gu s iko ff,
Ralp h
Halle nbe ck,
Le nnie
Hayto n,
Ch arle s
Hayway,
Ale xande r
He llman,
David
Ho lywin,
Hal
Ke mp ,
Stan
Ke nto n,
Nina
Ko s h e tz,
Pau l Laval
(J o e Us ife r),
Le o
Le fle u r,
Ge o rge
B. Le e -
man,
Os car
Le vant,
Gu s Le ve ne
(Ralp h Go rdo n), J o s e p h Lille y, Franklyn
M arks ,
Ro -
s o lino de
M ario ,
Be rnard
M aye rs ,
J o h n M cGe e , J ame s J .
M cIne rne y,
Albe rt
M e iff,
Gle nn
M ille r, J ack M ille r,
To o ts
M o nde llo ,
Le e
M o ntgo me ry,
Haro ld
M o o ne y, Lyn M u rray,
Re d
No rvo ,
Val
Olman,
Ch arle s
Pau l,
M e l
Po we ll,
Edward
Po we l,
Ch arle s
Pre vin,
Samu e l
Raitz,
Alvino
Ray, So nny
Ro llins ,
Haro ld
Ro me ,
Te d
Ro yal, M yro n
Sch ae ffe r,
Ru do lf
Sch ramm,
Vladamir
Se lins ky,
Wins to n
Sh arp le s ,
M ilto n
Sh aw,
Harry
Sime o ne ,
Frank
Skinne r,
He rbe rt
Sp e nce r,
Pau l
Ste rre tt,
Le ith
Ste ve ns ,
M o rris
Sto lo ff,
Fre ddie
Stu lce ,
Dave
Trbe tt,
Ge rald F.
Warbu ry,
M ark
Warno w,
Lazar
We ine r,
M ilto n
We ins te in,
Wil-
liam
We lch ,
Pau l
Wh ite man,
Ralp h Winge rt,
J o h n Winte rs ,
and Samu e l Zimbalis t.
21. Edwin "Ne d"
Qu is t,
"J o s e p h Sch illinge r:
A M an o f M u s ic
by
th e
Nu mbe rs ,"
Pe -
abo dy
Ne ws
(Se p t./
Oct.
1996):
42-44.
22. Arno ld
Sh aw,
"Sch illinge r:
Th e Ne w Scie nce in
M u s ic,"
Acco rdio n Time s and M u -
s ical
Exp re s s (No v.
14,
1947).
23.
Hu man,
"Sch illinge r Ch alle nge s
Ge niu s ," 12-14,
16. Als o s e e
Sch illinge r, J o s e p h
Sch illinge r:
A
M e mo ir; Harry Lyde n, "Sch illinge r
and Sh aw
(1),"
Ne ws Le tte r
o f
th e Ar-
no ld Sh aw Re s e arch Ce nte r
fo r Po p u lar
M u s ic 3
(Ap ril 1994),
and
"Sch illinge r
and Sh aw
(2),"
Ne ws Le tte r
o f
th e Arno ld Sh aw Re s e arch Ce nte r
fo r Po p u lar
M u s ic 3
(M ay 1994).
24. France s
Sch illinge r
de s cribe d h e r h u s band's activitie s and wo rks in
layman's
te rms . Fro m th e s e it is cle ar th at
J o s e p h Sch illinge r
h ad a matu re
dis p o s itio n
fo r bo th
vis u al and
au dito ry
s cie nce s and arts . Se e France s
Sch illinge r, "Exce rp t
fro m a
Th e o ry
o f
Synch ro nizatio n by J o s e p h Sch illinge r,"
e dite d ve rs io n fro m
Exp e rime ntal
Cine ma 5
(1934), u np u blis h e d typ e d manu s crip t, M ay
13,
1940.
25.
Hu man,
"Sch illinge r Ch alle nge s
Ge niu s ";
Nico las
Slo nims ky, "Sch illinge r
o f Ru s -
s ia and o f th e
Wo rld,"
M u s ic Ne ws 39
(M arch 1947): 3-4;
Harry Lyde n, "J o s e p h
Sch ill-
inge r (1895-1943):
A
Bio grap h y,"
Ne ws Le tte r
o f
th e Arno ld Sh aw Re s e arch Ce nte r
fo r Po p -
u lar M u s ic
(Ap ril 1990),
als o o n-line at
www.ge o dyne .co m/s ch illinge r/bio .h tm; He nry
Co we ll,
"J o s e p h Sch illinge r
as
Co mp o s e r,"
M u s ic Ne ws 39
(M arch 1947):
5-6.
26.
J o s e p h Sch illinge r,
"Variatio ns o f M u s ic
by
M e ans o f Ge o me trical
Pro je ctio ns ,"
M u s ico lo gy
1
(1946): 197-214; Bro wn,
"M u s ic
by
M ath e matics "; Go lds te in,
"J o s e p h
Sch illinge r,"
8;
Sch illinge r's
M ath e matical Bas is
o f
th e
Arts ,
Sch illinge r Sys te m o f
M u s ical
Co mp o s itio n,
vo ls .
1-2,
and
Encyclo p e dia o f Rh yth ms ;
Ke nt
Ho lliday, "Lo ng's
Pe ak Pro file
70
Bro ds ky
(Sch illinge r No tatio n),"
in
Co nte mp o
2: An Intro du ctio n to
Twe ntie th -Ce ntu ry
Idio ms
fo r
th e
Pianis t,
s e le cte d and e dite d
by M ary
Elizabe th Clark
(Bo u lde r, Co lo .:
M yklas
Pre s s ,
1974): 16-23;
Slo nims ky,
"Bo o k Re vie w: Th e
Sch illinge r Sys te m
o f M u s ical
Co mp o s i-
tio n";
He nry
Co we ll,
"Th e Cas e fo r th e
Sys te m: Pro p o ne nt
o f De bate d
Sch illinge r
M e th -
o ds State s It in
Intro du ctio n,"
Ne w Yo rk
Time s ,
M arch
26,
1946.
27.
Se ymo u r
So lo mo n,
"Sch illinge r
and
Twe ntie th -Ce ntu ry
Ratio nalis t Tre nds in
M u s ic,"
M u s ic Fo ru m and
Dige s t (J anu ary 1950):
4-5.
28.
J o s e p h Sch illinge r,
"Plain Talk o n M u s ical
Ge niu s ,"
To mo rro w 1
(M arch 1942):
33-
36;
"M u s ic
by
Slide
Ru le ," 81-82; Hu man,
"Sch illinge r Ch alle nge s
Ge niu s ," 12-14,
16.
29. "M u s ic
by
Slide Ru le ." Se e als o
Slo nims ky,
"Bo o k Re vie w: Th e
Sch illinge r Sys -
te m o f M u s ical
Co mp o s itio n";
and
Sch illinge r,
"Variatio ns o f M u s ic
by
M e ans o f Ge o -
me trical
Pro je ctio ns ,"
197-214.
30. Th is is a dire ct citatio n fro m
Sch illinge r
h ims e lf. Wh ile to h im th is
s to ry may
h ave
be e n
co mp lime ntary,
it no do u bt o ffe nde d h is
p rize d
s tu de nts . Se e
J o s e p h Sch illinge r,
Kale ido p h o ne ;
Ne w Re s o u rce s
o f M e lo dy
and
Harmo ny.
Pitch Scale s In Re latio n to Ch o rd Stru c-
tu re s ;
An Aid to
Co mp o s e rs , Pe rfo rme rs , Arrange rs ,
Te ach e rs ,
So ng-Write rs ,
Co ndu cto rs ,
Crit-
ics ,
and All Wh o Wo rk with M u s ic
(Ne w
Yo rk:
Witmark, 1940;
Ne w Yo rk: Ch arle s
Co lin,
1967), p re face
and
1-23,
and o n-line at
www.ge o dyne .co m/s ch illinge r.
Als o s e e "Find-
ing
Cu be Ro o t o f
Ins p iratio n," Ph ilade lp h ia Inqu ire r,
M arch
23,
ca.
1941;
"M u s ic
by
Slide
Ru le ";
Hu gh
Sco tt,
"Ge tting
th e
Up p e r
Hand
by
M ath e matics ,"
Ph ilade lp h ia Inqu ire r,
Ap ril
14, 1946, 19; Bro wn,
"M u s ic
by
M ath e matics ";
Pau l
Lavalle ,
"Sch illinge r Sys te m
Still
Se lls ,"
M u s ic
J o u rnal (Fe b. 1974):
30-31.
31. Se e
Hu man,
"Sch illinge r Ch alle nge s
Ge niu s ."
32.
Sch illinge r, Sch illinge r Sys te m o f
M u s ical
Co mp o s itio n,
vo ls . 1-2. Als o s e e Slo nim-
s ky,
"Bo o k Re vie w: Th e
Sch illinge r Sys te m
o f M u s ical
Co mp o s itio n."
33.
J o s e p h Sch illinge r, "Ele ctricity,
a M u s ical
Libe rato r,"
M o de rn M u s ic 8
(M arch -Ap ril
1931): 26-31;
Sch illinge r,
"Th e Ele ctrificatio n o f
M u s ic,"
u np u blis h e d typ e d manu s crip t,
Pe abo dy;
Ve rno n
Du ke , "Ge rs h win,
Sch illinge r,
and
Du ke ls ky:
So me
Re minis ce nce s ,"
M u s ical
Qu arte rly
33
(J anu ary 1947): 102-15;
J o s e p h Sch illinge r,
"Te xt Bo o k
I:
Ch ap te r
1.
His to ry
o f M u s ic: 1. Evo lu tio n o f
Ins tru me nts ;
2. Gro wth o f
Au die nce s ;
3. Evo lu tio n
o f
Re co rding;
4. Art
J u dgme nts ;
5. M u s ic o f
Natu re ,"
u np u blis h e d typ e d manu s crip t,
ca.
1936,
Pe abo dy.
34.
"Finding
Cu be Ro o t o f
Ins p iratio n."
Als o ,
o ne
e nch anting de s crip tio n
o f Sch ill-
inge r's
s tu dio ,
and th e marve ls th at o ccu rre d
th e re ,
is o ffe re d
th ro u gh
th e
e ye s
o f
J e s -
s ica
Drago ne tte (a
we ll-kno wn
acqu aintance
and co nfidante o f
Sch illinge r
fro m be fo re
h is
marriage
to
France s ).
Wh ile
J e s s ica
was
ce rtainly
no t an
o u ts ide r,
s h e was no t
p art-
ne r to h is
te ach ing
o r s cie ntific
p ro we s s .
He nce ,
h e r
vantage
and
s u bs e qu e nt
narra-
tio n is no t
o nly e xtrao rdinary,
bu t o fte n
amu s ing!
Se e
J e s s ica Drago ne tte ,
Faith Is a
So ng:
Th e
Odys s e y o f
an Ame rican Artis t
(Ne w
Yo rk: David
M ckay, 1951)
35.
Do wling,
A
Brie f
No te o n th e
Sch illinge r Sys te m.
36.
Sch illinge r,
"Plain Talk o n M u s ical Ge niu s ." Als o s e e "'Plain Talk o n M u s ical
Ge niu s ': A Co ncis e
Su mmary
o f Article Wh ich
Ap p e are d
in To mo rro w Vo l.
1,
Page s
33-
36,
M arch
1942,"
Edu catio n
Dige s t
7
(M arch 1942):
30-32;
and
Hu man,
"Sch illinge r
Ch al-
le nge s
Ge niu s ," 12-14,
16.
37. Th e
fo llo wing u np u blis h e d manu s crip ts ,
all
by Sch illinge r:
"Th e Varie tie s o f
M u s ical
Exp e rie nce :
Le ctu re No te s o f Ne w Yo rk
M u s ico lo gical So cie ty" (h andwritte n,
1932);
"Th e Varie tie s o f M u s ical
Exp e rie nce : Trans crip tio n
No te s o f 6-Se s s io n Co u rs e
in Private Stu dio "
(typ e d, 1939); "'De fro s ting
M u s ic': An Intro du ctio n to th e 'Varie tie s
o f M u s ical
Exp e rie nce "' (typ e d, n.d.);
and "Varie tie s o f M u s ical
Exp e rie nce : Trans crip t
o f a 1939 Le ctu re
Se rie s ,"
fo re wo rd
by
Arno ld Sh aw
(typ e d, 1939).
38.
Sch illinge r,
"Plain Talk o n M u s ical Ge niu s ." Als o s e e "'Plain Talk o n M u s ical
Ge niu s ': A Co ncis e
Su mmary
o f
Article ,"
30-32.
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 71
39.
J o s e p h Sch illinge r,
"Te xt Bo o k
II.
Ch ap te r
1: M ath e matical Bas is o f
M u s ic;
1. In-
tro du ctio n: Th e Varie tie s o f M u s ical
Exp e rie nce ;
2.
Rh yth m Ap p lie d
to Arts ; 3. Une x-
p lo re d
Re alms o f
M u s ic;
4. Ho w to M ake
M u s ic;
5. Th e
Sch illinge r Sys te m
Vs Stan-
dard
Sys te m;
6. Libe ratio n
Th ro u gh
Scie ntific
Cre atio n;
7. Th e Tru th abo u t M u s ic
[Bo o k
Ou tline ]," u np u blis h e d typ e d manu s crip t.
40.
Hu man,
"Sch illinge r Ch alle nge s
Ge niu s ";
Drago ne tte ,
Faith Is a
So ng;
and
J o -
s e p h Sch illinge r,
"Ho w to M ake M u s ic: Th e
M aking
o f
M u s ic,"
u np u blis h e d typ e d
manu s crip t.
41. Wh ile th is
s to ry
h as be e n cite d
by many
au th o rs ,
and le ave s th e
imp re s s io n
th at
s u ch be h avio r
by Sch illinge r
was
re p e ate d co ntinu o u s ly,
th e tru th is th at it is rath e r
difficu lt to as ce rtain if in fact th e
re p o rte d
circu ms tance s we re a o ne -time e ve nt th at
was
s imp ly bu ilt-u p
and o ve rs tate d
(p artially by Sch illinge r h ims e lf).
Se e
"Se tting
a
Financial State me nt to
M u s ic,"
7-12. Als o s e e
Slo nims ky, "Sch illinge r
o f Ru s s ia and o f
th e
Wo rld," 3-4; Bro wn,
"M u s ic
by
M ath e matics "; Lavalle ,
"Sch illinge r Sys te m
Still
Se lls ,"
30-31.
42. Th is
de s crip tio n
was o ffe re d
by
J e s s ica Drago ne tte
wh o witne s s e d vario u s au di-
to ry s p o o fs
and acts o f au ral
de ce p tio n by Sch illinge r
o n h is h o u s e
gu e s ts
and vis ito rs
to h is s tu dio . Se e
Drago ne tte ,
Faith Is a
So ng.
43.
So lo mo n,
"Sch illinge r
and
Twe ntie th -Ce ntu ry
Ratio nalis t Tre nds in M u s ic."
44. Ibid.
45. "Be a
Co mp o s e r-Fo r
$3,"
Time
(Au g.
23,
1944): 46;
and
So lo mo n,
"Sch illinge r
and
Twe ntie th -Ce ntu ry
Ratio nalis t Tre nds in
M u s ic,"
4-5.
46.
Drago ne tte ,
Faith Is a
So ng.
47.
Sch illinge r,
M ath e matical Bas is
o f
th e
Arts ;
and Arno ld
Sh aw,
"A Pio ne e r Still Le ads
th e
Way: J o s e p h Sch illinge r?
Th e Fath e r o f Ele ctro nic
M u s ic,
Th at's
Wh o ,"
Lo s
Ange le s
Time s , J u ne 11, 1972, 58,
60.
48.
Sch illinge r,
M ath e matical Bas is
o f
th e
Arts ;
U.S.
Pate nt,
"Animate d
Dis p lay Ap p a-
ratu s ,"
by J o s e p h Sch illinge r
bu t file d
p o s th u mo u s ly by
France s
Sch illinge r
o n
Se p t.
4,
1945,
U.S. Pate nt Office
#2,492,241,
De c.
27,
1949.
49.
J o s e p h Sch illinge r,
"De finitio n and Clas s ificatio n o f Vis u al and Oral
Arts ,"
u n-
p u blis h e d typ e d manu s crip t; Sch illinge r,
Th e M ath e matical Bas is
o f
th e
Arts ; Sh aw,
"A
Pio ne e r Still Le ads th e
Way";
and
Sch illinge r, "Sys te m
o f
Pro je cts
fo r th e
De ve lo p me nt
and Advance me nt o f Scie ntific
Fu nctio ning
o f th e Arts ."
50. Ch arle s
Pre vin,
"Sch illinge r's
Influ e nce o n Film
M u s ic,"
M u s ic Ne ws 39
(M arch
1947):
39-40; Sh aw,
"A Pio ne e r Still Le ads th e
Way"; Lyde n, "J o s e p h Sch illinge r (1895-
1943)";
and
Sch illinge r,
M ath e matical Bas is
o f
th e Arts .
51. Th is
ve ry inte re s ting co nce p t
h as be e n th e ro o t o f mu ch de bate and
s u bs e qu e nt
re s e arch
by
vario u s mu s ic
p s ych o lo gis ts
as we ll as
ap p lie d clinically by
mu s ic th e ra-
p is ts .
Fo r a
de s crip tio n
o f
Sch illinge r's
Dial,
s e e
Sh aw,
"A Pio ne e r Still Le ads th e
Way."
Als o s e e Bru no
De gazio 's
1999
article ,
"Niko la Te ls a and
J o s e p h Sch illinge r
th e M u s ic
o f NT: Th e M an Wh o Inve nte d th e Twe ntie th
Ce ntu ry,"
fo u nd o n-line at www-
ks .ru s .u ni-s tu ttgart.de
/
p e o p le
/
s ch u lz
/
fmu s ic
/ te ls a.h tml;
and
J e re my
Arde n,
"Fo cu s -
ing
th e M u s ical
Imaginatio n: Exp lo ring
in
Co mp o s itio n
th e Ide as and
Te ch niqu e s
o f
J o s e p h Sch illinge r," u np u blis h e d
Ph .D.
dis s e rtatio n,
De p artme nt
o f
M u s ic,
City
Uni-
ve rs ity,
Lo ndo n, 1996,
o n-line at
www.mrac.de mo n.co .u k/
s ch illinge r.p df
52.
J o s e p h Sch illinge r, "Pro je ct
fo r Walt
Dis ne y:
Th re e
Ve rs io ns ,"
u np u blis h e d typ e d
manu s crip ts , Ap ril
17, 1940;
France s
Sch illinge r, "Exce rp t
fro m a
Th e o ry
o f
Synch ro -
nizatio n
by J o s e p h Sch illinge r";
and
Sch illinge r, J o s e p h Sch illinge r:
A M e mo ir.
53.
J o s e p h Sch illinge r, Sch illinge r Sys te m o f
M u s ical
Co mp o s itio n,
vo ls . 1-2. Als o s e e
Slo nims ky,
"Bo o k Re vie w: Th e
Sch illinge r Sys te m
o f M u s ical
Co mp o s itio n";
Rich ard
Be nda,
"Sch illinge r Sys te m Arranging,
Le s s o ns
1-5,"
Inte rnatio nal M u s ician 55
(1956);
55 and 56
(1957);
56 and 57
(1958).
72
Bro ds ky
54.
Sch illinge r, J o s e p h Sch illinge r:
A
M e mo ir;
Sch illinge r, Kale ido p h o ne , p re face
and
1-
23; So lo mo n,
"Sch illinge r
and
Twe ntie th -Ce ntu ry
Ratio nalis t Tre nds in
M u s ic,"
4-5.
55.
Sch illinge r,
"Variatio ns o f M u s ical
by
M e ans o f Ge o me trical
Pro je ctio ns ,"
197-
214; Bro wn,
"M u s ic
by
M ath e matics ";
"J o s e p h Sch illinge r"
in
Encyclo p e dia o f
Ame rican
Bio grap h y; Sch illinge r,
M ath e matical Bas is
o f
th e Arts .
56.
"J o s e p h Sch illinge r"
in
Encyclo p e dia o f
Ame rican
Bio grap h y.
57. William
Grime s ,
"Obitu ary:
Le o n
Th e re min,
M u s ical
Inve nto r,
Is De ad at 87."
Ne w Yo rk
Time s ,
No v.
9,
1993.
58. "Ro bo t
Co mp o s e r
o f M u s ic Kno ws
65,000
Ne w
Tu ne s ,"
Po p u lar
Scie nce
(Au gu s t
1940); Sch illinge r,
M ath e matical Bas is
o f
th e Arts .
59.
J o s e p h Sch illinge r,
"Th e Hammo nd
Organ: Trans crip t
o f Le ctu re at th e
Le agu e
o f
Co mp o s e rs ," u np u blis h e d typ e d manu s crip t, M ay
1939. Als o s e e
Sch illinge r,
"Plain
Talk o n M u s ical Ge niu s ."
60. M o s t
ce rtainly
if s u ch a cu rricu lu m we re to be trans late d into th e
langu age
o f
th e cu rre nt
ce ntu ry
th e n it wo u ld re ad: M u s ic
Te ch no lo gy
and
Co mp u te r
M u s ic,
Aco u s -
tics and M u s ic
Pe rce p tio n,
and M u s ic
Th e o ry
and
Co mp o s itio n.
61.
J o s e p h Sch illinge r,
"Th e
De s tiny
o f To nal
Art,"
Sixty-firs t Pro ce e dings o f
th e M u s ic
Te ach e rs Natio nal
As s o ciatio n,
De ce mbe r
21-31,
1937
(Obe rlin,
Oh io :
M TNA,
1938),
31-
40. Als o s e e "M u s ic M ake rs to Be
'Engine e rs ,"'
26;
and
"Se tting
a Financial State me nt
to
M u s ic,"
7-12.
62.
J o s e p h Sch illinge r, "Exce rp ts
fro m a
Th e o ry
o f
Synch ro nizatio n," Exp e rime ntal
Cine ma 5
(1934): 28-31;
William
M o ritz,
"M ary
Elle n Bu te :
Se e ing
So u nd,"
Animatio n
Wo rld
1,
no . 2
(M ay 1996),
o n-line at
www.awn.co m/mag/is s u e l.2/article s l.2/
mo ritzl.2.h tml;
Sch illinge r,
"Th e Varie tie s o f M u s ical
Exp e rie nce :
Le ctu re No te s o f Ne w
Yo rk
M u s ico lo gical So cie ty,"
and "Th e Varie tie s o f M u s ical
Exp e rie nce : Trans crip tio n
No te s o f 6-Se s s io n Co u rs e in Private Stu dio ."
63.
J o s e p h Sch illinge r, "Grap h
M e th o d o f Dance
No tatio n,"
u np u blis h e d manu s crip t,
1934;
p u blis h e d
in 1985
by
Ce rve ra Pre s s
Pu blicatio ns ,
Lo ndo n. Als o s e e
J ane t
M o e k-
le ,
"Sch illinge r's
No tatio n,"
Dance Ch ro nicle 9
(1986):
403-4.
64.
Sch illinge r's
dance no tatio n is
u niqu e .
It is no t at all like e ith e r th e No h Es h ko l
M o ve me nt
No tatio n,
o r Laban Dance
No tatio n,
bo th o f wh ich are
tau gh t
in dance acad-
e mie s ,
and u s e d
by ch o re o grap h e rs .
65.
Sch illinge r,
M ath e matical Bas is
o f
th e Arts . Als o s e e
"J o s e p h Sch illinge r"
in
Ency-
clo p e dia o f
Ame rican
Bio grap h y.
66. "Anno u nce me nt o f Le ctu re Se rie s at th e Flo re nce Cane Sch o o l o f
Art,"
u np u b-
lis h e d
p re s s
re le as e ,
Oct.
31, 1931;
"A Re vie w o f th e Fie ld o f Art Edu catio n:
Re lativity
and
Art,"
Art
Dige s t (No v.
15, 1934): 24; Au e rbach ,
"A M e th o d o f
Evo lving Rh yth mic
De s ign,"
3, 22;
Sch illinge r, J o s e p h Sch illinge r:
A M e mo ir.
67.
Sch illinge r,
M ath e matical Bas is
o f
th e Arts .
68. Ibid.
69. Th e clinical
ap p licatio n
o f vibro tactile inte rve ntio n h as be e n
inve s tigate d by many
mu s ic
th e rap is ts
and
p s ych o lo gis ts .
Se e Cliffo rd K.
M ads e n,
J ayne
M .
Standle y,
and
Dianne
Gre go ry,
"Th e Effe ct o f a Vibro tactile
De vice , So mo tro n,
o n
Ph ys ical
and
Ps y-
ch o lo gical Re s p o ns e s :
M u s icians Ve rs u s No n-M u s icians ," J o u rnal o f
M u s ic
Th e rap y
28
(1991):
14-22. Als o s e e
J ayne
M .
Standle y,
"Th e Effe cts o f Vibro tactile and
Au dito ry
Stimu li o n
Pe rce p tio n
o f
Co mfo rt,
He art
Rate ,
and
Pe rip h e ral Finge r Te mp e ratu re ,"
J o u rnal o f
M u s ic
Th e rap y
28
(1991):
120-34;
To ny Wigram
and
Ch e ryl
Dile lo , e ds .,
M u -
s ic Vibratio n
(Ch e rry
Hill, N.J .:
J e ffre y
Bo o ks , 1997);
Warre n
Bro ds ky, "Po s t-Exp o s u re
Effe cts o f M u s ic-Ge ne rate d Vibro tactile and
Wh o le -Bo dy
Aco u s tic Stimu latio n
Amo ng
Symp h o ny
Orch e s tra
Playe rs ," Ps ych o lo gy o f
M u s ic 28
(2000):
98-115.
70.
Sch illinge r, "De s tiny
o f To nal Art."
J o s e p h Sch illinge r:
M u s ic Scie nce Pro me th e an 73
71.
Sch illinge r,
Th e M ath e matical Bas is
o f
th e
Arts ;
Slo nims ky,
"Bo o k Re vie w: Th e
Sch illinge r Sys te m
o f M u s ical
Co mp o s itio n."
72.
Sch illinge r, "De s tiny
o f To nal
Art," 31-40;
Sch illinge r,
"Th e Hammo nd
Organ."
Th is
co nce p t (albe it
bas e d o n co ntro ve rs ial and
s u s p e ct
re s e arch
data)
h as be co me
kno wn
du ring
th e las t de cade as th e "M o zart Effe ct." In
ge ne ral,
s u ch
findings h igh -
ligh t
bo th th e s h o rt-te rm e ffe cts o f
mu s ic,
as we ll as
lo ng-te rm
mu s ic
le arning,
o n brain
(co rtical) p las ticity.
73.
J o s e p h Sch illinge r,
"Th e Pro ble m o f M u s ical
Edu catio n,"
State Ins titu te o f th e
His to ry
o f th e
Arts ,
Le ningrad,
Ru s s ia,
1925. Th is article was trans late d into
Englis h
by
an u nkno wn
trans lato r;
it co u ld h ave be e n
co mp le te d
in Ru s s ia be fo re
Sch illinge r
le ft in
1928,
in
Ge rmany
be fo re h e e nte re d
Ame rica,
o r o nce in Ame rica
p rio r
to me e t-
ing
France s . At
any
rate ,
two ve rs io ns e xis t at th e
Pe abo dy
Arch ive s -an e arlie r
typ e d
ve rs io n,
and o ne
typ e d
o u t
by
France s afte r 1938.
74.
"Sch illinge r's
Influ e nce o n
Radio ,"
M u s ic Ne ws
(M ay 1950).
Als o s e e
De gazio ,
"Niko la Te ls a and
J o s e p h Sch illinge r
th e M u s ic o f
NT."
75.
Harry
M .
Be ns h o ff,
"He igh -Ho , He igh -Ho ,
Is
Dis ne y High
o r Lo w? Fro m
Silly
Carto o ns to Po s t M o de rn
Po litics ,"
Animatio n
J o u rnal (Fall 1992):
62-85. Als o o n-line
at
www.tas c.ac.u k/
de p t/me dia/ s taff/ ls /
M o du le s /M ED2210/Dis ne y/
Be ns h o f.h tml.
76. Ibid.
77. H. B.
Englis h ,
"'Fantas ia' and th e
Ps ych o lo gy
o f
M u s ic," J o u rnal o f
Ae s th e tics and
Arts Criticis m 2
(J u ly 1943):
27-31.
78.
J o s e p h Sch illinge r,
"Th e
Dis ne y
Cas e :
Pro je ct
fo r Walt
Dis ne y,"
th re e
u np u blis h e d
h andwritte n
manu s crip ts , Ap ril
17, 1940;
"Finding
Cu be Ro o t o f
Ins p iratio n."
79.
Qu is t,
"J o s e p h Sch illinge r:
A M an o f M u s ic
by
th e Nu mbe rs ."
80.
Sch illinge r, J o s e p h Sch illinge r:
A
M e mo ir,
130.
81.
Ibid.,
56.
82. Th e mu s ical
manu s crip ts
can be fo u nd at th e Ne w Yo rk Pu blic
Library
fo r th e
Pe rfo rming
Arts at Linco ln
Ce nte r,
th e Edwin A. Fle is ch e r Co lle ctio n at th e Fre e
Library
in
Ph ilade lp h ia,
and th e Britis h M u s e u m. Th e vis u al art wo rks
(inclu ding p aintings ,
drawings ,
and
films )
can be fo u nd at th e M u s e u m o f M o de rn
Arts ,
th e Smith s o nian
Arch ive s o f Ame rican
Art,
M e tro p o litan
M u s e u m o f
Art,
Co o p e r-He witt
M u s e u m,
th e
Bro o klyn
M u s e u m,
Finch
Co lle ge
M u s e u m,
So lo mo n R.
Gu gge nh e im
M u s e u m,
Wh it-
ne y
M u s e u m o f Ame rican
Art,
Ne wark
M u s e u m,
Albe rt-Kno x Art
Galle ry,
and th e Art
Galle ry
o f Ontario .
Sch illinge r's p ap e rs
and
th e o ry
no te bo o ks can be fo u nd at th e Ne w
Yo rk Pu blic
Library
fo r th e
Pe rfo rming
Arts at Linco ln
Ce nte r,
th e Smith s o nian Ins ti-
tu te ,
Co lu mbia
Unive rs ity
Librarie s ,
Unive rs ity
o f
Wyo ming Library,
and th e Arth u r
Frie dh e im
Library
at th e
Pe abo dy
Ins titu te o f th e
J o h n
Ho p kins Unive rs ity. Finally,
th e
Rh yth mico n
can be fo u nd at th e Smith s o nian Ins titu tio n in
Was h ingto n,
D.C. Fo r mo re
de tails ,
s e e
Qu is t,
"To ward a Re co ns tru ctio n o f th e
Le gacy
o f
J o s e p h Sch illinge r."
83. Warre n
Bro ds ky,
"Th e Effe ct o f M u s ic
Te mp o
o n Simu late d
Driving
Pe rfo rmance
and Ve h icu lar
Co ntro l,"
Trans p o rtatio n
Re s e arch ,
Part F:
Ps ych o lo gy
and Be h avio r 4
(2002):
219-41.
84.
J o s e p h Sch illinge r,
"Th e Ins titu te o f M u s ical
Scie nce ,"
u np u blis h e d
h andwritte n
manu s crip t.