Toward a reconstruction of the legacy of Joseph Schillinger.
During the 1930s, JOSEPH SCHILLINGER (1895--1943) may well have been the most popular, if not also the most successful, private teacher of musical composition in New York City. He could boast of teaching George Gershwin, Benny Goodman, Tommy Dorsey, and Glenn Miller. Arriving in the United States in 1928, he had already distinguished himself in his native U.S.S.R. as a composer, conductor, and teacher. He quickly joined the New York City musical world, becoming one of the early members of the New York Musicological Society (later the American Musicological Society), moving in circles that included such musical luminaries as Leon Theremin (born Lev Termen), Henry Cowell, Charles Seeger, Nicolas Slonimsky, and Vernon Duke. (1) In 1938 he met and married Frances Rosenfeld Singer, an accomplished woman who had been, among other things, a cover girl, a dancer in the Ziegfield Follies, and secretary to Rockwell Kent and Dale Carnegie. Their brief but happy marriage lasted until Schillinger's early death from cancer in 1943. Following Schillinger's death his widow embarked on a crusade to preserve and to promote Schillinger's work that lasted until her death in 1998. The events in the story that follows occurred late in that crusade. This essay is not an evaluation of Schillinger's significance, nor is it a complete chronicle of all that occurred in Mrs. Schillinger's last years. It is nevertheless a story that should resonate with many librarians who have dealt with the complexities and difficulties of gifts and their donors.ORIGIN OF THE SCHILLINGER COLLECTION AT THE PEABODY INSTITUTE
The Frances and Joseph Schillinger Collection at the Peabody Institute of The Johns Hopkins University began with a set of drawings that accompanied a letter from Harry Lyden, received at the Peabody Conservatory in 1993. The drawings were based on the Schillinger System, a mathematical approach to musical composition devised by Joseph Schillinger. When Lyden subsequently visited Peabody, he was pleased to see his drawings housed in the Arthur Friedheim Library's Rare Book Room. At that time he encouraged the library to contact Schillinger's widow, who, according to him, still had many of Joseph Schillinger's materials in her possession. Some months later, the author wrote to her and received by return mail four printed scores of Schillinger's music and a folder of photocopied articles about him.
A cordial correspondence and a series of visits to Mrs. Schillinger's New York City apartment resulted not only in substantial gifts of Schillinger materials but also funds to support maintenance of them. In 1995, the centenary of Schillinger's birth, Mrs. Schillinger inquired as to the possibility of an exhibit. Although a previously established exhibit schedule would not permit mounting a centenary exhibit, the staff members of the Arthur Friedheim Library and the Peabody Institute Archives did succeed in mounting a library-wide exhibit of the new Schillinger Collection for the 101st anniversary in 1996. After receiving a photo album documenting both the exhibit and the gala opening reception, Mrs. Schillinger was so pleased that she contributed a substantial sum which was subsequently used to create the Frances and Joseph Schillinger Endowment at Peabody. The author kept in contact with Mrs. Schillinger by telephone and by correspondence until her death in 1998. Thereafter, Mrs. Schillinger's lawyer reveal ed that there was still more to come, including the papers remaining in her possession at the time of her death and a portion of her estate. At that time it was also learned that Mrs. Schillinger had left portions of her estate to other institutions, including Ben-Gurion University of the Negev in Beersheba, Israel. It was as a result of that bequest that Warren Brodsky, a music psychologist on Ben-Gurion University's Faculty of Humanities and Social Sciences, became involved in Schillinger research.
On a research trip to the United States in 1999, Brodsky visited the Peabody Institute, the New York Public Library, and Columbia University, where he examined the respective Schillinger collections. Subsequent to his visit in April 2000, Brodsky organized a small symposium at BenGurion University featuring papers on Schillinger's life and work, including papers delivered by Brodsky and the author, and a concert of several of Schillinger's compositions. It so happened that one of the attendees at the symposium was Zvi Keren, perhaps Schillinger's last living pupil. (2)
In an interview conducted by the author at Keren's Tel Aviv apartment, Keren recalled his period of study with Schillinger in New York City in the early 1940s, and produced numerous notebooks in his possession, some of which contained Schillinger's handwritten exercises and assignments.
The following is a revision of the paper delivered by the author at the Ben-Gurion University symposium, followed by a catalogue raisonne of the works of Joseph Schillinger.
FRANCES AND JOSEPH SCHILLINGER
Frances and Joseph Schillinger led an exciting life in the brief time they were together. They lived well, for Schillinger's highly successful teaching career allowed them to live in a series of residences that included such prestigious New York City addresses as Sutton Place and Park Avenue. Their apartments were large, for not only did Schillinger need a teaching studio, but between them, the Schillingers had amassed a substantial collection of Southwestern Indian pottery, a collection of antique jewelry, as well as all of Schillinger's recording equipment, instruments, books and music, notebooks, recordings, manuscripts, concert programs and posters, paintings, photographs (and photographic equipment), drawings, films, and teaching materials. Frances Schillinger told the joke on herself that when the architect Albert Meyer and his wife had visited the Schillinger apartment, Mrs. Meyer asked "Where are your living quarters? In this museum?" (3)
Joseph Schillinger died from cancer in March of 1943. Frances immediately set about the task of preserving her late husband's memory, and preserve it she did. Frances Schillinger was a woman of intelligence, style, and persistence; she was also a highly skilled secretary, a meticulous recordkeeper, and a shrewd businesswoman. In 1945, under Frances's leadership, a group of Schillinger's colleagues and former students founded the Schillinger Society to promote the teaching of Schillinger's method. With the editorial help of Arnold Shaw and former Schillinger student Lyle Dowling, Frances oversaw the publication of The Schillinger System of Musical Composition (hereafter SSMC) in 1946, and with Shaw again, The Mathematical Basis of the Arts (hereafter MATHBART) in 1948. (4) Her relationship with Shaw evidently extended beyond pure interest in publishing Schillinger's treatise, because she married him in 1951. (5)
It remains a mystery why Frances decided in 1959 to begin parting with the documents of Schillinger's musical and artistic legacy. One could argue that her separation from Shaw in 1957 severed her primary link to Schillinger's students, yet as the lengthy list of licensed teachers of The Schillinger System demonstrates, the Schillinger System itself remained robust. (6) As Schillinger's widow, Frances regularly received numerous inquiries concerning both the Schillinger method and Schillinger himself; these she answered faithfully. (7) Her customary response to technical questions was either to send photocopies of appropriate materials or to refer her correspondents to SSMC and MATHBART, for while Frances was an intelligent and cultured woman, she was not a musician, nor did she have more than a superficial understanding of Schillinger's method.
It is possible that at about this time, in the late 1950s, one or more institutions made offers to acquire some or all of Schillinger's work. It is clear from her papers that she was not in any financial trouble, but as a formidable businesswoman she regarded the inquiries from institutions as business propositions. She protected Schillinger's work and name with tenacity and skill. (8) By dispersing much of Schillinger's work, Frances accomplished two things. She demonstrated the worth of this material by selling much of it to prestigious institutions. She guaranteed its survival by a strategic dispersal, making sure by well-placed donations that practically every museum worthy of visiting in the New York City area had at least some Schillinger materials in their collections. (9)
This may help to answer the question of why she sold some things and gave away others. In general, she sold items both to demonstrate their value and to place them appropriately; on the other hand, she gave away numerous items to assure their wide dispersion and also to ensure that Schillinger would be represented in the highest caliber institutions. Several music-related items of notably high monetary value were sold on the open market, including some Theremin autographs, Gershwin's doodles while waiting for his lessons, and a presentation copy of Porgy and Bess, signed by the composer. (10)
The earliest dispersal of Schillinger materials appears to have been the sale of his Russian-language books to the Harvard College Library in 1959. In 1960 Frances sold a collection of Russian concert posters to the British Museum. In 1966 she sold most of the music manuscripts, together with Schillinger's record library, the notebooks for SSMC and MATHBART, and some correspondence and papers, to the New York Public Library at Lincoln Center. Schillinger's archive of "kinetic art" was sold to the Museum of Modem Art in New York City in 1970. The final sale of Schillinger materials, that of a collection of concert programs and posters, was to the American Heritage Center at the University of Wyoming in 1982.
Mrs. Schillinger donated a substantial number of Schillinger drawings and paintings to various museums beginning with those in and around New York City. Her earliest gifts placed Schillinger paintings and drawings in the Brooklyn, Whitney, and Guggenheim Museums. Her gifts continued to the Metropolitan Museum of Art, Cooper Union, the Albright Knox Gallery in Buffalo, the Cooper-Hewitt Museum, the Smithsonian's National Museum of American Art, the Newark Museum, and Columbia University.
She made relatively few gifts of music-related materials, limiting the recipients of those items to institutions which had previously purchased parts of the collection. Thus, gifts supplementing the purchases were made to the British Museum, the New York Public Library at Lincoln Center, and the American Heritage Center at the University of Wyoming. In a noteworthy departure from this pattern, she donated in 1966 the experimental musical instrument known as the rhythmicon (built by Leon Theremin) to the Smithsonian Institution in Washington, D.C. (11) By far, her largest gift of music-related materials was the archive of materials she had maintained for herself, which she ultimately gave to the Peabody Institute of The Johns Hopkins University in 1995-96.
JOSEPH SCHILLINGER'S LEGACY
Since Frances Schillinger began the dispersion of her late husband's legacy, the holdings of archival repositories in the territory of the former Soviet Union have become accessible to Western scholars. In addition, Russian scholars interested in Schillinger's work have begun traveling to the West. Much remains to be learned about the sources of his research. There may yet exist in Russia early recordings of his works, early compositions, copies of the Russian-period missing works (op. 4 and op. 8) and documentation of other performances of his works.
Schillinger left behind a large body of published pedagogical and theoretical material, some still unpublished, but also a substantial body of music. While his theories of music continue to be controversial, there have been a number of recent studies pointing to his influence, notably on Gershwin. (12) While perhaps only one of his first-generation students survives, a number of second-generation students continue to be influenced by his work, among them Earle Brown and Luther Henderson.
Joseph Schillinger's legacy, once existing entirely within the walls of a series of rather large New York City apartments, has been dispersed over the last forty years to at least twenty institutions and probably a few individuals as well. Paradoxically, the final distribution of Frances Schillinger's estate set in motion a process that has begun the intellectual reunification of the Schillinger legacy. While this process is far from complete, the door is now open to several new paths of inquiry.
THE WORKS OFJOSEPH SCHILLINGER
Abbreviations of Locations:
DLC Library of Congress, Washington, D.C.
MdBPC Arthur Friedheim Library, Peabody Institute of The Johns Hopkins University, Baltimore, Md.
NN New York Public Library, New York, N.Y. [NN shelf numbers appear in brackets.]
NNC Columbia University Library, New York, N.Y.
PP Free Library of Philadelphia, Fleisher Collection, Philadelphia, Penn.
WyU University of Wyoming, Laramie, Wyo.
WRITINGS
Books (chronological by date of publication)
Kaleidophone: New Resources of Melody and Harmony. New York: M. Witmark, 1940. Kaleidophone was the only work of Schillinger's published during his lifetime. The reviewer in Downbeat, identified only as D.E.D., described it somewhat hyperbolically as a "Godsend to young arrangers." (13) Kaleidophone appears to have been, together with the Encyclopedia of Rhythms, one of two works in which Schillinger took the trouble to write out all possible permutations of a compositional element--in this case scales--done, perhaps, for those who had not studied his method.
Other editions: New York: Charles Colin, [1967].
Reviews: D.E.D., Downbeat (15 November 1940); Music Trades (April 1940); Ray Brown, Washington Post (27 October 1940); Musical Courier (1 November 1940); Miltona Moore, Westwood Hills News Press (31 January 1941).
The Schillinger System of Musical Composition. 2 vols. New York: C. Fischer, 1946. Schillinger's magnum opus, The Schillinger System of Music Composition, derived from the lessons Schillinger had written down as a correspondence course for students who often found themselves on the road. In the 1930s his students came primarily from the commercial and popular music business where travel was the norm. (14) In the late 1930s he dictated the work to Frances, filling (in its original version) twenty-four loose-leaf binders. According to her, he incorporated this early written form into his lessons for several years before setting them down in their final form. (15) Copies of the original versions exist at the New York Public Library, and a shorter (perhaps later) version was deposited for copyright with the Library of Congress in 1941. When Arnold Shaw and Lyle Dowling prepared the final manuscript for publication in 1946, they added a useful introduction and a glossary. (16) Of all his works, SSMC certainly rece ived the most critical attention. There are at least nine reviews. It is the only book to have received two reviews in Notes. (17) Schillinger apologists Nicolas Slonimsky and Charles Seeger generally praised the work. Slonimsky, while finding some faults with it, praised it for revitalizing a stagnant academic tradition and taking a progressive view of music. (18) Seeger gently lauded Schillinger's attempt to "handle the problem of the content and critique of music through the concept of 'semantic continuity'." (19) Among its many critics, J. Murray Barbour found SSMC at fault for its pompous tone, errors of historical fact and its promotion of "parlor tricks." (20) Perhaps, though, the royalty statements ultimately spoke louder than the critics. SSMC was still earning healthy royalties until the 1960s when it dropped (temporarily) out of print. (21)
MSS: DLC (10v. MT40.S31S3); NN.
Reprints: New York: Da Capo, 1977.
Reviews: Joseph P. Blickensdorfer, United States Quarterly Book List 2 (1946): 272-73; G. S. Dickinson, Library Journal 71 (1946): 121; Nicolas Slonimsky, Musical Quarterly 32 (1946): 465-70; J. Murray Barbour, Notes 3, no. 3 (June 1946): 274-83; Edmund Rubbra, Music & Letters 28 (1947): 389-90; Charles Seeger, Notes 4, no. 2 (1947): 183-84; Arnold Dresden, Scripta Mathematica 13 (1947): 71-77; Geoffrey Sharp, Music Review 8 (1947): 311.
The Mathematical Basis of the Arts. New York: Philosophical Library, 1948.
The Mathematical Basis of the Arts, or MATHBART, was actually largely complete at Schillinger's death, and like SSMG was published with Arnold Shaw's assistance and Frances Schillinger's persistent efforts. Using the rhythms and symmetry of nature, Schillinger set forth in MATHBART a vision that embraces the visual arts, poetry, and prose as well as music.
MSS: NN.
Other editions: New York: Da Capo, 1976.
Reviews: Rockwell Kent, Musical News 40 (March 1948): 6-7; Joseph Yasser, Notes 6, no. 3 (June 1949): 465-68; Elizabeth Bowman, Music News 41 (January 1949): 39; Etude 67 (April 1949): 217; Metronome 66 (January 1950): 31-32; J. Murray Barbour, Scripta Mathematica 16 (1950): 81-87; Albert Wellek, Die Musik for schung 4 (1951): 278-80.
Encyclopedia of Rhythms. NewYork: Charles Colin, 1966.
Encyclopedia of Rhythms complements Schillinger's earlier work Kaleidophone. Like Kaleidophone, the Encyclopedia of Rhythms is a by-product of the Schillinger method. While Kaleidophone demonstrated the seemingly infinite variety of scale material, the Encyclopedia of Rhythms demonstrated his principles of rhythmic interference with hundreds of written out rhythmic permutations.
Other editions: New York: Da Capo, 1976.
Graph Method of Dance Notation. London: Cervera Press, 1985.
Graph Method of Dance Notation provides a practical application of Schillinger's theories of kinetic art. Like Encylopedia of Rhythms, it was prepared from materials left completed, but unpublished, at the time of Schillinger's death.
MSS: Autograph and typescripts: NN.
Reviews: Janet Wickline Moekle, Dance Chronicle 9 (1986): 403-4.
Articles and Pamphlets (chronological by date of publication)
Students of twentieth-century music theory have long been familiar with Schillinger's published articles, the most influential of which may be "Electricity: A Musical Liberator," published by the League of Composers journal Modern Music.
"Electricity: A Musical Liberator," Modern Music 8 (March-April 1931): 26-31.
Schillinger briefly traces the history of electronic instruments and proposes that the music of the future must necessarily make use of these new technologies. This theme would be repeated in the SSMG and might be the source of Arnold Shaw's naming Schillinger "the father of electronic music." (22)
"Excerpts from a Theory of Synchronization," Experimental Cinema 5 (1934): 28-31; reprint, Experimental Cinema, 1930-1934: Complete in One Volume (New York: Arno Press, 1969).
"Destiny of the Tonal Art," in Proceedings of the Music Teacher's National Association 61 (1937): 31-40; also published in Papers Read by Members of the American Musicological Society at the Annual Meeting (1937): 98-107.
"Variations of Music by Means of Geometrical Projections," Musicology 1 (1946): 197-214.
Slightly edited from book 3, chapter 2, pp. 208-12 of The Schillinger System of Muscial Composition.
"Plain Talk on Musical Genius," Tomorrow 1 (March 1942): 33-36.
"At Long Last--Here It Is--An Explanation of Swing," Metronome 58 (July 1942):19, 23.
Unverified Russian publications (English tides are from Schillinger's typed works list at MdBPC).
Perhaps the most incomplete and still uncharted section of his articles are the nine items referred to in Schillinger's various lists of his works as "Russian publications." Unfortunately, he left no precise citations to those articles among his American papers, preferring to translate most references to them into English. Judging by his other lists, in which published articles are occasionally confused with lectures, it is difficult to discern if they were in fact published. It is tempting to speculate that these articles might include some of Schillinger's dead ends, blind alleys, and early thinking towards what would later become his "System." Surprisingly, he omitted from his list any mention of his 1927 mission to the Caucasus, a mission undertaken to collect indigenous music. (23)
Impressionism in Music
Ways of Modern Music
New Era of Polyphony [Modern Polyphony]
Conductorless Orchestra
Music and Electricity
Symphonic Drama
Rudiments of Music Theory (1921)
A System of Musical Harmony (1928)
Evolution of Musical Instruments (1930)
Poetry
While not known for his poetic works, Schillinger published two collections of poetry in Russia entitled (in English translation) Bright Message and Theurgian's Commandments. Daniel Augustine observed that the second of these two collections, Theurgian's Commandments, offers a vision of the art of the future where the poet foresees a "fusion of the senses." (24)
[LANGUAGE NOT REPRODUCIBLE IN ASCII] [Bright Message]. Kharkov: "Seb," 1921: MdBPC (photocopy).
[LANGUAGE NOT REPRODUCIBLE IN ASCII] [Theurgian's Commandments]. Kharkov: "Seb," 1922: MdBPC (photocopy).
Unpublished writings
General Theory of Harmony.
MSS: NN [ZB-3578; Microfilm MNZ-Amer].
Manual for Playing the Space-Controlled Theremin, 1930 [1929?] [Manual of Playing Victor-Theremin Ether-Wave Instrument] [School for Playing the Thereminovox].
Among Schillinger's unpublished writings, perhaps the most sought after is his "Manual for Playing the Space-Controlled Theremin." The first mention of this work may be found in an affidavit Leon Theremin prepared for the U.S. government in 1930 to help prolong Schillinger's residence in the United States. (25) In the affidavit, Theremin states that Schillinger (who worked for Theremin from 1928 to 1931) was preparing a method for playing his experimental instrument. Two manuscript copies of it exist at the New York Public Library, but the manual does not appear to have been completed. (26) MSS: NN [JPB 86-8, ser. 3, no. 8]; notes on the theremin: [MNY-AMER Schillinger Box 1].
Musical Propedeutics, 1925.
"Musical Propeduetics" appears to be nothing more than a series of unconnected phrases. It is not clear whether these were lecture notes intended for publication, or merely his method of outlining his ideas before preparing a draft.
MSS: NN [*MNY-AMER Schillinger (1)].
Problems of Musical Education, 1930.
MSS: Typescript English translation in "Biography: Articles by and about Schillinger": MdBPC; typescript (carbon): NN [*MNY-AMER Schillinger (1)].
The Process of Harmonic Formation of the Musical Tissue.
MSS: NN [*MNY-AMER Schillinger (1)].
Plain Talk about Music.
"Plain Talk about Music" was a project to collate Schillinger's published articles into a book-length collection. It was most likely a collection assembled either by Frances or Arnold Shaw or both, rather than by Schillinger himself.
MSS: 2 copies in 3-ring binders: MdBPC.
Musofun, [C]1942.
Perhaps the most viable of the remaining unpublished manuscripts is "Musofun." Here Schillinger (or Frances and/or Shaw) gathered together all of his "parlor games" for use as an entertaining means of learning composition.
MSS: typescript: MdBPC.
Rhythmic Art: Sourcebook of Industrial Design.
MSS: 12 sample pages in binder: MdBPC.
MUSICAL WORKS
Several lists prepared by Schillinger and his wife Frances have aided considerably the task of identifying his works. (27) From them, there appear to be thirty-three complete works, and eight to ten fragmentary (or abandoned) works. All of the known incomplete works reside with his music manuscript material at the New York Public Library. Of the thirty-three completed works, the whereabouts of three (potentially four) remain unknown. Those include his Russian-period works, op. 4 (Four Romances on Poems by Verlaine) and op. 8 (Incidental Music for the Play Hercules), and his American-period op. 24 (The People and the Prophet) and perhaps his Study in Rhythm II. The former two, if they still exist, are likely in Russia. Of the latter two, The People and the Prophet exists in sketches at the New York Public Library, but once must have existed in a more complete form since it was performed by the Benjamin Zemach Group in 1931 in New York City. (28) It remains an open question as to whether or not Study in Rhythm II is actually missing or even a musical work at all. Study in Rhythm II was either an exercise along the lines of his rhythmicon recordings, or it may in fact be a work of visual art. (29) It is also possible that there are multiple works in different media bearing this title. Rhythm, as Schillinger asserts in the first chapter of SSMG, is at the foundation of his approach to all the arts.
Only eight of his works-or about 25 percent of his total output-were ever published. In 1926 the Russian State Publishers released his first published works, Orientalia, op. 10, and the Zwei Gedichte, op. 15. Oddly, with the possible exception of the Tanzsuite, the only works printed (and this includes later American publications) were those works written in Russia. Nothing after op. 20 has yet been published. Conversely, the only two works commercially recorded are from his American years.
There appears to be a gap in his composing between the years 1935 and 1940 or 1941. Possible reasons for this hiatus might be his heavy teaching schedule and his courtship and marriage to Frances. (30) His last completed compositions appear to be the Four Popular Songs he wrote for Frances in 1941. Further research may show that some or all of the fragmentary works at the New York Public Library could date from this period. Since almost all are written on C. Schirmer music paper, they are likely works written in the United States.
Clearly Schillinger wrote all of his works through op. 19 while in Russia. His op. 20 (Tanzsuite), both by its date (1928) and by the titles of the movements (which include "Blues" and "Valse-Boston"), suggests that this was written either in anticipation of his arrival in the United States or once he arrived. Its German title may even suggest it was written en route as he was in Germany that year. Of the ten works written in the United States, it is significant that four of them employ the theremin.
The performance history seems to indicate that his most popular works have been the March of the Orient, op. 11, the Sonata Rhapsody, op. 17, the Symphonic Rhapsody, op. 19, and the First Airphonic Suite, op. 21. (31) The American Society for Cultural Relations with Russia provided a number of performance opportunities after his arrival in the United States. Judging by a printed program, dated 1929, his first American performances likely occurred at a reception that included a concert of some of his smaller works. (32) The society also assisted in arranging for orchestral performances by the Cleveland and Philadelphia Orchestras. The performances listed here, of course, do not include all of the performances presumed to have been given in Russia.
Op. 1 Two Romances (Balmont, Shelley) for voice and piano [LANGUAGE NOT REPRODUCIBLE IN ASCII] (1917).
MSS: Score: NN [JPB 86-8, ser. 2, no. 3]; score: PP.
Op. 2 Venice: Two Poems by Rilke for voice and piano [LANGUAGE NOT REPRODUCIBLE IN ASCII] (1918).
MSS: Score in pencil: NN [JPB 86-8, ser. 2, no.7].
Op. 3 Sonata for violoncello and piano [LANGUAGE NOT REPRODUCIBLE IN ASCII] (1918).
MSS: Score in pencil and part in ink: NN [JPB 86-8, ser. 1, no. 13].
Performances: G. Pozenshtein, violoncello; G. Abramovich, piano. Moscow, 2 December 1918.
Op. 4 Two Romances (Verlaine) for voice and piano [LANGUAGE NOT REPRODUCIBLE IN ASCII] (1918).
Not located.
Op. 5 Piano Sonata "Sea Sonata" [LANGUAGE NOT REPRODUCIBLE IN ASCII] (1918-23).
MSS: Ink and pencil (2 copies): NN [JPB 86-8, ser. 1, no. 11].
Recordings: 33 1/3 rpm; Mario Janaro, piano: NN [LJ16 1384]; 33 1/3 rpm; first version, 19 April 1941: NN [LJ-12 992].
Op. 6 Three Poems (Petnikov) for voice and piano [LANGUAGE NOT REPRODUCIBLE IN ASCII] (1918).
MSS: Score and part in ink: NN [JPB 86-8, ser. 2, no. 5].
Op. 7 Three Pieces for double bass and piano "Poeme nocturne" [LANGUAGE NOT REPRODUCIBLE IN ASCII] (1921).
MSS: Score in pencil: NN [JPB 86-8, ser. 1, no. 10]; negative photostat: WyU.
Op. 8 Music for the Play Hercules by Richard Pobedimsky, for orchestra [[LANGUAGE NOT REPRODUCIBLE IN ASCII]] (1921).
Not located.
Performances: Imperial Theatre for Children, Kharkov, 1921.
Op. 9 Sonata for violin and piano [[LANGUAGE NOT REPRODUCIBLE IN ASCII]] (1921-22).
MSS: 2 scores and 1 part in ink: NN [JPB 86-8, ser. 1, no. 113.
Performances: Nathan Milstein, violin; Alexander Markarov, piano. Kharkov, 1922.
Naoum Blinder, violin; Emanuel Bay, piano. American Society for Cultural Relations with Russia, New York, 2 February 1929.
Jerome Gross, violin; Lawrence Stevens, piano. Town Hall, New York, 27 February 1942.
Op. 10 Orientalia: 2 vocalises for voice and piano [[LANGUAGE NOT REPRODUCIBLE ASCII]] (1921).
Printed Editions: Moscow: Muz. Gos. Universal'noe izd'vo, 1926: NN [JPB 86-8, Ser. 2, no. 2]; MdBPC; photocopies: NNC; WyU.
Performances: Arrangement of first vocalise, Leon Theremin, theremin. Carnegie Hall, New York, 2 March 1928.
Moses Rudinoff, baritone; Emanuel Bay, piano. American Society for Cultural Relations with Russia, New York, 2 February 1929.
Op. 11 March of the Orient for orchestra [[LANGUAGE NOT REPRODUCIBLE ASCII] BOCTOKA] (1921-24).
MSS: 2 pencil and ink scores: NN [JPB 86-8, ser. 1, no. 3]; pencil score: MdBPC; negative photostat: MdBPC; score and parts: PP; arrangement for 3 pianos: NN [JPB 86-8, ser. 1, no. 4].
Printed Editions: New York: Leeds, c1948: DLC; MdBPC; WyU.
Performances: Leningrad Philharmonic; Nicolay Malko, conductor. Leningrad, May 1926.
Persimphans Concerts, Moscow, 4-11 October 1926 (see [LANGUAGE NOT REPRODUCIBLE ASCII] no. 1 (4-11 October 1926): [6, 11]).
Cleveland Orchestra; Nikolai Sokoloff, conductor. Carnegie Hall, New York, 4 December 1928.
Konigsberg Symphony Orchestra; Erich Seidler, conductor. Broadcast by Ostmarken Rundfunk AG, 8 May 1931.
Op. 12 Cinq morceaux pour piano [LANGUAGE NOT REPRODUCIBLE IN ASCII] (1923). Poeme heronique-Danse--Pagoudka--Danse excentrique--Grotesque.
Printed Editions: Moscow: Muz. Gos. Universal'noe izd'vo, 1929: NN; MdBPC (2 copies); NNC.
New York: Russian-American Music Publishers, 1947: MdBPC; DLC; WyU.
Recordings: "Pagoudka," 15 February 1941: NN [LJ-12 9843.
"Poeme heronique," 15 February 1941: NN [LJ-12 984].
"Poeme heronique," 15 February 1941: NN [LJ-12 985].
Performances: "Danse" and "Grotesque." Irene Westermann, piano. Broadcast from Munich, Germany, 25 July 1930.
Op. 13 Chanson russe for 2 voices and piano [[LANGUAGE NOT REPRODUCIBLE IN ASCII]] (1930).
Printed Editions: Moscow: Modpik, 1927: photocopies: MdBPC; WyU.
Performances: Nina Koshetz and Gabriel Leonoff, voices. Fourth Lecture Recital, Schola Cantorum of New York, Ballroom of the Colony Club, New York, 8 January 1930.
Op. 14 L'excentriade: three pieces for piano [[LANGUAGE NOT REPRODUCIBLE IN ASCII]] (1924).
Printed Editions: Moscow: Muz. Gos. Universal'noe izd'vo, 1928: MdBPC; NNC.
New York: Russian-American Music Publishers, [1947]: MdBPC; DLC; WyU.
Recordings: L'excentriade: NN [LJ-12 983]; 33 1/3 rpm: NN [LJ-12 954].
L'excentriade no. 2. Mario Janaro, piano: NN [LJ-12 1013].
L'excentriade no. 3: NN [LJ-12 1006].
Performances: Nicolai Kopeikine, piano. American Society for Cultural Relations, New York, 2 February 1929.
Irene Westermann, piano. Broadcast from Munich, Germany, 25 July 1930.
Alexander Hellman, piano. Town Hall, New York, December 1932.
Op. 15 Zwei Gedichte (Nikolai Aseev) for voice and piano [[LANGUAGE NOT REPRODUCIBLE IN ASCII] H. AceeBa] (1924). Russland von weiten--Nordlicht.
Printed Editions: Moscow: Muz. Gos. Universal'noe izd'vo, 1926: MdBPC; NNC.
Op. 16 Incidental Music to The Merry Funeral Repast (The Merry Ghost) for men's chorus, 2 flutes, violoncello, piano, and percussion [Bec[LANGUAGE NOT REPRODUCIBLE IN ASCII]] (1927).
MSS: Score and 8 parts in ink: NN [JPB 86-8, ser. 2, no. 6]; score dated 24 March 1927: PP.
Performances: Anniversary Imperial Institute of Art, Leningrad, 1927.
Op. 17 Sonata Rhapsody for piano [CoHaTa-panco[LANGUAGE NOT REPRODUCIBLE IN ASCII]] (1925).
MSS: Score in black and red ink: NN [JPB 86-8, ser. 1, no. 14]; PP.
Recordings: 33 1/3 rpm. Mario Janaro, piano, 2 April 1941: NN [LJ-12 992].
Performances: Imperial Academy Philharmonic, Leningrad, 1926. A. Kamenskii, piano. Persimphans Concerts, [Moscow?], 21, 28 November 1927.
Nicolai Kopeikine, piano. American Society for Cultural Relations with Russia, New York, 2 February 1929. Keith Corelli, piano. Musical Research Society, Library of Congress, 1929-30.
Op. 18 Two Vocalises for voice and piano [[LANGUAGE NOT REPRODUCIBLE IN ASCII]Ba BOKa[LANGUAGE NOT REPRODUCIBLE IN ASCII]] (1927-28).
MSS: 2 scores in pencil, 1 score in ink: NN [JPB 86-8, ser. 2, no. 8].
Performances: Association of Modern Music, Leningrad, 1928. Moses Rudinoff, baritone; Emanuel Bay, piano. American Society for Cultural Relations with Russia, New York, 2 February 1929.
Valse for piano ["Little Waltz"] (1926).
MSS: NN [JPB 86-8, ser. 1, no. 20].
Printed Editions: New York: Leeds, [1948]: DLC; MdBPC.
Recordings: Little Waltz: NN [LJ-12 1013].
Mario Janaro, piano. 15 February 1941: NN [LJ-12 982].
Op. 19 Symphonic Rhapsody for large orchestra "October" (1927) [LANGUAGE NOT REPRODUCIBLE IN ASCII] 1917] (1927). The Symphonic Rhapsody, op. 19, was a work commissioned by the Soviet government for the 10th anniversary of the October Revolution. Schillinger proudly told Frances that the work was named the most important work written in the first ten years of the Soviet Union, an honor apparently later withdrawn during the Stalin years. (33)
MSS: 1 score in ink, 1 in pencil: NN [JPB 86-8, ser. 1, no. 16]; score and parts: PP; sketch in pencil: NN [JPB 86-8, ser. 1, no. 17-18].
Performances: Persimphans Concerts, Moscow, October 1927.
Philadelphia Orchestra; Leopold Stokowski, conductor. Academy of Music, Philadelphia, 12-23 April 1929.
Op. 20 Tanzsuitefiir Violoncello (1928). Blues--Valse-Boston--Rag-time.
MSS: 2 copies in pencil, 2 in ink: NN.
Printed Editions: New York: Leeds, 1948: DLC (M52.S); WyU.
Performances: Evsei Beloussoff, violoncello. American Society for Cultural Relations with Russia, New York, 2 February 1929.
Music to Profitable Job (Ostrovsky) for chamber orchestra [My3bIKa] K [LANGUAGE NOT REPRODUCIBLE IN ASCII] MecTy" OcTpoBcKoro] (1928).
Not located.
Performances: Imperial Academy of Drama, Leningrad, 1928.
Marche funebre for piano [part of profitable Job? (1928).
Version for orchestra not located.
MSS: 2 photocopies: NN [JPB 86-8, ser. 1, no. 5].
Recordings: 15 February 1941: NN [LJ-12 982].
Performances: League of Composers, New York, 2 March 1930.
Op. 21 First Airphonic Suite for theremin and orchestra (1929). The Cleveland Orchestra premiered the First Airphonic Suite in 1929 with Theremin himself as the soloist. Albert Glinsky credits the work as the "first concerto for RCA Theremin and orchestra." (34) More recently, the First Airphonic Suite was performed by the Civic Orchestra of New Haven in 1980. (35)
MSS: Reduced score in pencil: NN [JPB 86-8, ser. 1, no. 1]; score and part: NN [JPB 86-8, ser. 1, no. 2]; score and parts: PP.
Performances: Cleveland Orchestra; Nikolai Sokoloff, conductor; Leon Theremin, soloist. 28 November 1929.
Civic Orchestra of New Haven; Gordon Emerson, conductor; Juliet Shaw, soloist. Sprague Hall, New Haven, 13 May 1980.
Melody for theremin and piano (1929).
MSS: 2 photocopies: NN [JPB 86-8, ser. 1, no. 6].
Recordings: Music from the Ether: Original Works for Theremin, Lydia
Kavina, theremin (Mode 76, rec. 1997, rel. 1999), CD.
Op. 22 North Russian Symphony (1930). Commissioned by RCA Photophone.
MSS: Score and piano transcription in pencil: NN [86-8, ser. 1, no. 9]; score and parts (WPA copy): PP; negative photostat score and parts: WyU.
Recordings: Mario Janaro (?). 25 April 1941: NN [LJ-12 986/87].
33 1/3 rpm. 22 September 1941: NN [LJ-16 1379].
Piano Transcription: Negative photostat of MS: WyU.
Op. 23 Bury Me, Bury Me Wind, for voice, theremin, and piano (A. Akhmatova) (1930).
MSS: 2 pencil scores: NN [JPB 86-8, ser. 2, no. 1].
Performances: Nina Koshetz, voice; Leon Theremin, theremin; Boris Kogan, piano. Town Hall, New York, 4 January 1931.
Op. 24 The People and the Prophet (1931). Ballet.
Not located.
Performances: Benjamin Zemach Group. Civic Repertory Theatre, New York, 25 January 1931 (see New York Times, 26 January 1931, 14:7).
Mouvement electrique et pathetique for space-controled theremin and piano (1932).
MSS: 2 photocopies: NN [JPB 86-8, ser. 1, no. 8].
Recordings: Music from the Ether: Original Works for Theremin, Lydia Kavina, theremin (Mode 76, rec. 1997, rel. 1999), CD.
Very Lovely for 2 voices, and Radio Lullaby for 3 voices (1933?).
MSS: Score in ink: NN [JPB 86-8, ser. 2, no. 4].
Study in Rhythm I for piano (1935).
MSS: Score in pencil: NN [JPB 86-8, ser. 1, no. 15].
Recordings: Radio broadcast, 15 February 1941: NN [LJ-12 985].
Study in Rhythm II (1940).
Not located.
Four Popular Songs (1941). Of All My Loves--You're the Last on My List for Love--I'm Through with Love--Get Together and Dance.
MSS: Pencil score: MdBPC; ink scores (copyist hand): MdBPC.
Recordings: Radio broadcast without "Of All My Loves," 22 January 1941: NN [LJ-12 1011].
"Get Together and Dance," 14 January 1941: MdBPC.
"I'm Through with Love,." 14 January 1941: MdBPC.
"Of All My Loves," 14 January 1941: MdBPC.; NN [LJ-12 1012].
"You're the Last on My List for Love," 14 January 1941: MdBPC.
MISCELLANEOUS RECORDINGS OF SCHILLINGER WORKS
(unpublished 78 rpms unless otherwise noted)
These recordings are a problematic category since many of the titles listed do not match any of Schillinger's known published or manuscript compositions. Most appear to have been made in his own studio, where he had an impressive array of custom-built recording equipment. (36) Some, such as the ones entitled "Binary," "Ternary," and "Quaternary" Synchronizations may be recordings of the rhythmicon. Others such as the one entitled "Piano Improvisations" and "jazz" are perhaps just that, recordings of spontaneous performances. Others are either improvised works, or works for which the scores do not survive. Surprisingly, until the release of Lydia Kavina's 1999 compact disc that includes two Schillinger works, there have been no commercial recordings of his compositions. (37)
Accordion Dance. 15 February 1941: NN [LJ-12 984].
Automatic Composition: NN [LJ-12 933].
Binary Synchronization.
33 1/3 rpm: NN [LJ-12 931].
2 78 rpms: NN [LJ-12 993/94].
33 1/3 rpm. Radio broadcast: NN [LT-10 3307].
Declamation: NN [LT-12 1012].
Direct Piano Recordings: NN [LJ-12 1008, 936].
Eccentric Dance. 15 February 1941: NN [LJ-12 982].
Foxtrot: NN [LJ-12 1012].
G6[square root of (2)]; G6/7[square root of (2)]. Ted Royal, performer: NN [LJ-12 978].
Grotesque. 15 February 1941: NN [LJ-12 982].
Invention 8 in 4 Geometrical Inversions: NN [LJ-12 906].
Jazz: NN [LJ-12 1012].
Lullaby: NN [LJ-12 1012].
Multiples. Joseph Schillinger, piano: NN [LJ-12 1009-1010]. Piano Improvisations.
Joseph Schillinger, piano. 22 January 1941: NN [LJ-12 990/91].
Joseph Schillinger, piano. 15 March 1941: NN [LJ-12 988/989].
Quarternary Synchronization. 33 1/3 rpm: NN [LT-10 3307].
Rhumba: NN [LJ-12 1012].
Rhythmicon. 2O June 1938: NN [LT-10 3307].
Ternary Synchronization. Radio broadcast, 33 1/3 rpm: NN [LT-10 3307].
Two Dances: NN [LJ-12 964].
WORKS OF VISUAL ART
(by location)
Schillinger's career as a visual artist is a complex issue and one that will receive little discussion here. Much of the artwork, with the possible exception of the larger paintings, appears to be material prepared to illustrate his Mathematical Basis of the Arts. Perhaps more than any other category of his work, the works of visual art along with the supporting charts and diagrams were widely dispersed to a number of museums, mostly in New York City.
Buffalo, New York
Albright-Knox Art Gallery
Red Rhythm
Unfinished Study in Rhythm
New York City
Brooklyn Museum
Key Yellow
Study in Rhythm: Blue and Yellow
Cooper-Hewitt Museum (Smithsonian Institution, National Museum of Design)
Blue and Gray Cross
Closed Patterns no. 1
Closed Patterns no. 2
Color and Gray Rhythms in Squares
Orange Key
Painting in Form of Screen
Peach and Orange
Rhythm:5:4
Rhythmic Groups
Squares and Curves
Wheel Green
Cooper Union
Axis and Value Varied
Color Rhythm
Blue Green Rhythm
Jewel Tones no. 2
Finch College
Instruments
Rhythm, with Notations
Instruments: Photographic Permutations
Metropolitan Museum of Art
Twenty-eight designs and five photographs by Joseph Schillinger
Museum of Modern Art. Schillinger Archive of Art.
Notebooks and visual materials related to Mathematical Basis of the Arts. See "Joseph Schillinger: Notebooks & Designs," Library Bulletin 82 (1991): 3-5. Museum of Modern Art Library.
Solomon R. Guggenheim Museum
Study in Rhythm II
Geometric Man in Proportioned Frame
Graph Sketch for Geometric Man
Whitney Museum of American Art
Study in Rhythm
Newark, New Jersey
The Newark Museum
Splash Red
Red Violet
Washington, D.C.
National Museum of American Art (Smithsonian Institution)
Area Broken by Perpendiculars
Blue Gray Violet Wheel
Green Squares
Key Blue
Study in Rhythm: Red and Gold
OTHER SCHILLINGER MATERIALS
(by location)
Perhaps the most interesting item in this category is the rhythmicon. Henry Cowell, frustrated with human capabilities to reproduce complex rhythms, had described the device in his New Musical Resources. (38) In 1931 Cowell commissioned Theremin to build it and it was completed and demonstrated at the New School for Social Research early in 1932. Two rhythmicons were built, one of which Nicolas Slonimsky sold to Schillinger, whose widow donated it to the Smithsonian in 1966. (39) Schillinger himself described it in MATHBART as an instrument that composes music automatically. (40) It is demonstrated by Nicolas Slonimsky in Steven Martin's film Theremin: An Electronic Odyssey. (41) A second instrument may also survive in Theremin's studio in Moscow. Recordings of the device made by Schillinger survive in the Smithsonian Archives.
Cambridge, Massachusetts
Harvard College Library
Collection of forty-eight Russian books
London
British Library
Collection of eleven Russian concert programs including Schillinger as lecturer or composer, 1917-28.
New York
Butler Library (Columbia University)
Joseph Schillinger Papers
Washington, D.C.
Smithsonian Institution
Schillinger-Theremin rhythmicon
Nine phonograph recordings of the rhythmicon (Smithsonian Archives, Collection No. 162)
Archives of American Art (Smithsonian Institution)
Two photograph albums
Notebook: Art Continuum: Classifications and Definitions
Negative photostats, notes and diagrams, original drawings, clippings for 1934-35 course taught at Columbia University
(1.) Vernon Duke, "Gershwin, Schillinger, and Dukelsky: Some Reminiscences," Musical Quarterly 33 (1947): 102-15.
(2.) Zvi Keren is the author Contemporary Israeli Music: Its Sources and Stylistic Development (Ramat Gan, Israel: Bar-Ilan University Press, 1980).
(3.) Frances Schillinger, Joseph Schillinger: A Memoir by His Wife (New York: Greenberg, 1949; reprint, New York: Da Capo, 1976), 200.
(4.) Joseph Schillinger, The Schillinger System of Musical composition, ed. by Arnold Shaw and Lyle Dowling, 2 vols. (New York: C. Fischer, 1946; reprint, New York: Da capo, 1977); Joseph Schillinger, The Mathematical Basis of the Arts, ed. by Arnold Shaw (New York: Philosophical Library, 1948; reprint, New York: Da capo, 1976).
(5.) Shaw was a prolific author of works on popular music including The Rock Revolution (New York; Crowell-Collier, 1969); The World of Soul: Black America's Contribution to the Pop Music Scene (New York: Cowles Book Co., 1970); The Street That Never Slept: New York's Fabled 52nd Street (New York: Coward, McCann & Geoghegan, 1971); Honkers and Shouters: The Golden Years of Rhythm and Blues (New York: Collier, 1978); and A Dictionary of Amen can Pop/Rock (New York: Schirmer Books, 1982). He was also the founder of the Popular Music Research Center at the University of Nevada, Las Vegas.
(6.) "Schillinger Students" folder, Frances and Joseph Schillinger Collection, Arthur Friedheim Library, Peabody Institute of The Johns Hopkins University.
(7.) Much of this correspondence survives in the Frances and Joseph Schillinger Collection. See the list of correspondents at: https://www.peabody.jhu.edu/current/js/(accessed 3 January 2002).
(8.) Perhaps the most famous example of this was her successful suit to force former Schillinger student Lawrence Berk to change the name of his Schillinger House School of Music. See "Berk Lawsuit" folder, Frances and Joseph Schillinger Papers, Peabody Institute.
(9.) See my listing of institutions holding "Other Schillinger Materials" following the descriptions and locations in the main catalog (p. 784-85).
(10.) Photocopies of at least some of the Gershwin drawings and Theremin correspondence reside in the Frances and Joseph Schillinger Collection.
(11.) Smithsonian Institution. "Frances Schillinger gift."
(12.) Paul Nauert, "Theory and Practice in Porgy and Bess: The Gershwin-Schillinger Connection," Musical Quarterly 78 (1994): 9-33; Ilya Levinson, "What the Triangles Have Told Me: Manifestations of the Schillinger System of Musical Composition in George Gershwin's Porgy and Bess" (Ph.D. diss., University of Chicago. 1997).
(13.) D.E.D., "Schillinger Book a 'Godsend' to Arrangers, Writers," Downbeat 7 (12 November 1940): 17.
(14.) Among his students in the 1930s were George Gershwin, Benny Goodman, Tommy Dorsey, and Glenn Miller, all of whom had busy and demanding performance schedules.
(15.) Frances Schillinger, 38-39.
(16.) While Schillinger from all accounts had an excellent command of English, his writing style presupposes a familiarity with his complex teaching style.
(17.) J. Murray Barbour, "The Schillinger System of Musical Composition," Notes 3. no. 3 (June 1946): 274-83; and Charles Seeger, "The Schillinger System of Musical Composition," Notes 4, no. 2 (March 1947): 183-84. In the latter review, Use Notes editor, Richard S. Hill, remarked in a rather long and apologetic footnote (p. 183): "Now with regard to any book of more than sixteen hundred pages there is likely to be room for a number of different attitudes and opinions.... Mr. Seeger, while recognizing completely the validity of Dr. Barbour's attitude and opinion, found that his own experience led him to a rather different conclusion."
(18.) Nicolas Slonimsky, "The Schillinger System of Musical Composition," Musical Quarterly 32 (1946): 470.
(19.) Seeger, 184.
(20.) Barbour, 274-83.
(21.) SSMC was reprinted by Da Capo in 1977, but as of this writing is again out of print.
(22.) Arnold Shaw, "Joseph Schillinger? The Father of Electronic Music, That's Who," Los Angeles Times (11 June 1972): 58.
(23.) In 1927, Schillinger, acting on behalf of the State Institute for the History of the Arts, collected folk music in the Caucasus Mountains. While fragments of some of the tunes have surfaced in the collection of his materials at Lincoln Center, their actual publication, if any, remains a mystery. According to his vita in the Frances and Joseph Schillinger papers, "phonograms" were deposited in the archives of the State Institute.
(24.) Daniel Schuyler Augustine, "Four Theories of Music in the United States, 1900-1950: Cowell, Yasser, Partch, Schillinger" (Ph.D. diss., University of Texas, 1979), 311.
(25.) "Leon Theremin" folder, Frances and Joseph Schillinger Collection.
(26.) This should not be confused with the small printed manual RCA supplied with its theremins. For the most part the RCA manual is simply a schematic and directions for turning it on and off.
(27.) Found in the Frances and Joseph Schillinger Collection.
(28.) Benjamin Zemach and his Group [Program at the Civic Repertory Theatre, Sunday evening, 25 January 1931], Frances and Joseph Schillinger Collection.
(29.) See Study in Rhythm II listed here on p. 783 among the Schillinger works of visual art at the Solomon R. Guggenheim Museum.
(30.) Frances Schillinger, 38.
(31.) See "List of works and performances" [3-ring binder), Frances and Joseph Schillinger Collection.
(32.) Music Committee of the American Society for Cultural Relations with the U.S.S.R [Invitation], Frances and Joseph Schillinger Collection.
(33.) Frances Schillinger, 25.
(34.) Albert Glinsky, Theremin: Ether Music and Espionage (Urbana: University of Illinois Press, 2000), 107.
(35.) Civic Orchestra of' New Haven [Program, 13 May 1980], Frances and Joseph Schillinger Collection.
(36.) Frances Schillinger, 97-98.
(37.) Music from the Ether: Original Works for the Theremin, Lydia Kavina, theremin (Mode 76, rec. 1997, rel. 1999), CD. A number of instantaneous recordings made chiefly in Schillinger's studio are held by the New York Public Library, several arc at Peabody, and the rhythmicon recordings are at the Smithsonian Archives Center, but not one commercial recording is known before 1999! Other than the one compact disc cited here, and rare modern performances, there are few opportunities to hear his music.
(38.) Henry Cowell, New Musical Resources (New York: Knopf, 1930); new edition, with notes and an accompanying essay by David Nicholls (Cambridge: Cambridge University Press, 1996), 45-108.
(39.) Glinsky, 135-36, 140-41.
(40.) Joseph Schillinger, Mathematical Basis, 665.
(41.) Theremin: An Electronic Odyssey, written, produced, and directed by Steven M. Martin (Orion Home Video 5080 and ISBN 1562552481, 1995), VHS.
BIBLIOGRAPHY
(chronological order)
Dowling, Lyle. A Brief Note on the Schillinger System: The Scientific Way to Success in Music. New York: Allied Music, 1942.
Carter, Elliott. "The Schillinger Case: Fallacy of the Mechanistic Approach." Modern Music 23 (1946):228-30.
Cowell, Henry, and Sidney Cowell. "The Schillinger Case: Charting the Musical Range." Modern Music 23 (1946): 226-28.
Cowell, Henry. "Joseph Schillinger as Composer." Music News 39 (March 1947): 5-6.
Duke, Vernon. "Gershwin, Schillinger, and Dukelsky: Some Reminiscences." Musical Quarterly 33 (1947): 102-15.
Human, Alfred. "Schillinger Challenges Genius." Musical Digest 29 (April 1947):12-14, 16.
Previn, Charles. "Schillinger's Influence on Film Music." Music News 39 (March 1947): 39-40.
Shaw, Arnold. "What Is the Schillinger System?" Music News 39 (March 1947):37-38.
Slonimsky, Nicolas. "Schillinger of Russia and the World." Music News 39 (March 1947):3-4.
Schillinger, Frances. Joseph Schillinger: A Memoir by His Wife. New York: Greenberg, 1949; reprint, New York: Da Capo, 1976.
Solomon, Seymour. "Schillinger and 20th Century Rationalist Trends in Music." Music Forum and Digest 2 (January 1950):4-5.
Smith, Charles Samuel. "An Analysis of Selected Mathematical Aspects of Schillinger's Approach to Music." M.A. thesis, University of Iowa, 1951.
Backus, John. "Re: Pseudo-Science in Music." Journal of Music Theory 4 (1960):221-32.
Gojowy, Detlef. "Sowjetische Avantgardisten." Musik und Bildung 1 (1969):537-42.
Shaw, Arnold. "Joseph Schillinger? The Father of Electronic Music, That's Who." Los Angeles Times (11 June 1972): 58.
Vaglio, Anthony Joseph. "The Compositional Significance of Joseph Schillinger's System of Musical Composition as Reflected in the Works of Edwin Gerschefski." Ph.D. diss., University of Rochester, Eastman School of Music, 1977.
Augustine, Daniel Schuyler. "Four Theories of Music in the United States, 1900-1950: Cowell, Yasser, Partch, Schillinger." Ph.D. diss., University of Texas, 1979.
Burk, James M. "Schillinger's Double Equal Temperament System" In The Psychology and Acoustics of Music: A Collection of Papers. Ed. Edward Asmus. Lawrence, Kans.: University of Kansas, Division of Continuing Education, [1978?], 53-72.
Gilbert, Steven E. "Gershwin's Art of Counterpoint." Musical Quarterly 70 (1984):423-56.
Burk, James M. "Joseph (Moiseyevich) Schillinger." In New Grove Dictionary of American Music. Ed. H. Wiley Hitchcock. 4 vols. New York: Macmillan/Groves Dictionaries, 1986. 4:152-53.
Isenberg, Arnold. "Analytical Philosophy and the Study of Art." Journal of Aesthetics and Art Criticism 46 (1987): 125-36.
Heath, James, and Reppard Stone. "Joseph Schillinger: Educator and Visionary." Jazz Research Papers 10 (1990): 126-31.
Nauert, Paul. "Theory and Practice in Porgy and Bess: The Gershwin-Schillinger Connection." Musical Quarterly 78 (1994):9-33.
Sitsky, Larry. "Iosif M. Schillinger: Gershwin's Teacher." In Music of the Repressed Russian Avant-Garde, 1900-1929. Contributions to the Study of Music and Dance, 31. Westport, Conn.: Greenwood Press, 1994.
Beyer, Richard. "George Gershwin's Variations on 'I Got Rhythm'." Musica 49 (1995): 233-38.
Rosar, William H. "Letter to the Editor." Musical Quarterly 80 (1996): 182-84.
Levinson, Ilya. "What the Triangles Have Told Me: Manifestations of the Schillinger System of Musical Composition in George Gershwin's Porgy and Bess." Ph.D. diss., University of Chicago, 1997.
Glinsky, Albert. Theremin: Ether Music and Espionage. Urbana: University of Illinois Press, 2000.
Ned Quist, formerly the music librarian at The Arthur Friedheim Library, Peabody Institute of The Johns Hopkins University, is currently the music librarian at Brown University.
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| Author: | Quist, Ned |
|---|---|
| Publication: | Notes |
| Geographic Code: | 1USA |
| Date: | Jun 1, 2002 |
| Words: | 8244 |
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