Joseph Schillinger (57 results)

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket.

Hard Cover. Condition: New. Dust Jacket Condition: New. Reprint. Harwich Port: Clock & Rose Press, 2003. 8vo. Hardcover inding. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket. Size: 8vo - over 7¾" - 9¾" tall.

Hard Cover. Condition: New. Dust Jacket Condition: New. Reprint. Harwich Port: Clock & Rose Press, 2003. 8vo. Hardcover inding. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket. Size: 8vo - over 7¾" - 9¾" tall.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket.

Wrappers. Condition: New. Reprint. 18-page softcover book in fine condition. Stapled wrappers. Essay by Schillinger, illustrated, with some additional material reprinted from his other books. Brand new.

Wrappers. Condition: New. Reprint. 18-page softcover book in fine condition. Stapled wrappers. Essay by Schillinger, illustrated, with some additional material reprinted from his other books. Brand new.

Wrappers. Condition: New. Reprint. 18-page softcover book in fine condition. Stapled wrappers. Essay by Schillinger, illustrated, with some additional material reprinted from his other books. Brand new.

Condition: Very Good. Dust Jacket Condition: Very Good. 96 pages. Hardcover with dust jacket. Clean and tight copy. Record # 2230816.

Hardcover. Condition: Brand New. reprint edition. 95 pages. 10.10x7.00x0.60 inches. In Stock.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Harwich Port: Clock & Rose Press, 2003. Reprint. 8vo. Grey-blue cloth binding, gold titles. 696 pp. A work of revolutionary implications in the field of esthetics, this book formulates the basic laws of mathematical logic underlying all art structures. To mathematicians, engineers and scientists, the Einsteinian approach to the arts will prove stimulating. To painters, composers, motion picture technicians, and industrial designers, Schillinger's original method of rhythmic design will prove a fertile source of fresh techniques. The book runs the gamut from the speculative to the practical, demonstrating how creative works may be synthesized through mathematics. Schillinger achieves that integration of science and art, toward which esthetic philosophers have been working since Leonard da Vinci. Mathematician, artist, and musician, Schillinger was a rare genius. The book was organized by Schillinger before his death and published posthumously. This is Schillinger's masterwork, scarce in any edition. New in new dustjacket.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book.

Hard Cover. Condition: New. Dust Jacket Condition: New. Reprint. Harwich Port: Clock & Rose Press, 2003. 8vo. Cloth. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book. Size: 8vo - over 7¾" - 9¾" tall.

Cloth. Condition: New. Dust Jacket Condition: New. Reprint. Harwich Port: Clock & Rose Press, 2003. 8vo. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. New.

Cloth. Condition: New. Dust Jacket Condition: New. Illustrated (illustrator). Reprint. Harwich Port: Clock & Rose Press, 2003. Reprint. 8vo. Grey-blue cloth binding, gold titles. 696 pp. A work of revolutionary implications in the field of esthetics, this book formulates the basic laws of mathematical logic underlying all art structures. To mathematicians, engineers and scientists, the Einsteinian approach to the arts will prove stimulating. To painters, composers, motion picture technicians, and industrial designers, Schillinger's original method of rhythmic design will prove a fertile source of fresh techniques. The book runs the gamut from the speculative to the practical, demonstrating how creative works may be synthesized through mathematics. Schillinger achieves that integration of science and art, toward which esthetic philosophers have been working since Leonard da Vinci. Mathematician, artist, and musician, Schillinger was a rare genius. The book was organized by Schillinger before his death and published posthumously. This is Schillinger's masterwork, scarce in any edition. New in new dustjacket.

Condition: New. pp. 892.

Condition: New. pp. 892.

Condition: New. pp. 892.

hardcover. Condition: Very Good. Slender hardcover in jacket, tight and unmarked. Please email for photos. Larger books or sets may require additional shipping charges. Books sent via US Postal.

Hard Cover. Condition: New. Dust Jacket Condition: New. Reprint. Harwich Port: Clock & Rose Press, 2003. Hard cover binding, 696 pp. A work of revolutionary implications in the field of esthetics, this book formulates the basic laws of mathematical logic underlying all art structures. To mathematicians, engineers and scientists, the Einsteinian approach to the arts will prove stimulating. To painters, composers, motion picture technicians, and industrial designers, Schillinger's original method of rhythmic design will prove a fertile source of fresh techniques. The book runs the gamut from the speculative to the practical, demonstrating how creative works may be synthesized through mathematics. Schillinger achieves that integration of science and art, toward which esthetic philosophers have been working since Leonard da Vinci. Mathematician, artist, and musician, Schillinger was a rare genius. The book was organized by Schillinger before his death and published posthumously. This is Schillinger's masterwork, scarce in any edition. New in new dustjacket. Size: 8vo - over 7¾" - 9¾" tall.

Hard Cover. Condition: New. Dust Jacket Condition: New. Reprint. Harwich Port: Clock & Rose Press, 2003. Hard cover binding, 696 pp. A work of revolutionary implications in the field of esthetics, this book formulates the basic laws of mathematical logic underlying all art structures. To mathematicians, engineers and scientists, the Einsteinian approach to the arts will prove stimulating. To painters, composers, motion picture technicians, and industrial designers, Schillinger's original method of rhythmic design will prove a fertile source of fresh techniques. The book runs the gamut from the speculative to the practical, demonstrating how creative works may be synthesized through mathematics. Schillinger achieves that integration of science and art, toward which esthetic philosophers have been working since Leonard da Vinci. Mathematician, artist, and musician, Schillinger was a rare genius. The book was organized by Schillinger before his death and published posthumously. This is Schillinger's masterwork, scarce in any edition. New in new dustjacket. Size: 8vo - over 7¾" - 9¾" tall.

Hardcover. Condition: New.

Hardcover. Condition: Brand New. reprint edition. 250 pages. 11.20x8.80x1.00 inches. In Stock.

Condition: New. pp. 888.

Fourth edition, 1946. Volume II, Books VIII - XII. Very good hardcover w/ no dust wrapper. Boards are clean & bright with light wear & rubbing. Front & rear flaps w/orig. price have been pasted down on front end paper; two prior owner stamps on front free end paper. Front hinge pulling slightly at gutter at half title page, but binding is overall solid. Interior pages very good & clean, slight toning, no other marks, and no tears or creases. Scarce, esp. in this condition. See photos.

Condition: New. pp. 888.