Of Music and Mathematics- The Schillinger System

By E. Richard Haarde

“What Is The Schillinger System?”

This is the question I am often asked, but seldom succeed in answering to anyone’s complete satisfaction. The Schillinger System cannot be explained in a few simple words, precisely because it is that- a system. Perhaps it is best described as a set of exact techniques and procedures for the composition of music of any style, to any desired degree of perfection, for any musical combination- from the ancient choruses of Palestrina or the primitive drums of the African cannibals, through the scores of Wagner, Strauss or Hindesmith, up to the most advanced dance orchestra music.

“How is this achieved?” they ask.

Briefly, although it is based on wholly scientific procedures- and hence it rests on a highly scientific approach- The Schillinger System is not taught- as many wrongly believe- as a branch of mathematics. Instead it is taught as a set of easily learned, easily understood exact processes requiring only normal intelligence, and an average understanding of mathematics.

An analysis by Henry Cowell states, “The idea behind the Schillinger System is simple and inevitable; it undertakes the application of mathematical logic to all the materials of music and their functions, so that the student may know the unifying principles behind these functions; may grasp the method of analysing and synthesizing musical materials that he may find anywhere, or he may discover for himself, and may perceive how to develop new materials as he feels the need for them. Thus the Schillinger System offers possibilities, not limitations; it is a positive not a negative approach to the choice of music materials. Because of the universality of the aesthetic concepts underlying it, the system applies equally to old and new styles in music and to “popular” and “serious” compositions.”

With all this emphasis on the technical side of music, Schillinger never denies the importance of talent and inspiration. He only maintains that with the aid of methodical study, the talented musician will attain a complete and satisfying fruition of his gifts. He also holds out an encouraging promise to the student whose creative powers are in the latent stage. George Gershwin came to Schillinger- an example of the former type: Paul Lavalle came to him- an example of the latter type. Both went on to become better and more successful musicians.

“Is the Schillinger System successful?”

A look at the names and compositions of a few Schillinger students should definitely answer the above question. George Gershwin: “Porgy and Bess”, Lyn Murray: opera, “Esther”, Oscar Levant: “Caprice for Orchestra”, Paul Lavalle: “Symphonic Rhumba”, Glen Miller: “Moonlight Serenade”, Nathan Van Cleve: “Etude for Orch.”

Further information concerning Joseph Schillinger and “The Schillinger System of Musical Composition” can be found in the following: Music Quarterly (January 1947), Music News (March 1947), Music Digest (March 1947)