I’m going to start by outlining the aspects of the system. For starters, I’m listing the table of contents; I’ll later break this down into separate sections with explanatory text discussing the meaning of his cryptic sounding terms. Hopefully I can provide some correlation of the techniques within the vocabulary and theoretical world of a classically trained musician.
Once this broad goal is accomplished, or perhaps as I go, I will consider some potential programming implementations of the techniques within the software musicians frequently use today.
The Schillinger System of Musical Composition
Theory of RhythmChapter 1
A. Graphing Music
B. Forms of Periodicity
Interferences of Periodicities
A. Binary Synchronization
The Techniques of Grouping
The Techniques of Fractioning Continue reading
The Schillinger System has fallen into disuse. Many musicians thoroughly trained in advanced contemporary music theory scoff at the technique, or else are scared off by the mathematical terminology. Many don’t know what it has to offer them.
The vast strides in musical software development during the last thirty years have yet to integrate the benefits of a system which had already systematized many of the musical processes that composers spend much of their time with.
The Schillinger system uses a graphical notation nearly identical with that of MIDI sequences, yet Schillinger didn’t have the advantage of a computer to implement his system, and most sequencer programmers don’t know what benefits it could offer them.
Theorists who discuss the system often are so intellectually entranced by analyses of classical works that they fail to consider its potential implementation in a contemporary setting.
I hope to begin to consider some of the potential uses of the system, and to see how the mathematical language could be made transparent to a musician.