Scillinger and ET

Peter KESTENS KESTENS.P@Debcom.be
Mon, 30 Mar 1998 09:43:33 +0200


Ralph and less
Thanks a lot for your answer;  I'm going to try to find a copy of his
publications; seems very intresting, if not for pianotechnicians, it'll be
for understanding and arranging harmony and chords.
Peter
't MUZIEKINSTRUMENTENATELIER
PETER KESTENS
BELGIUM
KESTENS.P@DEBCOM.BE
-----Oorspronkelijk bericht-----
Van: ralph m martin <rmartin30@juno.com>
Aan: pianotech@ptg.org <pianotech@ptg.org>
Datum: woensdag 25 maart 1998 20:06
Onderwerp: Re: Scillinger and ET


>Hi Peter
>
>Joseph Schillinger was a German born Russian who approached music , past,
>present and future, mathematically. His two texts are actually
>collections of lectures that were taught, originally at Julliard and many
>other great schools of music.
>
>He was a man with no musical snobery. He would analyze Beethoven and then
>re-write a portion of one of his works and actually IMPROVE it in most
>musicians opinionsIn the very next lecture he was analyzing Jazz with
>equal fervor.
>
>It remains, today, the backbone of the Julliard method of composition and
>arranging as well as the method taught in other great schools. The
>founder of Berklee in Boston was a man by the name of Berk who was also a
>student of his.
>
>HIs two volumes were published by Carl Fischer, Inc in New York. It being
>so many years and the demand being so (relatively) small that I doubt if
>they are still being published. There has to be some available in used
>book stores I would think.
>
>Schillinger used to poke holes in the old theories of harmony touting
>such things as "no parallel 5ths" and no "doubled thirds" (that are still
>being taught today)..
>
>You here his teachings today in Ferrante and Teicher, (my apologies for
>the spellings of some of these names) Peter Nero., Andre Previn and
>virtally every Jazz artist you have ever heard in recent years. The
>reason that the method is particularly suited for Jazz is that we
>frequently re-harmonize entire lines with structures that are ,
>(apparently) in no way related to the original. Whereas very little of
>this is done to classical music in order to preserve the composer's
>intentions. Modern composers couldn't care less! Maybe the classical ones
>wouldn't have cared either. I really don't know.
>
>In my theater organ arrangement of Henry Mancini's "Moon River, my entire
>last line was re-harmonized with a series of voice-led dominant 9ths.
>There were many structural changes throughout the rest of the
>arrangement. The entire left hand was contrapuntal. I don't believe
>anyone would dream of doin that with a classical composition. On the
>other hand, Henry Mancini LOVED the arrangement. I
>know this because he told me he did.
>
>Hope that answers at least a bit of your question.
>
>best regards
>Ralph Martin
> that the  Wed, 25 Mar 1998 09:27:22 +0100 "Peter KESTENS"
><KESTENS.P@Debcom.be> writes:
>>Ralph,
>>
>>Excuse me, but who was Schillinger? It's the first time I hear his
>>name.
>>Peter
>>'t MUZIEKINSTRUMENTENATELIER
>>PETER KESTENS
>>BELGIUM
>>KESTENS.P@DEBCOM.BE
>>-----Oorspronkelijk bericht-----
>>Van: ralph m martin <rmartin30@juno.com>
>>Aan: pianotech@ptg.org <pianotech@ptg.org>
>>Datum: maandag 23 maart 1998 21:30
>>Onderwerp: Scillinger and ET
>>
>>
>>>I poured over the Schillinger manuscripts last night and was
>>surprised
>>>that there was absolutely no mention of any tuning outside of Et. I
>>would
>>>have thought that other temperments would have been mentioned duing
>>the
>>>analysis of early musical composition???
>>>
>>>One thing that I noticed however, is that Schillinger credits Andreas
>>>Werkmeister with the development of the mathematical construct of Et
>>in
>>>1691???
>>>Ralph Martin
>>>
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>>
>>
>
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