Loza's "Tito Puente and the Making of Latin Music"
Dennis M. Reed "Califa"
observations about it?
I find it interesting that on page 6, it is stated that Puente studied
Schillinger (Zeno and I have mentioned that Carlos Federico studied
Schillinger for as long as we can remember and I recall Carlos telling me
shortly before he passed away that he was on his third set of the book(s)
and that he had worn out the other two sets).
I have commented that in the 60s, if a band played anything other than
Latin, the conga player was forced to sit out (even though many of us felt
that the conga had a place in non Latin music, and time would prove us to be
correct). Anyway, on page 7, it says that Frank (Frankie) Colón, the conga
player in Puente's first band, had to sit out when the band played American
pop tunes.
--
-------------------------------
Dennis M. Reed "Califa"
My Home Page http://www.dmreed.com features my musical autobiography with
audio files and photos of groups I have worked with from the late 50s to the
present and includes rare 1960s recordings by pianist Carlos Federico and
1970s photos of Celia Cruz and Pete Escovedo along with selected LP and CD
recordings and my Latin music collection of CDs, LPs, tapes, books, and
instructional materials which includes recordings and images of rare printed
materials. Information about the US-International Keyboard (WINDOWS 95/98)
and a large printable keyboard image is also included.
Gerry
M. Reed \"Califa\ <dmr...@dmreed.com> wrote:
> I have just started reading this book. Does anyone here have any opinions or
> observations about it?
I've not seen it but will look around. Is it valuable in any way at
all?
> I find it interesting that on page 6, it is stated that Puente studied
> Schillinger (Zeno and I have mentioned that Carlos Federico studied
> Schillinger for as long as we can remember and I recall Carlos telling me
> shortly before he passed away that he was on his third set of the book(s)
> and that he had worn out the other two sets).
When you say "sets" I'm unsure what you mean. I know the guy has
written a zillion books but it seemed there was just one book that
dealt with rhythm--despite the fact that it was a jumbo jet. Is this
what you're referring to? Is it any good? I've always avoided it since
I spent 3 years with the Chromatic Lydian concept and decided the time
would have been better spent smoking pot.
--
\\\--- Gerry
---------------------------------------------------
American Democracy -- the best that money can buy!
Dennis M. Reed "Califa"
news:070420000819163774%sp...@primenet.com...
> In article <EwgH4.173341$8k3.8...@news1.rdc1.sdca.home.com>, Dennis
> M. Reed \"Califa\ <dmr...@dmreed.com> wrote:
>
> > I have just started reading this book. Does anyone here have any
opinions or
> > observations about it?
>
> I've not seen it but will look around. Is it valuable in any way at
> all?
Like I said, I just started it but it looks like it has some interesting
history and there are pictures, some music charts, lyrics with translations,
etc. I think it might be to your liking.
>
> > I find it interesting that on page 6, it is stated that Puente studied
> > Schillinger (Zeno and I have mentioned that Carlos Federico studied
> > Schillinger for as long as we can remember and I recall Carlos telling
me
> > shortly before he passed away that he was on his third set of the
book(s)
> > and that he had worn out the other two sets).
>
> When you say "sets" I'm unsure what you mean. I know the guy has
> written a zillion books but it seemed there was just one book that
> dealt with rhythm--despite the fact that it was a jumbo jet. Is this
> what you're referring to? Is it any good? I've always avoided it since
> I spent 3 years with the Chromatic Lydian concept and decided the time
> would have been better spent smoking pot.
When I said sets of book(s), I meant that I did not know if the book he was
referring to was a one, two, or three volume set. I do recall him showing me
a concept from the book which had to do with playing multiple/different time
signatures against each other, e.g., a two against a three, a three against
a four, etc. However, Carlos may well have studied more than one of
Schillinger's books, e.g., books regarding melody, harmony, arrangement,
etc. Carlos was really quite knowledgeable regarding music in general.
ze...@sonic.net
Gerry wrote:
>
> When you say "sets" I'm unsure what you mean. I know the guy has
> written a zillion books but it seemed there was just one book that
> dealt with rhythm--despite the fact that it was a jumbo jet. Is this
> what you're referring to? Is it any good? I've always avoided it since
> I spent 3 years with the Chromatic Lydian concept and decided the time
> would have been better spent smoking pot.
Gerry,
My strong recommendation is to get these 2 volumes from the library ("The
Schillinger System of Musical Composition") and see if there is anything
realistically of value to you there. Photocopy a few pages that seem useful. Get
the general vibe of the book. From then on you simply state "I too have studied
the Schillinger System". This then will add immensely to your academic
credibility as a bongo drummer etc. Be sure to mention it at cocktail parties and
Math conventions. Don't forget to learn the long list of "celebrities" who claim
they were his (or the book's) students, this will include a range from George
Gershwin to Eddie Palmieri. Later on you can purchase an expensive facsimilie of
this rare tome to feature in the bookshelf amongst your collection of leather
bound classics.
Purchase a good feather duster.
Zeno
ze...@sonic.net
"Dennis M. Reed \"Califa\"" wrote:
>
> When I said sets of book(s), I meant that I did not know if the book he was
> referring to was a one, two, or three volume set.
It is two big volumes.
Incidentally Shillinger did not write that many books, these two vols. are the
ones that musicians and composers are referring to.
He also has a large volume in which his ideas are applied to Art in general.
There is a reference to him in the Glenn Miller Story with James Stewart. There
is even a bit character actor playing him in a scene in which "Glenn" expresses
his regrets for not continuing with his studies with him.
> I do recall him showing me
> a concept from the book which had to do with playing multiple/different time
> signatures against each other, e.g., a two against a three, a three against
> a four, etc.
Yes, Those are two pages I was recommending to photocopy.
Zeno
Gerry
> "Dennis M. Reed \"Califa\"" wrote:
>
> >
> > When I said sets of book(s), I meant that I did not know if the book he was
> > referring to was a one, two, or three volume set.
>
> It is two big volumes. Incidentally Shillinger did not write that
> many books, these two vols. are the ones that musicians and composers
> are referring to.
And what are the title of these two volumes? I'd like to file that it
my special "If I get another life", or "win the lottery and retire"
file.
ze...@sonic.net
Gerry wrote:
> and what are the title of these two volumes? I'd like to file that it
> my special "If I get another life", or "win the lottery and retire"
> file.
>
Gerry,
Did you not read my first post on the subject, it contains the information your
are seeking:
stan...@jps.net
"Dennis M. Reed \"Califa\"" <dmr...@dmreed.com> wrote:
> I have just started reading this book. Does anyone here have any
opinions or
> observations about it?
>
I'm a little ways into it. It's got some good pieces and not so good. I
think it's well worth the price of admission, though.
Stan
--
http://www.jps.net/stanginn
Sent via Deja.com http://www.deja.com/
Before you buy.
Gerry
> > and what are the title of these two volumes? I'd like to file that it
> > my special "If I get another life", or "win the lottery and retire"
> > file.
> >
>
> Did you not read my first post on the subject, it contains the
> information your are seeking:
>
> My strong recommendation is to get these 2 volumes from the library
> ("The Schillinger System of Musical Composition") and see if there is
> anything realistically of value to you there.
Yes but apparently not with enough precision. According to Amazon the
first volume of this work is out of print. The second volume (aka "The
Exciting Conclusion") is available for $205.00
Dennis M. Reed "Califa"
--
-------------------------------
Dennis M. Reed "Califa"
My Home Page http://www.dmreed.com features my musical autobiography with
audio files and photos of groups I have worked with from the late 50s to the
present and includes rare 1960s recordings by pianist Carlos Federico and
1970s photos of Celia Cruz and Pete Escovedo along with selected LP and CD
recordings and my Latin music collection of CDs, LPs, tapes, books, and
instructional materials which includes recordings and images of rare printed
materials. Information about the US-International Keyboard (WINDOWS 95/98)
and a large printable keyboard image is also included.
"Gerry" <sp...@primenet.com> wrote in message
news:080420001000024890%sp...@primenet.com...
> In article <38EE9EF6...@sonic.net>, <ze...@sonic.net> wrote:
>
> > "Dennis M. Reed \"Califa\"" wrote:
> >
> > >
> > > When I said sets of book(s), I meant that I did not know if the book
he was
> > > referring to was a one, two, or three volume set.
> >
> > It is two big volumes. Incidentally Shillinger did not write that
> > many books, these two vols. are the ones that musicians and composers
> > are referring to.
>
> And what are the title of these two volumes? I'd like to file that it
> my special "If I get another life", or "win the lottery and retire"
> file.
>
ze...@sonic.net
The Schillinger System of Musical Composition
Your comments, questions and inquiries are welcome and will be answered.
Harry Lyden --- Send e-mail
For about the last twenty years I have been intensively studying music from
its mathematical approach using the
Schillinger System of Musical Composition and Joseph Schillinger's
Mathematical Basis of the Arts as a guide. I have
deciphered his great work and want to share some of my findings.
The fundamental components of music, viz., scales, cadences, triads,
sevenths, etc., have been transformed into their
coherent natural geometric form, in color and in 3rd dimension. This enables
us to visually analyze these musical
structures as well as their mirror images, thus dissolving the inherent
bewilderment we all encounter in our music
studies. It also accelerates the learning process by a thousand fold by
enabling us to see the general overall mechanics
of music.
Currently we are precluded and forbidden from expressing geometrics because
of the manner in which we read, write
and describe music. For example if we were to ask a dozen composers to
compose a horizontal or vertical line, a
specific triangle, a tetrahedron, a square, a pyramid, a sea shell or a pine
cone we would get a dozen different
compositions for each of these simple forms. Not so with visual music because
it enables these blind architects to see
these forms and compose the structures accordingly.
Tradition from the days of the Just Intonation tuning system still has us
counting to 8; C being 1, D being 2, E, 3, etc.
Since the 1700s, however, we have been using the Equal Temperment system
where C is zero; C sharp is 1, D is 2, E flat
is 3, etc...B is 11 and C octave is 12 and not 8.
Music has remained in the dark, without geometric form, because we still
refer to C as 1 instead of zero. Geometry
begins with 0, not 1. With C as 0, coherent visual form ensues. The twelve
notes in our primary selective system are
used because 12 is the most versatile number; 12 is the smallest number with
the most divisors.
The 12 notes in the primary selective system are placed on the 12 numbers on
the clock: middle C is zero (midnight),
C sharp(D flat) is 1 o'clock, etc. The C octave in the treble is +12, high
noon, or 360 degrees . The C octave in the bass
is -12, or yesterday noon!
With C as zero, Schillinger categorizes music into two general forms:
symmetric and diatonic.
Symmetric
The Symmetric category therefore is 12/1 or one 12 note chromatic scale. 12/2
is two six note whole tone scales.
12/3 yields three four note diminished scales. 12/4 yields four three note
augmented scales. 12/6 gives us six two
note flat fifth scales.
The Symmetric category therefore may visually express a circle or the spokes
of a wagon wheel, a hexagon, chicken
wire, snowflakes, the benzene ring, squares, equilateral triangles. The flat
5th scale may represent a satellite circling
the earth or an electron orbital, vertical lines, horizontal lines, 30 degree
and 60 degree lines, hemispheres, orange
slices, a baton (stationery or thrown into the air as a majorette would
during a parade). The mirror images or
manifolds as Schillinger calls them are alike in this category. A later
correspondence will describe the wave mechanics
of these polar, non polar and planar enantiomeres geared towards science from
fact learned in music.
Diatonic
In the remaining general category, the Diatonic, we find these manifolds
radically different than in the Symmetric
category. This is where the real essence of music is. Most of us know our
diatonic scales, cadences and 7ths, but their
manifolds are least understood if ever thought of at all. The enclosed
diagrams illustrates the principles of the
manifolds. Simply, if we place both thumbs on 0 (middle C) and play the C
diatonic Ionian scale with the right hand,
and using the same intervals in the left hand, it will reflect C's Phrygian
mode. This case the intervals are 0 2 2 1 2 2 2
1. C's Phrygian is thus in the key of A flat, starting at C.
Let us digress a minute and discuss the key principle in modern scientific
navigation which is identical to Schillinger's
manifolds. Navigation is an activity we take for granted in our day to day
lives. There are two methods; meets and
bounds and grid coordinates. In music, navigation is currently in the meets
and bounds system. Since Schillinger was a
scientist and navigated his music theories by grid coordinates, permit me to
offer a comparative example.
About 1948 an invention appeared which revolutionized navigation. It ranks
second only to the invention of the
compass and is known as the Visual Omni Range. Its concept is similar to
Schillinger's manifolds. The principle is
simple: two beacons or discs rotating in opposite directions, each emitting a
radio signal at a certain frequency. When
both beacons start at 0 or North they are "in phase". As they rotate in
opposite directions they become out of phase by
30 degrees, 60 degrees ,...180 degrees, etc., until the cycle is complete.
The receiver in the aircraft measures the phase
displacement and registers what magnetic direction the aircraft is in
relation to the VOR. Two such devices permit
triangulation and will pinpoint the exact location. Virtually all the
navigation used today uses the VOR. Schillinger
developed this same principle to navigate in music some 30 years before it
was formulated for the VOR. Once this
general principle is grasped more complex manifold signals readily fall into
place.
We see the logic of this for scales, diads, triads and sevenths. Cadences are
no exception. Cadence is fundamental to
music and there are two general forms: Classic and Modern. We also find two
general forms of mathematics which deal
with mechanics: classical mechanics and quantum mechanics. Until about 1900
classic cadences predominated in
music as did classical mechanics in mathematics. Each era is confined within
the limits of its mathematical or musical
systems. In the classical mechanics, Euclidian and Newtonian systems prevail,
triangular measurement dominating this
system. In classical music, harmonic triads prevail. After 1900 quantum
theory envelopes all science with a 4th
dimensional parameter being added to the classical system. In music the RE
SOL DO LA (D-, G7, CM, A-) 4th
dimensional cadence tones appeared in music; particularly in Scriabin,
Youmans, Gershwin. As in science from that
time on (1900-1925) all things entered the quantum era.
Once the mechanics of music is seen as a whole we see and grasp this overview
as we would view a plastic model of an
internal combustion engine or a clock. Once the concept of the component
parts are understood it makes things
easier to comprehend. Perhaps all of us agree that our knowledge of the 7ths
is proportional to our understanding of
music. "Sevenths are where it`s at" is a truism. As pianists we review our
scales, cadences and 7ths, but when the
manifolds are included with each of them in turn, they cause a profound
intellectual and physical improvement. Each
entity has its unique shape and position; each is special, so much more so
now that visual perception is the new
parameter.
The cornerstone of the Schillinger System is his Theory of Rhythm. Once the
process of generating rhythm patterns is
understood, Schillinger`s Encyclopedia of Rhythms proves to be an invaluable
aid. It is easy to read and comprehend
and affords a wealth of information. The 2 volume Schillinger System of
Musical Composition is very difficult and
requires years of study, but with the coordinated simultaneous study of the
Encyclopedia of Rhythms and cross
reference to his Mathematical Basis of the Arts it begins to make sense. The
manifolds are as critical to understanding
Schillinger as are the rhythm generators. From these comes quadrant rotation,
composition from geometric projection
and infinite series. Step by step, this system is interesting and most
valuable.
Harry Lyden
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ze...@sonic.net
I was wrong, there is alot of writing:
JOSEPH M. SCHILLINGER -- A BIBLIOGRAPHY
compiled by Louis Pine -- May, 1995
©Louis Pine, 1996
Please note that this bibliography is an abbreviated version of a forthcoming
bibliography that will be substantially
longer and annotated. Plans for the publication of this expanded bibliography are
underway. For further information
about the expanded version, please e-mail Mr. Lou Pine
"33rd Annual International Critics Poll: Lifetime Achievement Award." Down
Beat Aug. 1985: 20.
"Berklee College of Music." Music Journal 30 (1972): 27-37.
"The Berklee School's Correspondence Course Lesson Number Seven." Metronome
75.10 (1958): 36-37.
"Conducts Evening of Armenian Music," New York Times 28 November 1933: 28.
"Correspondence Course Offers Advancement for Music Students." Metronome
75.4 (1958): 34-35.
"Correspondence Course Offers Advancement for Music Students." Metronome
75.5 (1958): 28-29.
"Inside Stuff-Music." Variety 3 Feb. 1954: 54.
"Inside Stuff-Music." Variety 4 April 1956: 49.
"Jos. Schillinger, Composer, Teacher." New York Times 24 March 1943: 23.
"Joseph Schillinger" Encyclopedia of Rhythms. By Joseph Schillinger. New
York: Chas. Colin, 1967.
"Joseph Schillinger." Violins and Violinists Aug. 1951: 229-230.
"Montgomery, Merle." 1977-1978 Who's Who of American Women. 10th ed.
Chicago: Marquis Who's Who,
1978.
"Music by Slide Rule." Newsweek 25 Sep. 1944: 81-82.
"Music Makers to Be Engineers." New York Sun 11 May 1940: 26.
"On Music Pitch." New York Times 15 February 1942, sec. II: 5.
"Schillinger Collection Donated to University.'' Laramie Daily Boo 7 Aug.
1979: 3.
"Schillinger School Renamed for Berk." Down Beat 10 Mar. 1954: 14.
"Schillinger System." International Musician July 1944:
"Theremin." The New Grove Dictionary of American Music. Ed. H. Wiley
Hitchcock and Stanley Sadie. London:
Macmillan, 1986.
"Vita." The Schillinger System of Musical Composition. By Joseph
Schillinger. New York: C. Fischer, 1946.
1639-1640.
Adams, Charles R. "Melodic Contour Typology." Ethnomusicology 20 (1976):
179-215.
Alpert, Hollis. The Life and Times of Porgy and Bess. New York: Knopf, 1990.
Ames, Charles. "Automated Composition In Retrospect: 1956-1986." Leonardo 20
(1987): 169-185.
Augustine, Daniel. "Four Theories of Music In the United States 1900-1950:
Cowell, Yasser, Partch, Schillinger."
Ph.D. diss., The University of Texas at Austin, 1979.
Backus, John. "Pseudo-Science In Music." Journal of Music Theory 4 (1960):
221-232.
Barbour, J. Murray. Rev. of The Mathematical Basis of the Arts, by Joseph
Schillinger. Scripta Mathematica
16.1-2 (1950): 81-87.
Baroni, Mario. "The Concept of Musical Grammar." Music Analysis 2 (1983):
175-208.
Beck, Frederick A. "The Flugelhorn as an Orchestral Instrument." Woodwind
World-Brass and Percussion Mar.
1978: 22-40.
Benda, Richard. "Schillinger System Arranging." International Musician 55,
Oct. - Dec. 1956.
Benda, Richard. "Schillinger System Arranging." International Musician 55,
Feb. - Apr., and June 1957.
Benda, Richard. "Schillinger System Arranging." International Musician 56,
Aug., Oct. - Dec. 1957.
Benda, Richard. "Schillinger System Arranging." International Musician 56,
Jan. - May 1958.
Benda, Richard. "Schillinger System Arranging." International Musician 57,
July - Sep., and Nov. 1958.
Berk, Lawrence. "Paradox of Music Education.'' Metronome 74.10 (1957):
29-30.
Berk, Lawrence. "Special Training." Down Beat 12 Dec. 1957: 19+.
Blickensdorfer, Joseph P., ed. "Schillinger, Joseph--The Schillinger System
of Musical Composition." The United
States Quarterly Book List 2 (1946): 272-273
Blom, Eric. "Joseph Schillinger." Grove's Dictionary of Music and Musicians.
Ed. Eric Blom. 5th ed. London:
Macmillan, 1954.
Bobbit, Richard. "The Harmonic Idiom in the Works of ' Les Six.'" Ph.D.
diss., Boston University Graduate School,
1963.
Bobbit, Richard. "The Physical Basis of Intervallic Quality and Its
Application to the Problem of Dissonance."
Journal of Music Theory 3 (1959): 173-207.
Brown, Earle. "Earle Brown." The Music Makers. Eds. Deena and Bernard
Rosenberg. New York: Columbia UP,
1979. 79-91.
Brown, Earle. "Earle Brown." Trackings. Ed. R. Dufallo. New York: Oxford UP,
1989. 103-118.
Brown, Earle. "Form." Darmstädter Belträge zur Neuen Musik 10 (1966): 57-69.
Brown, Earle. "The Notation and Performance of New Music." The Musical
Quarterly 72 (1986): 180-201.
Brown, Earle. "The Promotion and Performance of American Music Abroad."
National Music Council Bulletin
27.2 (1966-67): 6-9.
Brown, Earle. "Serial Music Today." Breaking the Sound Barrier. Ed. G.
Battcock. New York: Dutton, 1981.
98-101.
Brown, Earle. "Some Notes on Composing." The American Composer Speaks. Ed.
Gilbert Chase. Baton Rouge:
Louisiana State UP, 1966., 299-305.
Browne, Malcolm W. "J.S. Bach + Fractals = New Music." New York Times 16
April 1991, late ed., sec. C Science
Desk: 1.
Burk, James M. "Schillinger, Joseph (Moiseyevich)." The New Grove Dictionary
of American Music. ed. H. Wiley
Hitchcock and Stanley Sadie. London: Macmillan, 1986.
Burk, James M. "Schillinger, Joseph (Moiseyevich)." The New Grove Dictionary
of Music and Musicians. Ed.
Stanley Sadie. London: Macmillan, 1980.
Campbell, David E. "Gerschefski, Edwin." The New Grove Dictionary of
Amercian Music. Ed. H. Wiley Hitchcock
and Stanley Sadie. London: Macmillan, 1986.
Carroll, Gregory D. "Method and Mystification: Thoughts for Young
Composers." The American Music Teacher
36.2 (1986): 48+.
Carter, Elliott. "The Schillinger Case-Fallacy of the Mechanistic Approach."
Modern Music 23 (1946): 228-230.
Chase, Gilbert. America's Music. Rev. 3rd ed. Urbana: U of Illinois P, 1992.
Claghorn, Charles E. "Schillinger, Joseph." Biographical Dictionary of
American Music. West Nyack, NY:, Parker,
1973.
Cloutier, Norman L. "Schillinger's Influence in Radio." Music News 40.2
(1948): 3-4.
Cochran, Alfred W. "Leith Stevens and the Jazz Film Score: The Wild One and
Private Hell 36." IAJE: Jazz
Research Papers 10 (1990): 24-27.
Colin, Charles. "Supplementary and Explanatory Key." Encyclopedia of
Rhythms. By Joseph Schillinger. New
York: Chas. Colin, 1967. H-W.
Connor, Frank Hayden. "A Daring Publishing Venture." Music News 40.2 (1948):
5-6.
Coss, Paul. "Paul Coss Visits Boston's Famous Berklee School of Music."
Metronome Dec. 1955: 14+.
Cowell, Henry. "Joseph Schillinger as Composer." Music News 39.3 (1947):
5-6.
Cowell, Henry. "Overture to the Schillinger System." The Schillinger System
of Musical Composition. By Joseph
Schillinger. New York: Fischer, 1946. ix-x.
Cowell, Sidney, and Henry Cowell. "The Schillinger Case-Charting the Musical
Range." Modern Music 23 (1946):
226-228.
Davis, Francis. Rev. of Gershwin, by Edward Jablonski. New York Times Book
Review 27 Sep. 1987: 14.
DeLong, Thomas A. "Adding to Porgy and Bess." Letters to the Editor. New
York Times Magazine 23 November
1980: 174.
Denton, David Bryan. "The Composition as Aesthetic Polemic: December 1952 by
Earle Brown." Ph.D. diss., The
University of Iowa, 1992.
Dickinson, G.S. "Schillinger, Joseph--Schillinger System of Musical
Composition." Library Journal 71 (1946):
121.
Dilberto, John. "Mikel Rouse." Down Beat June 1985: 54-55.
Dowling, Lyle. A Brief Note on the Schillinger System. New York: Allied
Music, 1942.
Dresden, Arnold. Rev. of The Schillinger System of Musical Composition, by
Joseph Schillinger. Scripta
Mathematica 13 (1947): 71-77.
Duke, Vernon. "Gershwin, Schillinger, and Dukelsky." The Musical Quarterly
32 (1947): 102-115,
Duke, Vernon. Listen Here! New York: Ivan Obolensky, 1963.
Duke, Vernon. Passport to Paris. Boston: Little, Brown, 1955.
Dumm, Robert W. "The National Scene--Boston." Musical Courier Apr. 1960: 20+
Ebcioglu, Kemal. "An Expert System for Harmonizing Chorales In the Style of
J.S. Bach." The Journal of Logic
Programming 8 (1990): 145-185.
Edwards, Arthur C. The Art of Melody. New York: Philosophical Library, 1956.
Ellington, Mercer. "Duke 1951." The Metronome Aug. 1951: 13+.
Emmer, Michele. "Visual Art and Mathematics: Comments on the Meaning of
Order." Leonardo 15.1 (1982):
65-67.
Epperson, Gordon. The Musical Symbol. Ames: Iowa State UP, 1967.
Ernst, David. The Evolution of Electronic Music. New York: Schirmer, 1977.
Ewen, David. A Journey to Greatness. New York: Henry Holt, 1956.
Ewen, David. David Ewen Introduces Modern Music. New York: Chilton, 1962.
Ewen, David. George Gershwin: His Journey to Greatness. Englewood Cliffs,
NJ: Prentice-Hall, 1970.
Feather, Leonard. "Miller, Glenn." The New Edition of the Encyclopedia of
Jazz. New York: Horizon, 1960.
Firestone, Ross. Swing, Swing, Swing. New York: Norton, 1993.
Forte, Allen. "Theory." Dictionary of Contemporary Music. Ed. John Vinton.
New York: Dutton, 1974.
Gabura, A. James. "Music Style Analysis by Computer." The Computer and
Music. Ed. Harry B. Lincoln. Ithaca:
Cornell U, 1970.
Gann, Kyle. "Square Rhythms." Village Voice 28 April 1992: 94.
Gerschefski, Edwin. "Schillinger Makes It Easy." Music News 40.8 (1948): 10.
Gershwin, Ira. "Gershwin on Gershwin." Newsweek 23 Oct. 1944: 14.
Gershwln, Ira. "My Brother." George Gershwin. Ed. Merle Armitage. New York:
Longmans, 1938.
Gilbert, Steven E. "Gershwin's Art of Counterpoint." The Musical Quarterly
70 (1984): 423-456.
Gojowy, Detlef. "Aspekte des kompositorischen Handwerks in den 20er
Jahren--Manifestationen bei russischen
Komponisten." Hindemith -Jahrbuch/Annales Hindemith (1982): 137-156.
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ze...@sonic.net
Gerry wrote:
>
>
> Yes but apparently not with enough precision. According to Amazon the
> first volume of this work is out of print. The second volume (aka "The
> Exciting Conclusion") is available for $205.00
If you really must have it, I recommend finding a used copy. Both volumes are
usually sold as a set and nowadays go for about $150 to $226. Hone your
online booksearch chops. Nuthin Tuit. You might even find it for less.
Zeno
ze...@sonic.net
For example, Da Capo has reprinted these things and are new. Contact Da Capo
to find out what they have in stock. These findings are some of hundreds to
be found online. Again I recommend the public or your local University
library in order to find out if his approach holds anything for you.
Zeno
1. Schillinger System of Musical Composition
By: Joseph Schillinger
Our Price: $177.50
Published by Da Capo Press | Published in 1978
Hardcover | Usually ships in 3 to 5 weeks
2. Encyclopedia of Rhythms:Instrumental Forms of
Harmony
By: Joseph Schillinger
Our Price: $84.95
Published by Da Capo Press, Incorporated |
Published in 1976
Hardcover | Availability Unconfirmed
Gerry
No, actually you have guided me through the process with a delightful
outcome--I'm interested in no way whatsoever now. At first I thought
it was something, like reading the odd novel, that might be a curious
way to pass time. After your recent posts I realize that I'd rather
spend an hour with maracas then an hour with another music unification
theory. Most importantly I can gain more as a musician and as a human
with the maracas.
It also leaves time for a movie and learning to speak Japanese--which
doesn't come about from an idle interest.
Abel
facts two chapters in a row, one is in his voice, one is in Puente's.
Would have liked a more in-depth treatment, more cultural and historical
context, more info about the man's life and career.
Dennis M. Reed "Califa" <dmr...@dmreed.com> wrote in message
news:EwgH4.173341$8k3.8...@news1.rdc1.sdca.home.com...
> I have just started reading this book. Does anyone here have any opinions
or
> observations about it?
>
> I find it interesting that on page 6, it is stated that Puente studied
> Schillinger (Zeno and I have mentioned that Carlos Federico studied
> Schillinger for as long as we can remember and I recall Carlos telling me
> shortly before he passed away that he was on his third set of the book(s)
> and that he had worn out the other two sets).
>
> I have commented that in the 60s, if a band played anything other than
> Latin, the conga player was forced to sit out (even though many of us felt
> that the conga had a place in non Latin music, and time would prove us to
be
> correct). Anyway, on page 7, it says that Frank (Frankie) Colón, the conga
> player in Puente's first band, had to sit out when the band played
American
> pop tunes.
>