Schillinger Correspondence Course Lessons

Description data TOP

unitdate

{"value"=>"1942", "type"=>"inclusive", "normal"=>"1942"}

date_inclusive_start

1942

date_inclusive_end

1942

unittitle

{"value"=>"Schillinger Correspondence Course Lessons"}

scopecontent

{"value"=>"<p>A correspondence course in various aspects of music theory by Joseph Schillinger.</p>"}

unitid

{"type"=>"local_mss", "value"=>"848592"}

date_start

1942

date_end

1942

keydate

1942

Child components TOP

1. CLXXXVIII (188)
2. CLXXXVIX (189): Development of Attack-Groups by Means of the Coefficients of Recurrence
3. CXC (190)
4. CXCI (191)
5. CXCII (192)
6. CXCIII (193)
7. CXCIV (194)
8. CXCV (195): Development of Instrumental Strata
9. CXCVI (196): Instrumental Forms of Accompanied Melody
10. CXCVII (197): The Use of Directional Units in Instrumental Forms of Harmony
11. CXCVIII (198): Instrumental Forms of Piano Compositions
12. CXCIX (199): Positions of Hands with Respect to the Keyboard
13. CC (200): General Theory of Harmony
14. CCI (201): Illustrations of S=2p
15. CCII (202): Sequence of Variable Structures in One Two-Part Stratum
16. CCIII (203): Two Strata of Two-Part Harmonies
17. CCIV (204): Three Hubrid Strata
18. CCV (205): Diatonic and Symmetric Limits and the Compound of Two-Part Strata
19. CCVI (206): One Stratum of Three-Part Harmonies
20. CCVII (207): Two Strata of Three-Part Harmony
21. CCVIII (208): Four and More Strata of Three-Part Harmonies
22. CCIX (209): One Stratum of Four-Part Harmony
23. CCX (210): Examples of Progressions of S=4p
24. CCXI (211): Special Cases of Four-Part Harmonies on Two Strata
25. CCXII (212):Two Strata of Four-Part Harmonies
26. CCXIII (213): Four and More Strata of Four-Part Harmonies
27. CCXIV (214): Variable Number of Parts in the Different Strata of a Sigma
28. CCXV (215): Construction of Sigmae Belonging to One Family
29. CCXVI (216): Distribution of a Given Harmonic Continuity Through Strata
30. CCXVII (217): General Theory of Directional Units (Melodic Figuration)
31. CCXVIII (218): Directional Units of S3p
32. CCXIX (219): Strata Composition of Assemblages Containing Directional Units
33. CCXX (220): Applications of General Harmony
34. CCXXI (221): Composition of Harmonic Continuity from the Strata
35. CCXXII (222): Melody with Harmonic Accompaniment
36. CCXXIII (223): Correlated Melodies
37. CCXXIV (224): Compositions of Canons from Strata Harmony
38. CCXXV (225): Correlated Melodies with Harmonic Accompaniment
39. CCXXVI (226): Composition of Density-Groups
40. CCXXVII (227)
41. CCXXVIII (228)
42. CCXXIX (229): Evolutions of Pitch-Families (Styles)
43. CCXXX (230): Strata (General) Harmony
44. CCXXXI (231): Melodization of Harmony
45. CCXXXII (232): Theory of Composition-Introduction
46. CCXXXIII (233): Pitch-Scale as Major Component
47. CCXXXIV (234): Melody as Major Component
48. CCXXXV (235): Harmony as a Major Component
49. CCXXXVI (236): Melodization as a Major Component
50. CCXXXVII (237): Density as Major Comonent
51. CCXXXVIII (238): Instrumental Resources as Major Component
52. CCXXXIX (239): Composition of Thematic Continuity
53. CCXL (240): Temporal Coordination of Thematic Sequence
54. CCXLI (241): Integration of Thematic Continuity
55. CCXLII (242): Planning of a Composition
56. CCXLIII (243): Selection of a Thematic Sequence
57. CCXLIV (244): Realization of Continuity
58. CCXLV (245): Monothematic Composition
59. CCXLVI (246): Study in Rhythm II for Piano
60. CCXLVII (247): Polythematic Composition
61. CCXLVIII (248): Semantic Basis of Music
62. CCXLIX (249)
63. CCL (250)
64. CCLI (251): Composition of Sonic Symbols
65. CCLII (252): Upper Quadrant of the Negative Zone
66. CCLIII (253): Upper Quadrant of the Positive Zone
67. CCLIV (254): The Lower Quadrant of Both Zones
68. CCLV (255): Techinical Resources
69. CCLVI (256): Composition of Semantic Continuity
70. CCLVII (257): Coordination of Sonic Symbols
71. CCLVIII (258): Theory of Orchestration-Instruments
72. CCLIX (259): Playing
73. CCLX (260): The Right Arm Technique
74. CCLXI (261)
75. CCLXII (262): Violoncello
76. CCLXIII (263): The Flute Family
77. CCLXIV (264): The Clarinet Family
78. CCLXV (265): The Oboe Family
79. CCLXVI (266): Brass Instruments
80. CCLXVII (267): Tromba (Trumpet)
81. CCLXVIII (268): Trombone
82. CCLXIX (269): Arpa (Harp)
83. CCLXX (270): Electronic Instruments
84. CCLXXI (271): The Hammond Organ
85. CCLXXII (272): Percussive Instruments
86. CCLXXIII (273): Vibraphone
87. CCLXXIV (274): Gran-Casa (Bass-Drum)
88. CCLXXV (275): Instrumental Techniques
89. CCLXXVI (276): Instrumental Combination
90. CCLXXVII (277): Qualitative Relations of Members and Groups of Families
91. CCLXXVIII (278): Acoustical Basis of Orchestration
92. CCLXXIX (279): Effects
93. CCLXXX (280): Special Data
94. CCLXXXI (281): Factors of Frequency
95. CCLXXXII (282): The Instrument of Hearing
96. CCLXXXIII (283): Forms of Auditory Response
97. CCLXXXIV (284): Phonotechnic Integral
98. CCLXXXV (285)
99. CCLXXXVI (286): Three Part Counterpoint
100. Continuous Imitation
101. Continuous Imitation in Four-Part Harmony
102. Contrapuntal Modulation (Polytonal)
103. Fugue in Four-Parts
104. Methods of Modulation
105. Modulation in Three-Part Counterpoint
106. A Sample of Thematic Sequence through Symetrical Tonics
107. The Use of Systematic Scales in Counterpoint