These are all great!!! I also discovered these books in the library at CalArts when I was a student there and spent numerous hours trying to parse my way through them. His work has captured my imagination to this day. I think your retelling of his work is very clear and easy to follow. I have subscribed and encourage you to expand on this series. Cheers!
(1) At the beginning: This shifting of rhythms is what Xenakis called "sieves." (2) [around 15:30] Rotation is a way to generate a counter-rhythm for a descant. (3) 18:46: The name of the band is ABBA, not AABA ...
I'm not sure what schillinger brings to the table that simple rasterized/quantized harmonicity doesn't. I'll have to dig deeper I guess. Schillinger seems to provide a slightly more "humanistic" framing of harmonic pulses? I see polyrhythm as overtones converging to a fundamental (a combination of quantized frequencies - harmonic pulses - together with something I call "dissonant pulses" that can also act as a counterpoint when forming phrases/rhythm).
Schillinger proposes numerous ways of grouping the resultants so as to create a 'pool' of resources that one can draw from with each generator group. (Generators being the numbers used to create an interference pattern. r3:2 or r9:7:5 etc.) I think where the System excels is in its ability to present methods and concepts that are on the brink of complete generalization while also remaining potent enough to have many applications. While your idea of "rasterized/quantized harmonicity" does in many ways appear similar (if I have decoded your terminology correctly), Schillinger goes much farther with the methods presented in Book I (Theory of Rhythm) than just that. I think, in some ways, by abstracting these concepts from what is a valid concrete counterpart (fundamental and harmonic pulses in your example) you allow for a more open mind in creating. The material is not derived from the harmonic series but rather is developed as its own entity that just happens to match with patterns found in another series. Much like the example given, there are many ways to arrive at one result.
@@auedpo I have those two books in my library . I’ve tried to start reading the first volume tonight, after reading few page I felt like I’m losing my mind !! Do you really think traditional and contemporary western composers really knew those kind of stuff for composing ?
@@damoon57 Regarding your question, yes I do believe that many composers knew of these ideas and implemented them in their work. The SSMC originally had a preface written by Henry Cowell. The Schillinger's and the Cowells were very good friends as is evidenced in the letters exchanged by the Cowells and Frances after Joseph's passing. Additionally, Schillinger has many documented students. Some well known, others just people that studied with him. At his busiest, he is reported to have taught upwards of 50+ hours of lessons per week. There are several pamphlets available that show his student recitals. How awesome it must have been to play a piece of your own making in Schillinger's living room!
Interesting video. I’ll have to come back to this after I’ve read a bit of Schillinger. Thanks.
These are all great!!! I also discovered these books in the library at CalArts when I was a student there and spent numerous hours trying to parse my way through them. His work has captured my imagination to this day. I think your retelling of his work is very clear and easy to follow. I have subscribed and encourage you to expand on this series. Cheers!
There are quite a few beautiful sequencers in Max4Live built around all these concepts. Wonderful stuff :)
(1) At the beginning: This shifting of rhythms is what Xenakis called "sieves."
(2) [around 15:30] Rotation is a way to generate a counter-rhythm for a descant.
(3) 18:46: The name of the band is ABBA, not AABA ...
1) Interesting thanks! 2) I know so wonderful and 3) Yes I did know this. :)
Milton how do you do that in ableton? I really want to use this concept but I can't figure it out
I want to watch the 3rd part of "Schillinger" what needs to be done for this?
This is the final one: Schillinger System of Musical Composition (for Composers) Part 3
ua-cam.com/video/1XTrfLc7xbA/v-deo.html
Thanks!
I'm not sure what schillinger brings to the table that simple rasterized/quantized harmonicity doesn't. I'll have to dig deeper I guess. Schillinger seems to provide a slightly more "humanistic" framing of harmonic pulses?
I see polyrhythm as overtones converging to a fundamental (a combination of quantized frequencies - harmonic pulses - together with something I call "dissonant pulses" that can also act as a counterpoint when forming phrases/rhythm).
Schillinger proposes numerous ways of grouping the resultants so as to create a 'pool' of resources that one can draw from with each generator group. (Generators being the numbers used to create an interference pattern. r3:2 or r9:7:5 etc.)
I think where the System excels is in its ability to present methods and concepts that are on the brink of complete generalization while also remaining potent enough to have many applications. While your idea of "rasterized/quantized harmonicity" does in many ways appear similar (if I have decoded your terminology correctly), Schillinger goes much farther with the methods presented in Book I (Theory of Rhythm) than just that. I think, in some ways, by abstracting these concepts from what is a valid concrete counterpart (fundamental and harmonic pulses in your example) you allow for a more open mind in creating. The material is not derived from the harmonic series but rather is developed as its own entity that just happens to match with patterns found in another series. Much like the example given, there are many ways to arrive at one result.
@@auedpo I have those two books in my library . I’ve tried to start reading the first volume tonight, after reading few page I felt like I’m losing my mind !! Do you really think traditional and contemporary western composers really knew those kind of stuff for composing ?
@@damoon57 Regarding your question, yes I do believe that many composers knew of these ideas and implemented them in their work. The SSMC originally had a preface written by Henry Cowell. The Schillinger's and the Cowells were very good friends as is evidenced in the letters exchanged by the Cowells and Frances after Joseph's passing.
Additionally, Schillinger has many documented students. Some well known, others just people that studied with him. At his busiest, he is reported to have taught upwards of 50+ hours of lessons per week. There are several pamphlets available that show his student recitals. How awesome it must have been to play a piece of your own making in Schillinger's living room!
er -- maybe because Schillinger devoped his system a long time before rasterized/quantized harmonicity was ever herd of.
I feel like Steve Reich was a fan