Why Doesn't Anyone Talk About the Schillinger System of Musical Composition?

Music theory and composition have a vast array of methods and systems, each with its own unique approach and appeal. Among these is the Schillinger System, developed by Joseph Schillinger in the early to mid-20th century. Despite its rich history and potential value, the Schillinger System often remains under-discussed in mainstream music discourse. This article delves into the reasons behind this limited focus and explores the benefits and challenges of embracing this system.

Complexity: Astacle to Understanding

The Schillinger System is a comprehensive approach that emphasizes mathematical principles and systematic methods. For those not well-versed in mathematical concepts, the system can be daunting and difficult to grasp. Because of this complexity, many musicians and composers who prefer more intuitive or traditional methods of composition may find the Schillinger System less appealing. While the system offers depth and precision in music theory, its intricate nature can serve as a barrier to entry.

Historical Context: Shifting Tides in Music

During the period when Joseph Schillinger developed his system, many composers were exploring avant-garde techniques and new forms of expression. As music evolved, other methods and theories began to gain prominence. The avant-garde approaches and modernist techniques overshadowed the Schillinger System, leading to its diminished presence in discussions about music theory. This historical context has contributed to the system's limited discussion in contemporary music discourse.

Lack of Mainstream Adoption: Limited Exposure

While the Schillinger System has its advocates, it has not been widely adopted in music education or practice. This lack of mainstream recognition makes it challenging for the system to gain broader exposure. Even though some musicians and composers have found value in Schillinger's techniques, the system's limited adoption in educational settings means that it is not as prominently featured in discussions about music theory.

Focus on Other Theories: Widely Accepted Paradigms

Music education often emphasizes more universally accepted theories such as traditional harmony, counterpoint, and modernist approaches. As a result, systems like the Schillinger System may not receive the attention they deserve. These widely accepted theories provide a solid foundation for many aspiring composers and musicians, rendering the introduction of alternative systems challenging in curricula and pedagogical practices.

Niche Appeal: Specialized Focus

The Schillinger System has a specialized audience primarily among those interested in the intersection of mathematics and music. This niche appeal may limit its broader appeal. While enthusiasts and scholars appreciate Schillinger's contributions, the system's specialized focus means that it may not be as immediately relevant to a wider audience of musicians and composers.

Is the Schillinger System the Holy Grail of Musical Composition?

If you are like me, seeking to learn composition with the aim of creating the best music in the shortest possible time, you may have encountered the Schillinger System. When I first discovered the Schillinger System in 2006-2007, I was excited about the promise of a comprehensive approach to composition. Wikipedia's recognition of Schillinger as a mentor to numerous prominent musicians and composers added to its allure.

However, upon delving into the Schillinger System, I was met with rigorous and extensive material. The vast amount of content, though comprehensive, can be challenging to navigate. The system's heavy focus on musical elements such as harmony and melody, while valuable, may overlook more critical aspects such as emotion and audience engagement. Moreover, many of the composers who studied with Schillinger were already highly talented, suggesting that the system's impact on their compositional abilities was secondary.

Alternatives to the Schillinger System

The Schillinger System, despite its potential, faces significant challenges in terms of user-friendliness and accessibility. While a comprehensive system is valuable, ease of use and focus on emotional and audience engagement are crucial for many aspiring composers and musicians. Therefore, considering the qualities of a good system, we must look for alternatives that offer a more approachable and user-friendly approach to musical composition.

A good system should be easy to start, have a strong focus on emotional connection and the audience, and avoid getting lost in the minutiae. Unfortunately, no single system currently meets all these criteria perfectly. If you are aware of such a system and would like to promote it, please share your insights. In the meantime, I continue to search for an ideal system to guide my pursuit of musical excellence.