schillinger joseph (35 Ergebnisse)

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket.

Hard Cover. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Harwich Port: Clock & Rose Press, 2003. 8vo. Hardcover inding. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket. Size: 8vo - over 7¾" - 9¾" tall.

Hard Cover. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Harwich Port: Clock & Rose Press, 2003. 8vo. Hardcover inding. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket. Size: 8vo - over 7¾" - 9¾" tall.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Reprint of the 1940 Revised Edition. 95 pp. Pitch scales in relation to chord structures. Schillinger was the legendary innovator, teacher and composer of music who taught many of the most famous names in American music, including George Gershwin, Glenn Miller and Carmine Coppola. Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. "Kaleidohphone is intended as an entirely practical approach to the age-old problem faced by almost all composers and arrangers, the relationship of chords and scales. Simple mathematical techniques are applied to the parameters of pitch. Intervals are expressed as numbers representing a quantity of semitone units. For example, a major third is 4 (semitones) and a perfect fifth is 7. Chords are written as number patterns; the major triad is (4+3). Kaleidophone deals with chords consisting of up to five members (pentads). Any chord can be transcribed numerically and linked to its close relatives by a process of reordering; the intervals are arranged in ascending order and then located in Table 1. Table 2, shows chords grouped with their near relatives as members of families. Chords containing semitone intervals are excluded. This smallest interval is treated as arising through a process of melodic elaboration, one that involves the insertion of a 'directional unit' (a kind of leading note) between each of the principle chord tones. For example, in the case of the root and third of the major triad, the interval 4 (a major third) can be bisected in three ways; (1+3) C to D flat;(2+2) C to D; (3+1) C to E flat. By assigning directional units, a scale closely related to the underlying harmony is formed. Each chord yields many alternative scales and these are also listed with their parent chord in Table 1. Schillinger consistently, applies core mathematical procedures to all parameters of music and readers familiar with Schillinger System of Musical Composition or the Mathematical Basis of The Arts will recognise techniques originally applied to matters of rhythm: permutation reveals all the relatives of a particular chord and frequently suggests plausible chord progressions, while subdivision , a process of splitting the original intervals, accounts for the directional units that make up the complex scales. Schillinger's introduction to Kaleidophone is quite extensive and contains a number of illustrations as well as reference to Gershwin's approach to the technique. Kaleidophone describes a potent approach to the composition of melody and harmony. The real spirit of this book is not the promotion of mechanistic composition but a desire to enlighten and expand the reader's knowledge of musical materials. As Schillinger says, "It will open before you a new and fascinating world which is about us, yet remains unseen. It will stimulate your imagination beyond your own expectations because it will provide you with new and alluring experiences." (Jeremy Arden, Oxford 2008). New in new dustjacket.

Wrappers. Zustand: New. Reprint. 18-page softcover book in fine condition. Stapled wrappers. Essay by Schillinger, illustrated, with some additional material reprinted from his other books. Brand new.

Wrappers. Zustand: New. Reprint. 18-page softcover book in fine condition. Stapled wrappers. Essay by Schillinger, illustrated, with some additional material reprinted from his other books. Brand new.

Wrappers. Zustand: New. Reprint. 18-page softcover book in fine condition. Stapled wrappers. Essay by Schillinger, illustrated, with some additional material reprinted from his other books. Brand new.

Hardcover. Zustand: Brand New. reprint edition. 95 pages. 10.10x7.00x0.60 inches. In Stock.

Zustand: New. pp. 892.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Harwich Port: Clock & Rose Press, 2003. Reprint. 8vo. Grey-blue cloth binding, gold titles. 696 pp. A work of revolutionary implications in the field of esthetics, this book formulates the basic laws of mathematical logic underlying all art structures. To mathematicians, engineers and scientists, the Einsteinian approach to the arts will prove stimulating. To painters, composers, motion picture technicians, and industrial designers, Schillinger's original method of rhythmic design will prove a fertile source of fresh techniques. The book runs the gamut from the speculative to the practical, demonstrating how creative works may be synthesized through mathematics. Schillinger achieves that integration of science and art, toward which esthetic philosophers have been working since Leonard da Vinci. Mathematician, artist, and musician, Schillinger was a rare genius. The book was organized by Schillinger before his death and published posthumously. This is Schillinger's masterwork, scarce in any edition. New in new dustjacket.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book.

Hard Cover. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Harwich Port: Clock & Rose Press, 2003. 8vo. Cloth. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. Brand new book. Size: 8vo - over 7¾" - 9¾" tall.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Harwich Port: Clock & Rose Press, 2003. 8vo. Reprint. 250 pp. The most original and novel phase of Schillinger's approach was that it was the first system of musical theory based, not on harmony, but on rhythm. To be sure, he conceived of rhythm in more comprehensive terms than simply the variation of metre achieved by manipulating note durations, accents, rests and tempo. This is a book of rhythm resources. New.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Illustrated (illustrator). Reprint. Harwich Port: Clock & Rose Press, 2003. Reprint. 8vo. Grey-blue cloth binding, gold titles. 696 pp. A work of revolutionary implications in the field of esthetics, this book formulates the basic laws of mathematical logic underlying all art structures. To mathematicians, engineers and scientists, the Einsteinian approach to the arts will prove stimulating. To painters, composers, motion picture technicians, and industrial designers, Schillinger's original method of rhythmic design will prove a fertile source of fresh techniques. The book runs the gamut from the speculative to the practical, demonstrating how creative works may be synthesized through mathematics. Schillinger achieves that integration of science and art, toward which esthetic philosophers have been working since Leonard da Vinci. Mathematician, artist, and musician, Schillinger was a rare genius. The book was organized by Schillinger before his death and published posthumously. This is Schillinger's masterwork, scarce in any edition. New in new dustjacket.

Hardcover. Zustand: Brand New. reprint edition. 95 pages. 10.10x7.00x0.60 inches. In Stock.

Hardcover. Zustand: Brand New. reprint edition. 250 pages. 11.20x8.80x1.00 inches. In Stock.

Hard Cover. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Harwich Port: Clock & Rose Press, 2003. Hard cover binding, 696 pp. A work of revolutionary implications in the field of esthetics, this book formulates the basic laws of mathematical logic underlying all art structures. To mathematicians, engineers and scientists, the Einsteinian approach to the arts will prove stimulating. To painters, composers, motion picture technicians, and industrial designers, Schillinger's original method of rhythmic design will prove a fertile source of fresh techniques. The book runs the gamut from the speculative to the practical, demonstrating how creative works may be synthesized through mathematics. Schillinger achieves that integration of science and art, toward which esthetic philosophers have been working since Leonard da Vinci. Mathematician, artist, and musician, Schillinger was a rare genius. The book was organized by Schillinger before his death and published posthumously. This is Schillinger's masterwork, scarce in any edition. New in new dustjacket. Size: 8vo - over 7¾" - 9¾" tall.

Hard Cover. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Harwich Port: Clock & Rose Press, 2003. Hard cover binding, 696 pp. A work of revolutionary implications in the field of esthetics, this book formulates the basic laws of mathematical logic underlying all art structures. To mathematicians, engineers and scientists, the Einsteinian approach to the arts will prove stimulating. To painters, composers, motion picture technicians, and industrial designers, Schillinger's original method of rhythmic design will prove a fertile source of fresh techniques. The book runs the gamut from the speculative to the practical, demonstrating how creative works may be synthesized through mathematics. Schillinger achieves that integration of science and art, toward which esthetic philosophers have been working since Leonard da Vinci. Mathematician, artist, and musician, Schillinger was a rare genius. The book was organized by Schillinger before his death and published posthumously. This is Schillinger's masterwork, scarce in any edition. New in new dustjacket. Size: 8vo - over 7¾" - 9¾" tall.

Hardcover. Zustand: New. Zustand des Schutzumschlags: New. Reprint. Harwich Port: Clock & Rose Press, 2003. Reprint of 1941 edition, New York with a new introduction by Jeremy Arden. 1640 pp. Covers Theory of Rhythm, Theory of Pitch-Scales, Variations of Music by Means of Geometrical Projection, Theory of Melody, Special Theory of Harmony, The Correlation of Harmony and Melody, Theory of Counterpoint, Instrumental Forms. New in new dust jacket.

Zustand: New. pp. 888.

Hardcover. Zustand: New. Zustand des Schutzumschlags: New. Harwichport: Clock & Rose Press, 2003. First thus. Reprint of 1941 edition published by Additional important introduction by Jeremy Arden. 2 volume set, cloth binding. 1640 pp. Covers Theory of Rhythm, Theory of Pitch-Scales, Variations of Music by Means of Geometrical Projection, Theory of Melody, Special Theory of Harmony, The Correlation of Harmony and Melody, Theory of Counterpoint, Instrumental Forms. New in new dust jackets.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Second Edition. Harwich Port: Clock & Rose Press, 2003. Second edition with introduction by Jeremy Arden. 2 volume set, cloth binding, gold titles, dustjacket. 1640 pp. Covers Theory of Rhythm, Theory of Pitch-Scales, Variations of Music by Means of Geometrical Projection, Theory of Melody, Special Theory of Harmony, The Correlation of Harmony and Melody, Theory of Counterpoint, Instrumental Forms. New in new dustjackets. Size: 8vo - over 7¾" - 9¾" tall.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Second Edition. Harwich Port: Clock & Rose Press, 2003. Second edition with introduction by Jeremy Arden. 2 volume set, cloth binding, gold titles, dustjacket. 1640 pp. Covers Theory of Rhythm, Theory of Pitch-Scales, Variations of Music by Means of Geometrical Projection, Theory of Melody, Special Theory of Harmony, The Correlation of Harmony and Melody, Theory of Counterpoint, Instrumental Forms. New in new dustjackets. Size: 8vo - over 7¾" - 9¾" tall.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Second Edition. Harwich Port: Clock & Rose Press, 2003. Second edition with introduction by Jeremy Arden. 2 volume set, cloth binding, gold titles, dustjacket. 1640 pp. Covers Theory of Rhythm, Theory of Pitch-Scales, Variations of Music by Means of Geometrical Projection, Theory of Melody, Special Theory of Harmony, The Correlation of Harmony and Melody, Theory of Counterpoint, Instrumental Forms. New in new dustjackets. Size: 8vo - over 7¾" - 9¾" tall.

Cloth. Zustand: New. Zustand des Schutzumschlags: New. Second Edition. Harwich Port: Clock & Rose Press, 2003. Second edition with introduction by Jeremy Arden. 2 volume set, cloth binding, gold titles, dustjacket. 1640 pp. Covers Theory of Rhythm, Theory of Pitch-Scales, Variations of Music by Means of Geometrical Projection, Theory of Melody, Special Theory of Harmony, The Correlation of Harmony and Melody, Theory of Counterpoint, Instrumental Forms. New in new dustjackets. Size: 8vo - over 7¾" - 9¾" tall.