Orkiestra was a monthly periodical founded by Józef Koffler in 1930, with the stated mission of "disseminating musical culture among orchestras and musical societies in Poland." The editorial office was situated in Przemyśl at 11 Smolka Street, with printing operations conducted at Jan Łazor's printing house in Przemyśl.

In 1931, the Ministry of Military Affairs (Department of Infantry) issued a circular encouraging military bands and individual musicians to subscribe to the journal. The publication was commended for its "high yet accessible standard, rich content, and collaboration with distinguished musicians."

This is a systematic textbook of music theory, supported by musical examples. The work opens with an introduction to the aims and objectives of music theory (I), followed by discussions of musical alphabet (II) and solmization (III). Sections IV–V address musical notation, while VI–VII explore chromatic signs. Further sections examine rhythmic values (IX–X), intervals (XI), and tuning systems – Pythagorean, just, and tempered (XII–XIII). Koffler then proceeds to harmonic triad (XIV–XV), chord functions (XVI), and cadences (XVII). The later chapters cover major and minor modes (XVIII–XXI) and performance indications – tempo and dynamics (XXII–XXIII). The textbook concludes with an examination of meter and rhythm (XXIV).

This course in harmony presents comprehensive foundations of functional harmony. The material begins with fundamental concepts (major and minor triads, harmonic functions T-S-D) and gradually progresses to more advanced topics, such as chord inversions, seventh and ninth chords, various types of cadences, tonal systems, and modulation techniques. The author pays particular attention to the proper connection of chords and voice leading, providing numerous musical examples and recommending specific practical exercises. The course combines theory with practice, requiring students to complete written assignments as well as perform exercises on an instrument. It constitutes a valuable testament to music pedagogy in the Polish educational tradition of the first half of the twentieth century.

This series constitutes a systematic exposition of instrumentation and the art of orchestration. The early texts (1931–1932) function as a guide to orchestral instruments—Koffler methodically examines woodwind, brass, percussion, and string instruments, analyzing their construction, ranges, timbral qualities across different registers, and performance techniques. He devotes particular attention to specialized playing techniques, such as harmonics and pizzicato on string instruments, stopped notes on brass instruments, and various striking methods for percussion instruments. In his later articles (from 1936 onward), Koffler transitions from describing individual instruments to practical applications of orchestration knowledge—he analyzes orchestral unisons, timbral contrasts, and provides examples from the works of Mozart, Haydn, Beethoven, and other composers.