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Verse:Hmøøh/Rewhd Sgutsis: Difference between revisions
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**She describes a temperament as a span of unison vectors/commas (Note: The commas generate the kernel characterizing a regular temperament relative to the JI space. There are multiple valid generating sets that generate the same kernel, thus multiple comma-sets that characterizes a temperament.) | **She describes a temperament as a span of unison vectors/commas (Note: The commas generate the kernel characterizing a regular temperament relative to the JI space. There are multiple valid generating sets that generate the same kernel, thus multiple comma-sets that characterizes a temperament.) | ||
*Scale-wise... images of constant-structure scales; in addition, MOSes like those found in various world musics. | *Scale-wise... images of constant-structure scales; in addition, MOSes like those found in various world musics. | ||
**The great thing about equal temperaments might really be that they provide a way of categorizing | **The great thing about equal temperaments might really be that they provide a way of categorizing interval sizes. | ||
*Equal temperaments with "good" (highly composite) divisions of the fifth. | *Equal temperaments with "good" (highly composite) divisions of the fifth. | ||
*The appendix gives the mathematical details behind the theory | *The appendix gives the mathematical details behind the theory, for example: proofs that the algorithms she uses work; links between the Riemann zeta function and "good" equal temperaments. (She didn't have the modern algebraic language to describe what in effect she was doing, making the treatment mathematically less clean than it could have been. However, it's very concrete which is a plus for her intended audience.) | ||
Other stuff: | Other stuff: | ||
*Should stay "close to" equal temperaments whenever possible. That means no wedge products. | *Should stay "close to" equal temperaments whenever possible. That means no wedge products. (A part of her goal is to democratize music.) | ||
*What gets you from a temperament to a "good" period/generator size? | *What gets you from a temperament to a "good" period/generator size? (Maybe she doesn't cover this.) | ||
==Compositions== | ==Compositions== | ||
[Outsourcing.] | [Outsourcing.] | ||
===Characteristics=== | |||
Sgutsitn often takes inspiration from folk music and world music, as well as older classical music. In particular, they're often influenced by Naquian music and other | Sgutsitn often takes inspiration from folk music and world music, as well as older classical music. In particular, they're often influenced by Naquian music and other traditions outside Etalocin that use non-just intonation tunings. Sgutsitn specifies various equal temperaments described in her work, in addition to works that use just intonation as in traditional Etalocian music. Among equal temperaments Sgutsitn worked in 15-ET, 17-ET, 19-ET, 22-ET, 27-ET, and 31-ET. (Simple temperaments; also considering technical limitations during her time period.) | ||
===Partial list=== | |||
*Winter Solstice "Cantatas" | *Winter Solstice "Cantatas" | ||
*Possibly some musical dramas | *Possibly some musical dramas | ||