Verse:Hmøøh/Rewhd Sgutsis: Difference between revisions

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 ** [[Sfətsiv]] (knows a little, her grandparents spoke it)
 ** [[Windermere]] and [[Tamil]] (She would have had to be able to read it to read premodern math texts)
-*Credit to Mike Battaglia, Gene Ward Smith, and other members of the microtonal community who developed the music theory used here.
 *What is her overarching motivation?
-*Later in life (after her treatise) she should choose one EDO and stick to it. Let's say 22.
 ==Historical backdrop==
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 ==Later life==
-Shortly after receiving her doctorate, Askuucis started corresponding with a number of composers, musicians and theorists to exchange ideas about music. These discussions, as well as explorations of various non-Etalocian musical traditions (especially Naquian music), would inspire her to further develop the music theory at that time. These ideas were distilled into a treatise that was published in fT 2066. While Askuucis's treatise does not use the language of modern linear algebra, it still gives detailed procedures for building temperaments and other musical constructions.
+Shortly after receiving her doctorate, Askuucis started corresponding with a number of composers, musicians and theorists to exchange ideas about music.
 In fT 2076, an academic took notice of Askuucis's work and invited her to serve in the University of Cdam Sre as a professor of music. She accepted the offer and would continue to teach there for 14 years. Among her students were several notable Talman composers and popular musicians.
 In fT 2090, Askuucis retired from her academic post and secluded herself, intending to focus solely on composition. She lived in a house in Sŋooron until she died of a stroke in fT 2096.
 ==Contributions to music theory==
-Askuucis's best known written work is her treatise on equal temperaments, which mainly describes the structural properties of various equal temperaments. She wrote this partly as a "call to action" for other composers. [She might not have invented all of the material but she's definitely responsible for the zeta function stuff]
+Role of zeta functions in tuning.
-*Various regular temperaments and the equal temperaments supporting them. The equal temperaments supporting a regular temperament also characterize that 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.
-**The great thing about equal temperaments might really be that they provide a way of categorizing interval sizes.
-*Equal temperaments with "good" (highly divisible) divisions of the fifth or the fourth
-*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.)
-A part of her goal was to make composition more accessible.
 ==Compositions==
 [Outsourcing.]