Verse:Hmøøh/Rewhd Sgutsis: Difference between revisions

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(Deciding between this and [[Verse:Tricin/Rewhd Sgutsitn|modern!Sgutsitn]]. This is more of an opportunity to work out the history of Talman music than anything else. Also sorta practice for an undergraduate math club talk I might give.)
{{construction}}
:''This page uses music theory work mainly by Praimhín. See also: [[Verse:Tricin/Talma/Music]].''


'''Rewhd Avnín Sgutsitn''' ([[Eevo]]: [rɛuht avˈnin ˈskytsitɬ] fT 2036 – fT 2096 (aged 60)) was an [[Verse:Tricin/Anøvr|Anøvrian]] music theorist and composer.
[[File:Rewhd_Sgutsis.png|thumbnail|250px|Rewhd Sgutsis]]
 
'''Rewhd Avnin Sgutsis''' (fT 1136 – fT 1200 (aged 64)) was a [[Verse:Tricin/Skella|Skellan]] composer and music theorist<!-- and essayist--> of the late Classical and early Romantic period.
 
==Todo==
*need Skellan literature
*Talman Romantic period society and politics
*should not agree with me on everything


==Traits==
==Traits==
*Witty and incisive; generous towards her confidants
*Instruments: ''ðavr'', ''ñamsom'', guitar
*Languages:
*Languages:
** (Pretty archaic) [[Eevo]] (native speaker)
** [[Skellan]] (native), accent: weak Iasa + Swuntsim
** [[Sfətsiv]] (knows a little, her grandparents spoke it)
** [[Anbirese]]
** [[Windermere]] and [[Tamil]] (She would have had to be able to read it to read premodern math texts)
** [[Windermere]]  
*Credit to Mike Battaglia, Gene Ward Smith, and other members of the microtonal community who developed the music theory used here.
** [[Swuntsim]] (knows a little, her grandparents spoke it)
==Historical backdrop==
*Music theory: their scales are based on diamonds, CPS's, constant-structure scales
*Matrix algebra, from earlier work on tempering out small commas in JI.
**Perhaps Sgutsitn's work consists of relating this regular temperament work to equal temperaments.
***That's where the zeta function comes in, sorta.


==Early life and education==
==Early life and education==
Sgutsitn was born in the city of Flian, [[Verse:Tricin/Anøvr|Anøvr]] to a family of Adutsib descent as the second of three children. Her father was the physicist and composer Avnín Salis, who was professor of physics in the University of Flian. Her mother, Fyvað Sgutsitn (adapted from Adutsib ''xwəbad skwucił''), was a classical ''ŋams'' player and music teacher. Her mother's brother, Mugiv Ytxuðe, was a ''sewøðr'' player.
Sgutsis was born in the city of Hirvahnal, [[Verse:Tricin/Skella|Skella]] in the Iasa region to a family of Swuntsim descent as the second of three children. Her father was the physicist and composer Avnin Axew, who was professor of physics in the University of Hirvahnal. Her mother, Hvava Sgutsis (adapted from Talman Swuntsim ''Scütsis''), was a ''ðavr'' player and music teacher (she was also a composer). Her mother's brother, Mugiv Chətσüde, was a ''jogóm'' player.


A child prodigy, Rewhd was taught ''sewøðr'' and math from a young age. She started auditing music and math classes before she was 5. She was allowed to skip boarding school and to enroll in Flian University in math at age 10 by taking an entrance exam. She was an exceptionally gifted student and graduated in mathematics and music with honors at age 16 (fT 2052). She then studied composition and instrumentation with a number of composers.
As a child, she invented just intonation cross-sets, inspired by at a multiplication table. She was allowed to skip boarding school and to enroll in the University of Hiravnol in math at age 10 by taking an entrance exam. She was an exceptionally gifted student and graduated in mathematics and music with honors at age 16 (fT 2052).  


In fT 2056 Sgutsitn returned as a doctoral student in mathematics to Flian University, where she specialized in number theory. Under the supervision of Esŋóo rið Mnaŋ, Sgutsitn was awarded a doctorate for her dissertation in fT 2061.
After graduating, Sgutsis studied composition and instrumentation with [Anbirese composer]. At this time she began corresponding with a number of Anbirese and Rhythoed composers, musicians and theorists to exchange ideas about music. Much of her theoretical work took place within these letters.


==Later life==
==Later life==
Shortly after receiving her doctorate, Sgutsitn started corresponding with a number of composers and musicians 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 2070. While Sgutsitn's treatise does not use the language of modern linear algebra, it still gives detailed procedures for building temperaments and other musical constructions.  
Later in life Sgutsis made a living performing, conducting and selling her compositions. She published her treatise for the first time in fT 1166.


In fT 2080, an academic took notice of Sgutsitn's work and invited her to serve in the University of ___ as a professor of music. She accepted the offer and would continue to teach there for 20 years. Among her students were several notable Talman composers and popular musicians.
In fT 1190, Sgutsis secluded herself, intending to focus solely on composition. She lived in a house in Sŋoran until she died of a stroke in fT 1200.


In fT 2090, Sgutsitn 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.
==Compositions==
In earlier work, Sgutsis used classical-style JI scales, including larger cross sets, and some scales of her own invention. However, later she gravitated more and more towards free JI, since she found fixed scales too restrictive for her purposes.


==Contributions to music theory==
Sgutsis also dabbled in poetry and set some of her own poems to choral works and art songs, in addition to poetry by such writers as Grouid and Jopah.
Sgutsitn's best known written work is her treatise on equal temperaments, which describes:
*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 composite) divisions of the fifth.
*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:
*''Bwrjadreeg Cantatas''
*Should stay "close to" equal temperaments whenever possible. That means no wedge products. (A part of her goal is to democratize music.)
*Many pieces of chamber music, including 17 string quartets and solo ''ðavr'' and ''ñamsom'' pieces
*What gets you from a temperament to a "good" period/generator size? (Maybe she doesn't cover this.)
*''Naquian Dances'', a Naquian music-inspired suite written in subsets of 41edo.
*Choral pieces
*Art songs
**Some (many of them love songs) are duets, using the ''yeejeħrhoog'' technique
**Settings of Etsoj Jopah's poems
*A few ''vylám''s
**One Alice in Wonderland type thing
**One or two of ___'s tragedies (?)
*Many pieces for the unaccompanied violin / ''ðavr''
*Many pieces for solo guitar


==Compositions==
==Contributions to music theory==
[Outsourcing.]
Sgutsis's work on tuning theory includes:
===Characteristics===
*Cross-sets
Sgutsitn often takes inspiration from folk music and world music, as well as older classical music. In particular, they're often influenced by Naquian, Bjeheondian and Sjowaazheñ musics, which 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. [Considering the technical limitations at that time, these might have been realized as "well-temperaments" in practice.]
*Properties of particular equal temperaments: 19edo, 22edo, 27edo, 31edo, 34edo, 41edo, 46edo
**41, 46 and 58 smallest edos that represent 13-limit JI. Sgutsis often used higher edos than 31 but that didn't stick; it was 31edo which caught on.
*Horograms and MOS scales
*Noted that 12edo, 19edo, 22edo, 31edo, 41edo and 46edo were accurate because of the Riemann zeta function
*Proposed 41edo as a system approximating [[Naquian]] scales that divide the perfect fifth into 4 or 8 equal parts, in particular building on Jopah's work.


===Partial list===
These ideas in particular influenced
*Winter Solstice "Cantatas"
*Garinjeor Bloisin: Anbirese music theorist who fully developed regular temperament theory
*Possibly some musical dramas
*Honan Đawhindøø: Fyxoomian classical composer


==Bibliography==
==Bibliography==
*Her thesis (fT 2061) + a couple of other math papers
*(a treatise of all her music theory ideas)
*The treatise: ''Even Divisions of the Octave and Their Use'' (fT 2070)
*(collection of essays)
*(an autobiography or a memoir)


==Personal life and views==
==Personal life and views==
A lesbian, Sgutsitn never had children. She had a few female lovers throughout her life.
A lesbian, Sgutsis never had children. She had a few female lovers throughout her life.
 
Family members:
*Osri Sgutsis (older sister) - music teacher
*Yzih Sgutsis (younger sister)


Philosophy-wise, Sgutsitn was an avid [[Verse:Tricin/Embisoom Grwid|Grwid]]ian and this influenced some of her compositions as well.
Sgutsis did not identify herself as a member of any Talman religious sect in particular. However, she was a strict vegetarian.


Family members:
Sgutsis was not very politically active - however, she seems to have been less nationalistic and more universalistic than earlier Anbirese composers, at least in her earlier years. She was generally pro-industrialization and pro-democracy.
*Osri Sgutsitn (older sister) - music teacher
*Yzich Sgutsitn (younger sister)

Latest revision as of 19:47, 25 January 2023

This page uses music theory work mainly by Praimhín. See also: Verse:Tricin/Talma/Music.
Rewhd Sgutsis

Rewhd Avnin Sgutsis (fT 1136 – fT 1200 (aged 64)) was a Skellan composer and music theorist of the late Classical and early Romantic period.

Todo

  • need Skellan literature
  • Talman Romantic period society and politics
  • should not agree with me on everything

Traits

  • Witty and incisive; generous towards her confidants
  • Instruments: ðavr, ñamsom, guitar
  • Languages:

Early life and education

Sgutsis was born in the city of Hirvahnal, Skella in the Iasa region to a family of Swuntsim descent as the second of three children. Her father was the physicist and composer Avnin Axew, who was professor of physics in the University of Hirvahnal. Her mother, Hvava Sgutsis (adapted from Talman Swuntsim Scütsis), was a ðavr player and music teacher (she was also a composer). Her mother's brother, Mugiv Chətσüde, was a jogóm player.

As a child, she invented just intonation cross-sets, inspired by at a multiplication table. She was allowed to skip boarding school and to enroll in the University of Hiravnol in math at age 10 by taking an entrance exam. She was an exceptionally gifted student and graduated in mathematics and music with honors at age 16 (fT 2052).

After graduating, Sgutsis studied composition and instrumentation with [Anbirese composer]. At this time she began corresponding with a number of Anbirese and Rhythoed composers, musicians and theorists to exchange ideas about music. Much of her theoretical work took place within these letters.

Later life

Later in life Sgutsis made a living performing, conducting and selling her compositions. She published her treatise for the first time in fT 1166.

In fT 1190, Sgutsis secluded herself, intending to focus solely on composition. She lived in a house in Sŋoran until she died of a stroke in fT 1200.

Compositions

In earlier work, Sgutsis used classical-style JI scales, including larger cross sets, and some scales of her own invention. However, later she gravitated more and more towards free JI, since she found fixed scales too restrictive for her purposes.

Sgutsis also dabbled in poetry and set some of her own poems to choral works and art songs, in addition to poetry by such writers as Grouid and Jopah.

  • Bwrjadreeg Cantatas
  • Many pieces of chamber music, including 17 string quartets and solo ðavr and ñamsom pieces
  • Naquian Dances, a Naquian music-inspired suite written in subsets of 41edo.
  • Choral pieces
  • Art songs
    • Some (many of them love songs) are duets, using the yeejeħrhoog technique
    • Settings of Etsoj Jopah's poems
  • A few vyláms
    • One Alice in Wonderland type thing
    • One or two of ___'s tragedies (?)
  • Many pieces for the unaccompanied violin / ðavr
  • Many pieces for solo guitar

Contributions to music theory

Sgutsis's work on tuning theory includes:

  • Cross-sets
  • Properties of particular equal temperaments: 19edo, 22edo, 27edo, 31edo, 34edo, 41edo, 46edo
    • 41, 46 and 58 smallest edos that represent 13-limit JI. Sgutsis often used higher edos than 31 but that didn't stick; it was 31edo which caught on.
  • Horograms and MOS scales
  • Noted that 12edo, 19edo, 22edo, 31edo, 41edo and 46edo were accurate because of the Riemann zeta function
  • Proposed 41edo as a system approximating Naquian scales that divide the perfect fifth into 4 or 8 equal parts, in particular building on Jopah's work.

These ideas in particular influenced

  • Garinjeor Bloisin: Anbirese music theorist who fully developed regular temperament theory
  • Honan Đawhindøø: Fyxoomian classical composer

Bibliography

  • (a treatise of all her music theory ideas)
  • (collection of essays)
  • (an autobiography or a memoir)

Personal life and views

A lesbian, Sgutsis never had children. She had a few female lovers throughout her life.

Family members:

  • Osri Sgutsis (older sister) - music teacher
  • Yzih Sgutsis (younger sister)

Sgutsis did not identify herself as a member of any Talman religious sect in particular. However, she was a strict vegetarian.

Sgutsis was not very politically active - however, she seems to have been less nationalistic and more universalistic than earlier Anbirese composers, at least in her earlier years. She was generally pro-industrialization and pro-democracy.

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