Gene Ward Smith: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

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: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2012-11-22 13:31:33 UTC</tt>.

: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2012-11-22 13:32:35 UTC</tt>.

: The original revision id was <tt>~~385096024~~</tt>.

: The original revision id was <tt>385096244</tt>.

: The revision comment was: <tt></tt>

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In the 1970s, Gene experimented with musical compositions using a device with four square-wave voices, whose tuning was very stable and accurate, being controlled by a [[http://en.wikipedia.org/wiki/Crystal_oscillator|crystal oscillator]]. The device in turn was controlled by [[http://en.wikipedia.org/wiki/HP_9800_series_desktop_computers|HP 9800 series desktop computers]], initially the HP 9830A, programmed in HP Basic, later the 9845A. Using this, he explored both just intonation with a particular emphasis on groups of transformations, and [[pajara]].

Gene had a basic understanding of the regular mapping paradigm during this period, but it was limited in practice since he was focused on the idea that the next step from meantone should keep some familiar features, and so was interested in tempering out 64/63 in place of 81/80. He knew 7-limit 12 and 22 had tempering out 64/63 and 50/49 in common, and 12 and 27 had tempering out 64/63 and 126/125 in common, and thought these would be logical places to progress to. While he never got around to working with augene, he did consider it. For pajara, he found tempering certain JI scales led to interesting (omnitetrachordal) results, and that there were also symmetric (MOS) scales of size 10 and 12 for pajara; he did some work with these, particularly favoring the pentachordal decatonic scale.

Gene had a basic understanding of the regular mapping paradigm during this period, but it was limited in practice since he was focused on the idea that the next step from meantone should keep some familiar features, and so was interested in tempering out 64/63 in place of 81/80. He knew 7-limit 12 and 22 had tempering out 64/63 and 50/49 in common, and 12 and 27 had tempering out 64/63 and 126/125 in common, and thought these would be logical places to progress to, blending novelty with familiarity. While he never got around to working with augene, he did consider it. For pajara, he found tempering certain JI scales led to interesting (omnitetrachordal) results, and that there were also symmetric (MOS) scales of size 10 and 12 for pajara; he did some work with these, particularly favoring the pentachordal decatonic scale.

Gene was among the first to consider extending the [[http://en.wikipedia.org/wiki/Tonnetz|Tonnetz]] of Hugo Riemann beyond the 5-limit and hence into higher dimensional [[http://en.wikipedia.org/wiki/Lattice_%28group%29|lattices]]. In three dimensions, the hexagonal lattice of [[Harmonic Limit|5-limit harmony]] extends to a lattice of type A3 ~ D3. He is also the first to write music in a number of exotic intonation systems. See [[Microtonal Music by Gene Ward Smith]].

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In the 1970s, Gene experimented with musical compositions using a device with four square-wave voices, whose tuning was very stable and accurate, being controlled by a <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Crystal_oscillator" rel="nofollow">crystal oscillator</a>. The device in turn was controlled by <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/HP_9800_series_desktop_computers" rel="nofollow">HP 9800 series desktop computers</a>, initially the HP 9830A, programmed in HP Basic, later the 9845A. Using this, he explored both just intonation with a particular emphasis on groups of transformations, and <a class="wiki_link" href="/pajara">pajara</a>.

Gene had a basic understanding of the regular mapping paradigm during this period, but it was limited in practice since he was focused on the idea that the next step from meantone should keep some familiar features, and so was interested in tempering out 64/63 in place of 81/80. He knew 7-limit 12 and 22 had tempering out 64/63 and 50/49 in common, and 12 and 27 had tempering out 64/63 and 126/125 in common, and thought these would be logical places to progress to. While he never got around to working with augene, he did consider it. For pajara, he found tempering certain JI scales led to interesting (omnitetrachordal) results, and that there were also symmetric (MOS) scales of size 10 and 12 for pajara; he did some work with these, particularly favoring the pentachordal decatonic scale.

Gene had a basic understanding of the regular mapping paradigm during this period, but it was limited in practice since he was focused on the idea that the next step from meantone should keep some familiar features, and so was interested in tempering out 64/63 in place of 81/80. He knew 7-limit 12 and 22 had tempering out 64/63 and 50/49 in common, and 12 and 27 had tempering out 64/63 and 126/125 in common, and thought these would be logical places to progress to, blending novelty with familiarity. While he never got around to working with augene, he did consider it. For pajara, he found tempering certain JI scales led to interesting (omnitetrachordal) results, and that there were also symmetric (MOS) scales of size 10 and 12 for pajara; he did some work with these, particularly favoring the pentachordal decatonic scale.

Gene was among the first to consider extending the <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Tonnetz" rel="nofollow">Tonnetz</a> of Hugo Riemann beyond the 5-limit and hence into higher dimensional <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Lattice_%28group%29" rel="nofollow">lattices</a>. In three dimensions, the hexagonal lattice of <a class="wiki_link" href="/Harmonic%20Limit">5-limit harmony</a> extends to a lattice of type A3 ~ D3. He is also the first to write music in a number of exotic intonation systems. See <a class="wiki_link" href="/Microtonal%20Music%20by%20Gene%20Ward%20Smith">Microtonal Music by Gene Ward Smith</a>.

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 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2012-11-22 13:31:33 UTC</tt>.<br>
+: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2012-11-22 13:32:35 UTC</tt>.<br>
-: The original revision id was <tt>385096024</tt>.<br>
+: The original revision id was <tt>385096244</tt>.<br>
 : The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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 In the 1970s, Gene experimented with musical compositions using a device with four square-wave voices, whose tuning was very stable and accurate, being controlled by a [[http://en.wikipedia.org/wiki/Crystal_oscillator|crystal oscillator]]. The device in turn was controlled by [[http://en.wikipedia.org/wiki/HP_9800_series_desktop_computers|HP 9800 series desktop computers]], initially the HP 9830A, programmed in HP Basic, later the 9845A. Using this, he explored both just intonation with a particular emphasis on groups of transformations, and [[pajara]].
-Gene had a basic understanding of the regular mapping paradigm during this period, but it was limited in practice since he was focused on the idea that the next step from meantone should keep some familiar features, and so was interested in tempering out 64/63 in place of 81/80. He knew 7-limit 12 and 22 had tempering out 64/63 and 50/49 in common, and 12 and 27 had tempering out 64/63 and 126/125 in common, and thought these would be logical places to progress to. While he never got around to working with augene, he did consider it. For pajara, he found tempering certain JI scales led to interesting (omnitetrachordal) results, and that there were also symmetric (MOS) scales of size 10 and 12 for pajara; he did some work with these, particularly favoring the pentachordal decatonic scale.
+Gene had a basic understanding of the regular mapping paradigm during this period, but it was limited in practice since he was focused on the idea that the next step from meantone should keep some familiar features, and so was interested in tempering out 64/63 in place of 81/80. He knew 7-limit 12 and 22 had tempering out 64/63 and 50/49 in common, and 12 and 27 had tempering out 64/63 and 126/125 in common, and thought these would be logical places to progress to, blending novelty with familiarity. While he never got around to working with augene, he did consider it. For pajara, he found tempering certain JI scales led to interesting (omnitetrachordal) results, and that there were also symmetric (MOS) scales of size 10 and 12 for pajara; he did some work with these, particularly favoring the pentachordal decatonic scale.
 Gene was among the first to consider extending the [[http://en.wikipedia.org/wiki/Tonnetz|Tonnetz]] of Hugo Riemann beyond the 5-limit and hence into higher dimensional [[http://en.wikipedia.org/wiki/Lattice_%28group%29|lattices]].  In three dimensions, the hexagonal lattice of [[Harmonic Limit|5-limit harmony]] extends to a lattice of type A3 ~ D3.  He is also the first to write music in a number of exotic intonation systems.  See [[Microtonal Music by Gene Ward Smith]].
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 In the 1970s, Gene experimented with musical compositions using a device with four square-wave voices, whose tuning was very stable and accurate, being controlled by a &lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Crystal_oscillator" rel="nofollow"&gt;crystal oscillator&lt;/a&gt;. The device in turn was controlled by &lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/HP_9800_series_desktop_computers" rel="nofollow"&gt;HP 9800 series desktop computers&lt;/a&gt;, initially the HP 9830A, programmed in HP Basic, later the 9845A. Using this, he explored both just intonation with a particular emphasis on groups of transformations, and &lt;a class="wiki_link" href="/pajara"&gt;pajara&lt;/a&gt;. &lt;br /&gt;
 &lt;br /&gt;
-Gene had a basic understanding of the regular mapping paradigm during this period, but it was limited in practice since he was focused on the idea that the next step from meantone should keep some familiar features, and so was interested in tempering out 64/63 in place of 81/80. He knew 7-limit 12 and 22 had tempering out 64/63 and 50/49 in common, and 12 and 27 had tempering out 64/63 and 126/125 in common, and thought these would be logical places to progress to. While he never got around to working with augene, he did consider it. For pajara, he found tempering certain JI scales led to interesting (omnitetrachordal) results, and that there were also symmetric (MOS) scales of size 10 and 12 for pajara; he did some work with these, particularly favoring the pentachordal decatonic scale.&lt;br /&gt;
+Gene had a basic understanding of the regular mapping paradigm during this period, but it was limited in practice since he was focused on the idea that the next step from meantone should keep some familiar features, and so was interested in tempering out 64/63 in place of 81/80. He knew 7-limit 12 and 22 had tempering out 64/63 and 50/49 in common, and 12 and 27 had tempering out 64/63 and 126/125 in common, and thought these would be logical places to progress to, blending novelty with familiarity. While he never got around to working with augene, he did consider it. For pajara, he found tempering certain JI scales led to interesting (omnitetrachordal) results, and that there were also symmetric (MOS) scales of size 10 and 12 for pajara; he did some work with these, particularly favoring the pentachordal decatonic scale.&lt;br /&gt;
 &lt;br /&gt;
 Gene was among the first to consider extending the &lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Tonnetz" rel="nofollow"&gt;Tonnetz&lt;/a&gt; of Hugo Riemann beyond the 5-limit and hence into higher dimensional &lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Lattice_%28group%29" rel="nofollow"&gt;lattices&lt;/a&gt;.  In three dimensions, the hexagonal lattice of &lt;a class="wiki_link" href="/Harmonic%20Limit"&gt;5-limit harmony&lt;/a&gt; extends to a lattice of type A3 ~ D3.  He is also the first to write music in a number of exotic intonation systems.  See &lt;a class="wiki_link" href="/Microtonal%20Music%20by%20Gene%20Ward%20Smith"&gt;Microtonal Music by Gene Ward Smith&lt;/a&gt;.&lt;br /&gt;