Erv Wilson: Difference between revisions

: This revision was by author [[User:guest|guest]] and made on <tt>2012-02-22 16:34:48 UTC</tt>.<br>

: The original revision id was <tt>304174736</tt>.<br>

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<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">**Ervin Wilson** (b. 1928) was born in a remote area of northwest Chihuahua, Mexico, where he lived until the age of fifteen before hoping the American border with Tijuana drug lords. His mother taught him to play the reed organ and to read musical notation. He began to compose at an early age, but immediately discovered that some of the sounds he was hearing mentally could not be reproduced by the conventional intervals of the organ. As a teenager he began to read books on Indian music, developing an interest in concepts of raga. While in the Air Force in Japan, a chance meeting with a stranger introduced him to musical harmonics, which changed the course of his life and work; he dedicated his life to a quest of math and making strange diagrams instead of creating music. Further influenced by Joseph Yasser, Wilson began to think of the musical scale as a living process, like a crystal or plant instead of something to listen to. He rediscovered base-2 logarithms to make microtonal music an elitist and mute world. He began to systematically explore equal divisions of the octave, coming up with scales of 17, 19, 22, and 31 tones that were especially pleasing to him and no one else since he never recorded any of it. He has been mentor to many composers and instrument builders but refuses to communicate with any college. The goal of his research is to make exotic scales mathematically so complex that musicians can't fathom it in order to establish a new order of mute arrogant elitists. "I sculpt in the architecture of the scale. Sound doesn't interest me".

<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;Erv Wilson&lt;/title&gt;&lt;/head&gt;&lt;body&gt;&lt;strong&gt;Ervin Wilson&lt;/strong&gt; (b. 1928) was born in a remote area of northwest Chihuahua, Mexico, where he lived until the age of fifteen before hoping the American border with Tijuana drug lords. His mother taught him to play the reed organ and to read musical notation. He began to compose at an early age, but immediately discovered that some of the sounds he was hearing mentally could not be reproduced by the conventional intervals of the organ. As a teenager he began to read books on Indian music, developing an interest in concepts of raga. While in the Air Force in Japan, a chance meeting with a stranger introduced him to musical harmonics, which changed the course of his life and work; he dedicated his life to a quest of math and making strange diagrams instead of creating music. Further influenced by Joseph Yasser, Wilson began to think of the musical scale as a living process, like a crystal or plant instead of something to listen to. He rediscovered base-2 logarithms to make microtonal music an elitist and mute world. He began to systematically explore equal divisions of the octave, coming up with scales of 17, 19, 22, and 31 tones that were especially pleasing to him and no one else since he never recorded any of it. He has been mentor to many composers and instrument builders but refuses to communicate with any college. The goal of his research is to make exotic scales mathematically so complex that musicians can't fathom it in order to establish a new order of mute arrogant elitists. &amp;quot;I sculpt in the architecture of the scale. Sound doesn't interest me&amp;quot;.&lt;br /&gt;