harmonic perception and Partch/Wilson

Paul Erlich wrote TD 648:

> BTW, I discovered a detailed mathematical derivation of this fact
> in 1993, which I could share with you.

Very cool... Thanks Paul for all your help. But, why don't you
consider having Monz post this derivation as a continuation of your
Entropy article... Even if some of us don't understand it, it probably
will be fun to look at... (I'm being serious.)

Also, the Utonal/Otonal midi chords should eventually be linked to the
Monz site... or maybe Starrett... something central where people can
find them. That is, if somebody actually does them. I'm anxious to
hear them.

I would like to hear more about the Partch Utonal/Otonal vs. "major,
minor" harmonic theory. If I'm understanding this correctly, the
Utonal/Otonal is essentially ONE dimensional... actually one
complementary set of ratios and while Partch may like to think of this
as "Major-Minor," essentially it is totally separate from traditional
"major minor" theory of traditional "functional" harmony. This is all
very interesting... but I fear I should "brush up" on my Partch again...
it's been a couple of years since I read Genesis for the first time (!!)

Also, if you have any further information on how Erv Wilson created his
19 tone scale which is Scala 19-31ji.scl, I would appreciate it. How
was this scale made?... and does anybody know where I could get copies
of Xenharmonicon 7 and 8 which might have the answer to this??

Whatever Erv Wilson was doing it seems to be working in a strange way.
I have tried virtually ALL the 19 tone scales in Scala, and this one
seems the most particularly resonant. Of course, MANY of the ratios are
quite small... this, of course, pertains only with reference to the
fundamental, and other combinations of pitches would set up different
complexities... but, on the whole, the entire thing seems uncannily
resonant...

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Joseph Pehrson