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Erv Wilson
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Erv Wilson
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Erv Wilson in his garden

Ervin Wilson (June 11, 1928 – December 8, 2016)[1] was a Mexican/American (dual citizen) music theorist.

Early life

[edit]

Ervin Wilson was born in Colonia Pacheco, a small village in the remote mountains of northwest Chihuahua, Mexico, where he lived until the age of fifteen. 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 he was in the Air Force in Japan, a chance meeting with a total stranger introduced him to musical harmonics, which changed the course of his life and work. Influenced by the work of Joseph Yasser, Wilson began to think of the musical scale as a living process—like a crystal or plant.

Works

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Despite his avoidance of academia, Wilson has been influential on those interested in microtonal music and just intonation, especially in the areas of scale, keyboard, and notation design. Among his developments are Moments of Symmetry,[2][3] Combination Product Sets,[4] Golden Horograms, scales based on recurrence relations (scales of "Mt. Meru"), and mapping scales to the generalized keyboard. He cited Augusto Novaro and Joseph Yasser as influences. Wilson built instruments and explored the resources of 31 and 41 equal divisions of the octave. He supported the work of Harry Partch, proposing the design of the Quadrangularis Reversum and helping build the instrument,[5] as well as providing diagrams for Partch's book Genesis of a Music.

The goal of Wilson's research with scales was to make them musically accessible to the composer and the listener. "I sculpt in the architecture of the scale. Other people come along and animate it."[6]

Musicians influenced by Wilson

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References

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Erv Wilson

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Ervin McDonald Wilson, known as Erv Wilson, was a pioneering music theorist renowned for his innovative contributions to microtonal music and . Born on June 11, 1928, in Colonia Pacheco, , to a family of missionaries from , Wilson held dual and grew up in a modest farming environment where he learned to play the from his mother. He passed away on December 8, 2016, in . Wilson's work focused on developing flexible tools for constructing and scales that extended beyond the standard , integrating elements of , , and to create structures like the Scale Tree and scales based on such as those of "Mt. Meru." Key innovations included his concepts of Moments of Symmetry, which generate musical structures through symmetrical interval patterns, and Combination Product Sets, mathematical frameworks using tools like to produce geometric diagrams akin to . He also systematically explored into 17, 19, 22, and 31 tones, independently reinventing () to facilitate these designs. Despite eschewing formal academia, Wilson influenced generations of composers, instrument builders, and theorists through his speculative, puzzle-like teachings, hand-drawn diagrams, and publications in journals such as and 1/1: The Quarterly Journal of the Just Intonation Network. His career was shaped by early exposures, including studies of as a teenager and encounters with the during his service in , where he met a stranger who introduced him to . Wilson maintained long-standing associations with microtonal pioneers such as , for whom he drew diagrams and co-designed instruments like the Quadrangularis Reversum, and , whom he cited as a major influence. He also collaborated with musicians like , a percussionist who used Wilson's Transceleste—a microtonal mallet instrument tuned to from Indian traditions—in studio recordings and soundtracks. Beyond music, Wilson worked as a draftsman, mechanical engineer, and agricultural innovator, breeding high-protein corn varieties on his family farm in to address nutrition issues among indigenous communities. Wilson's legacy endures through his students, including composers Kraig Grady, , and electronic artist Marcus Hobbes, who have applied his ideas in works ranging from to apps like Wilsonic for accessing his . Archival efforts, such as those by Grady at Anaphoria and Terumi Narushima's book Microtonality and the Tuning Systems of Erv Wilson, continue to disseminate his malleable frameworks, emphasizing as dynamic, living processes rather than fixed rules.

Early Life

Birth and Childhood

Ervin Wilson, known as Erv Wilson, was born on June 11, 1928, in Colonia Pacheco, a remote in the mountains of northwest , . He was born in a to American parents who were from , which established his and shaped his from an early age. Wilson's childhood unfolded in this isolated, modest environment within the , where he resided until the age of fifteen. Raised amid a rich multicultural setting in rural , he experienced diverse cultural sounds from the surrounding region, which ignited his initial curiosity about and its possibilities. His family background as of the United States and Mexico further reinforced this , blending with local Mexican influences during his formative years. These early musical interests, including lessons from his mother on the and reading to accompany hymns, foreshadowed his later explorations in alternative tunings.

Education and Early Influences

Ervin Wilson relocated to the from , around the age of fifteen in the , following his family's that connected to . Despite this move, Wilson had no sustained formal academic training in , having briefly attended before dropping out, instead embracing a largely self-directed path shaped by his . In the , as a teenager, Wilson joined the and served in , where a chance encounter introduced him to the concepts of , sparking his initial fascination with beyond standard . During this period, he began self-taught explorations of , independently re-inventing for measuring and experimenting with equal divisions of the octave, such as 17, 19, 22, and 31 tones per octave. These efforts were influenced by his early readings on as a youth and books by theorists like Joseph Yasser and Augusto Novaro, which encouraged him to view scales as dynamic, evolving structures rather than fixed systems. By the , after briefly attending and settling in , Wilson deepened his personal experimentation with and , drawing from recordings and encounters with local musicians while working as a draftsman. His mother's teachings on the and hymn accompaniment during childhood laid the foundational skills, but it was through solitary study and practical tinkering—free from academic affiliations—that he first engaged with just intonation principles, such as the , via self-guided analysis of like . This informal approach, rooted in curiosity rather than institutional guidance, defined his early development and set the stage for his lifelong avoidance of .

Career Development

Entry into Music Theory

Wilson's entry into occurred in the early 1950s, marking a shift from informal self-taught explorations to more structured theoretical pursuits in microtonal music and . After a brief period of formal study at in 1950-1952 following his military service, where he encountered resistance to his unconventional ideas about "missing keys" in , Wilson opted for independent research, relocating to in 1952 to develop his concepts outside . This self-directed approach allowed him to freely experiment without the constraints of traditional curricula, focusing on systematic explorations of and tuning relationships. A pivotal aspect of his theoretical development involved correspondence with established microtonal pioneers, including , beginning in 1953. These exchanges provided Wilson with insights into and encouraged his own innovations, as evidenced by letters exchanged between the two that contributed to Partch's work on the second edition of Genesis of a Music. By 1964, this correspondence led to an in-person meeting in , further solidifying their collaborative relationship. Wilson's interactions with figures like Partch and John Chalmers on topics such as Diaphonic Cycles helped refine his initial ideas during this formative period. Around 1965, Wilson began documenting and sharing his first prototypes of scales through informal networks of peers, initiating a series of theoretical studies in microtonal music. Notable among these were his developments of constant structure scales in , comprising 22 tones, which he published independently to disseminate his findings beyond academic channels. This method underscored his preference for direct, peer-to-peer sharing over formal institutional validation, allowing his innovative scale designs to reach composers and theorists without intermediary gatekeeping. These early prototypes laid the groundwork for his later, more complex systems, emphasizing accessibility and musical utility in alternative tunings.

Instrument Building and Experimentation

In the , Erv Wilson began designing and constructing custom microtonal instruments to practically implement his , with continued development in the focusing on modified guitars and keyboards that could accommodate scales beyond the standard . One notable example was his collaboration with musician Jose Halles-Garcia, who, under Wilson's guidance, refretted a with a 22-tone just intonation layout featuring (E-A-D-G-C-F) and varying fret spacings to enable precise microtonal intervals. These instruments allowed for string bending techniques to fine-tune pitches, marking an early hands-on effort to bridge theoretical scales with playable hardware. Wilson's experimentation extended to physical prototypes that realized , involving a trial-and-error process of adjusting and to achieve desired . For instance, in the late 1980s, collaborator Rod Poole refretted a 1972 Martin 00-18 guitar based on Wilson's designs, incorporating 17 unequally spaced frets per octave to explore and in . Keyboard prototypes, such as those patented in 1958 for and developed in 1967 for 22 tones, were mapped to , where Wilson iteratively tested to ensure ergonomic playability for microtonal compositions. This hands-on prototyping emphasized practical adjustments, such as equal versus unequal , to make accessible for performance. Building these instruments presented significant challenges, including material limitations and the fragility of early prototypes, which often led to damage or loss during testing. Wilson's -era modified guitars, for example, were frequently lent to local musicians and children, resulting in their deterioration and informing a more cautious approach to preservation in subsequent designs. Technical hurdles, such as the precise refretting required for on standard , demanded custom tools and materials that were not readily available, prompting iterative refinements like adapting existing fretboard layouts to minimize . These obstacles ultimately shaped Wilson's iterative design process, leading to more durable and musician-friendly instruments by the 1980s, such as enhanced keyboard mappings that balanced for broader usability.

Theoretical Contributions

Moments of Symmetry

Moments of Symmetry (MOS) is a theoretical framework developed by Erv Wilson for generating microtonal scales characterized by melodic integrity and structural symmetry. It involves the repeated superposition of a single generator within a period, such as an , resulting in a composed of only two distinct step sizes: a large step (L) and a small step (s), where the counts of L and s are . The concept ensures that every interval in the scale subtends the same number of steps, creating points of symmetry that enhance perceptual coherence. Mathematically, MOS scales are constructed by selecting a generator interval, such as a perfect fifth approximated as in or a specific size in , and accumulating it modulo the period until the scale closes. For instance, starting from a base note and adding the generator repeatedly, the positions are reduced within the period (e.g., subtracting 1 if exceeding it), yielding a chain where symmetry points occur when the between consecutive notes stabilize into two quantities. In , if gg represents the generator's size in octaves (e.g., log⁡2(3/2)≈0.58496\log_2(3/2) \approx 0.58496), the scale notes are at positions n⋅gmod  1n \cdot g \mod 1 for integer nn, and symmetry emerges when the form a . Wilson later extended this with secondary MOS patterns, embedding a smaller MOS within a parent scale and rotating it to complete cycles, as seen in derivations from . Examples of scales derived via MOS include the in , generated by stacking seven (each subtending 7 semitones) within the , resulting in five large steps () and two small steps (). Another example is the as a 5-note MOS (3L 2s) derived as a bifocal subset of the in . In , using a generator like 81/64 (a , approximately 407 ) within a can produce MOS structures, such as subsets of the diatonic scale where align symmetrically. The serves as a notable approximation, with a generator fifth of about 695 cents yielding an MOS scale with two step sizes that closely mimics just intonation symmetries. Wilson developed the Moments of Symmetry concept in the 1970s, documenting it extensively in personal notebooks and a key letter to theorist John Chalmers. Inspired by observations of within , such as the Tanabe Cycle embedding a 5-tone MOS in a , Wilson generalized the method to explain prevalent scale types across cultures. His notebooks from this period include detailed mappings in systems like , with equations for symmetry points derived from the , such as for a generator gg and period pp, the symmetry at step kk where k⋅gmod  pk \cdot g \mod p yields uniform subtending steps. This work, shared through independent microtonal journals like Xenharmonikôn starting in 1974, laid the foundation for later extensions in the 1990s, including the Scale Tree linking MOS to continued fractions.

Combination Product Sets

Combination Product Sets (CPS) represent a key innovation in Erv Wilson's microtonal theory, developed in the late 1960s as a method for generating harmonically symmetrical scales by multiplying selected . The core principle involves selecting a set of n harmonic factors—typically such as or —and computing all possible products of m factors at a time, then reducing these products to a by dividing by appropriate to normalize the pitches. This combinatorial approach produces scale families with no , where every note holds an equal harmonic position, complementing Wilson's earlier symmetry concepts in creating . The derivation process for a CPS begins with defining the parameters n and m, followed by choosing the , often drawn from small integers representing like . Next, all unique combinations of m factors from the n are multiplied; for instance, in a basic CPS with n=4 and m=2, the products are calculated pairwise. These are then : if a product exceeds , it is divided by 2 until it falls within 1/1 to 2/1, yielding a set of distinct pitches that form the CPS lattice. The resulting structure can be visualized on a , highlighting and allowing partitioning into like or . A representative example uses base factors {1, 3, 5, 7} for a Hexany CPS (n=4, m=2). The pairwise products include 3 × 5 = 15 (a , reduces to ), 1 × 3 = 3 (reduces to ), and 5 × 7 = 35 (which reduces to 35/32 after octave adjustment), along with 3 × 7 = 21 (reduces to 21/16), producing a with balanced harmonic relationships. Wilson's work on CPS evolved significantly during the 1980s, building on initial explorations from the , with refinements documented in theoretical studies and correspondence that expanded to larger sets like the Eikosany (n=6, m=3). This period saw unpublished variants, including stellated and expanded forms of basic CPS, archived as ongoing projects that integrated more complex prime genera for diverse microtonal applications.

Notable Works and Publications

Key Tuning Systems

Erv Wilson created an extensive body of , as documented in his personal archives, encompassing a wide range of microtonal and structures designed for practical musical application. One prominent example is Wilson's adaptations of , which divide the into 31 equal steps, each measuring approximately 38.71 , enabling more nuanced compared to while facilitating mappings onto . The Wilsonic 12-note scales exemplify Wilson's approach to reimagining familiar , incorporating elements derived from to transcend the limitations of ; these scales are interactively explored in dedicated software, such as the Wilsonic application, which allows users to seed and generate variations based on Wilson's designs. In systems like those based on larger scales within his archives, practical interval structures often feature ratios such as 3/2 for the perfect fifth (approximately 702 cents), providing consonant building blocks for complex microtonal compositions without relying on .

Collaborative Projects

Erv Wilson engaged in significant collaborations with pioneering microtonal composers during the 1960s, focusing on shared explorations of and instrument designs. Wilson worked closely with Partch by providing diagrams for the second edition of Partch's Genesis of a Music and co-designing instruments like the Quadrangularis Reversum in 1965. He also maintained a long-standing association with , whom he cited as a major influence. These associations not only exchanged practical techniques but also influenced Wilson's development in alternative tunings. Wilson collaborated with percussionist in the , designing the Transceleste, a microtonal mallet instrument tuned to from , which Richards used in studio recordings and soundtracks. Additionally, his long-time friend John Chalmers published Wilson's work in the journal Xenharmonikôn starting in , disseminating his theories through articles and diagrams. These efforts highlighted Wilson's role in bridging theoretical speculation with practical application in microtonal music. Wilson's contributions often involved publications with various theorists and performers in journals such as Xenharmonikôn and 1/1: The Quarterly Journal of the Just Intonation Network. These outputs underscored Wilson's emphasis on communal experimentation in microtonal music.

Legacy and Influence

Impact on Microtonal Composers

Erv Wilson's innovative tuning systems and have profoundly shaped the work of subsequent microtonal composers, particularly from the onward, by providing versatile frameworks for exploring and equal temperaments beyond the . Composers such as Kraig Grady have directly adopted Wilson's Combination Product Sets (CPS), notably the Eikosany scale, in large-ensemble compositions like Anaphoria: The Creation of the Worlds (), which immerses listeners in a centerless tonal world derived from these structures. Similarly, incorporated Wilson's Eikosany vibraphones—a 20-tone instrument designed by Wilson—into recordings such as Jewel (1979/1985), demonstrating the practical application of his designs in . These examples illustrate how Wilson's scales enabled composers to achieve expressive harmonic depth in performances and recordings, influencing genres from experimental to . Wilson's concepts have also been integrated into digital tools, facilitating broader adoption among contemporary musicians. His scales, including the Eikosany, are preserved in the scl format commonly used by the Scala software, a standard tool for microtonal exploration, allowing composers to experiment with and implement his tunings in software-based compositions since the software's development in the . This accessibility has empowered a new generation of artists to build upon Wilson's key tuning systems, such as Moments of Symmetry, in their creative processes without needing custom instrumentation. Warren Burt, for instance, composed Portrait of Erv Wilson (1996–1997) as part of his Harmonic Colour Fields series (2003 release), paying homage to Wilson's theoretical contributions through computer-generated microtonal works. Despite Wilson's deliberate avoidance of formal academia, his ideas have permeated scholarly microtonal studies, with increasing citations in theses and publications after 2000 that analyze and extend his frameworks. Terumi Narushima's Microtonality and the Tuning Systems of Erv Wilson (2017) provides a comprehensive academic examination of his keyboard designs and theories, influencing researchers by merging theoretical analysis with practical tuning methods for composers and performers. This work, in turn, is cited in later dissertations, such as Michael Bruschi's Hearing the Tonality in Microtonality (2021), which references it in exploring in microtonal contexts. Additionally, post-2000 academic papers, like those adopting Wilson's Moments of Symmetry for regular temperament theory, highlight his enduring role in shaping scholarly discourse on scale generation and . Specific performances underscore Wilson's indirect yet widespread influence on ensemble practices in the microtonal scene. Recordings like New Microtonal Music from South California (volumes 1–2, 1998) represent the regional microtonal experimentation in Southern California associated with Wilson's legacy. Paul Rapoport's Prelude: De spiritu sancto (1993), utilizing Wilson's 14-note stellated hexany, exemplifies how his CPS structures have been applied in choral and synthesizer-based performances, bridging theoretical innovation with live execution. These instances reflect Wilson's lasting impact on how microtonal composers from the 1990s to the present have integrated his scales into concert repertoires and recordings.

Posthumous Recognition

Following Erv Wilson's death in 2016, his contributions to microtonal music theory received increased scholarly attention through dedicated publications that compiled and analyzed his extensive archives. In 2017, Terumi Narushima published Microtonality and the Tuning Systems of Erv Wilson, a comprehensive book issued by that examines Wilson's innovative , including , instrument designs, and . This work draws directly from Wilson's personal archives, providing a structured overview of his speculative designs and highlighting their potential for contemporary musical exploration. The book's foreword emphasizes Wilson's status as one of the most creative theorists in alternative scales. Digital tools have also played a key role in posthumous recognition by making Wilson's tuning systems accessible to musicians and researchers. Originally released in 2014, the Wilsonic software offers interactive exploration of his designs, functioning as an app and plugin for MPE-enabled that allow users to reseed and experiment with his musically useful scales. This tool serves as a portal to Wilson's 65 years of tuning research, enabling real-time generation of new musical universes based on his concepts. Posthumous tributes have extended to festivals and memorial events, reflecting Wilson's enduring influence on . For instance, the Xenharmonikon organization hosted a remembrance piece in 2018, celebrating Wilson's dream-weaving legacy in frequency webs and noting the grief mixed with appreciation among his contemporaries. While much of Wilson's full scale catalog remains underexplored in public documentation, these initiatives point to areas ripe for future research, such as deeper archival access and broader dissemination of his complete theoretical output. This growing recognition builds on his overall legacy, inspiring continued innovation in among composers worldwide.

Death

Final Years

Despite challenges in his later years, Erv Wilson balanced his musical research with personal interests, such as botanical work involving plants like , , tripsicum, , and Mexican herbs, reflecting a holistic approach to his creative life. His student Terumi Narushima was working on an introductory book on his tuning theories, Microtonality and the Tuning Systems of Erv Wilson, published in 2017.

Death and Tributes

Ervin Wilson passed away on December 8, 2016, in , at the age of 88. The microtonal music community responded to his death with immediate tributes, including online remembrances on platforms like . Dedications at events followed in 2017. A notable memorial broadcast aired on KPFK radio station's Global Village program on February 2, 2017, hosted by John Schneider, which featured interviews with collaborators like and showcased music drawing from Wilson's scale designs. In the aftermath of his passing, significant archival efforts were undertaken to preserve Wilson's extensive notebooks, letters, diagrams, and . Kraig Grady, Terumi Narushima, and Stephen James Taylor digitized and organized these materials, creating an accessible online archive that has helped fill biographical and theoretical gaps in the documentation of his life and work.

References

  1. https://www.laphil.com/about/watch-and-listen/a-beginners-guide-to-erv-wilson
  2. https://www.anaphoria.com/wilsonbio.html
  3. https://www.legacy.com/us/obituaries/venturacountystar/name/ervin-wilson-obituary?id=15780142
  4. https://thesonicsky.com/about/erv-wilson-about-erv-wilson/
  5. https://www.wilsonic.co/about
  6. https://www.hacklemanshop.com/19-tone-clavichord.html
  7. https://music.cliggo.com/artist/6872610-Erv_Wilson/bio
  8. https://www.perlego.com/book/1495336/microtonality-and-the-tuning-systems-of-erv-wilson-pdf
  9. https://www.discogs.com/artist/6872610-Erv-Wilson
  10. https://archon.library.illinois.edu/archives/index.php?p=collections/findingaid&id=10747&q=
  11. https://www.anaphoria.com/wilson-timeline.html
  12. https://quod.lib.umich.edu/i/icmc/bbp2372.1981.045/--combination-product-sets-and-other-harmonic-and-melodic?rgn=main;view=fulltext
  13. https://scholarship.claremont.edu/context/cgu_etd/article/1786/viewcontent/Cotich_cgu_0047E_12186.pdf
  14. https://archive.bridgesmathart.org/2017/bridges2017-515.pdf
  15. https://www.anaphoria.com/wilsonintroMOS.html
  16. http://www.tonalsoft.com/enc/m/mos.aspx
  17. https://www.xenharmonikon.org/2018/10/06/forward-excerpt-to-microtonality-and-the-tuning-systems-of-erv-wilson/
  18. http://www.tonalsoft.com/enc/c/combination-product-set.aspx
  19. https://microtonal.miraheze.org/wiki/Hexany
  20. https://www.anaphoria.com/wilsoncps.html
  21. https://www.anaphoria.com/wilson.html
  22. https://www.anaphoria.com/wilsonbasic.html
  23. https://thesonicsky.com/erv-wilson-diagrams/erv-wilson-diagrams/
  24. https://www.wilsonic.co/
  25. https://apps.apple.com/us/app/wilsonic/id848852071
  26. https://microtonal.miraheze.org/wiki/Erv_Wilson
  27. https://www.huygens-fokker.org/music/discography.html
  28. https://github.com/narenratan/scale-library
  29. https://www.taylorfrancis.com/books/mono/10.4324/9781315718583/microtonality-tuning-systems-erv-wilson-terumi-narushima
  30. https://elischolar.library.yale.edu/context/gsas_dissertations/article/1149/viewcontent/28321192.pdf
  31. https://www.academia.edu/16496675/Towards_a_new_model_for_microtonal_music_The_regular_temperaments_of_22TET
  32. https://www.routledge.com/Microtonality-and-the-Tuning-Systems-of-Erv-Wilson/Narushima/p/book/9780367872403
  33. https://www.anaphoria.com/wilsonbook.html
  34. https://www.xenharmonikon.org/2018/10/03/erv-wilson-remembered/
  35. https://anaphoria.com/wilsonintro.html
  36. https://www.amazon.com/Microtonality-Tuning-Systems-Routledge-Studies/dp/1138857564
  37. https://www.legacy.com/obituaries/name/ervin-wilson-obituary?pid=183065828
  38. https://www.facebook.com/groups/xenharmonic2/posts/1324263677593931/
  39. https://soundcloud.com/marcus_satellite/erv-wilson-memorial-kpfk-feb_2_2017
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