Problem: Background: Anita Mui Yim-fong (Chinese: Mei Yan Fang ; Jyutping: Mui4 Jim6 Fong1; 10 October 1963 - 30 December 2003) was a Hong Kong singer and actress making major contributions to the Cantopop music scene and receiving numerous awards and honours.
Context: On 5 September 2003, Mui publicly announced that she had cervical cancer, from which her sister had also died. She held a series of eight shows at the Hong Kong Coliseum from 6-11 November and 14-15 November 2003, which were to be her last concerts before her death.  Her symbolic act was to "marry the stage", which was accompanied by her hit song "Sunset Melody" (Xi Yang Zhi Ge ) as she exited the stage. The last song she performed on stage was "Cherish When We Meet Again" (Zhen Xi Zai Hui Shi ), a rendition of The Manhattans' "Let's Just Kiss And Say Goodbye" on 15 November 2003, where she was accompanied by her friends on the stage. She eventually succumbed to cervical cancer and died of respiratory complications leading to lung failure at Hong Kong Sanatorium and Hospital on 30 December 2003 at 02:50 (HK local time). She was 40 years old. Thousands of fans turned out for her funeral at North Point in January 2004.  In 1998, an ATV-produced television series Forever Love Song told a story of a character which was loosely based on that of Mui, but the character names were purposely changed. In 2007, a television series was produced in China titled Anita Mui Fei (Mei Yan Fang Fei ) to tell the story of her life. The 42-episode series was broadcast by China Education Television. Some subjects, such as her suffering from cancer, Leslie Cheung's suicide. and her mother's real estate dilemma, were avoided. Alice Chan (Chen Wei ) portrayed Mui in the series.  On 11 October 2008, a show on TVB, titled Our Anita Mui (Wo Men De Mei Yan Fang ), was dedicated to Mui. Many fans and off-stage personnel who worked with her had a chance to talk about their personal experiences with Mui. Singers who participated in the show included Andy Hui, Edmond Leung, and Stephanie Cheng. Mui was cremated and her ashes are interred at the Po Lin Monastery's mausoleum on Lantau Island.  On 18 July 2014, a statue of Anita Mui was unveiled on Hong Kong's Avenue of Stars.
Question: What else did you find interesting about her?
Answer: 1998, an ATV-produced television series Forever Love Song told a story of a character which was loosely based on that of Mui,

Problem: Background: Harry Partch (June 24, 1901 - September 3, 1974) was an American composer, music theorist, and creator of musical instruments. He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales. He built custom-made instruments in these tunings on which to play his compositions, and described his theory and practice in his book Genesis of a Music (1947). Partch composed with scales dividing the octave into 43 unequal tones derived from the natural harmonic series; these scales allowed for more tones of smaller intervals than in standard Western tuning, which uses twelve equal intervals to the octave.
Context: Partch made public his theories in his book Genesis of a Music (1947). He opens the book with an overview of music history, and argues that Western music began to suffer from the time of Bach, after which twelve-tone equal temperament was adopted to the exclusion of other tuning systems, and abstract, instrumental music became the norm. Partch sought to bring vocal music back to prominence, and adopted tunings and scales he believed more suitable to singing.  Inspired by Sensations of Tone, Hermann von Helmholtz's book on acoustics and the perception of sound, Partch based his music strictly on just intonation. He tuned his instruments using the overtone series, and extended it past the twelfth partial. This allowed for a larger number of smaller, unequal intervals than found in the Western classical music tradition's twelve-tone equal temperament. Partch's tuning is often classed as microtonality, as it allowed for intervals smaller than 100 cents, though Partch did not conceive his tuning in such a context. Instead, he saw it as a return to pre-Classical Western musical roots, in particular to the music of the ancient Greeks. By taking the principles he found in Helmholtz's book, he expanded his tuning system until it allowed for a division of the octave into 43 tones based on ratios of small integers.  Partch uses the terms Otonality and Utonality to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone. These six-tone chords function in Partch's music much the same that the three-tone major and minor chords (or triads) do in classical music. The Otonalities are derived from the overtone series, and the Utonalities from the undertone series.
Question: What is the Theory ?
Answer:
Western music began to suffer from the time of Bach,