Aidevah
Joined 5 years ago
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310
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121
Member since
Nov 16
Recent submissions
Comment · 11 months ago
Comment · 1 year ago
A lot of modern packages which began outside emacs have now been
gradually been merged into the main emacs tree and come pre-installed
(use-package for clean per package configuration, eglot for LSP
support, tree-sitter, which-key etc). So you just need to learn how to
configure them.
The most important packages which make emacs feel "modern" that are still outside the emacs tree for now are the ones which makes completion better, both in the main buffer and also in the minibuffer (what others may call your "command palette"). They are
- consult: search and navigation commands, provides candidates for...
- vertico: vertical display of candidates in the minibuffer
- marginalia: annotations for the candidates
- orderless: orderless fuzzy match for candidates
- embark: right mouse context menu for candidates
Getting these setup would make your whole journey onwards much smoother.
Comment · 1 year ago
That Byrd is very nice! The individual voices came across very well on
my IEMs.
I'm used to reverb as well, and the complete lack of reverb in these recordings still sound a little weird to me, as if they are singing in a closet. But even in the 15th and 16th century vocal polyphony was likely performed (often?) in places other than the resonant nave or choir of a large church. I read that aristocratic (or ecclesial) patrons would have singers perform in private chambers, and performance of votive masses at a private chapel to the side of main space in the church would have very different (and quite dry) acoustics.
Comment · 1 year ago
A recent recording of Obrecht masses had close mic, recorded in a studio usually used for pop music with very little echo, with one voice per part [1]. The effect really is quite startling. The last time choral music was recorded like this was (coincidentally another Obrecht mass) more than 30 years ago [2].
I think a lot of vocal music written around 1500 would benefit from this approach. It has been remarked that this is really a sort of sacred chamber music rather than music requiring a huge choir. The music moves too fast and it's very difficult for a big choir in a very resonant space to do Obrecht, Josquin and friends full justice.
[1] https://hyperion.lnk.to/cda68460 [2] https://www.medieval.org/emfaq/cds/dvg102.htm
Comment · 1 year ago
The main reason for the commotion during the Paris premiere seems to be the publicity which whipped up the audience on both sides and made a clash inevitable. The Russian ballet had been playing the snobbery of the Paris audience for Stravinsky's two previous ballets, but misjudged the response in the third.
The subsequent performances, the London premiere, and the Paris concert premiere in 1914 all went off without a hitch. And the status of the Rite has only steadily increased ever since.
As Taruskin says, the music of the Rite is actually not very difficult to appreciate[1]:
> While it was at first a sore test for orchestra and conductor, and while it took fully half a century before music analysts caught up with it, The Rite has never been a difficult piece for the audience.
> The sounds of the music make a direct and compelling appeal to the listener’s imagination, and the listener’s body. In conjunction with Stravinsky’s peerless handling of the immense orchestra they have a visceral, cathartic impact. They leave—and to judge from the history of the score’s reception, have always left—most listeners feeling exhilarated. It is only the mythology of The Rite that would suggest anything else.
[1] https://avant.edu.pl/wp-content/uploads/Richard-Taruskin-Res...
Comment · 1 year ago
> Universalism: that is the intellectual realm abutting utopianism and ethnocentrism. "There are universal values, and they happen to be mine," was Stanley Hoffman’s delightful definition of the latter. Like utopianism and ethnocentrism, universalism normalizes, excludes, and shouts down. If “universal” does not mean universally accepted, then it means nothing. Those who do not accept must therefore at least be marginalized, and if possible stigmatized.
-- Richard Taruskin [1]
[1] https://www.nytimes.com/1995/09/10/arts/the-new-seasonclassi...
Comment · 1 year ago
Looks like the crew were manning the yards[1] as they went out to sea.
[1] https://en.wikipedia.org/wiki/Yard_(sailing)#Manning_the_yar...
Comment · 1 year ago
Great job! For converting music to readable images, the latex of music
typesetting is lilypond, which has the ability to create legible music
at any size by scaling the notational glyphs accordingly[1]. This
sounds like what you were trying to achieve achieve with opencv.
With that being said, although lilypond is very intelligent about all sorts of typesetting minutiae, but it's probably difficult to wrangle it to run on smart glasses.
[1] https://lilypond.org/doc/v2.24/Documentation/essay/engraving...
Comment · 1 year ago
Isn't Mytilene a city while the island itself is called Lesvos?
Comment · 1 year ago
I recall that Charles Rosen wrote somewhere that one of the reasons the string quartet took off in the classical period was that it allowed the playing of all the notes in a dominant seventh chord without double stops. Although this was probably a better explanation for the relative paucity of string trios in the output of Mozart (1) and Beethoven (0). The establishment of four parts as the "standard" scoring for vocal ensembles can be traced back to the 15th century.
On the other hand the second and more famous dining (and conversation) club founded by Dr Johnson had originally 9 members, and gradually grew from that to dozens. Although many including Johnson may have not been entirely happy with the expansion.
Comment · 2 years ago
> Unless you’re doing some fairly exotic things where you’re finding yourself saying things like
>> Oh yeah the OCR on Japanese driving licenses pops out things like “平成 8”, that’s just how they sometimes say 1996 over there. That’s why we have this in the parser: eras = { "大正": 1912, "昭和": 1926, "平成": 1989 }
>> One of these days we’ll need to add "令和": 2019, but it hasn’t come up yet.
Taiwan also uses the ROC calendar[1] which is directly descended from the regnal calendars of imperial china.
But it's quaint that the Japanese name their year after one person, while us enlightened westerners simply use a calendar where it's simply the 2024th year of the, erm, hmmmph...
[1] https://en.wikipedia.org/wiki/Republic_of_China_calendar
Comment · 2 years ago
Yes, although they are either juvenilia or relatively small pieces that would not greatly change our understanding of the composer in question.
On the other hand there is another piece of music "recovered" this year not by rediscovery but by recomposition/restoration, and it's quite a substantial piece that should provide quite a useful new perspective on the composer[1][2].
[1] https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68460 [2] https://doi.org/10.1093/em/caad055
Comment · 2 years ago
>Shakespeare plays were made for broad appeal (he was a professional playwright, after all). Mozart's music was made for the broad appeal.
This statement is misleading because the broad appeal of both Shakespeare and Mozart today is the culmination of centuries of attempts to understand (and misunderstand) them. Calculus can be taught to high schoolers nowadays, but how many scientists in Newton's days could understand the Principia in its entirety?
Not to mention that Shakespeare and Mozart were both able to produce works of the highest sophistication that leaves most of their contemporaries (and many today) baffled. Harold Bloom wrote that the sophisticated word play in Love's Labour's Lost was not surpassed until Joyce, and Mozart's contemporaries complained endlessly about the complex textures in his opera finales. When Mozart wrote piano trios for the public, his publisher cancelled the series after two pieces because they were judged far too difficult for the masses, and when Mozart intended to write some easy piano sonatas at the end of his life, the first (the only one he completed) turned out to be the most difficult he ever wrote.
Invoking the popularity of Shakespeare or Mozart as analogues to Mr Beast reveals a fundamental misunderstanding of the longevity of both Shakespeare or Mozart, and leaves unmentioned the extensive body of difficult works on which their reputation rests today.
Comment · 2 years ago
>In the end, maybe the crucial difference between those who read once and those who reread is an attitude toward time, or more precisely, death. The most obvious argument against rereading is, of course, that there just isn’t enough time. It makes no sense to luxuriate in Flaubert’s physiognomic details over and over again, unless you think you’re going to live forever.
This is a curious argument. Does the author never listen to a song more than once?
Interesting interpretation of "he was orphaned at 10 and left with nothing and had to go and live with his brother".