Tag: 59’th year

Scores are now in PDF’s

It’s lunchtime and I still haven’t posted, so I’m putting up
something I wrote in email to the lilypond
users list:

I mostly use lilypond for Renaissance polyphony, where the
original performers didn’t have access to scores, and I feel strongly
that modern performers can play better from parts, so that they have
to learn how their part fits with the others by ear instead of by
eye.

But having access to the score does help modern performers analyze,
and that analysis can certainly speed up rehearsals and maybe even
improve the performance. And I do produce a score in the
process of getting the parts typeset and proofread. And of course,
anyone who installs [the right version of] lilypond can print the
score as well as the parts.

For quite a while, I wasn’t putting the score PDF’s up on my site
at all, but now I’ve decided that the scores
Lily makes are so bad that nobody would be tempted to perform from
them if they had access to a nice part with good spacing and *a lot*
fewer page turns. So I have recently modified my scripts so that the
score appears at the end of the parts.

You can see an example in the PDF of Baldwin’s
A Browning.

Transcribing from facsimile

It’s Tuesday, which means I have to get ready for the Cantabile
Band rehearsal, and I just finished guessing where to add time in
the parts for the facsimile I’m transcribing.

I had planned a nice post about my marathon train ride through
Germany, but it’s going to take until well past lunch to write,
and I have other things to take care of.

So that one goes on the spindle, and I’ll just tell you how
much I marvel that they ever got any part books right before there
were computers to take the notes from the parts and combine them
into a score for them.

It’s also surprising that the sixteenth century singers didn’t
care more that there were all those mistakes. In the case of the
Weelkes, I think they weren’t really reading the music the way we
do at all — they just learned it to get the basic tune and then
put the parts together they way they had to go. They knew the
style, and so they didn’t need every ending note to be exactly the
right length to know where to start the next phrase.

You’ll be able to see what I’m talking about when I put the
piece I just transcribed up (maybe tomorrow), but there’s an A
section where the parts are supposed to all cadence together, and
a B section where they all end together. In both cases, once I’d
entered the notes as they were in the facsimile, one part was
short — in the A section the cantus was a half note short, and in
the B section the bassus was a quarter note short.

In both cases, if you knew the style and were really singing by
ear, it wouldn’t have thrown you — of course the Cantus goes back
and starts the A section the second time the way it did the first
time, and starts the B section the way it’s written, even if the
Cantus final note should be a half note longer. In the B
section, the Bassus part was clearly doing the obvious cadence,
even though it was written a quarter note short.

So I doubt that Weelke’s singers had any problem with his
mistakes, but the Cantabile Band would have if I hadn’t fixed them.

Dune

I have a dentist appointment this morning, so this is from the
spindle, scheduled yesterday.

I haven’t read the book recently enough to review it, but I saw
the movie from Netflix Saturday night, and enjoyed it more than I
expected.

Of course, I might have gotten madder at it if I was more
current with the book, but the movie seemed to include everything
I remembered vividly from the book. I remember the little sister
as being more important, but that might have been from the
sequels. (I think I read two sequels and then gave up. It’s not
a book that really benefited from sequels.)

The special effects are of course not done the same way they
would be now, and I don’t think there were any computer
programmers credited. But that made the movie look more
artistic. I remember being really excited when there were lots of
computer programmers with credits on the first Lord
of the Rings movie, but really the computer programming
doesn’t add as much as one would hope to movies, and can get
really boring if it’s the only thing you do, as in the more recent
Star
Wars movies.

There were some problems with the pacing of the movie — it
started a bit slow. And for all the brand-name actors (Kyle
MacLachlan, José Ferrer, Dean Stockwell, Brad Dourif,
Sting, Kenneth McMillan, Patrick Stewart, Sean Young, and Linda
Hunt), there wasn’t really that much impressive acting. But if
you want the Roman Empire translated into space opera, I don’t
think there’s much better than this out there.

The scene for Sting fans would have been even more artistic if
they’d left it nude, but the studio decided at the last minute
they didn’t want to deal with nude, so he’s wearing a g-string. But
the top half looks good enough you don’t really need the rest.

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Curried Bok Choy with tofu, tomatoes and coconut milk

I had friends over to watch the World Baseball Classic final
last Monday, and made enough of this to also be the soup of the
week after the Cantabile
Band rehearsal on Tuesday.

It’s a recipe I got out of Mark Bittman’s How
to Cook Everything Vegetarian. He calls for peas as the main
vegetable, but I’ve used it pretty frequently and find it works
pretty well with any green vegetable with some flavor to it. I
think I first did it with kale, and have done it with Swiss
chard, and maybe spinach.

The green vegetable that said, “Buy me,” at Whole Foods Market on
Monday was Bok Choy, so I used that.

I took three onions and a can of plum tomatoes. The recipe says
to chop them in a food processor, but I decided to try the Cuisinart
Smart Stick Hand Blender. This would have worked fine for the
tomatoes, but was a bit small for the onions. You can just chop
them any way you normally chop tomatoes.

You simmer the tomatoes and onions for a while and then add a
can of coconut milk and the vegetable and seasonings and cubed
tofu.

For seasonings, I just used Garam Masala and salt, but you can
add other things if you like. I sometimes add some star anise.

With a vegetable like Bok Choy, I add the stems first and the
leaves later. In this case, I had everything simmering except
the leaves and tofu before my recorder lesson at 8, and then
when the lesson was over at 9 I added the leaves and tofu and
started making rice. We ate when the rice was done.

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Beverly Sills: Made in America

I watched this documentary on PBS last night. I enjoyed it a
lot. Some thoughts I had while watching it:

  • I was surprised how old-fashioned the staging looked, not
    only in the clips from the 40’s, 50’s, and 60’s, but even from
    the 70’s, which is when I started going to the theater.
  • The best thing about it was that there was a lot of singing;
    not just short clips but enough of an aria that you could really
    get into the characterization.
  • I’m surprised at how few of those performances are on
    Netflix, with only a couple more of the operas on amazon.
  • They used Roberto
    Devereaux     as an example of what Sills thought wasn’t
    completely bel canto singing in the bel canto
    repertoire. Also an example of why singing opera is an athletic
    feat — the makeup took two hours to put on, and the costume
    weighed 50 pounds. I’m not sure I could sit around watching TV
    in something like that, let alone stand and sing over an
    orchestra for 3 hours.
  • The crossover appearances were interesting — not only could
    she tap-dance with Danny Kaye and Lily Tomlin, but they could
    sing with her.

It made me feel very nostalgic; I did actually see a
performance of Guilio Cesare in 1972, with a group
of people who were doing opera performances at Brown
University. We went backstage and shook Beverly Sill’s hand,
and met Muffy, the deaf daughter.

Singing opera is one of the things that’s always made me say,
“I wish I could do that.” It still does, even though of course
there’s now no chance at all, and never was much.

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Following up

Tofu Croutons

Last Thursday,
I wrote about making Tofu Croutons for a salad. I’ve in the
past processed the Tofu into a vinaigrette to improve the protein
content of salad, but I thought the croutons would also be useful
for soups. The cookbook
I got the recipe from said that if you kept them tightly covered
in the refrigerator they would last for 3 days. Mine were fine
the second day, but soggy and tough on the third day.

Logitech 550

I posted the day after the Logitech 550 Universal
Remote arrived. I intended to not follow up until I’d had
another round of programming, but I’ve found a couple more
problems that I don’t think programming is going to fix:

  • I have my DVD player hooked directly to the Stereo
    amplifier, since I generally prefer to get the better sound
    quality on movies, although there’s lots of TV that I’m happy to
    just use the TV speakers. I will look around the next time I
    get around to booting Windows and running the Logitech program,
    but the remote is making an assumption that you can adjust the
    volume on a DVD with the TV volume control, and that isn’t true
    for my system.
  • The software button labeled “Aspect” during “Watch DVD” does
    in fact bring up the “View Mode” menu on my TV set, but the
    arrows that are the only way I know of to select a view mode are
    the DVD player arrows, not the TV ones. Again, I don’t know
    that there’s a way to program around this.

Speaking of aspect ratios, the TV set I have (a
Sharp AQUOS 32 inch with 1080p resolution) has a very
unfriendly interface for picking this. What you usually want
(sidebars) is at the top, but then to get to anything else, you
have to scroll through the useless “Stretch” option that
distorts the aspect ratio. Then if you’re trying to play a DVD,
you have to guess which of the other two is the right one. On
some kinds of screens, it’s obvious, but by Murphy’s Law, you’re
always going to decide you want the bigger picture on one of the
screens where you can’t tell which ratio the director used. I
would expect an option for “make the biggest picture you can
without distorting the aspect ratio”, which it must know how to
do since it knows how big the sidebars are on the sidebars option.

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On Not Programming

I didn’t realize until after I posted yesterday that it was Ada Lovelace Day, for
appreciating the contributions of women programmers.

So this morning I started thinking about what I should have
posted. My first idea was that there’s a program I’ve been planning
to write for some time, so maybe the right thing was to write it
and then to post appreciating my own accomplishment.

So I started thinking about how to write the program, and the
next thing that happened was that I figured out a way to not write
it at all, but to use already written software. This means I not
only don’t have to write it, but I don’t have to test and debug
it, and potentially miss a bug and publish a bad
transcription.

To the extent that I was a successful programmer, I think a lot
of my accomplishments were of that ilk — rather than churning out
tons of code, I could sometimes solve a problem by creative use of
code that was already there. I learned some of what I knew about
how and why to do this from a woman I worked for in the late
seventies, Jacqui Horwitz, who had done a successful
implementation of a computerized medical records system by
adapting an existing system rather than writing one from
scratch.

In that job, there were 4 programmers, 2 men and 2 women, and I
eventually found out what all our starting salaries had been.
Both men had significantly less previous experience than both
women, and less idea how to go about solving a problem, and larger starting salaries.

One thing I consistently refused to do in my career as a
programmer was to write lines-of-code counting programs. (Someone
else always wrote them; there wasn’t much solidarity in the
software world.) The
reason management wanted them was that they had the idea that you
could measure productivity by counting lines of code. This was
clearly wrong.

I don’t want to make grandiose claims for these anecdotes as
illustrating why women’s contributions are undervalued, but if
they illuminate that subject, or any subject, for you, I’m glad.

World Baseball Classic

I’ve spent good chunks of the last three evenings watching the
finals and semifinals of the World Baseball
Classic (WBC). Here are some random thoughts:

  • Other things being equal, I was rooting for the team with
    the fewest major leaguers on it. I’ve always found it offensive
    that the Major League
    championship should be called the World Series, when all the
    eligible teams are located in two countries, neither of which
    seems to ever win a real world
    championship. Of course, other things weren’t equal — I
    usually felt like rooting for the Red Sox players I like, and I
    watched the finals with a Japanese friend, so I rooted for Japan
    over South Korea, even though Japan has several times as many major
    leaguers on their team.
  • I was annoyed that they abandoned play-by-play for a large
    chunk of the close-fought final game for an interview with the
    Commissioner of Major League Baseball. Baseball broadcasts tend
    to do this more casually than I like anyway, but you would think
    they would take a championship final a little more
    seriously.
  • Besides, the interview was not illuminating. They asked the
    Commissioner what could be done it increase fan interest in the
    WBC. Nobody mentioned the idea of putting more of it on TV,
    or some of it on broadcast TV.
  • If the Commissioner had been asked about TV coverage, he
    probably would have said that people with internet connections
    could watch it online at mlb.com. This isn’t true for anyone I
    know who’s tried. Admittedly I tried 3 years ago, but a friend
    who’s a big baseball fan and doesn’t have cable tried this
    month, using his Mac with DSL, and found it unwatchable.
  • An article I read before the WBC started said that it wasn’t
    going to be a real world championship until you could get 16
    teams without using weak entries like Italy and the
    Netherlands. In fact, both of those teams did quite well. What
    you would write with 20/20 hindsight is that you won’t get a
    good world championship until the semifinals can have 4 teams
    that are all better then Venezuela was on Saturday against South
    Korea. I didn’t see enough of the preceding games to be able to
    tell whether Venezuela was better at the beginning or whether
    they really got to the semifinals by beating teams that were
    even worse than that. The couple of games I saw earlier in the
    tournament were better than that.
  • I couldn’t figure out what the point of the pitch-count
    limitations was. I assume it’s to mollify the MLB
    managers who don’t want their players used up before the season
    starts. But it might have been to prevent a Davis Cup type
    situation where a country with a good pitcher and one or two
    good hitters can embarrass the countries with lots of good
    players. But that would be good television, if it
    happened.
  • The official scorers seemed a little error-happy to me. I
    saw several plays ruled as errors that if the player had made
    it, I would have been impressed. One particularly memorable one
    was on Sunday night, when Ichiro was batting for Japan against
    the US team. He hit what normally would be a routine ground
    ball to third except:

    • Ichiro is one of the fastest runners in baseball, so he
      beat it out.
    • The third baseman’s throw to first was a little
      wide.
    • The US team didn’t have a real first baseman, and were
      using a converted shortstop, and he had his right foot on the
      bag, when the throw was wide to his right side, so he could
      have stretched better if he’d had his left foot on the bag.

    I would have probably given Ichiro a hit, but the scorer ruled
    it a throwing error by the third baseman.

Spams and Scams

Boing-Boing
gleefully reports that the US attorneys’ office mistook a classic Nigerian
spam for a letter from a distressed Madoff investor in its
submission to Madoff’s sentencing judge.

It is funny, but reading through the whole document, with the
several hundred possibly real letters and emails isn’t funny at
all. The spam was probably just a slip of a finger — easy to do
if you’re moving hundreds of emails into one document. But all
those people who want to encourage the judge to lock Madoff up and
throw away the key, and especially the ones who want sympathy for
having lost their entire life’s savings, are really sad.

I’m not saying he shouldn’t be locked up — obviously one of the
things someone should be working on is finding all the money,
which will be easier if he doesn’t have unrestricted communication
with the people who can help him hide it. And I’m not saying I
don’t sympathize with the people who are really mad and spending
some of their mental energy inventing suitable punishments for
him.

But I really have very little sympathy for the people who
invested all their money in one place and have lost it all. You
don’t need a degree in high finance to have heard the proverbs
about putting all your eggs in one basket.

And while I understand the people wanting to invent the
punishments, I really don’t understand either the original person
or the US attorney wanting that kind of fantasy life to be part of
the public record.

Elegy

I wasn’t expecting that much from this
movie, because The
Wackness, also starring Ben
Kingsley, which was
hyped with it,was quite disappointing.

But this one you should see if you like good writing and acting
and pictures of the life of rich New Yorkers. Ben Kingsley really
draws you into his character in a way that doesn’t often happen.

Minor irritations

One scene has the Ben Kingsley character playing the piano with
a metronome going. The beat of the metronome has no relationship
whatsover to the beat of the music.

Dennis
Hopper‘s accent kept reminding me
of the fake American accents British actors always put on. He was
born in Kansas, so he presumably comes by whatever accent he has
honestly, and maybe his is just the one the British actors use,
and I don’t hear it often enough to think of it as real.

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