A why not to use Microsoft Word link

One of the most popular posts on this blog is Why not to
use AOL
, which explains in detail why you don’t want to use
AOL to deliver your email. The answer is that they don’t actually
care whether they deliver your email or not.

Before posting that, I did an extensive google search and
couldn’t find anything that explained the issue on that level of
detail, although there was of course an assumption in the
technically literate community that using AOL was a bad idea.

There are a lot of people in the technically literate
publishing community who assume something similar, but they seem
not to have actually managed to carry their point of view, because
lots of publishing opportunities which might otherwise be useful
(smashwords for
instance) require or encourage putting your material into Word format.

So I was glad to see a post by a good
writer
entitled Why
Microsoft Word must Die
. (I don’t actually like much of what
I’ve read by Charlie Stross, but he’s certainly an effective
writer, and lots of people do like what he wants to write.)

His post is a bit long, but does make a number of the right
arguments very cogently.

For instance, here’s how he explains the problems the
planned obsolescence model causes even for people who never use
Word themselves:

But as Word’s domination became established, Microsoft changed the file format repeatedly — with Word 95, Word 97, in 2000, and again in 2003 and more recently. Each new version of Word defaulted to writing a new format of file which could not be parsed by older copies of the program. If you had to exchange documents with anyone else, you could try to get them to send and receive RTF — but for the most part casual business users never really got the hang of different file formats in the “Save As …” dialog, and so if you needed to work with others you had to pay the Microsoft Danegeld on a regular basis, even if none of the new features were any use to you.

I don’t have much hope for the people who have no idea
how to use the “Save As…” dialog, but maybe the people who are
establishing publishing businesses will read this article and
think about their system.

Come hear me play this weekend

[Laura and Frank with serpent and dulcian]
Laura Conrad with serpent and Frank Jones with dulcian at NEFFA, 2005

English Country Dance in Harvard Square

The Harvard
Square English Country Dance
is tonight at 7:30 at Harvard-Epworth Church. It’s open band, so you can play some and
dance some or just dance or just play.

I will have both the serpent and some recorders, so it’s a
chance to hear the serpent.

West Gallery Quire

The West Gallery
Quire
is meeting this weekend, with guest leaders from
England, and four new tunes.

One of the new tunes is scored for two bassoons, so if you play
bassoon you would be especially welcome. We have two dulcian
(ancestor of the bassoon) players who come from time to time, but
at least one of them will be out of town this weekend.

So it’s likely that we will simulate the bassoons on serpent
and trombone. This is quite authentic — the original West
Gallery musicians just played whatever instrument they had on
whatever part they wanted to. There are complaints from congregation
members about bands where the cello played the tune and the
clarinet played the bass one or two octaves too high.

In any case, this is actually the best way to hear the serpent
— I’m a better West Gallery musician than I am a country dance
bass line player, and the serpent was invented for singing with,
and you’ll be able to sing with it.

Coffee and Tea Service

I was having a bunch of people over last night and had promised
to make them coffee and tea. This isn’t my usual mode of
entertaining — I usually put a mixed six pack of beer and a
bottle opener on the coffee table and everyone gets the glass they
want from the glass cabinet and if they prefer water they get it
from the filtered water pitcher.

I decided to leave the the get your own mug or glas from the
cabinet mode, but of course I didn’t want to be fussing with
brewing coffee and tea after the guests arrived, so I decided the
right answer was to boil a large pot of water and brew coffee,
decaf coffee and two kinds of herb tea all at once just before the
arrival time.

I decided to use my 10 gallon brewing pot with the spigot for
boiling the water. This was a mistake. Since I boiled less than
two gallons of water, most of it was below the level of the
spigot. So it worked fine for filling the one and a half litre
french press coffee pot with the decaf coffee in it, but after
that, I had to tilt it to get the water out of the spigot.
Eventually I worked out a way to do this with oven mits on both
hands, but I did get a minor burn on my wrist before I figured
that out.

But eventually, the decaf coffee was brewed in the french
press, the coffee was brewed in the one liter thermos with a drip
filter on top, and my two large teapots had chamomile and something
called “rote grütze” (which I labeled as “fruit and spice”) in them.

Actually, everyone had wine with the food and decaf coffee
afterwards. The decaf would have benefitted from a thermos, and I
had ground it on the same setting I do the drip coffee on, so the
bottom was a little dreggy. So I’m thinking about getting a
larger thermos for decaf and just doing tea or caffeinated coffee
on demand. I’m drinking the herb tea instead of making coffee
this morning. I had my co-hostess take the caffeinated coffee
home with her, since I don’t drink it.

I should have pictures of some of this, but I’m still not used
to just whipping out my phone when I’m in the middle of
something.

Absent-mindedness in the choir

[choir sleeping]
Illustration by Charles Green for “Absent-Mindedness in a Parish Choir”,
pub. in Thomas Hardy’s “Wessex Folk” (subsequently renamed “A Few Crusted Characters”)
in Harper’s New Monthly Magazine Vol. 81 (May 1891)
Image scanned by Philip V. Allingham for the Victorian Web

A friend drew my attention to the Thomas Hardy short story Absent-mindedness
in a parish choir
. It’s one of the surviving depictions of a
West Gallery choir at the end of
the era.

If I left my serpent like that one (the cello bow is even
worse), I wouldn’t have one long.

Phatic Hiatus

One of the great phrases from C.S. Lewis. The Scotsman who uses
it pronounces hiatus so that the second syllable has the same
vowel as the first syllable of phatic. Communications gap
is a more common idiom.

The people at the Carlone campaign were quite impressed by the
party
invitation
I put together for my meet and
greet
. (If you haven’t seen it, it prints on letter paper, and
folds in quarters.) So they asked if they could have the source so they
could use it for another get-together.

I sent them a zip file of the LaTeX, .eps graphics, and
Makefile, and said that if they didn’t have anyone who liked
playing with that kind of software (and already had LaTeX and pdf
utilities on their computer), I’d be happy to spend 10 minutes
fiddling with the text and send them a PDF file.

So they sent me the details with the phone number missing and
the room number wrong, and copied the host of the party, who
supplied the phone number and corrected the room number, so I
sent a second version, and he sent me this:

Half of this is upside-down, which will look funny when I tape it to
the wall.

When this is corrected, I can print it out and put it up next to our
mailboxes and a couple of other places.

Obviously, he hadn’t been who saw my original and thought it
was cute.

So I wrote him back:

The idea is that you fold it in quarters and put it in people’s
mailboxes (or in your pocket, and hand it to them). I could do a flyer
you could tape on the wall, but that would be a new design, not a
10-minute change to what I did for my party.

Why women drop out of science

The New York Times Magazine has an interesting article.
The headline writer calls it an article about why so few women go
into science, but it isn’t the dry statistical kind of article —
it’s about some women’s real experiences of being physics majors.

I was a physics major who didn’t go on to become a professional
physicist. I think a lot of both men and women who left school in
the 70’s found it easier to become computer programmers than to
get graduate education in science or math and then compete for a
diminishing number of jobs.

The story I’ve always told about why I didn’t go to graduate
school is that by the time I was a junior and senior, I and
a lot of my friends were dating graduate students, and most of the
ones I knew were pretty miserable. The exceptions were the ones
who had done something else for a while and decided that research
in a particular field was what they really wanted to do with their
lives.

Then after I was out of schoool for the first time in sixteen
years, I was so deliriously happy not to be in school I never
really considered doing anything that would require going
back.

The two reasons for women dropping out that the article (as I
remember it from two days ago) goes into in detail are harrassment
or actual discouragement in and out of the classroom, and lack of
encouragement by faculty of further study of even the most
successful female students.

I don’t think either of those reasons applied to me. I
remember one remark by a professor that I found a bit sexist. Of
course in 1971 none of us had really had our consciousnesses
raised very hign. But this is pretty mild by the standards of
other women’s harrassment stories. We were doing a lab experiment
about radiation, and the preliminary discussion had emphasized how
careful we should all be about the hazards, and then the moment
came when someone had to press a button that would actually
release some radiation. The class hung back, until I (the only
female) volunteered, and the professor said something about all
the men being willing to let a woman take the risk for them.

I wasn’t a particularly brilliant physics student, so it isn’t
surprising that none of the professors encouraged me to go on,
although one of them gave me a surprisingly good reference for a
job a couple of years after I graduated. (It turned out to be a
terrible job.) But I did have a math professor who was very
disappointed when I told him I wasn’t applying for graduate
school.

I”m sure the stories people tell actually heppen, and I’m sure
that science would be better off if there were more diversity of
people doing it. I’m just saying that just eliminating the horror
stories or even raising the consciousness of the power structure
isn’t going to do it.

I moved the toaster

[counter]

I just rearranged the appliances on the counters.

One problem with my kitchen is that there’s a counter that goes
around a corner, leaving a black hole both in the cabinets and on
the countertop that’s a lot less useful than you’d like it to
be.

I thought that would be a good place for the microwave oven,
but there’s no way to work without taking up the space that the
oven door would need to open there, so instead I have the microwave on
the counter between the fire escape door and the dining room
window. This makes that counter, which you need to use for
loading and unloading the refrigerator, a lot smaller than you’d
like.

I’m not currently using the toaster as often as I have in the
past, both because of my greens for
breakfast
discovery, and because a good bakery opened up down
the street, so I sometimes go buy croissants when I would have
formerly made toast.

So my current idea is that the dead area in the corner is used
for small appliances that are used often but not daily, and is
flanked by the knife rack which is still a bit improvised but
doesn’t fall apart too often as long as you don’t try to use the
giant chef’s knife, which I only use for cutting pizza. It’s a
franken-knife rack — I combined the magnetic strip I never
managed to affix to anything with the rack of vertical slots which
I snarfed from Bonnie’s kitchen. On the
other side, the smaller appliances are held in place by the slow
cooker/rice cooker/pressure cooker, which is used several times a
week.

Right now the toaster, the stick blender, and the hand mixer
live there. I’ve been sharpening the knives on the arkansas
stone, so the knife sharpener went into the appliance cabinet,
along with the waffle iron which I haven’t used very often since I
bought it.

This makes the appliance cabinet more crowded than it should
be. The obvious thing to do about that is to discard or donate
the bread machine, which has seen better days, but I’ve been
trying to decide whether

[microwave]

Obviously one of the advantages to doing something like this is
that you move everything out and clean under it. (I cheated and
didn’t do the microwave, yet.) So some spiders crawled out and
were very annoyed at me, but I assured them I wasn’t going to be
doing this every week. I pointed out that there were some
housekeepers who do something like it every day, and they wouldn’t
want to live there at all.


[spider]

Report on the week of September 30, 2013

We played:

Schedule

Next week, October 8, we will deviate from our usual format.
Some people want to go see Marilyn Horne teach a masterclass in
Jordan Hall at 7 PM. Other people will be rehearsing for the
Harvard Square English Country Dance at 7:45 pm at my place. The
Masterclass is free and open to the public. The Country Dance
rehearsal is open to anyone who likes playing English Country
Dance music, but one assumes that if you want to play it on
Tuesday, you would also like to play the
actual dance on
Friday, October 11 at Harvard-Epworth Church.

That link has a
list of the tunes we will be working on. They’re all in Barnes (I
or II); let me know in advance if you’re coming and won’t be able to bring your books.

After that we will resume our usual schedule, meeting on
Tuesdays at 7:45 at my place.

Other Playing Opportunity

I think I haven’t pushed the West Gallery Quire
lately — if you sing or play a melody instrument, you should try
it out. Sunday, October 13, will be a particularly good day to do
that,
since Sheila and Edwin Macadam, two of the leaders of the West
Gallery rediscovery, will be leading the group.

Other partying opportunities

If you vote in Cambridge, I’m having a get-together at 7pm on Wednesday, October 9 for City
Council candidate Dennis Carlone.

The Boston Wort Processors
will be having their annual cider picnic on Sunday, October 20 at
noon. Let me know if you’d be interested in going and maybe doing
some playing. It’s in Amesbury, so we’d probably want to
carpool.

A note on this week’s transcriptions

Xavier Verhelst, who did a lot of transcription for the edition
of Ortiz
that John Tyson and I did,
sent me the edition he’s done recently of Constanze Festa’s
Il Primo Libro de Madrigale. His editions are done
with Sibelius (which I can’t read), and don’t have barlines, but do
come as a score, so to use it in our group, I used a web service
called Partifi to get the
individual parts.

If we end up working on some of them, I will probably
transcribe them in our usual format, but for running through them
to see if we like them, this is good.

The Newberry Consort at BEMF

[two players of large wind instruments]]
Illustration of Cantiga 11 from the Cantigas de Santa Maria by Alphonsus X.

Rosa das Rosas: Cantigas de Santa Maria

The Newberry Consort

Jordan Hall

Thursday, June 13, 5 PM

MULTIMEDIA

This was billed as a multi-media event, which is a really good idea
for this music, because there are lots of people who have studied the
original 13th century manuscript in literature class or art class or
music class without any information about the rest of it.

There was a screen behind the performers which had a picture from the
manuscript, and translations of what the singers were singing. This
is really nicer for both audience and performers than everyone
squinting into their program books.

Many of the pictures have people playing instruments, and it was a
little jarring when the instrumentation chosen by the performers was
completely different from that in the pictures. I was particularly
struck during Cantiga 300, where the picture showed two
very conical bore wind instruments (not in enough detail to tell
whether they had a brass mouthpiece, a reed, or a fipple) and Tom
Zajac was playing a cylindrical bore traverse flute.

RECORDER and OTHER INSTRUMENTS

The music of the Cantigas is vocal, but to listen to an hour and
fifteen minutes without intermission, it was really nice that there
was a variety of instruments. There was vielle, rebec, lute, harp,
citole, hammered dulcimer, flute, recorder, bagpipe, and percussion.
(Played by 5 different people.)

Variety was also provided by supplementing the two singers (Ellen
Hargis and Matthew Dean) from the Newberry Consort with 5 singers from
the Boston area _a capella_ group Exultemus. So while Ellen Hargis
did the vast majority of the solo singing, dialogs could happen with
another singer, and some of the more general emotions could be
expressed with a choral sound. The final piece, Cantiga 10: Rosa das
Rosas, used this sound particularly well.

The recorder was actually on only one piece, but it was one of the
more striking uses of instrumental accompaniment. Cantiga 103 tells
the story of a monk who asks the Virgin to show him what the bliss of
heaven is like, and he starts listening to a bird sing, and the next
thing he knows it’s 300 years later and he no longer knows anyone in
the monastery. A highly improvised recorder solo (by Tom Zajac) was
the depiction of the bird song.

The other instrumentation I found most memorable was the quite simple
castanet beat (also played by Tom Zajac) with the Cantiga 425, about
the joy the disciples felt at the Resurection.

13th or 21st CENTURY?

The medieval notation used in the Cantigas is quite good at telling us
what notes comprise the tune, but experts differ by quite a bit about
the rhythms, and there aren’t harmonies or instrumentations notated
at all. So one is tempted to conclude that the good performers of
this music are actually quite good composers, and the music they’re
playing is twenty first century music, based on some material from the
thirteenth century.

This concert, partly because of the immersion in the pictures and the
ease of following the words, and also because of the relatively
“straight” interpretations, without a lot of composed harmony and
counterpoint, seemed more like a real experience from the 13th century
than other medieval concerts I have heard.


[Newberry Consort]
The Newberry Consort. (Left to Right): David Douglas, Ellen Hargis, Tom Zajac, Mark Rimple, Shira Kammen