360 karma · joined April 14, 2013
Much of what they have there are 19th-century editions, which are now of course in the public domain. You might think that 150+ year-old editions aren't super-valuable, but many of them are from the Breitkopf & Härtel collected works editions. These editions are some of the most important works of 19th-century music scholarship, and were collected, edited, and subscribed to by important figures. Robert Schumann's works, for example, were all edited by Clara Schumann (an important composer in her own right), and Johannes Brahms is listed among the subscribers to the Bach complete works edition (among many others).
The example PDF files aren't easily generated with TeX, so I make them in Illustrator and store them with Git. They change a little less frequently than the text itself, and usually once an example is done it doesn't get updated very frequently. In my case, at least, I can't easily version the "raw source" for the examples, as the Illustrator binary files are ~3x larger than the resulting PDFs.
I suppose I could use something like git-annex, but every time I've tried I haven't really been able to get the hang of it, and the time I'd spend learning it is better spent actually writing the thing.
(Incidentally, this new Github feature makes it much easier to browse my examples repo!)
I'm wondering which unsolved problems you're referring to in particular. (Surely Perl 5 is not the only language which might happen on problems in upcoming decades, and just as surely Perl 6 isn't immune to them.)
[1] http://en.wikipedia.org/wiki/Torus#mediaviewer/File:Sphere-l... [2] http://en.wikipedia.org/wiki/Torus#mediaviewer/File:Torus_cy...
[1] http://openmusictheory.com [2] https://github.com/openmusictheory/openmusictheory.github.io
Very likely from Steve Losh (I did this too, and it helped a lot): http://stevelosh.com/blog/2012/10/a-modern-space-cadet/#shif....
It never claims to be "a comprehensive guide to all things musical" or "a theory of all music," but it certainly qualifies as music theory.
That's true, but if you take the "observed phenomenon" to be "Western, common-practice tonal music (and notation)," then this certainly helps to explain it. It's certainly what gets taught in undergraduate music theory classes (much of it in "fundamentals" courses). Graduate work in music theory involves doing exactly what you say: explaining observed phenomena, in both "classical" music as well as about any other musics you might imagine. That's not to say that all music is Western, common-practice tonal music, but a great deal of music comes out of that lineage; an understanding of these basics are often necessary (or at the very least, useful) before branching out.
You see this sort of thing in all disciplines. I might find an "Introduction to computer science for normal people" that explains big-O notation, or teaches some basic Python, or what have you. Someone might well say "This isn't 'computer science,' but instead 'jargon and programming.'" This person might be right, of course, but for "non-computer scientists and normal people," the distinction is not so clear.
This isn't true (at least in theory). Octaves on piano are (or should be) exact, otherwise the 12-tone equal tempering doesn't work out. A4 is 440 Hz, A5 is 880 Hz, and A3 is 220 Hz (using the Acoustical Society of America designations, where middle C = C4). If the octaves weren't pure, the piano would be more in tune in the middle than it would be at either end, which usually isn't the case.
> There were experiments with more tones per octave back in the middle ages, but the idea never caught on because the musical benefits aren't obvious.
The history of scales and how they came to be in the Western classical system is long and complicated (too long for here, certainly), but I wanted to point out my favorite of these weird old instruments the archicembalo.[1] It was designed by one of the most out there theorists, Nicola Vicentino, in Ferrara, a hotbed of weird music at the time (see Carlo Gesualdo's "Moro lasso" [2], a really chromatic madrigal).
1. http://en.wikipedia.org/wiki/Archicembalo 2. http://www.youtube.com/watch?v=s_q3EJNUKis
(I'm ABD on a Music Theory PhD, so if anybody has more specific questions I'm happy to help!)
http://www.amazon.com/Malcolm-X-A-Life-Reinvention/dp/014312...
I'll send Andy a PR about putting the Github link on the site somewhere.
The other intervals weren't considered consonant until much later (the middle ages), and didn't get their "major/minor" names until a bit later, in the Renaissance. Before this, they were known by their Latin names (M3 = ditone, m3 = semiditone, and so on). The m2 was found in (at least) two forms until the advent of equal temperament, usually known as the major and minor semitones.
The "major" intervals are those found in the major scale (M2, M3, M6, M7). The minor intervals aren't named in relation to the minor scale, but rather in relation to their major equivalents (a minor second is lower than a major second). "Minor" comes from "molle," which is "soft": the major third is "softened" to become the minor third, and so on.
[0]: http://en.wikipedia.org/wiki/Waffle_house#Waffle_.26_Steak
This is a bit of a strange thing to say, since nearly all of the advanced regex features showed up in Perl first. PCRE stands for "Perl-compliant regular expressions," so there's certainly no extensions there that didn't originally come from Perl. I'm less sure about Python, but I get the sense that they borrow from Perl regular expressions as well.