On 4/10/06, Nathan Noble <[EMAIL PROTECTED]> wrote:
> why would we have new works? we'd just have tracks
> mapping onto existing
> works in different ways.
Terminology difference. I was considering tracks as
works which are part of higher-level works. I think
you view tracks as tracks that are part of
higher-level works.
no.. the point is to keep a recording separate from work.
a given track is a RECORDING of a MOVEMENT which is PART of a SYMPHONY for example.
or, a single track might be a recoridng of the entire symphony, etc.
the idea is to have the movement/work structure in one table/area of the db, and have the tracks somewhere else, and then we'd define 'is a recording of' relationships
We both are saying the same, but
the problem is this: there isn't really a finite list
of tracks we can add to a composer's oeuvre. A
symphony might have 4 movements and thus four possible
track names, while an opera might have 400.
400? i'm really having trouble imagining this scenario--can you spell it out for me? :p
In my
mind this reduces the usefulness of having works
lists, though I think only for operas or comparable
works.
> i suppose what this tells us is that a given track
> might have to map onto a
> 'range' of parts of the work:
> for isntance, if i had a cd of beethoven's 5th where
> they left the 3rd and
> 4th movements as one track (they lead into one
> another) we'd need to map
> that SINGLE track onto TWO movements
This is starting to get quite messy, even in the
hypothetical phase... It might be better to just add
a new track to Beethoven's list of tracks. There
could be four tracks called mvmts 1, 2, 3, and 4, and
a fifth called mvmts 3/4. All of these should point
to the same parent work: Beethoven's 5th.
augh.. no, THAT is wayy to messy. it complicates seeing how many movements a piece has, and disallows possibilites that might be important later...
-Nate
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