On 4/10/06, Nathan Noble <[EMAIL PROTECTED]> wrote:
> 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

When you enter a new album you will still enter a
track name.  This name should come from a list and I
should be able to easily look it up.  That is all that
matters to me.

> 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

Four hundred.  Seriously, tag an opera.  I may be
overestimating (I was shooting for order-of-magnitude
accuracy), but it would not surprise me.  I've tagged
some operas that are over 50 tracks, and there is no
standard way to slice a scene into tracks.

How long are the scenes compared to the acts?  (i've been to many operas, but never really looked at the act/scene structure etc.) we could just have works exist at the scene level and not really worry about the rest for now?  this would be analogous to not worry for now where the development begins in a symphony...
 

The next
release will add a dozen new names if not more.

Still don't believe me?  Then approach it as though
you are adding a new opera to MBs kick-ass new works
list.  Go to karadar and load a libretto.  Then try to
infer a comprehensive list of all possible track
titles from the text.   For simplicity ignore the fact
that there are multiple versions of the libretto.

But this doesn't even matter, even if I'm right.  It
can't be worse than the current behavior, which is to
retype all titles every time.  I mean this only to be
a caveat that you still are going to waste a lot of
time typing when entering a new opera disc, which
sucks.

hmm... well teh titles are usually direct quotes from the libretto?  if so, then eventually the whole libretto could be in the DB, and there would be an 'autocomplete' that would finish what you're typing based on the libretto.

>
>   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...

I think you're more worried about browsing.  So be it.
MB stores metadata poorly for classical imo.  I want
to type less per disc and see more uniform classical
titles, the sooner the better.  I think it can be done
quickly using the same type of lookup mechanism we
currently have for artists.  Browsing and complex
relationships would be great, but shouldn't be a top
priority right now.  That's it for me.

Well there's a lot of info that makes sense to enter 'while you're at it' when entering composer's works lists--it would take much more time overall if we enter a quick n' dirty version of the data and then have to go back to enter details when the db can take it

we can tweak the use of the data later, but we need a structure to enter all the data the first time around.

anyway, mapping a track onto a PAIR of movements would fill in the track title for you, and would probably be easier than looking at list of all possible gluing-togethers of movements...

(even in a 4 movement symphony there'd be like 10 possibiltiies... in a 6 movement suite... 6+5+4+3+2+1 = 21 possibilities!?)
 

-Nate

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