Re: MIDI Position Markers

[Dr Nicholas Bailey]

Sorry about that post guys. It was to a student about a completely different 
thing! I've just got a new mouse and it seems I've not got the hang of using 
it yet!

On Thursday, 15 July 2021 17:37:34 BST Dr Nicholas Bailey wrote:
> Also looking good. Well-formed user stories.
> 
> Helping each other is fine. You are going to have to allocate a %effort
> though (sorry to be such an authoritarian, but as I explained it's not a
> group project). For this exercise, concentrate on the ideas when allocating
> effort. It's beautifully formatted, but the ideas count for the stories.
> 
> See if you can get her to be a collaborator for your github repo, or it'll
> make giving you both credit really hard. Or have a repo each. But we must
> keep an audit trail of who did what.
> 
> NJB/.
> 
> On Thursday, 15 July 2021 17:17:42 BST Keith Smith wrote:
> > Is there anyway to generate MIDI Position markers in the MIDI output?
> > 
> > My use case is that \unfoldRepeats only works for simple "\repeat volta
> > ...{" constructs.  In compositions that have D.S. Coda, etc the
> > structure of the composition is lost in MIDI.  I import the MIDI from
> > lilypond into my DAW (Reaper) and then cut and paste to get the
> > structure back.  My DAW will also import MIDI Position Markers if
> > available.  If I could generate these directly from lilypond then it
> > would be very useful as I would be able to find where I need to cut and
> > paste the lilypond MIDI  in my DAW.
> > 
> > Thanks,


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Re: MIDI Position Markers

[Dr Nicholas Bailey]

Also looking good. Well-formed user stories.

Helping each other is fine. You are going to have to allocate a %effort though 
(sorry to be such an authoritarian, but as I explained it's not a group 
project). For this exercise, concentrate on the ideas when allocating effort. 
It's beautifully formatted, but the ideas count for the stories.

See if you can get her to be a collaborator for your github repo, or it'll 
make giving you both credit really hard. Or have a repo each. But we must keep 
an audit trail of who did what.

NJB/.


On Thursday, 15 July 2021 17:17:42 BST Keith Smith wrote:
> Is there anyway to generate MIDI Position markers in the MIDI output?
> 
> My use case is that \unfoldRepeats only works for simple "\repeat volta
> ...{" constructs.  In compositions that have D.S. Coda, etc the
> structure of the composition is lost in MIDI.  I import the MIDI from
> lilypond into my DAW (Reaper) and then cut and paste to get the
> structure back.  My DAW will also import MIDI Position Markers if
> available.  If I could generate these directly from lilypond then it
> would be very useful as I would be able to find where I need to cut and
> paste the lilypond MIDI  in my DAW.
> 
> Thanks,


-- 
The University of Glasgow, charity number SC004401

Re: music symbols in LibreOffice

[Dr Nicholas Bailey]

On Sunday, 26 July 2020 09:10:55 BST Dick Kampman wrote:
> I an writing text in LibreOffice about metronome-markings. So, I have
> for instance to replace "...quarternote=60..." by "... symbol>=60...", etc.
Like ♩=72?
> 
> Can I use the Lilypond extension in LibreOffice to achieve such purposes?
It seems like a massive overkill. I'd just use Unicode 2669 (♩)

> 
> With kind regards,
> 
> Dick Kampman
> 
> kamp...@xs4all.nl
> 
> Netherlands.

Re: Remote Ensemble Playing

[Dr Nicholas Bailey]

Off topic, so I've not bothered the list with it. But you might be 
interested...

https://www.researchgate.net/publication/
200806144_Perception_of_onset_asynchronies_Acoustic_Piano_versus_Synchronized_complex_versus_pure_tones
http://musicstudies.org/wp-content/uploads/2017/01/Parncutt_JIMS_11050202.pdf

I'd be very interested to hear more about your Jitsi project by the way! 
github?

-- 
The University of Glasgow, charity number SC004401

On Wednesday, 1 April 2020 11:06:06 BST Andrew Bernard wrote:
> This is all very good but ensembles have been performing double choir
> and organ in three widely spaced spots in Venice for centuries.
> Without click tracks in 1600.
> 
> I am not convinced that there is a human clock running at a specific
> rate. Where is the evidence for that, I ask, purely out of interest.
> 
> On this topic, I am currently building our own global jam software
> with video and audio with low latency based on the open source jitsi
> software. if it all works, I get back to you with the results.
> 
> Session players are great at following click tracks, but classically
> trained players are usually hopeless in my experience, amusingly.
> 
> Andrew

Re: Remote Ensemble Playing

[Dr Nicholas Bailey]

On Saturday, 28 March 2020 11:00:56 BST Peter Gentry wrote:
> I appreciate this is off topic but in these times of social isolation does
> anyone have any tips. Clearly latency is the main issue - I wonder could
> this be reduced by say hosting a Zoom meeting on a private router - maybe
> only one video for a conductor. Experience suggests that a latency of 25ms
> is not low enough.
> 
> Regards Peter

We've been trying that, and so have Glasgow University Chapel Choir with 
hilarious results. See

https://m.facebook.com/story.php?
story_fbid=3271515439543488=215071425187920

(At the end you discover they are really very good!)

Maybe try one of the low-latency programs like Jamulus?

http://llcon.sourceforge.net/index.html

What would be really good would be to find such an application which could 
follow the conductor  and show a moving Lilypond score...

I don't trust Zoom anyway.  Why has it got more than 2 open file 
descriptors? What's it doing  with my files??

$ lsof | grep -i zoom | wc -l
20811

-- 
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Re: Which Linux distro for Lilypond

[Dr Nicholas Bailey]

Watch out for Debian. There isn't a Lilypond in Testing (Stretch) AFAIK. It's 
because they've removed the old scheme version. I develop in Testing in the 
hope that by the time I get around to releasing anything, it will be 
compatible with Stable :) Stable released rather infrequently, but I use it on 
our servers and it is very, well, *stable*.

It's easy to install the Stable lilypond debian package on a Testing Debian 
box, fortunately. Debian is my favourite distro: I've tried others but always 
returned. Shame about the scheme thing, but it will sort itself out sooner or 
later (if it hasn't already!). I guess the clue's in the distribution name: 
"Testing" ;)

Nick/.

On Friday, 23 December 2016 22:37:32 GMT David Wright wrote:
> On Sat 24 Dec 2016 at 13:06:23 (+1000), Craig Dabelstein wrote:
> > Hi Lilyponders,
> > 
> > Just a quick question. I'm taking the plunge and moving to Linux. Which
> > distro would you recommend for running Lilypond and Frescobaldi?
> 
> I don't know where you're moving from, but I think you should choose
> your distribution on what you and your computer find most comfortable
> to use.
> 
> Assuming you're coming from, say, windows or a mac, you would probably
> run a Desktop Environment, in which case the choice of DE could be as
> important as the distribution.
> 
> OTOH with an older machine that's past being able to run windows,
> Frescobaldi should run happily on X and the simplest of Window
> Managers, like fvwm for example (and maybe a DE too).
> 
> The version of LP that the distribution supports can be made
> irrelevant by downloading it/them from the lilypond.org website,
> and I assume the same goes for F. (Debian stable, currently jessie,
> will always bundle comparatively old versions of software.)
> So I would say that you should sort out your platform first.
> 
> (I wasn't aware of oddities with OpenSuse Leap 42.1, nor whether these
> involved only its bundled versions or all versions.)
> 
> Cheers,
> David.
> 
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Re: Spare SSD anybody?

[Dr Nicholas Bailey]

On Wednesday, 1 June 2016 12:36:02 BST David Kastrup wrote:
> Alexander Kobel  writes:
> ...
> 
> Sure, it would be nice to keep in mind.  I'm not really sure what the
> expected lifetime of the disk I have is.  Maybe I just need to keep
> making backups in sane intervals and otherwise am still fine.

I had cause to look into this recently and came across the following. 
Executive summary: everything is fine now and new SSDs last forever.

http://techreport.com/review/27909/the-ssd-endurance-experiment-theyre-all-dead

It's on the internet so it must be true :) (I expect more authoritative tests 
are available).

I'm using a hybrid 1TB in my laptop at the moment with no problems with Debian 
Stretch GNU/Linux as the only OS installed. These devices feature typically 
8GB or so of flash with the majority of the storage being on the whirlydisk. 
What the flash gets used for is up to the drive.

With no tweaking or setup, it appears to me to be much faster than the old 1TB 
drive (only whirly, no flash), which I replaced because of increasingly 
frequent heat-related failures after it been running for 4 hours or so.

Nick/.


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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

[Dr Nicholas Bailey]

On Friday 18 Mar 2011 08:14:48 Dmytro O. Redchuk wrote:
 Let's say, i love J. S. Bach very much (well, let's say), as much as my
 father and grandfather (etc). So, can i really be sure that i understand
 his music as good as my grandfather?.. I mean that every Beethoven's
 symphony contains a piece of information -- can i be sure that i can
 recognize it as good as my grandfather? Yes, i know this can not be
 measured at all.

I'm not sure you can't measure that. You should see what MRI scanners can 
measure these days. Get yourself scanned now, then perhaps your great 
grandchildren really will be able to see if they respond in the same way 
(using the same mechanisms) as you.

On Friday 18 Mar 2011 13:15:56 James Lowe wrote:
 Hello,
 ...
 When you are a 'grandfather' you will know the answer because the 'good'
 stuff of today will still be around or known and the 'bad' stuff will not
 (or rather it will be 'somewhere' but everyone will have forgotten about
 it). I am sure there are some exceptions but they won't be the rule, and
 of course things like distribution 'back in your grandfather's day' would
 have made some differences, but this frankly is not a consideration in our
 linked world today. We are exposed to more good and bad stuff than ever
 before.

Hmmm, I'm not sure. The point you make about distribution may be the more 
significant. You might find there are petabyte disks in your watch with the 
whole of human culture on them, or else your phone will be quantum-entangled 
with the whole of the web giving instant access to absolutely everything :) 
The real problem will be categorising it. Two ways: what do people who listen 
to the stuff I like also listen to; and (this is another reason why work like 
Graham's is important) What is there that is played in the same manner as the 
the stuff I like. The second, I believe, is beyond the state of the art, 
because we don't know what in the same manner means.

On Friday 18 Mar 2011 11:15:02 Kieren MacMillan wrote:
 Graham,
 ...
 I *do* think so -- and recent studies on youth support my belief with
 evidence. On the music side, consider the fact that recent studies have
 shown a majority of young people prefer the sound of compressed audio
 (e.g., low- to medium-bitrate MP3s) to uncompressed audio. [Pause here to
 fully appreciate the horror of that statement.] Independent of the content
 of the music itself -- the debate about which is far more subjective --
 many listeners can no longer appreciate what music is physically supposed
 to sound like.
Let's not confuse music with audio or sound. Everybody's hijacking the word 
Music these days. Music Industry (record industry), Music player (audio 
player). Music is a process and we make music. How do we make it? Let's 
experiment... reaches for source code
 
 A lower barrier of entry by definition allows people to get into the
 field with less experience, less training, less discipline, less
 persistence, and so on. Are there some benefits to this? Sure. Does it
 increase the amount of crap we have to wade through. Absolutely. I have
 yet to see any field -- athletics, art, construction, law, comedy,
 whatever -- where a lower barrier of entry doesn't increase the amount of
 crap. And, unfortunately, I also see in the audience for that field a
 concomitant decrease in discriminatory powers.
True, I'm sure, but more disturbing is that hardly anybody (in the UK at 
least) benefits from a general musical education in the state sector. You have 
to buy your lessons privately pretty much everywhere. What goes on in schools 
is music appreciation or, worse, free improvisation (except that it's not, 
except in the literal sense).

Lowering the barrier to making music might be a good thing. It's very 
different from lowering the barrier to people imposing their compositions on 
you in the local lift/supermarket/train etc etc. Perhaps exposing people to 
the process of making music might be a good defence against waning 
discrimination?

Thank you, everybody, for a great thread!

Nick/.

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