Re: Classical Style Guide: Using Bach's work no. as prefix or suffix

2006/4/22, Adam Golding <adamgolding@...>:
>
> On 4/12/06, Nathan Noble <natenobility@...> wrote:
> > > 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...
> >
> > Depends on the work.  I've seen many acts in one
> > scene, an up to 18 scenes in one act (note: German is
> > not my forte):
> >
> > Così fan tutte, Zweiter Aufzug Achtzehnte Szene:
> > Fortunato I'uom che prende - Wolfgang Amadeus Mozart
>
> ok but the scene divisions are fixed right?  so our DB could just have scene
> structure and ignore the other subdivisions...

Not sure... If we want to help users inputing their albums, I think we
should keep track of all existing divisions, on hope another album
will cut the scenes at the same points.

> > > 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.
> >
> > This would be awesome and extraordinarily difficult to
> > automate I think.  If you could do this though, you
> > could <puff> also find the correct range in the
> > libretto for all tracks and automagically load that
> > libretto fragment as lyrics into the id3 tag <puff>.
> > No typing.
>
> this would be very hard without music recognition--i've seen the length of a
> sonata vary by as much as 4 minutes because of different tempo choices.  in
> operas the 'cumulative error' would be even larger.
>
>
> > > 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
> >
> > True, but on the flip-side, it's bad to create new
> > fields, have someone painstakingly fill them in, and
> > then decide the schema is bad and have to remove them.
> > We just did that very thing at work today.  Guess who
> > did the painstaking filling in <sigh>...
>
> yes i agree--we need to get this right the first time.

We could start filling from the existing tracks. For example find
names used by a certain number of different albums.

> > > 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!?)
> >
> > True, in fact Messiaen's "Catalogue d'oiseaux" (2.5
> > hours of sheer aural torture) has 13 movements, for
> > (13^2 + 13)/2 = 91 possible names.  Actually 90 since
> > all 13 movements fused would point directly to the
> > parent, but I doubt you'd ever get that far.  Movement
> > merging has been rare in my experiences.
> >
> > I apologize for drinking and posting.
>
> so anyway, we'll avoid this kind of explosion by disallowing having various
> subgroups count as work entities...
>
>
> > -Nate
> >

--
Frederic Da Vitoria