Feels Real Good - Various - Frequence Dance - Volume 1
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Your choices will not impact your visit. But, in general, that's pretty fully specified. On the right, we have My Favorite Things, as it would appear in like a jazz real book. And this is all you would get if you're a jazz musician, right?
Here are the changes, and here's the melody, and you move from there. And, again, it's quite interesting to see how this lines up. So most compositions are about one or a few things. The same kind of thing: You're setting out. You're Feels Real Good - Various - Frequence Dance - Volume 1 what is this piece going to be. You rarely say, oh, I'll just use these notes for a while, and then those notes for a while, and then those notes for a while, and then call it done. You never do that. Composers come up with little motifs and things that they're going to reuse or transform in sort of riff on as time goes by.
So there are Feels Real Good - Various - Frequence Dance - Volume 1 these ideas that you're going to set up as boxes in which you're going to work. And you have variations of those things, and you'll do resolution. And then the scale and the composition really just determines how many of these things that Feels Real Good - Various - Frequence Dance - Volume 1 have, and maybe how many different levels there are.
So a big Bartok composition is going to have very, very fine-grained constraints about melodic motifs in a very particular part of the piece and then, at higher levels of structure, deal with big form kinds of decisions. But again, they're self-imposed constraints. When we move to the performer side of the coin, the improvisation side like Coltrane, I think it's quite interesting. Again, it's an interesting word. It means not foreseen or not provided.
And not provided means you didn't have the answer upfront before you went and did it. Like you weren't handed a complete plan before you went. And so in the case of a jazz performer, you're going to have melody and changes. Then you're going to go and provide variations, make something up. But I think that people have a tremendous lack of understanding of what goes behind improvisation.
For instance, a lot of people think Coltrane is just this genius who is spontaneously emoting. They think that improvisation in music is just making stuff up off the top of your head. It's just amazing. It's like hacking, right? Just, I am so awesome. I'm Heaven - Step Ahead - Step Ahead bright. I am just going to, like, make this up. But it's quite interesting to see, as we've gone back through the archives and had these new releases of old recordings where they put the alternate takes in there because you'll see Coltrane.
He had the solo. It sounds incredibly spontaneous. But then you listen to the other six versions, and you realize that everything that went into the solo that you thought was this amazing one-off, he had worked out.
And he was trying them in different orders, different juxtapositions, different cadences and levels, and maybe the order of it was spontaneous, but there was a tremendous amount of preparation associated with that. So there's a sense in which improvisation is dynamic composition of prepared materials, of planned material, and that to be a great improviser means to make those smaller plans or have those kinds of prepared abilities or approaches or sensibilities that you can apply when the time comes in a live situation.
And you have to have a lot of Feels Real Good - Various - Frequence Dance - Volume 1 to do this and a lot of Chicory* - Son Of My Father to do it. It's just not something that you make up. And Coltrane was a genius at this preparing. He practiced more than anyone in order to seem as if he was making it up most fluently. Another thing that sort of crosses the lines in composition and performance in music is this notion of harmony.
Again, there's this lining up notion and the simultaneity associated with harmony. So we have melody is sequential and harmony is parallel. Music did all this before we had computers. And so this is, how do things work together at the same time?
If I played Feels Real Good - Various - Frequence Dance - Volume 1 three notes at the same time, what will happen? Or for Coltrane, if I played this note while these chord changes or this set of notes while these chord changes are happening, what will that be like? Bartok had to imagine, when the strings are doing this and the winds are doing that, what will it sound like all together. There's also sort of a mathematics of harmony, which is the science behind it or the way you study the rules, if you will, of harmony.
And I'm going to contend that harmonic sensibility is a super critical design skill. This is the thing that you want to nurture in yourself. And it may be a little bit hard to see how the mapping works from music to software, but it's fundamentally what a good designer has. They know if they make this choice in this context, that's going to go together, and those two Feels Real Good - Various - Frequence Dance - Volume 1 are going to work well together.
And they know that because of their experience and the study that they've done of working systems. So I think both Bartok and Coltrane are interesting, even though they're in completely different genres of music, in that they were both masters of harmony.
In Never Stop (Verano Remix) - Various - November 2005 Part 5, what was interesting about both of them was that they were students of harmoniousness, if you will.
That the thing I think that they were most interested in was what makes things work together well. Bartok studied obviously the classical tradition, but his music was not compliant with those rules, and it's because he brought a whole bunch of influences in from studies he had done of folk music of Hungary.
And what he studied in that music was the sonority that was possible in these tunes that didn't follow the classical rules, but they still worked.
And so he pulled out what worked about that and wrote pieces that are hard to really recognize as being completely tonal, but they are tonal, and they're satisfyingly consonant as tonal music is, which is quite, quite astounding. Similarly, Coltrane invented whole new ways of doing reharmonization over chord changes that had that same sensibility about harmony. So I think that what was cool about both these guys is that they both sort of developed new systems that preserved what was essential about things being harmonic or Feels Real Good - Various - Frequence Dance - Volume 1 consonant.
And then the other thing that's quite interesting is that, on both halves, whether you listen to a Coltrane improvisation or the most beautiful, engaging piece of Bartok, what's behind Kreuz Oder Kopf - Various - Hardcore Power Music Part 2 is a tremendous amount of intellectual effort and activity. I mean you can listen to this Bartok piece and be stunned by it, just blown away by the emotional content.
Then you go study the score, and there's like all these fibonacci numbers and ratios in it. And you're like: oh, my God!
This was the constraint he set for himself before he wrote this thing that seemed or was so emotionally powerful. So there's a lot to appreciate in both of them. But what does this have to do with anything that we do? In particular, what does it have to do with languages and libraries, which is really what I want to talk about today: languages and libraries?
Is a language like Clojure or any other language? It doesn't matter. This isn't really about Clojure. Is it like a song? Are languages like songs? Are they like small compositions? Are they like big compositions? I don't think so. I think that languages and tools, to me, Kabala - Albion* - Pyramids you're going to map Feels Real Good - Various - Frequence Dance - Volume 1 analogy, are more like instruments, so let's talk about instruments.
Again, instruments are sort of their own design problem. Instruments start with something called excitation. You pluck a string. You cause vibration on a reed by blowing on it. You strike strings with the mallets of a piano or you hit drums or things like that. And what's quite interesting is that very few instruments are about more than one kind of excitation. Most instruments are about one kind of excitation.
It's quite rare to see the other. Then this is combined with some sort of control or interface or technology on instruments and saying then there's an interface, right? So there's excitation. Then there's this interface for people to go and shape the excitation. And, finally, there's an aspect of an instrument, which is sort of its fundamental goal in the world, which is to take that excitation and direct it at a problem.
And the problem for most instruments is how is somebody going to hear this. How do we get the sound across the room so somebody can pick it up? And so instruments are about directing the force or energy of the excitation out to the audience. They're directed at an outcome, so there's a little piece of design work associated with an instrument.
Instruments also have this other interesting aspect, which is resonance. When you design an instrument, especially something like a violin, a guitar, or anything that has a vibrating body to it, the body itself is going to interact with the excitation.
So the excitation of the string is going to vibrate, whatever, and the body is going to go and say, woo, that's - I like that. I'm going Do It Again - Richie Havens - The End Of The Beginning amplify that. And it will amplify some things more than other things. So there's a design problem, and there's a harmony problem to the physics of an instrument to say, well, you know, if I build an instrument whose body resonates at a frequency that's not a harmonic relationship to the strings themselves, it's going to sound awful.
And it's actually a physics problem to get that harmony right in the wood. But instruments have a lot of Feels Real Good - Various - Frequence Dance - Volume 1 characteristics, and one of them that's quite striking is that instruments are limited.
They're very limited. Piano - can't play Connected (Edit) - Stereo MCs - Connected in between notes.
It can only play specific notes: the 12th root of 2 all the way across or maybe you stretch it a little bit, but there's no in between notes. I mean, and these things have been around for hundreds of years. I mean they didn't have GitHub, but somebody should issue a pull request. But there's a sense in which they're minimal, yet sufficient. For instance, most instruments don't have any missing notes. For whatever range they cover, they have all the notes. At least we're talking about western instruments and western scales.
But they'll tend to have all the notes. There's a kind of musical DSL, right? It's like you don't need all the notes. You're just a businessperson. I can give you just the blue notes. That's all you get. And so, you know, is this something to fix? There are all kinds of limits, not just in the notes they Feels Real Good - Various - Frequence Dance - Volume 1 play, but the registers they can play and things like that.
Why haven't these all been fixed? Why can't every instrument do everything? And there's a sense in which the players can overcome this.
How many people here play piano? So what do you do to deal with the fact that piano can't play the in between note? What do you have? You have grace notes and trills and mordents and stuff that give you all that sort of feel around the note thing.
John Coltrane famously became so adept at the saxophone and had such physical prowess and muscle memory and combined it with this gargantuan knowledge of harmony that he could play these scales so fast that he could imply not only chords, but entire tonalities, superimpose entire tonalities over chord changes by just playing sheets of sound, is what they called it, over music.
So it's not necessarily the case that the shortcomings of these things need to be fixed in an instrument. There may need to be room for the performer to do it. And there's another good reason why we don't fix everything, which is that no one wants to play choose-a-phone. No one wants to play an instrument that does everything.
You could push here, and it makes a piano sound, and then it makes a drum sound, and then this happens and that happens. This is Keith Emerson sitting in front of a Moog modular synthesizer back in the day, and that was just, wow! You could make it do anything if you plugged in the wires the right way.
So I'll take a step back and say maybe some people do want to play choose-a-phone, but no one, I bet, wants to compose for a choose-a-phone ensemble. Just imagine that you are sitting in front of an orchestra and everybody in the orchestra had one of these in front of them.
And they put the wires in and whatever. And you're the conductor, and you went like this [raising hands up in the air], and when you say go, what is going to happen? You have no idea. You have no idea of what even could possibly happen. If you're sitting in front of an orchestra, Feels Real Good - Various - Frequence Dance - Volume 1 a certain category of things that you think might possibly happen, but you can kind of get your head around what that might be.
And so Feels Real Good - Various - Frequence Dance - Volume 1 problem here is that where you to try to build a bigger system out of something with as much, let's say, parameterization, as these synthesizers, you'd end up you're São Paulo Sunrise - Nektar - Recycled to target something that's complex and build something bigger still.
That's a recipe for disaster. And there's a sense in which this is just the wrong way to go about things because you've got this design problem that's actually multilevel, and it's nested. What happens when you say go? Well, it's the sum of what happens for each person. What Masters Of The Ungentlemanly Art - Monitor Your Transitions for each person? Well, it depends on where they put the wires and what happens, you know, what determines what happens when you put the wires.
Well, each module has a different thing that it does. It may be a filter. It may be a sound generator, something like that.
So each, there's a level. There's a set of levels at which there must be design. I must design the modules. I must design the sound, that patch that hooks them together, and then maybe I would try to take on a piece with all of this. But unless there was a way to talk about one of those arrangements and get your head around what it implied, you could never build up higher. So another stunning thing about instruments, which is just, again, it's astounding that the world has continued, is that instruments are made for people who can play them, who can already play them.
I don't know. Hasn't everybody heard of, like, "Explain it to me like I'm five," or whatever? We're not supposed to do this anymore. We're supposed to make everything for beginners. But instrument makers don't do that. They don't make anything for beginners.
They make everything for experienced players. We have this problem, right? Beginners aren't players yet. This is going to cause the world to stop.
If you can't have a website with three buttons on it and everything that possibly could happen can happen, we're done. We start with the cello. Should we make cellos that auto tune? Like, no matter where you put your finger, it's just going to play something good, play a good note. Should we have cellos with, like, red and green lights?
Feels Real Good - Various - Frequence Dance - Volume 1if you're playing the wrong note, you know, it's red. You slide around, and it's green. You're like, great! I'm good. I'm playing the right song. Or maybe we should have cellos that don't make any sound at all. Until you get it Feels Real Good - Various - Frequence Dance - Volume 1there's nothing.
Here we go. We have a bunch of children, young children being subjected to cellos. There's nothing different about these cellos.
These are regular cellos, and they're all sitting there. They're out of tune, it hurts their hands, and it's just awful. I think somebody took off, took away their shoes until they get it right.
This is terrible. But it's what happens because what would happen if they had any of those other things that I just talked about? Who could ever learn to play cello? No one. No one would ever learn to play cello. There's this great article in the current issue of The Atlantic about sort of the tradeoffs, let's say, not the perils, but the tradeoffs involved in automation.
And it's got a great line in it, which is that learning requires inefficiency. And it's quite important. And when I read it and was thinking about this talk, I felt like, wow, that's - it does go together.
So we need players. I would rant here, but I won't. But look at this guitar player with blisters. A harpist has blisters, a base player with blisters.
There's this barrier to Feels Real Good - Various - Frequence Dance - Volume 1 for every musician. Imagine if you downloaded something from GitHub and it gave you blisters. The horrors! And yet how many people here play an instrument or have at one point in their lives?
Yeah, a lot of programmers do. And for how many people did you just pick it up and it was awesome? How many wished, like, something could have made it more straightforward to get started with and, like, just made it easy? And how many would have believed after that that they could play it later? No, not at all. This is - it's actually quite important. The level of engagement that's required is quite important. So we shouldn't sell humanity short.
Humans are incredible. In particular, they're incredible learners. One of the things that's really cool is you give a five-year-old or, I don't know, eight, maybe, a cello and some decent instruction, and they will learn how to play cello if they spend enough time doing it.
In Silver Tongue And Gold Plated Lies - Jan Howard - Silver Tongue And Gold Plated Lies, humans will pretty much learn how to do anything that they spend enough time doing.
We're incredibly good at it. And we're also really good teachers, in general. So I don't think we need to go to our tools and our instruments and make them oriented towards the Feels Real Good - Various - Frequence Dance - Volume 1 five seconds of people's experience because that's not going to serve them well.
It's especially not going to serve anyone well who wants to achieve any kind of virtuosic ability with the tools. No one would become a virtuoso on the cello if they had red and green lights when they started. So neither of these two things is effort free, but we shouldn't be in a game to try to eliminate effort because we are novices, right?
You're only a complete beginning at something for an incredibly short period of time, and then you're over it. It's like Feels Real Good - Various - Frequence Dance - Volume 1 should not optimize for that. But, on the flipside, we're always learners no matter how much time you spend on the violin.
Who sits there and says, "I'm done. I've completed learning violin. I finished it"? That's awesome. I personally don't Feels Real Good - Various - Frequence Dance - Volume 1 violin at all, but I don't think there would be a player on earth, no matter how great they are, who would say, "Yeah, I finished violin and I moved on to something else.
It's just the human condition to do this. Things take effort. Just like we shouldn't target beginners, we shouldn't try to eliminate all effort. Look at these two guys. These two guys are experts. Does it look like that? That does not happen. Your life has just been automated away. And I think that's sort of what's interesting is that, yeah, it sort of looks hard and, in fact, it's probably not hard for either of these two guys.
But what you're seeing here is a sense of engagement in what they're doing. How engaged do you feel in what you're doing when you're programming with IDE that's, like, doing everything for you? You're so isolated from what's happening. Paradise [Motiv 8 Celestial Radio Edit]. Please Stay. Celebrate Our Love.
On the Radio. All I Do. Everything You Need. Bel Amour. I Can Cast a Spell. Needin' U II. Tracey in My Room. My Desire. Disc: 2. Free at Last. Spaced Invader. Chase the Sun. Fly Away. The Vision. Operation Blade. Storm [Housetrap Remix]. Music Is Moving. Blood Is Pumpin'. Feel the Beat. Synaesthesia Fly Away. Fields of Love. Loving You. Ghosts [Vincent de Moor Radio Edit].
Komodo Save a Soul. The Sound of: Oh Yeah. Postive Education.
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