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CD storage and the 25cm x 15cm box

Posted by Jim DeLaHunt on 30 Sep 2017 | Tagged as: culture, music, robobait

I guess I’m exactly the right age to have this problem: hundreds of liner notes from CD albums, stripped from their jewel cases and also CD boxed-sets and many different CD gatefold cases. If I were any younger, I’d be subscribing to some music streaming service, or downloading pirated albums as MP3 files. If I were any older, I’d be building elaborate shelf units to store the hundreds of intact jewel cases, and keeping a multi-disc CD player running to play the music.  But here I am, old enough to buy CDs as a way to pay the artists for their work, but young enough to want to rip the CDs into music files, upload them to a file server, and play them via computer or from my smartphone.

All of this leaves me with a problem: having put the ripped CDs onto nice compact 100-disc spindles, where do I put the liner notes and booklets so that I have access to them if I want ?  I can throw out the regular or the 2-disc jewel cases, because those are generic. But the artwork is indispensable.  On the other hand, I don’t need to keep it out on a open shelf to browse. It’s fine for me to put it away, and retrieve it only when I need it.  And now I am happy to report a solution: a box, of just the right size to hold liner notes or CD box-sets or gatefold cases efficiently, easily available from shipping materials suppliers, and very affordably priced. I post this in the hopes of helping some else who is trying to solve the same problem. Continue Reading »

Labour, symbols, and free: the gate to digital-based music-making

Posted by Jim DeLaHunt on 05 Apr 2017 | Tagged as: Keyboard Philharmonic, culture

(Background: I was asked recently for a writing sample, and I took the opportunity to restate, more concisely, what I’m trying to do with Keyboard Philharmonic.)

Musicians performing classical music and opera, and teachers and students of this music, are on the cusp of a transformation from printed music scores to digital scores. This will be as significant as the shift of text communication from printed books and magazines, to web articles, blogs, emails, and tweets.

I believe a particular model is the right next step. I call it, “Labour, symbols, and free”. It is a policy package for a music score transcription effort. It fills a gap in the present situation, and opens a gate to move forward. I will also describe the strategic context. Continue Reading »

Requirements for comparing digital scores

Posted by Jim DeLaHunt on 30 Jun 2016 | Tagged as: Keyboard Philharmonic, culture, meetings and conferences, music

Back in May, as part of the Music Encoding 2016 conference in Montreal, we had a discussion about comparing digital scores. Just as you can compare text files, and get a concise statement of differences, we brainstormed about requirements for comparing music scores at the notation level. This blog post is a record of that discussion.

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Recruiting people, and structuring their work

Posted by Jim DeLaHunt on 30 Apr 2016 | Tagged as: Keyboard Philharmonic, culture, music

The Keyboard Philharmonic overview mentions that one focus of the project is to be “a vehicle for recruiting people and structuring their work for useful results”. There are reasons why this focus is important.  Continue Reading »

I passed the Canadian Citizenship Test!

Posted by Jim DeLaHunt on 30 Nov 2015 | Tagged as: Canada, culture, government

Last week I passed the Canadian Citizenship Test. It was a simple 20-question multiple-choice test, on facts about Canada’s history, values, make-up, culture, etc. I scored 19/20, but unfortunately my spouse Ducky scored 20/20. She gets the bragging rights. Thus I switch to focussing on the fact that we both passed, rather than the details of who got which score.

This  test, and the documents check and chat with the nice woman from Citizenship and Immigration Canada which accompanied it, represent the last substantive filter to eliminate candidates from citizenship. There will be 3-5 months of process, pro-forma hearings, but not anything that is likely to reject us. Then we get a letter inviting us to an oath-taking ceremony, and we become Canadian citizens. I’m really pleased about this. It is the culmination of over ten years happy settlement in Canada.

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A 21st century container for music scores

Posted by Jim DeLaHunt on 31 Oct 2015 | Tagged as: Keyboard Philharmonic, culture, music

A music score is an information product. The printed book is a proven, well-understood container for information products. It is also a 16th-century technology approach. In the 21st century, we have a new container for music scores: the symbolically encoded, software-accessible digital file. The exciting task of our time is to explore how to move the music score into this new container, preserving the connection to our cultural heritage and our artistic tradition of music creativity, while transcending the limitations of the 500-year-old container technology.

I see the Keyboard Philharmonic project as providing an important bridge, to move the fine musical works of the classical music and opera tradition into their new home in the 21st century.

Why revisable formats matter for our digital scores

Posted by Jim DeLaHunt on 13 Aug 2015 | Tagged as: Keyboard Philharmonic, culture, music

The Keyboard Philharmonic overview mentions “revisable, symbolic digital notation formats” for music scores. Sometimes people ask if projects like the Internet Music Score Library/Petrucci Project aren’t already putting music scores into “digital” form. Perhaps a clarification will help. Yes, the IMSLP and many other worthy projects are offering music scores in “digital” formats — but not in “revisable digital notation” formats.  The difference matters. Continue Reading »

More on Vancouver Opera’s business situation

Posted by Jim DeLaHunt on 31 Jul 2015 | Tagged as: British Columbia, Vancouver, culture, music

Last month, the Vancouver Opera announced that it was going to have one more year of a regular season, then switch to a “festival” structure. That is, instead of four productions spaced throughout the year, it was going to have a concentrated three-week burst of opera once a year. Or at least that’s how the story seemed to run. Yesterday, I went to a town hall for subscribers. General Director Jim Wright spent 30 minutes laying out the Opera’s business situation, and an hour in a lively question and answer session. It was informative, and placed the Opera’s strategy in a much better light. Continue Reading »

‘’tain’t right’, says he: storm in apostrophe

Posted by Jim DeLaHunt on 14 Jun 2015 | Tagged as: Unicode, culture, language

A friend pointed me to a interesting blog post, Which Unicode character should represent the English apostrophe? (And why the Unicode committee is very wrong.) by Ted Clancy, 3. June 2015. The argument: “The Unicode committee is very clear that U+2019 (RIGHT SINGLE QUOTATION MARK) should represent the English apostrophe…. This is very, very wrong. The character you should use to represent the English apostrophe is U+02BC (MODIFIER LETTER APOSTROPHE). I’m here to tell you why why….” [Emphasis in the original.]

I understand that there might be many people on this planet who actually don’t care about English language orthography concerning the apostrophe, contractions, and Unicode plain text representations thereof. Go ahead, skip this post and go on with your day. I am completely captivated by such questions. I started writing a quick reply, which grew to the point where it seemed better to host it on my blog than on Clancy’s comments page. Continue Reading »

Music score pain points for the chorus

Posted by Jim DeLaHunt on 12 Apr 2015 | Tagged as: Keyboard Philharmonic, culture, music

A chorus that uses, for rehearsal and performance, the 5-century-old technology of printed music scores, will encounter pain points. Printed scores are expensive and difficult to stock and manage. Singers can find it hard to understand where in a score a director is, especially when members use different editions. Scores have mistakes to correct, details to tailor for a specific for performance, which are hard to communicate to each singer. And more. The coming public-domain digital music scores offer help for some of these pain points. Yet the printed scores have strengths, built by 5 centuries of music practice, which digital music scores will be hard put to match.

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