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ARCHIVED TOPICS / Computers and Programming / Re: The future of music notation software
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on: November 16, 2012, 04:22:54 pm
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In recent developments the core of the Sibelius London development team, dismissed by Avid, have been picked up by Steinberg, so will be interesting to see what evolves from that in terms of new notation software. From all accounts the new developers for Sibelius talked about by Avid don't seem to have materialized in Eastern Europe...
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ARCHIVED TOPICS / Computers and Programming / Re: The future of music notation software
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on: September 13, 2012, 12:47:30 pm
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Writing tuplets is as simple as typing the ratio 17:16 and press return - all very neatly proportioned.
The point about the tuplets is not that it's not easy to get 17:16 in there in the first instance, but what happens when making a change to the tuplet ratio afterwards, having just put all those notes in. If I want to use that same note sequence and turn it into a 19:16 for example, that's where things start getting inefficient. Even in Mosaic the tuplet could be deleted and the note row would remain making it quick and easy to turn into a tuplet of another value. Anyway, hopes of this little detail being improved are receding...
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ARCHIVED TOPICS / Computers and Programming / Re: The future of music notation software
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on: September 13, 2012, 07:55:33 am
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It's true that with Sibelius, if there is no further development, we are left with a very usable & capable piece of software. Finished? Not really - the tuplet handling leaves things to be desired. I started off with Composers' Mosaic; twenty years ago aspects of tuplet handling were better than where Sibelius is now. Then there's the question of the OS evolving and the running of the application eventually becoming problematic. I don't know enough about programming to know what's involved there to keep it running smoothly on the latest OS, I just know that I want my Sibelius files to still be usable in ten years in case I want to change something, and there's always usually something to tweak.
"Far more intuitive" seems a grand claim, "intuitive" being the word normally associated with Sibelius fans. If our worst fears eventually come to pass we may have no choice but to find out about this first-hand. I've never used Finale, and got to Sibelius quite late...
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Assorted items / Commercial recordings (vintage, new and forthcoming) / Re: Esa-Pekka Salonen: Violin Concerto and Nyx on Deutsche Grammophon
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on: September 11, 2012, 05:02:42 pm
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I've heard the Violin Concerto just the one time, in a concert at the Radio France Festival with Leila Josefowicz and the Radio France Phil. I think I'd agree with your description of his music as applied to this work, although using the word modern cautiously in case it was taken to mean too modernist. As you say, it's not avant-garde in any sense, though. The soloist was thoroughly engaged with the work on the physical level, that was for sure, at times seeming to assume a posture more related to martial arts than normally associated with a violin player. Nothing negative intended here, of course.
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ARCHIVED TOPICS / Theory and tradition / Re: Dodecaphonic works you admire and adore
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on: August 15, 2012, 12:35:01 pm
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I love Berg's Violin Concerto. Stravinsky's Movements, for piano and orchestra was a very influential work for me 25 years ago, and somewhat inspired my own Diffractions for Piano & Orchestra (1987). I've since forgotten how thoroughly I explored the note-row manipulation of Movements, I think I was more interested in the textural and rhythmic ideas in any event. Just reading again briefly about that work, it seems that Stravinsky's use of serialism was not that rigid. That's fine by me. Concerning my own work(s) I'd say I "dabbled" in serialism, if it was useful to inspire a theme that would be later freely developed then so be it, which is what I did with Diffractions.
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