bridges_counterpoint:title

Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revision Previous revision
bridges_counterpoint:title [2018/09/02 20:40]
brian
bridges_counterpoint:title [2019/04/10 20:28] (current)
brian
Line 38: Line 38:
 **Vocabulary**: Here is an area where I acted with some restraint. Since we are talking about a textbook written in the nineteenth century, I did not wish to "modernize" Bridge's writing style, which is decidedly old-fashioned, but makes for charming reading. The bulk of my updates in this area revolve around making the text more readily understandable by American music students. For instance, whenever Bridge, who was English, talks about crotchets ((quarter notes)), minims ((half notes)), or consecutives ((parallels)), you should see a footnote with the American equivalent, as I have illustrated here. My other changes to the original text have been minimal, and mainly serve to facilitate the removal of paragraph number references as previously mentioned. **Vocabulary**: Here is an area where I acted with some restraint. Since we are talking about a textbook written in the nineteenth century, I did not wish to "modernize" Bridge's writing style, which is decidedly old-fashioned, but makes for charming reading. The bulk of my updates in this area revolve around making the text more readily understandable by American music students. For instance, whenever Bridge, who was English, talks about crotchets ((quarter notes)), minims ((half notes)), or consecutives ((parallels)), you should see a footnote with the American equivalent, as I have illustrated here. My other changes to the original text have been minimal, and mainly serve to facilitate the removal of paragraph number references as previously mentioned.
  
-  2. Updated musical examples, complete with media players:+  2. Updated musical examples, complete with media players
  
 **Updated musical examples**: There are 129 musical examples in this book, each of which I digitally recreated with the [[http://lilypond.org|Lilypond]] typesetting program. Despite being a heavy Finale(tm) user for many years, I used this opportunity to gain familiarity with the open-source Lilypond program, which has two significant advantages over commercial, graphical programs. First, Lilypond creates beautiful output with no additional tweaking. Secondly, and more importantly, with a little knowledge of scripting languages, one can harness the power of scripts to automate tasks that would take numerous hours in a commercial program like Finale. For instance, my typical workflow when creating this edition was to create a separate Lilypond text file for each example (per chapter). When completed, I simply ran a single script that did the following for //all// those new examples: **Updated musical examples**: There are 129 musical examples in this book, each of which I digitally recreated with the [[http://lilypond.org|Lilypond]] typesetting program. Despite being a heavy Finale(tm) user for many years, I used this opportunity to gain familiarity with the open-source Lilypond program, which has two significant advantages over commercial, graphical programs. First, Lilypond creates beautiful output with no additional tweaking. Secondly, and more importantly, with a little knowledge of scripting languages, one can harness the power of scripts to automate tasks that would take numerous hours in a commercial program like Finale. For instance, my typical workflow when creating this edition was to create a separate Lilypond text file for each example (per chapter). When completed, I simply ran a single script that did the following for //all// those new examples:
  • bridges_counterpoint/title.txt
  • Last modified: 2019/04/10 20:28
  • by brian