2009/4/11 Graham Percival <gra...@percival-music.ca>: > ... WTM?! There actually *is* a "GNU Zebra" project?!?! It does > TCP/IP routing.
And wait, once we've founded our new group and taken over the world, they'll have to call themselves ZEBRA Zebra" :-) > Ok, over the summer we'll try to come up with the history of > PLATIPUS/LilyPond in a series of arias and duets. The end of Act > 1 will be a dramatic retelling of all the wiki flamewars. Acts > normally end with a big confusing quartet with everybody saying > different things at once, right? Yes. I think the GUI/non-GUI flamewars would be good too. > The fifths comment was a reference to "power chords", which > actually aren't chords at all, but are just called that by > ignorance rock guitarists. It's just a fifth (possibly including > an octave as well). Used in heavy metal and punk rock. Almost > always used in succession, which would give a harmony instructor a > heart attack from all the parallel fifths. Yeah, I know about these. This is generally a fun part when I explain my students that paralell fifth are only allowed in medieval music /and/ rock (this is where I usually play the "smoke on the water" riff). > BTW, my knowledge of such terms comes entirely from > questionablecontent.net, which is a webcomic vaguely like XKCD but > for indie rock geekery. Before reading that webcomic, I knew > almost nothing about indie rock. But QC is just /dripping/ in the > same amount of geekery as XKCD does, so I had to keep on reading > it (and looking up terms in wikipedia). I didn't know this webcomic. I much prefer XKCD's graphic style, but I'll keep a look on this one as well. 2009/4/11 Jonathan Kulp <jonlancek...@gmail.com>: > I want in on this, too! All I've been lacking to have a go at writing an > opera is a libretto. :) OK, let's start a composers team then, but you'll have to find a good name for it :-) As for the need of a libretto, I have to say that this was quite a story for me. (It's off-topic, but I'm afraid we're way past that by now). For a couple of years, I've been looking for a good libretto, reading many plays, getting in touch with various playwrights. Everything I found was too verbose, too serious. I was about to give up... At this time, I was a literature student, and I was writing a thesis on Lewis Trondheim, a comic books author I had been fond of since I was a child; then some day I thought "hey, this is the guy I need!" Of course, he was twice my age, and was some kind of a world-famous star. Nevertheless, I sent him a mail: "greetings, I'm a 20-years-old piano teacher, so far I have done nothing with my life, would you be interested in writing an opera with me?" He immediately answered: "Well, it's a funny coincidence, yesterday I was walking in the street, near the Opera House, and I thought: "Operas are mostly old or boring, it's a pity young people do not take some action and do something about it..." So, let's do this!" And this is how I got started. He wrote the libretto without being paid a dime, sending me each scene after another, accepting every modifications I suggested; for two years we never met nor call each other, and worked only by e-mail; the very first time he heard _any_ music of mine was at the opera's rehearsal four years later. And as soon as we got out, he told me: "OK, let's write a new opera now. And this time, I want some zombies in it!" Cheers, Valentin _______________________________________________ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
