That makes a lot of sense. On Fri, Apr 8, 2016 at 9:50 AM, Lorenzo Sutton <[email protected]> wrote: > As I already said this is really a bit of a conundrum.... > I think a good analogy would be imagine writing in a word processor > (e.g. Writer) or typesetting system (e.g. Latex) VS. trying to feed what > you wrote to a Text To Speech (TTS) engine/system able of rendering the > text you write as if it were a professional actress. > > Feed plain text to a text to speech and it will sound like... well text > to speech, if you want to add articulations etc. you have to 'break' the > plain text with some sort of semantics (markup), or invest a lot in some > sort of interpretation engine which can also do linguistic analysis. > > That kind of thing gets magnitudes more complicated with music.. > > But after all, notation is really made for humans, while the matrix > editor (or even the event list editor) is much more similar (if still > high-level) to what you would feed to a machine (by the way the matrix > editor is called "piano roll" in some applications for a reason, so > 'machine' is not necessarily a computer). > > Well well always very interesting discussions on the RG mailing list :) > > On 08/04/2016 15:19, D. Michael McIntyre wrote: >> On 04/07/2016 07:04 PM, Silas Mortimer wrote: >> >>> If I might ask, because I've been wondering about this, what makes >>> doing notation so difficult? >> >> I think the root of it is because notation is a very analog, >> infinitely-variable kind of thing that is difficult to represent and >> manipulate in an orderly digital world. >> >> I have probably over 1,000 pages of commercially published sheet music >> for various instruments sitting around in my house, and it probably >> wouldn't take me 30 seconds to find a score that Rosegarden can't be >> used to reproduce. It would probably take me more on the order of 30 >> minutes to find a score that Rosegarden CAN reproduce exactly like the >> original, with no compromises. I would probably have to pull that out >> of some basic band method book too. >> >> Notation is difficult, because of the amount of effort that would be >> required to address any random one of a hundred different scenarios I >> could come up with that Rosegarden doesn't know how to handle. >> >> Kneed beams. How the hell would we ever make kneed beams work without >> seriously rethinking everything from the ground up? I have utterly no idea. >> >> Anacrusis is something I've banged on off and on for years, and we still >> can't really handle it probably, or get it exported to LilyPond >> properly. Close, but not really a cigar. I have a trumpet method book >> with 1,000 pages of stuff Rosegarden can't handle. It's basic, common >> stuff that's hard to work out how to achieve in a notation editor >> grafted onto a MIDI sequencer. >> >> After 15 years of this, I could go on for days, Silas. Doing notation >> on top of a sequencer is borderline insanity, but it's a crazy kind of >> fun to challenge the limits of what is possible, even if it isn't smart >> or practical. >> >> The true notation editors like MusE Score and Finale (they work directly >> with notes and lines and staffs instead of MIDI) have an easier time >> with a great many of these problems, but they face their own nightmares. >> Those things are especially weak when it comes to rendering imperfect >> human performances on a page. I've seen absolutely nothing on any >> platform in close to 30 years of computer music that could produce a >> playable sheet of music without a considerable amount of fiddling around >> to tweak all the glitches. >> >> I'm pretty sure if that magic button could be written, it would be on >> the market by now, and would probably cost $10,000 a copy. >> > > ------------------------------------------------------------------------------ > _______________________________________________ > Rosegarden-user mailing list > [email protected] - use the link below to unsubscribe > https://lists.sourceforge.net/lists/listinfo/rosegarden-user
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