On 2016-07-10 7:06 PM, J Martin Rushton wrote:
> Of course English poetry used to be alliterative, not rhyming, until
> Chaucer introduced that new-fangled French habit of end rhymes!
> Getting back to setting music though, would not the driving beat of
> alliterative ballards and sagas not lend th
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On 10/07/16 23:44, Simon Albrecht wrote:
> On 10.07.2016 22:20, Wols Lists wrote:
>> I was taught fairly early in English lessons that rhyme was not a
>> necessary component of poetry; metre, or "bounce" as I sometimes
>> describe it, is much more impo
On 10.07.2016 22:20, Wols Lists wrote:
I was taught fairly early in English
lessons that rhyme was not a necessary component of poetry; metre, or
"bounce" as I sometimes describe it, is much more important.
But not necessary either. Many modern poems don’t have any regular
rhythm. It’s rather
On Sun, 10 Jul 2016, Wols Lists wrote:
I was taught fairly early in English lessons that rhyme was not a
necessary component of poetry; metre, or "bounce" as I sometimes
describe it, is much more important. Some languages, I understand,
rarely rhyme their poetry.
I would like to add
Well
J Martin Rushton writes:
> On 10/07/16 19:48, David Kastrup wrote:
>> J Martin Rushton writes:
>>>
>>> That rather depends upon the translation of the Bible used. The
>>> KJV was given a polish from Genesis to Revelation to make it
>>> read beautifully (one of my ancestors was involved). Some
On 10/07/16 17:47, David Wright wrote:
> On Sun 10 Jul 2016 at 15:57:59 (+0100), J Martin Rushton wrote:
>> On 10/07/16 15:09, David Kastrup wrote:
>>> J Martin Rushton writes:
On 10/07/16 00:29, Anthony Youngman wrote:
> On 07/07/16 19:02, David Wright wrote:
>> BTW one of the odd "a
On Sun 10 Jul 2016 at 19:33:17 (+0100), J Martin Rushton wrote:
> On 10/07/16 17:47, David Wright wrote:
>
> >
> > While one might argue that a lot of religious translations might
> > have been written with a view to intonement, or recitation at
> > least, and therefore with particular attention
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On 10/07/16 19:48, David Kastrup wrote:
> J Martin Rushton writes:
>
>> On 10/07/16 17:47, David Wright wrote:
>>
>>>
>>> While one might argue that a lot of religious translations
>>> might have been written with a view to intonement, or
>>> re
J Martin Rushton writes:
> On 10/07/16 17:47, David Wright wrote:
>
>
>>
>> While one might argue that a lot of religious translations might
>> have been written with a view to intonement, or recitation at
>> least, and therefore with particular attention paid to the rhythm
>> of the words, I
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On 10/07/16 17:47, David Wright wrote:
>
> While one might argue that a lot of religious translations might
> have been written with a view to intonement, or recitation at
> least, and therefore with particular attention paid to the rhythm
> of t
On Sun 10 Jul 2016 at 15:57:59 (+0100), J Martin Rushton wrote:
> On 10/07/16 15:09, David Kastrup wrote:
> > J Martin Rushton writes:
> >> On 10/07/16 00:29, Anthony Youngman wrote:
> >>> On 07/07/16 19:02, David Wright wrote:
> BTW one of the odd "assumptions" made in LP is in that
> v
Hi Urs,
On 07/08/2016 08:34 PM, Urs Liska wrote:
I would like to do the following:
* Let ScholarLY add an 'id to the affected grob
* Let ScholarLY export annotations to a JSON file (including the
same ID).
* Let LilyPond compile to SVG (where the elements get the ID)
* Display the
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On 10/07/16 15:09, David Kastrup wrote:
> J Martin Rushton writes:
>
>> On 10/07/16 00:29, Anthony Youngman wrote:
>>>
>>>
>>> On 07/07/16 19:02, David Wright wrote:
BTW one of the odd "assumptions" made in LP is in that
variable called
J Martin Rushton writes:
> On 10/07/16 00:29, Anthony Youngman wrote:
>>
>>
>> On 07/07/16 19:02, David Wright wrote:
>>> BTW one of the odd "assumptions" made in LP is in that variable
>>> called poet. What about compositions whose lyrics are prose?
>>
>> Of which I guess there are very few :
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On 10/07/16 00:29, Anthony Youngman wrote:
>
>
> On 07/07/16 19:02, David Wright wrote:
>> BTW one of the odd "assumptions" made in LP is in that variable
>> called poet. What about compositions whose lyrics are prose?
>
> Of which I guess there are
On 9 July 2016 at 17:07, David Kastrup wrote:
> Mojca Miklavec writes:
>
> This mechanism for pulling pitches and making graphics for them can be
> changed into something specific for your task. However, we need
> additional information because the assignment of buttons to notes is not
> unique an
Anthony Youngman writes:
> On 07/07/16 19:02, David Wright wrote:
>> BTW one of the odd "assumptions" made in LP is in that variable called
>> poet. What about compositions whose lyrics are prose?
>
> Of which I guess there are very few :-) "Jerusalem" is a pretty
> classic example - about the on
Op 09-07-16 om 22:37 schreef Simon Albrecht:
On 09.07.2016 20:53, Jogchum Reitsma wrote:
For me it still is odd to see cut C noted, and then not two, but four
halves in each bar.
The history of the c and cut c symbols is complex and difficult to
grasp. Historically, both are derived from pro
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