how does this auto generation works?
See that the file is loading another source file (on its line 3), which
you can find at http://gridflow.ca/svn/trunk/doc/locale/english.tcl ...
the only important lines are the ones that say "say". (if you want to
know
more about this, I will tell you more).
if/when I come back to manage my object list (and possibly make an update
for the floss book), I'll get to this topic. for now I have no time.
I would like to keep updating my list, but in an automatic way.
It might be easier to keep it updated automatically, but it depends what
you want to write in that file. If it's essentially just the same
contents
as the GridFlow Index pd file, then I can generate the file you want and
bundle it with every version of GridFlow.
for the public, the same structure as is in the floss book: class name,
short sentence with description. a better version would show for which OSs
it works, and maybe some other internal remarks to the list manager.
that's the same thing. then you'll be loosing time by typing a score
which has always the same rhythm/tempo. better put a metro with a mod,
and you have it. the music for which the program is made is more like:
Ah yeah, that's a good example score-wise.
But then, the problems with such scores are things like the flirting too
close to the "uncertainty principle" (tempo is used for a time too short
to be really felt) and the "consonance" of tempos (13:10 can be quite
hard
to distinguish from 4:3 in many circumstances, just like such ratios of
frequencies can). But you picked extreme scores, and I can see very well
how pieces of much lesser complexity than that can be a lot more
followable by the ear _while_ at the same time having much of a use for a
complex programmable super-metronome.
I won't go into the discussion if that notation makes sense - that's an
old one, and not really productive. anyway, for good composers and
performers, it's important to write/perform everything as it is there. for
composers who just go into the train and copy the formulas, they won't
notice the difference, and performers usually notice that they really
don't care as much.
but it doesn't have to be used only by this people. the harpsichord
teacher where I studied, Robert Hill (brother of the best harpsichord
builder around, Keneth Hill), usually works with electronic metronomes to
mark the barlines, in order to practice his rubato while playing (barocke
or even earlier music, that is).
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