Fixing some mistakes...

I was in discussion with some people on a Classical music forum recently. Topic of discussion: yet again, the issue of how you go about tagging your music collection so that it works efficiently and in a scalable manner to achieve good music discovery and access. Of course, I long ago decided I had the correct approach to that!

Anyway, the discussion did what it usually does: when push comes to shove, two of the people declaring my proposals unworkable turn out not to bother with tagging music at all (too much hard work!). So they simply rely on their operating system's search engine (which in Windows' case, keeps changing as new OS versions are released, but let's not worry about that just for now!), or in a physical storage hierarchy that they can traverse easily in Windows' file manager. For the record, if you've structured your music appropriately physically, it's trivially easy to use that physical structure to back-port into metadata tags in your music files, and thus most of the hard work of structuring it logically has already been done. But let's not worry about that just for now, either! [...] 

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Lockdown Tasks

As we are all now experiencing 'lockdown woes', I decided I had time enough on my hands for it to be worthwhile for me to look again at my various bits of music management software. The Classical CD Ripper and Tagger scripts accordingly got a work-over: little tweaks to make each program work slightly more in ways that suit me than not! I use the Tagger program on a daily basis, so it's important to me that it works efficiently, which I think it now does 🙂

I then tackled the Flac Checker script, which hadn't been modified since October 2019. It has been in daily use since then, but the output was messy and that made it harder to spot corruption happening to my collection of digital music files than it should have been. I have accordingly re-worked the program so extensively that it's now up to version 2.0. I am confident that I've improved the logging sufficiently that any corruption detected will be extremely obvious and easy to locate. [...] 

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Mozart: Finished... ...for some definition of 'finished'!

The new catalogue of Mozart's works is now finished.

All items have been categorised (though some will no doubt disagree with my categorisations for various pieces). Where the scores exist, incipits have been prepared from them and assigned to the appropriate catalogue items. Where recordings exist, 40-second audio extracts have similarly been prepared and assigned. [...] 

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Mozart: finis!

Today would have been Mozart's 264th birthday... and, quite by chance, it happens also to be the day that I've finally finished the first draft of the new Dizwell catalogue of his works.

The last few vocal works have now been excerpted and incipits found for each of them, so that makes 674 incipits prepared, uploaded and applied to the database, along with 635 40-second audio excerpts for most items. (The difference between the two numbers is that there are a handful of works that are now known to be 'not by Mozart'. For those, I've applied a 'blank incipit', but not bothered with an audio excerpt: simple maths tells you that there are 39 such works). [...] 

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Mozart: A Progress Report

Having begun the process of re-cataloguing my collection of Mozart music just before Christmas (see the previous blog post), I thought it about time I posted a bit of a progress report. Naturally, what began as merely an exercise in re-naming things (for example, 'Requiem, K626' would become 'DZ 02082 Requiem' using the new Dizwell numbering scheme), rapidly became a full-on musicological cataloguing process... since I needed a good list of 'new names' with which to rename my music files to begin with.

As I hope the graphic at the left of this blog post indicates, I'm now about half-way through that cataloguing process. That is, if you visit the new catalogue, you will see green '+' buttons next to each listed composition. Click one of those, and for about half of the listed works, a 'hidden screen' will appear that shows a score of the first few bars of music for the piece (an 'incipit', from the Latin for 'Here begins...') and contains a link to an extract of an audio recording of the work (all extracts last for 40 seconds and are presented as 128kbps MP3 tracks, so are not 'hi-fi' quality). [...] 

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How are your Köchels?

In the world of musicology, I doubt anyone is quite so famous as Ludwig Ritter von Köchel, pictured left. That's because he catalogued Mozart's music in the 1860s and thus bestowed on every Mozart composition then known the 'K' numbers that have adorned them ever since. Mozart, of course, being the veritable God of classical music, Herr Köchel therefore has acquired some of his glory by reflection!

So, whilst non-musicologists might talk about Mozart's Symphony No. 41 -or, conceivably, his Jupiter symphony- those in tune with their inner Köchels know it as K 551. Similarly, Mozart's Requiem is now given the Köchel number K 626. [...] 

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Sorting Vivaldi!

Antonio Vivaldi's one of those composers most people have heard something of, even if they don't know who or what... though my betting is that it's likely to be one of the Four Seasons violin concerti!

His ready popularity with those four concerti makes it temptingly easy to dismiss him as a lightweight -or, worse, a repetitive lightweight. Stravinsky famously did, for example, when he said that, "Vivaldi is greatly overrated—a dull fellow who could compose the same form so many times over." Note, by the way, that he did not say "he didn’t actually compose 500 concertos, he just wrote the same concerto 500 times": no-one's quite sure where that joke came from -or why the number 500 is sometimes given as 400- but in whatever form, it's not Stravinsky's. [...] 

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