[r-t] Attribution (was Seven Deadly Sins)
rlee5040 at yahoo.com
Thu Nov 3 17:11:39 UTC 2005
It is good to understand what you're doing. I believe that by starting off with the basics and
building up from there, you stand a better chance. I don't want any aspiring composers
following this debate to think that understanding the process is irrelevent - a computer will see
to that. Composition being the wide universe that it is, there's a time and a place for both
>I think to be honest that most composers are stuck in a selfish little
>time-warp. Composition is still - just - at the stage where you can learn
>pretty much everything about it, and do everything for yourself. And that's
>where most composers seem to want it to stay. There is no willingness to
>share work and credit, to communicate, to build frameworks for the future.
>From my experience since starting, composers are among the most helpful group of
people I've come across. Likewise, on the occassions that I've been asked for
advice/assistance, I've been more than happy to help out. The only thing I draw the line
at is giving credit where I don't think it's due. I hope that isn't a selfish outlook.
At that point, I'll make an attempt to set the ball rolling. Take a cyclic method on
n bells with a 2nds place lead end 1n2345....(n-1), and consider the equivalent
method with a nth's place lead end, having n-1 leads in the plain course.
If you call a (n-2)th's place bob at lead end (n-3), or a (n-4)th's place bob at
lead end (n-5), and so on down to the rather trivial case of an (n-(n-2))th's place
bob at lead end (n-(n-1)), then you get a cyclic lead end.
Has this property been noted before? Is it any use? Is there a monkey out there
who can produce a suitable method on 12 bells with 52 changes per lead, to
produce 4567890ET23 at the 9th lead and hence a peal of 5148 changes?
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