From mboxrd@z Thu Jan 1 00:00:00 1970 X-Spam-Checker-Version: SpamAssassin 3.4.2 (2018-09-13) on inbox.vuxu.org X-Spam-Level: X-Spam-Status: No, score=0.5 required=5.0 tests=DKIM_ADSP_CUSTOM_MED, DKIM_INVALID,DKIM_SIGNED,FREEMAIL_FROM,MAILING_LIST_MULTI, RCVD_IN_DNSWL_NONE,RDNS_NONE,SPF_PASS autolearn=no autolearn_force=no version=3.4.2 Received: (qmail 29000 invoked from network); 21 Mar 2020 05:00:17 -0000 Received-SPF: pass (minnie.tuhs.org: domain of minnie.tuhs.org designates 45.79.103.53 as permitted sender) receiver=inbox.vuxu.org; client-ip=45.79.103.53 envelope-from= Received: from unknown (HELO minnie.tuhs.org) (45.79.103.53) by inbox.vuxu.org with ESMTP; 21 Mar 2020 05:00:17 -0000 Received: by minnie.tuhs.org (Postfix, from userid 112) id 732B29D54C; Sat, 21 Mar 2020 15:00:13 +1000 (AEST) Received: from minnie.tuhs.org (localhost [127.0.0.1]) by minnie.tuhs.org (Postfix) with ESMTP id 738B49D53B; Sat, 21 Mar 2020 14:59:55 +1000 (AEST) Authentication-Results: minnie.tuhs.org; dkim=fail reason="signature verification failed" (2048-bit key; unprotected) header.d=gmail.com header.i=@gmail.com header.b="L1ALh+Z2"; dkim-atps=neutral Received: by minnie.tuhs.org (Postfix, from userid 112) id 505489D53B; Sat, 21 Mar 2020 14:59:53 +1000 (AEST) Received: from mail-ed1-f53.google.com (mail-ed1-f53.google.com [209.85.208.53]) by minnie.tuhs.org (Postfix) with ESMTPS id 9C06D9CD87 for ; Sat, 21 Mar 2020 14:59:52 +1000 (AEST) Received: by mail-ed1-f53.google.com with SMTP id n25so8751831eds.10 for ; Fri, 20 Mar 2020 21:59:52 -0700 (PDT) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20161025; h=mime-version:in-reply-to:references:from:date:message-id:subject:to :cc; bh=c67Ut9dUntTZ8IWrcubherb7hfdD/3JrHK0r+hrGjg8=; b=L1ALh+Z2e2TMi2wXA8UJactZbjTLf+iwdumdenBEd0LVuLp2ytMapKuNF2RBOC9MK0 uQ74JrEA8TSvwTFGRGGYuUj0MGQryJV1e59YhVotVYOFV/rvGnUhU/j1pIY0lM1pMMCu eHWmx41vvK74Oik0uPiSQhbqhem6qFrd34h2oqIYtNrXlrRiOk6mn8zeL4ATJfAi3kOx VufzafsAc2jWzitdU/rWKb54mw6j4bKj4dCFYDL0A7b7fVGayiZCarGQgY44mNe7s50n Ip8+k2CUaQl6jyEiLxu9kwpLpFMuVYfTGqF/FDMTmBs7aUbwxGvJiKYxldyOZ4AuINqd w25w== X-Google-DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=1e100.net; s=20161025; h=x-gm-message-state:mime-version:in-reply-to:references:from:date :message-id:subject:to:cc; bh=c67Ut9dUntTZ8IWrcubherb7hfdD/3JrHK0r+hrGjg8=; b=DonPsVvu5fazZ0y3aCJh5lGo4VAcoM4WgrWt6UbgcujejeIL9K+ijV47z904I/DgCq p/AF5BOOAxMf5arHtbQkCAjp7pmve7p5t5NDrm7mE7rCt/8RSCRP2+2hmjNDics260WW RcUyIDgpPcrk3CIlEIAbV+I3cVHZ3ogdl1icIuM5mQFVYICNyFokAezbhEUsBpP1c0ro QV1lQB71eb9OSITpAaeye1EgDPkFgqWWX+IJ4qxGKkg+OiZOjs+AT7NuiQwvLyrgGuEW 1eG0c5YfJQi1y3Y+DXF3DCWKaugFMhTjZ5NIQV5O6XPe9CqNspHBmG1F4mOONhdKh0d0 BeKw== X-Gm-Message-State: ANhLgQ05JlfuoirWi+KFVumtOWTLHYB0TZ59e+fdQHbB8wV0hx0udNAZ P8D3+ua8ouvEK7SW78LkqpiPAo/N8bxIYTASfG4= X-Google-Smtp-Source: ADFU+vsOagdD9/4XoFiJdm3TD3wdKneSPZ8nHKChWCTCOY26b17CA6HLN43Uf4tSIMyTgSAR9zakxMM5j0P/AFis3ZU= X-Received: by 2002:a50:9dc4:: with SMTP id l4mr11550928edk.234.1584766791207; Fri, 20 Mar 2020 21:59:51 -0700 (PDT) MIME-Version: 1.0 Received: by 2002:a50:aba2:0:0:0:0:0 with HTTP; Fri, 20 Mar 2020 21:59:50 -0700 (PDT) In-Reply-To: <20200320145257.GD10251@mcvoy.com> References: <20200320140308.4FBBB18C073@mercury.lcs.mit.edu> <20200320145257.GD10251@mcvoy.com> From: Wesley Parish Date: Sat, 21 Mar 2020 17:59:50 +1300 Message-ID: To: Larry McVoy Content-Type: text/plain; charset="UTF-8" Subject: Re: [TUHS] The most surprising Unix programs X-BeenThere: tuhs@minnie.tuhs.org X-Mailman-Version: 2.1.26 Precedence: list List-Id: The Unix Heritage Society mailing list List-Unsubscribe: , List-Archive: List-Post: List-Help: List-Subscribe: , Cc: TUHS main list Errors-To: tuhs-bounces@minnie.tuhs.org Sender: "TUHS" In a word: ratios. Each note is in a ratio to each other note being played, either after, while, or after it is being played. It's called the harmonic or overtone series, and if you've ever looked at a half-way decent brass instrument method/tutor, you'll have seen it in all its glory. The nicer-sounding ratios are the ones usually used - the octaves, the fifths, the fourths and the thirds. The others, the sixths, the sevenths and the seconds, tend to clash more and/or add a mournful tone to the music. https://www.howmusicreallyworks.com/Pages_Chapter_3/3_2.html Chapter 3: How Tones and Overtones REALLY Work gives a non-technical but mathematically sound description: table 4 is worth its weight in platinum. Wesley Parish On 3/21/20, Larry McVoy wrote: > On Fri, Mar 20, 2020 at 10:08:50AM -0400, Richard Salz wrote: >> A cool thing about tools is that you never know how it will be used. >> >> Bach's prelude in C major from Well-Tempered Clavier book I, written in >> pure (GNU) sed: https://github.com/laserbat/bach.sed > > If someone understands how this all works, my less capable brain would > love an explanation. My dad and my kid have told me that classical > music is math but I've never seen it. Seems like this is probably > the example I need. >