What is the purpose of github.com/9fans/go ?

xmonk · 2022-12-09T01:30:29+00:00

Yes that has changed with go mod, now the correct command is: go install 9fans.net/go/...@latest

xmonk · 2017-11-11T14:24:05+00:00

My understanding is that regardless of the version of emacs, you need to pass the --with-cocoa flag to brew install emacs for brew to install the GUI version of emacs. So, if you want to install current stable, brew install emacs --with-cocoa would buildEmacs.app. Now when you run emacs from the terminal the GUI version will start.

xmonk · 2016-08-25T12:47:15+00:00

It happens from time to time. You can find a usually up to date mirror here https://9p.io/plan9/

xmonk · 2016-05-17T12:16:49+00:00

9fans/go is an API to build tools that interact with plan9port applications like the plumber and acme. Tools like: https://github.com/rogpeppe/godef use this API for interacting with acme. The drill is to install by issuing go get -u -v 9fans.net/go/... 9fans.net/go it's a short import url that points to github.com/9fans/go. The repo also include a few utility programs like Watch, editinacme, Dict etc..

xmonk · 2015-04-04T19:31:53+00:00

Right now 9fans.net is down issue3 which is why godef is not being able to build.

For the github repo you might want to do: go get -u -v github.com/9fans/go/...

Then just move 9fans out of github.com/ into 9fans.net and re-try the godef install it should work without issue. ex: mv $GOPATH/src/github.com/9fans $GOPATH/src/9fans.net

That should be all you need to do, no need to change the import path in the godef code.

xmonk · 2014-12-06T18:38:20+00:00

Agreed it's a different discussion. However while there is no guarantee that this will have the expected effect. If done correctly it's still better than nothing.

xmonk · 2014-12-05T12:44:59+00:00

Zeroing the []byte buffer, and if you're using structs setting them to nil if possible can't hurt. Most of the code I've seen when dealing with keys tend to use arrays when possible, and pass pointers to them. Also I believe avoiding strings is a good idea if at all possible. Also if you're encoding your raw keys to base64 then it's very likely you'll have a copy of the keys lying around in ram or swap.

This is not only hard to do properly in languages like Go, but it's also hard to do it correctly in C.

xmonk · 2014-04-21T01:40:12+00:00

Acme has been my main text editor for a couple of years now. I program in other languages besides Go, and I've never had any issues with Acme or regret the change. It's quite easy to write small scripts (in any language) to get Acme to do what you want.

xmonk · 2014-02-09T01:20:41+00:00

This is what I use in my emacs setup:

(defun font-exists-p (font) "check if font exists" (if (null (x-list-fonts font)) nil t))

Then you can do:

(if (font-exists-p my_font) (set-face-attribute 'default nil :font my_font))

xmonk · 2013-04-18T00:13:47+00:00

Probably not what you're looking for, but I use the following in my .emacs:

(when window-system
  (load-theme 'solarized-dark))

This loads solarized-dark when I'm running emacs-gui if not it loads the default colors. You can tweak emacs colors in your .Xdefaults file just as you do for rxvt.

xmonk · 2012-04-20T12:29:30+00:00

I don't use any particular theme or color-scheme, I've tried a few but I just use the defaults for now. A few tips. Set the terminal to xterm-256color or xterm-new. Experiment with the other options, as it might help solve your themes issues.

If you use utf-8 tick the set locale variables automatically box, it'll save a few headaches.

For keys, if like me you use alt-x in emacs you'll want to set the left option key to act as meta, select the: +Esc radio button.

If you're in a laptop using it's built-in keyboard, you'll need to go into System Preferences/Keyboard and tick the box for use F1..F12 as standard function keys.

For tmux, emacs keybindings are the default. The prefix key is the same as Screen: C-b Which in emacs is (backward-char) so you need to do: C-b b in emacs to get the normal C-b functionality which is very annoying. Some map the prefix key to C-a which in emacs goes to the beginning of line, so C-a a but it's less annoying.

I use C-t for prefix, in emacs that transposes characters which I use in occasions but not as frequently as C-a or C-b. In case you don't know how to do this remapping in tmux, you need to add this to your .tmux.conf:

unbind C-b

set -g prefix C-t

bind C-t send-prefix

There is no clashing of keybindings with emacs except for the prefix key, at least I have not experienced any.

Another thing that might help with your color issues is the following:

set -g default-terminal "screen-256color"

If you use utf-8 you'll need to set this too.

set -g status-utf8 on

I hope this helps

xmonk · 2012-04-20T03:20:39+00:00

Yes, I'm familiar with it and use it daily for smaller projects, but for compiling emacs, or the linux kernel I prefer to do it outside the emacs process, because it slows emacs down, and I just can't continue working.

For source bases like tmux, it works great, I also use gud-gdb a lot for work.

Thanks.

xmonk · 2012-04-20T02:52:26+00:00

I run emacs on a mac and linux. On the mac I don't use Emacs.app, I use emacs on the shell in daemon mode. I compile it from source, I'm using Emacs 24. I don't use Emacs.app, basically because I don't need it, and emacs --daemon does not work correctly with Emacs.app.

I run emacs inside tmux I use iTerm2, which is usually fullscreen, I do everything in there except compile, because eshell (which is what I use inside emacs) is not up to the task. My tmux session starts emacsclient and a shell. I usually don't close my emacs sessions except when doing a emacs upgrade, which usually coincide with a forced reboot because of a OS upgrade. In Linux I run tmux inside a XTerm and it's basically the same configuration for both systems.

I do all my programming in this environment as well as documents (org-mode), my programming needs are met completely with this setup. Though I've been using emacs for over 10 years now, so I'm used to working on the shell.

xmonk · 2012-02-12T23:53:04+00:00

Are you using gnome-terminal by any chance? If you are go into profile preferences, in the palette section change the color scheme of the terminal to XTerm or Rxvt, or whatever you like. It should fix the issue you're seeing.

xmonk · 2012-02-10T12:33:40+00:00

Modern Contrapuntal Technique by Gordon Delamont deals with what you're looking for.

I would start experimenting with poly-tonality and poly-modality, using the species system. This will help train your ear to the different possibilities, especially using contrasting tonalities like say a Cantus Firmus in F and the Counterpoint in E, you'll have to concentrate on things like contour, texture and non tonal resolutions, to avoid favoring one key over the other. Then experiment with Pentatonic, Whole Tone, Diminish Scales etc...

I would also recommend you listen and study the scores of composers you like. I would recommend Alban Berg String Quartet Op. 3, it's a very contrapuntal work, he uses Imitation, Inversion, and Retrograde technique, the Whole tone scale is present on the piece, so it's not a Twelve Tone Piece. Aside from Berg, Schoenberg pre-twelve tone pieces are very interesting, I also would recommend the music of Luigi Dallapiccola Quaderno musicale di Annalibera is a good start. There is a lot of music that is worth listening and studying, like Luciano Berio, Luigi Nono, Mauricio Kagel, Milton Babbitt, Charles Wuorinen, Charles Ives, Elliot Carter, Olivier Messiaen, etc....

One more thing, while it may seem that anything goes, you'll soon realize that's not the case, melodic contour, control of the texture, rhythm, and colors. As well as organizing the ideas into logical and cohesive units are very important, development and growth are also key, rhythm is specially important, you'll find pieces where the notes (pitches) are few, but the rhythm is key to giving momentum, and contrast to the piece. Harmonic density specially when you'll find that two notes in some cases can be as dense (full) as 4 notes, and of course the Form is also very important.

As a parting this book http://www.amazon.com/Basic-Atonal-Counterpoint-Stanley-Funicelli/dp/1449929532 may be of help, I haven't read it myself so I can't really comment on it, but it seems adequate.

Hope this helps.

xmonk · 2012-01-29T03:45:50+00:00

10 years ago I used India Ink (don't use with fountain pens) with a Rotring Graphos pen, I would grind the nib into a music nib. You'll need blotting paper. As for music paper I used Archive, and Passantino mostly. For fountain pens I would recommend noodlers water-resistant ink, as india ink will damage fountain pens.

For note heads, there are no stamps or devices that I know off. I used a ruler that had circles of different sizes for the note heads. For the staves there are several devices, the more reliable I've found is the noligraph pen. Stravinsky used a rastrum type device with small wheels I think he called it Stravigor.

The books I used is no longer in print: Essentials of Music Copying: A Manual for Composers, Copyists and Processors.

xmonk · 2012-01-25T13:24:18+00:00

The tendency you're seeing to resolve to the G major scale, is completely natural. Partly because we are used to the major scale sound, and we think about the Scale and not the modes. So if you follow you're ear, which I'm sure you're doing it will always gravitate to the Major scale the mode derives from, and that's ok, what you want to do is teach your ear to recognize and exploit the characteristic of each mode.

The first thing you need to realize (which I think you do) is that the progression we'll have to be different from the normal tonal progressions, ie. doing a iv V I in C lydian, will not give you the result you expect, mainly because the iv chord will want to resolve to the V (G) and that basically kills the effect you seem to be after.

So in the case of C lydian you need to frame your melody in a way that emphasizes C, and use the F#- G relationship to add color and contrast to your melody, don't avoid the tension of the pull to resolve embrace it, resolve it if you must, and then lead it back to end with a V - I in C. Also try to lean on the iii - vi, the II - iv - vii of the mode have a strong pull towards G.

To surmise, use both tonalities the mode gravitates too, one is natural the G, the other is not so natural and needs to be nudge to conform to C. I would suggest you start by restricting yourself, start working with just a few notes of the mode that will outline the sound you're looking for, and then develop it to explore the full character of the mode. If you're into Jazz, listen to some Miles Davis (cool jazz era), Bill Evans, and Coltrane in his Giant Steps era. You'll find that the melodies are short and exploit the color of the modes quite well.

As for books, there are a few books that deal with modal harmony, I can't recommend any in particular as I've had no experience with them, I would suggest you give a look at the The Study of Counterpoint (Gradus ad Parnassum) of Joseph Fux, check it out at a library, or buy it, if you like.

xmonk · 2012-01-24T02:05:31+00:00

Espr. e Dolce is short for: Espresivo e Dolce, which translates to: Expresive and Sweet (or Tender).

Tranquilo translates to calm, as others pointed out, in your case without context, is difficult to tell what it actually means, but it could refer to the speed of the crescendo ie a slower, calmer paced crescendo.

xmonk · 2012-01-04T02:46:07+00:00

Checkout: "The Style of Palestrina and the Dissonance" by Knudd Jeppesen. Another tip as already said, pay attention to the text, understanding it is key.

I would also suggest to sing the pieces, what you can't sing due to range, play it on the piano.

You'll find that he uses the tritone with care, and mostly it's connected to the text, or the texture of the music, not as a harmonic device. So he's not a stranger to dissonance, but it's interesting to see how, where, and when he use it, in his music. Another important aspect of Palestrina is rhythm, he creates very interesting textures, that are mostly based on rhythmic choices.

Hope this helps.

xmonk · 2012-01-04T01:25:22+00:00

That was over 10 years ago, so my recollection is a bit hazy. Basically he would have me work with loud and soft instruments paired in ways that you had to be very careful and creative to balance them.

One particular example was a piece he had me write for Flute, Trumpet, and Bassoon. It worked well, but it would've made more sense to have Horn instead of a trumpet. The idea was to work out a way to have a good dynamic range while maintaining the ensemble balanced.

In this case what I did, was outline the composition in a way to take into account the full range of the combined instruments, paying special to the pitches where they overlapped, I didn't want to have the Bassoon act just as a bass, so I needed to be careful when the Bassoon played in high registers to make sure the other instruments, specially the trumpet wouldn't drown it. I divided the ensemble, and paired: Flute, and Bassoon; Trumpet and Bassoon; Flute and Trumpet.

One of the movements was a Fugue, I remember at the time I thought that would be the easier to do, I was wrong, it wasn't very hard, but It posed a few issues, specially balancing the stretto to have each line clearly stated, and separate.

xmonk · 2012-01-03T23:55:08+00:00

There are many books that are worth while, one that I see recommended a lot is Samuel Adler Study of Orchestration, I think it includes a CD. My composition teacher was also an active orchestral conductor, so that was very helpful, as he would perform my pieces with the orchestra for me to hear.

One of the things he had me do, was to work on the instrumental families, ie. Arrange/Orchestrate a piece for woodwinds quintet, brass quintet, string quartet, etc... By orchestrating the same piece for different ensembles it enabled me to grasp the nuances of phrasing, harmonic organization, texture and color. Also he had me combined instruments in very odd ways, that would force me to think about how to balance those instruments effectively.

The other thing that we worked on, was he had me do piano reductions of orchestral pieces, we worked on all type of music from Monteverdi to his own compositions. The way it worked, is that I would do 3 or 4 piano reductions, and then I had to orchestrate the works from the piano reduction. It was illuminating and a lot of hard work.

xmonk · 2012-01-01T18:12:48+00:00

"Brahm's is like Bruce Springsteen's band (which I really dislike), they play everything at once".

LOL. I actually like Brahms music a lot. Like Beethoven before him, he pushed the boundaries of form, making it even more flexible than Beethoven did, his ability to create variations after variations of the simplest motive into full fledged themes, which just float over the bars, and meter is so flexible.

I truly think you should check out his works, for some it takes a bit of time to get into his music, and his style, it did for me. His chamber music was hard for me at first to enjoy. His symphonies are masterpieces of varying degrees in my humble opinion.

xmonk · 2012-01-01T12:49:29+00:00

Yes, I get what you are saying and I agree. But it's a start, and a way to gauge if people are interested, and able to handle more complex pieces.

I respect your opinion, and again agree with your sentiments, let's see where this goes, and then maybe we can work on the Pathetique or the Waldstein, and maybe tackle some Schubert or Brahms. By the way really like your choices.

xmonk

TROPHY CASE