‘Living the Life That You Are: Finding Wholeness When You Feel Lost, Isolated, and Afraid

The opposite situation is what Krebs calls metrical dissonance.I will argue that in jazz styles where swing rhythm is pervasive, halvingthe prevailing note-value can produce metrical dissonance, and that this dissonance is one of the main factors contributing to listeners’ perception of double time.To consider the idea of swing eighth notes in terms of Krebs’ metrical layers, I will callthe quarter-note level of rhythm the “beat layer” and the level at which quarter notes have been subdivided into swing eighths the “sub-beat layer.” The beat layer and sub-beat layer can be regarded as two different ways of grouping a third layer of

Music theorists have long been aware that different levels of beat are often simultaneously available to the listener. Harald Krebs (1999) uses the term “metrical layers” to describe this phenomenon. In the normal case, metrical layers nest neatly insideone another; they are metrically consonant with each other. This occurs, for example, in Pachelbel’s Canonas the prevailing note-values are repeatedly halved. Figure 3.1 shows this nesting relationship between layers. There is no need for a separate micropulse layer because the layers are metrically consonant: both eighth notes and quarter notes can be expressed as groupings of sixteenth notes.

“Double time”is defined by the New Grove Dictionary of Jazzas “the apparent doubling of the tempo [...] achieved by halving the prevailing note-value” (Kernfeld, 2002). In an explanation of the same term written for a popular audience, the book What to Listen for in Jazzclarifies that double time “involves a doubling of tempo in the rhythm section, a doubling of the general speed of the melody line, or both” (Kernfeld, 1997).The Grove’s use of the word “apparent” implies that the tempo has not in fact doubled. To emphasize this point, some authors prefer the more precise term “double-time feel,” reserving the term “double time” for a true doublingof tempo(Levine, 1995).

For dynamic routes, such as our src/routes/blog/[slug].svelte example, that's not enough. In order to render the blog post, we need to fetch the data for it, and we can't do that until we know what slug is. In the worst case, that could cause lag as the browser waits for the data to come back from the server. We can mitigate that by prefetching the data. Adding a sveltekit:prefetch attribute to a link... <a sveltekit:prefetch href="blog/what-is-sveltekit">What is SvelteKit?</a> ...will cause SvelteKit to run the page's load function as soon as the user hovers over the link (on a desktop) or touches it (on mobile), rather than waiting for the click event to trigger navigation. Typically, this buys us an extra couple of hundred milliseconds, which is the difference between a user interface that feels laggy, and one that feels snappy.

If there was a place I thought reactivity would be weak, I embraced it and I worked on it until I was happy with the results.

but everything they were doing started to make sense

I kept on wanting them to work like Fine-Grained reactivity, since it was much more intuitive.

Vue was always felt contrived for me.

I couldn't land on how I wanted to box primitives. Should I use a getter/setter, or function form like Knockout, or explicit get/set like MobX? These were all ugly.

Because keeping track of your tasks is an intensely personal thing, and people will reject anything that doesn't feel right pretty much instantly.

“My mother says I’m great And it always makes me sad”

who say they feel the sting of racism much the same as other blacks.

You feel like you're engaged in enjoyable play when your thinking has the right level of ambiguity and uncertainty FOR YOU

Scratching around...

I’m sorry, but this sort of quasi-mystical garbage debases the very notion of education and harms Knewton’s brand in the process.