A few moment's reflection will showus that if our pieces are too large, we shall not have the same•opportunity of building up. The process of summarising orbuilding up is in fact restricted by the size of the pieces,generally speaking the smaller the pieces the better the chanceto build up. Too large pieces will preclude us altogetherfrom reporting on smaller subjects.

what little indexing is attempted can only 14be described as an unsystematic effort. The catchword methodof the catalogue has been bodily transplanted to indexing,which makes it very difficult to control our indexed informationproperly, and limits our supply of information to that whichwill fall in with the catchword method

we should break down and MR into "Blocks"

Analysis of Selected South African JazzRecordings

With the exception of the blues, the rhythm changes progression is probably the mostimportant chord progression in jazz. The term “rhythm changes” refers to a 32-bar AABAform based on the harmonic structure of “I Got Rhythm” by George and Ira Gershwin.The song appeared in the Aarons and Freedley production Girl Crazy (1930) andoriginally featured a 34-bar AABA form with a two-bar extension in the last A section.The two-bar extension was eventually cut and the chord changes of the last A sectionreplicated those from the second A. A newly composed line based on the rhythm changesprogression is known as a contrafact. The enormous popularity of rhythm changes hasbeen well documented by an ever-increasing number of composed contrafacts andrecordings

Charlie Parker wrote a number of contrafacts on rhythm changes among which “Moosethe Mooche,” shown in Figure 19.1, is one of the most well known

cadential melodic gestures in his solo. Thesepatterns usually accomplish two objectives: (1) they provide a logical phrase conclusionand (2) they foreshadow the arrival of the next phrase

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“Salt Peanuts” (Gillespie/Clark) and “Passport” (Parker)

Recommended next afrika-kulturtage-forchheim afrika-kulturtage-forchheim Share… Share this tag: Mbaqanga music

Charlie Parker and Dizzy Gillespie - Anthropology

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Animated Sheet Music: "Confirmation" by Charlie Parker

Thelonious Monk - 'round Midnight

In the early 1940s, he said, many black bands — among them the newly-formed Harlem Swingsters as well as the veteran Jazz Maniacs — started playing in what he termed an African stomp style: We call it African stomp because there was this heavy bealt... There’s more of the beat of Africa in it... the heavy beat of the African, the Zulu traditional...’ The rhythm of this stomp, as he demonstrated it, is immediately recog- nisable as the typical indlamu rhythm:

The very best players compress enormous inventiveness into that four-bar mbaqangathing. It can also be an eight-bar sequence in which the melody sits only over the third beatof the first bar to the first beat of the second bar. That same bit of melody might happenin a 16-bar sequence, you see.

the use of the ghoema beat which is strongly associated with the music of the Cape(e.g. ‘Siqhagamshelane Sonke’ or ‘Our House, Our Rules’ by Shepherd)

Shepherd’s use of marabi and marabi-style harmonic progressions are

Elements of indigenous musics featured in Shepherd’s work include the use of the ghoemabeat in compositions such as ‘Zimology’ and ‘Spirit of Hanover Park’, or his use of the uhadiin this ‘Xam Premonitions (Cape Genesis – Movement 1, 2012)’

s the name suggests, mbaqanga is viewed as a morecommercially appealing style than African Jazz and has been popularised in South Africa byartists such as Simon ‘Mahlatini’ Nkabinde and internationally by Paul Simon’s heavilymbaqanga influenced Graceland album. The roots of mbaqanga lie in traditional Zulu musicmixed with influences of marabi and kwela. Rhythmically, mbaqanga is, like tsaba tsaba,generally based on a straight-eighth note feel with a driving bass drum on all four downbeatsof the bar. This quarter note bass drum pattern, commonly referred to as “four on the floor”,is complemented by the hands performing various orchestrations of the rhythm below. Thisuniversal rhythm is known as the Charleston in American jazz, the Habanera in Cuban Latinmusic, and the Ghoema in South Africa

In including trombonist Malindi BlythMbityana and Mackay Davashe, a prolific composer in thembaqanga jazz style, acontingent of the Blue Notes

The revival in South Africa in the 1980s of the long-forgotten traditions of 1950s big-bandmbaqanga – most notably in the form and repertoires of Ntemi Piliso’s African JazzPioneers – filled the vacuum created by the effective disappearance of the practice duringthe long years of apartheid

recordings by the Blue Note

the popular South African big-band swing styleofmbaqanga orAfrican jazz (Musical Excerpts 2.14 to 2.19).

Mackay Davashe, a prolific composer in thembaqanga jazz style, acontingent of the Blue Notes

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Paul Simon’s heavily mbaqanga influenced Gracelandalbum

The very best players compress enormous inventiveness into that four-bar mbaqangathing. It can also be an eight-bar sequence in which the melody sits only over the third beat of the first bar to the first beat of the second bar. That same bit of melody might happen in a 16-bar sequence, you see. You’d get people working all the options with fascinating results. There were people, like those in the band led by “Cups and Saucers,” 3 working with a really great sensitivity to this kind of structuring, and very cleverly, too.

ghoema beat in compositions such as ‘Zimology’ and ‘Spirit of Hanover Park’, or his use of the uhadi in this ‘Xam Premonitions (Cape Genesis – Movement 1, 2012)

Shepherd’s use of marabi and marabi-style harmonic progressions are Stellenbosch University https://scholar.sun.ac.za36 evident in tracks like ‘Coline’s Rose’ (A Portrait of Home, 2010) and ‘Zimology’ (fineART, 2009)

the use of the ghoema beat which is strongly associated with the music of the Cape (e.g. ‘Siqhagamshelane Sonke’ or ‘Our House, Our Rules’ by Shepherd)

PRs will introduce various mechanisms step by step. Some of these have issues already. A possible breakdown could be: Annotation collection using instance values (links also does this) Defining annotations to which multiple keywords contribute (this is new, see Need more details of annotation collection #530) Defining subschema and keyword processing results to include annotations Processing sequence for keywords that dynamically rely on the results of static keywords The actual definition of unevaluatedProperties An example of unevaluatedProperties

It is a fact that lands have been sold for five shillings, which were worth one hundred pounds: if sheriffs, thus immediately under the eye of our state legislature and judiciary, have dared to commit these outrages, what would they not have done if their masters had been at Philadelphia or New York?

The relationship between the top-level subject area and the lower-leve

For better understanding of something that is complicated, just make it more simplier. In this example, just split the word into atoms, like these: Update - UP_DATE - make it up to date; Upgrade - UP_GRADE - move it to the upper (or next) grade (or level).

A former FB executive and long-standing friend of Zuckerberg emailed him in 2012 (page 31) to say “The number one threat to Facebook is not another scaled social network, it is the fracturing of information / death by a thousand small vertical apps which are loosely integrated together.”

These example are for Rails applications, but there is no dependency on Rails for using this gem. Most of the examples are applicable to any Ruby application.

This isn't really a downside to React; one of React's strengths is that it lets you control so much and slot React into your environment

There’s several benefits to splitting code into multiple packages, whether it be a library, micro-services or micro-frontends.

I would much rather have a "cosine" module than a "trigonometry" module because chances are good I only need a small fraction of the utilities provided by the larger trig module.

Small modules are extremely versatile and easy to compose together in an app with any number of other modules that suit your needs.

Second, I don't agree that there are too many small modules. In fact, I wish every common function existed as its own module. Even the maintainers of utility libraries like Underscore and Lodash have realized the benefits of modularity and allowed you to install individual utilities from their library as separate modules. From where I sit that seems like a smart move. Why should I import the entirety of Underscore just to use one function? Instead I'd rather see more "function suites" where a bunch of utilities are all published separately but under a namespace or some kind of common name prefix to make them easier to find. The way Underscore and Lodash have approached this issue is perfect. It gives consumers of their packages options and flexibility while still letting people like Dave import the whole entire library if that's what they really want to do.

It can also be included as individual modules, i.e. Hashie::Extensions::MethodReader, Hashie::Extensions::MethodWriter and Hashie::Extensions::MethodQuery.

Suppose that the validate task was getting quite complex and bloated. When writing “normal” Ruby, you’d break up one method into several. In Trailblazer, that’s when you introduce a new, smaller activity.

The entire framework is based on small, clean Ruby structures that can be executed programmatically.

Feel free to pick and choose what you need for your applications.

The bare bones operation without any Trailblazery is implemented in the trailblazer-operation gem and can be used without our stack.

While Trailblazer offers you abstraction layers for all aspects of Ruby On Rails, it does not missionize you. Wherever you want, you may fall back to the "Rails Way" with fat models, monolithic controllers, global helpers, etc. This is not a bad thing, but allows you to step-wise introduce Trailblazer's encapsulation in your app without having to rewrite it.

Only use what you like.

you can pick which layers you want. Trailblazer doesn't impose technical implementations

If you are working in a large enterprise application, we have to create small components. Small components are much more flexible in terms of reusability and maintainability.

Industrialization: You can easily chop your form validations into smaller independent pieces that can be developed by separate teams in paralell with no dependencies.

But for big projects it should work out to just apply this techniques to certain sub-folders in your project where this problems occurs, as-if they are stand alone libraries.

When I say that my experience is that it means it's time to split up your components, I guess I mean that there tends to be a logical grouping between all the things that care about (for example) sqr_n, and in Svelte, logical groupings are expressed as components.

Since re-rendering in Svelte happens at a more granular level than the component, there is no artificial pressure to create smaller components than would be naturally desirable

Many people recently are complaining about bundler performance. But I don’t think any tool is going to solve performance problems. Bundlers can try innovative ideas such as multi-threading and improved caching, but you’re always going to hit a limit. If you’re having performance problems, it’s more likely because you’re not keeping tabs of what you’re importing, and haven’t considered splitting your project into multiple projects.

Developing software is usually easier if you break your project into smaller separate pieces, since that often removes unexpected interactions and dramatically reduces the complexity of the problems you'll need to solve

What have you learned from reading or participating?

The fact that there is no “silver bullet” is the exciting part.

Pièces moto