You write a prompt, hit enter, and watch the console light up green. Code pours out. It feels like magic. Then you try to maintain the thing a week later, and you realize your shiny new AI agent just built a leaking bucket.
I’ve studied computer science and then gone on to study the recorder and I’m currently busying myself with making the recorder able to control the computer. I love the combination, but wondered a bit about if I’ve chosen a favourable tradeoff. I’m happy so I guess I’m not doing to bad. But, when I started reading “On playing the Flute†by Johann Joachim Quantz (the book I’m referring to is the 2nd edition of the English translation by Edward R. Reilly published through Faber & Faber) I found that he had something to say on the issue. In chapter 1 (page 24) he writes:
When Quantz writes “On playing the fluteâ€, the flute is just emerging from a time of much change, and we know that the flute changed much until it became the flute we know today. The recorder is in a similar situation today where the recorders that are made are often very different from what they were only fifteen year ago, and through my correspondence with inventors and recorder builders I have no reason to believe that the recorder is done developing now.
In his blog Joseph Holst has a great tutorial on how to build a light box. I expect to be building one of these when I get back to Esbjerg after the christmas holidays
In this first post I'd like to talk about Pierre Philidor's notation of ornaments and what this might mean. The ornament in question is the grace note leading up to the second quarternote in the third bar:
Welcome to the Early Music Blog. This project was started by Niklas Saers after discussing it with a couple of friends and will hopefully be a place where people interested in early music will post their thoughts and stories and link up other early music blogs. I hope that you will find this site interesting and participate throught commenting and posting your thoughts and ideas.
