Fri, Aug 21st, 2015 12:54 PM PDT
5 beeps, 4 times, every 60 seconds, for 90 minutes
We just moved into a new condo with new appliances, and until now we could not figure out what was causing 5 beeps, 4 times, every 60 seconds, for 90 minutes. I was sure it was the Liebherr fridge, but it wasn't, it's the Miele dishwasher, alerting us that its cycle is over. To stop it from beeping, open the door.
Mon, Mar 22nd, 2010 10:49 AM PDT
Alternate Solution to SOA Exam MLC Fall 2003 #38
Use the forward recursion relationship for discrete reserves to get 10V from 9V, and then to get 11V from 10V. Since no more premiums are coming in when t ≥ 10,
11V = 105 * Ax+11, and you're done.
The method I mention may well be listed elsewhere, but it is an alternative to the method described in the ACTEX Study Manual for SOA Exam MLC.
Sat, Jul 25th, 2009 4:50 AM PDT
sorted by number, ignoring punctuation:
1 1 188776655, +5634+45+1234217651~171 2 +23.
1 1 2 17 6 5--Mozart Piano Concerto 10Eb.3
1 1, 2 3 4 3 2 1 6 5 1, 1, 2 3 1, 1--Tchaikovsky Symphony 5.4: (in 3)
1, 15, 4563, 3452, 712315.--Saint-Saens Violin Concerto 3, movement 3
1. 1, 71. 1, 71. (5, 65432) 2. 2, +12. 2, +12.--Hummel Trumpet Concerto, 1st movement, 2nd theme
1, 2, 32 1. 1, 22 3 1. Grieg Piano Concerto a, 1
1, 2, 3 3 3 3, 45, 6 _7 2 1 7. 1 2, 31 7 1.--Mozart K. 413 PC11F.3 Tempo di Menuetto
1, 5 51, 5, 14.--Tchaikovsky Sym6b.3
15 8 8 765(+5)635 4--Mozart, gm string quartet K. 387.1, right at the opening.
2, 6, 11 7 6, 5, 6, 33 4 5--Tchaikovsky symphony 4, finale
1 7, 67 2, 56 1, 45 3.--Saint-Saens Violin Concerto 3, movement 3
3, 4, 25. 315 5 5 5 5, 643. 5 1, 7 1 3, 2 5 1 76543, 2. Mozart, PQ478g.3 rondo
-34-345 3 1 2 7 5 [found, 1/22/07: Brahms Piano Concerto #2 Bb, mvmt 2]
34(+4)5655 5 1 4, 3 6 2, 1 725. Mozart, Piano Quartet Gm K 478.3 rondo
345, 5, 5 5 4 3 ^2 1-76 543 2--Tchaikovsky Symphony 4, 2nd movement
4 4 3 3 2 2 123--Tchaikovsky Symphony 1, 1st movement*
5, 36, 3425 (I think this is also from Mozart's Gm Piano Quartet)
5, 4-3 45, 4-3 45 4 [found, 1/17/07: Stanford Clarinet Concerto a]
5 5 1 1 2 2 3 1. 1 6 51643 2 1.--Mozart, K. 547, Violin Sonata 36 in F, movement 3
5 5 1, 5 5 2, 5 5 3 3 3 543 2.--Beethoven Violin Sonata #3, Rondo
5, 5 6 5, 5 6 5 6 5 6 5, 65432 2 2 2 3 2--Mozart PC16, Rondo
5 5 3, 2, 1. --Mozart K. 502, Piano Trio Bb.3 Allegretto
71715 5 +23231. Haydn, S88G.1: (I think of this as having words "chewy chewy gumdrop")
* (note how structured this one is in only nine notes: a pair of repeated notes, a trio of pairs of repeated notes going down, then a trio of unrepeated notes going up. Look at all the conflict: three vs two, stationary vs motion, down vs up.)
Sibelius Violin Concerto
Tchaikovsky Violin Concerto
Brahms, Symph 2 D, mvmt 4
Wed, Jun 10th, 2009 6:16 PM PDT
how to reset a palm centro so that you can change the language back from spanish to english
Remove the battery. Press and hold the red power key while re-inserting the battery. Keep holding the red power key until the second Palm splash screen appears, then you can release it. Then a question will appear: "erase all data", press up for yes. Then you can start over.
If you select English, it will ask "are you sure? You can't change this." But in fact, you can change the selection with a hard reset as above. The only drawback is you'll lose whatever information you've got on it. So sync it first.
Wed, Sep 19th, 2007 12:31 PM PDT
Why is it than I can listen to Mozart's Piano Trio k.496 twice in the same day or on two consecutive days, but when Schubert's Trio #1 in Bb comes on, my reaction is "Oh no, not this again"?
(a) I'd like a different recording of the piece.
(b) I've heard the Schubert Trio many more times (I can check my ipod play count, but I don't think that this is the case).
- or -
(c) Maybe there's something inherent in the compositions themselves that causes one to be more durable than the other. If so, this would be a great pair of pieces to study, because they're both piano trios written by composers I like and respect.
I had played my first recording of the Schubert trio 16 times on the ipod, vs. only a couple for the new first movement of the Mendelssohn trio, so maybe I was disappointed to be hearing something I knew well among the new discoveries section.
Mon, Sep 10th, 2007 8:36 PM PDT
Next in Line for the Melodic Music Taste Test
(I've stopped bothering to cover up the names of the artists, acknowledging that even people I haven't heard of can be good. This also allows me to avoid tracks that are only available as part of a $20 album when I can listen to tracks that are available as singles for $1.)
Gramophone recordings of the year: Brahms Piano Quartets Leopold, Brahms Requiem Rattle, Brahms Piano Concerti Chailly, Tchaikovsky piano concerto 1 sudbin neschling; Saint-Saens VinCo 3 Kantorow
Haydn String Quartets recorded by Amadeus: 17.3.5, 54.1, 54.2, 54.3, 55.1, 55.2 razor, 55.3, 64.1-6 lark(5), 71.1-3, 74.1-3 horseman(3), 76.1-6, 77.1-2, 83
Emerson: 20.5, 33.2, 54.1, 64.5, 74.3, 76.2, 77.1
Mozart trio K.: 254 (Florestan has a version)
any other trios recorded by my current favorite trio Florestan, such as those by Brahms, DvorŠk, Saint-Saens, Schubert, Schumann, Mendelssohn.
I'm also realizing that a pianist named Maria-Jo„o Pires is winning many of these, so other works to consider are recordings of hers on iTunes, such as Grieg Violin Sonatas (op 8, 13, 45), Mozart Violin Sonatas, Mozart Piano Concerti 14, 17, 21, 23.
Haydn's trio #20, which is available on iTunes recorded by Stern, Istomin, & Rose.
Haydn string quartets recorded by Emerson and/or Lindsay
Bruckner symphony 8
Brahms piano trio b adagio
Brahms Trio #2
Mozart trios, K.: 496, 502, 542, 548, 564
In the process, I have also discovered the Altenberg Trio, who have this morning (9/15/07) defeated Florestan for two of the four movements of the 1st Saint-Saens trio.
Haydn Piano Concerti, especially the Concerto in F, Hob. 18, number 3 or 7, depending on how they do it, which was a godsend to me tonight 10/16/07, Emmanuel Ax, RCN light classical music channel.
Thu, Aug 30th, 2007 5:25 PM PDT
Measuring Melody's Conceptuality
(warning: do not operate heavy machinery while reading this, as it may cause drowsiness)
I believe, but cannot yet prove, that the conceptuality of a musical composition is directly proportional to its durability (how many times you can listen to it without getting sick of it). If some importance could be assigned to music's conceptuality, then it would become important to measure it. I'd like to describe, briefly, how to measure music's conceptuality, through using my favorite example, Beethoven's Fifth Symphony.
If you listen to the first 8 notes, you can form a concept that groups the first two groups of 4 notes together, as opposed to the second, third, fourth, and fifth notes--3 short notes on the same pitch followed by one long note on a lower pitch. Any dog who can recognize his name even when two different people call him (thereby pronouncing his name in different pitches) could probably be trained to recognize either of these 2 groups of four notes as an instance of some meaningful concept to the dog, such as dinner.
The next motif (group of 4 notes) also falls under the same concept, but in a different way. While the long note in each of the first two motives is held while no other notes occur, thereby remaining melody, the long note in the third motif is held while another motif begins, thereby becoming accompaniment. We therefore now have two subdivisions of our original concept: one in which the long note remains melody, and one in which the long note becomes accompaniment. We have now reached a level only occupied by humans--what Harry Binswanger, in his lecture *Abstraction from Abstractions*, would call a second-level concept.
The next 4 notes add further complexity to our conceptual map, because, while all previous groups of 4 notes had the long note 2 steps lower than the short ones, this group has the long note only 1 step lower. One could argue that this gives us a third-level concept.
And you could go on in this manner, deciding exactly how many levels you can climb in how many notes. You could even have arguments with other people about what defines a level, what defines a foil, and so on.
But the fundamental question, before I ever do any more of that, is whether conceptuality matters, and if so, how.
Sat, Aug 25th, 2007 7:53 PM PDT
Melodic Music Blind Taste Test
I've just submitted my first iTunes review under the nickname Melodic Music Blind Taste Test, of a recording of Beethoven Piano Trios by the Florestan Trio.
Wed, Jan 17th, 2007 8:27 PM PST
Classical Hooks II
I finally found the piece for
m: 5, 43 45, 43 45 4
Stanford Clarinet Concerto in A minor
It had grown in my mind to something much larger, with a violin instead of a clarinet, rising dramatic lines instead of falling apologetic lines. So, I'd thought I'd be putting it in the Urban Legends list once I'd found it, but now, I don't know what I'll do with it.
Mon, Jan 8th, 2007 7:40 PM PST
Mood Music, part II
I decided to call the "Bond. James Bond." list Urban Legends.
Tonight, I've come up with a new category (or perhaps sub-category)--triumph of the true believer. In it I place Brahms's Double Concerto, probably some Saint Saens, and, if I may be permitted a severe lack of modesty, my Secret of Success. I will propose a new pet theory for this category--that it makes sense when a small motif can be imagined to travel through a huge aural landscape and emerge triumphant at the end. If this theory is true, then Beethoven's Fifth would also belong here. Will it? Time will tell.
Since the 12/29 entry, I've also come up with another True Believer sub-category--true believer, American style. In this bin, I place the Independence Day soundtrack, the soundtrack to The Natural, Aaron Copland's Fanfare to the Common man, and probably also Joseph Curiale's Awakening.
Fri, Dec 29th, 2006 4:35 AM PST
I've begun to categorize the music that resonates most deeply with me according to the music's mood. I've got a few categories right now.
Pow!!! a 7-year-old boy reading a comic book. Heroic music in which you know the hero will win. Tchaikovsky symphonies, Superman and Star Wars soundtracks.
True Believer: Heroic music in which there is some doubt about the hero's fate, and in which the hero is part of something larger. Lord of the Rings soundtrack, Tchaikovsky's Swan Lake suite, Randy Newman's The Natural soundtrack, Richard Strauss' Four Last Songs. Possibly also Joseph Curiale's Awakening and Aaron Copland's Appalachian Spring. I'm also categorizing Arnold's Independence Day soundtrack here, though it's almost in the Pow! category.
Bond. James Bond. Not a good name for this category, because the Bond movie soundtracks really go into the Pow category, but this is a category of heroic music in which the fate of the hero is in doubt and the hero is the most dominant figure in the aesthetic landscape. I picture elegant settings, tuxedoes, evening gowns, the backdrop of urban skylines. Addinsell's Warsaw Concerto, Rachmaninov's Piano Concerti. So what should I call it? Urban Legend?
Fri, Nov 24th, 2006 8:43 PM PST
New Favorites on TV
How could I not love 3 Lbs.? It's got everything I most value in a story--heroic characters at work, and conflict between good characters. In fact, I haven't seen any evil characters on the show, and that suits me just fine. Like _Life on Mars_ (did that get cancelled? Or is the BBC just on a different schedule?), the two main characters are both good, one right-brained (intuitive), and one left-brained (logical, procedural). In 3 Lbs., it's deeper, going all the way down to philosophy--Stanley Tucci's character is a Materialist (person who believes that only matter exists), while the new doctor is not. Tucci even said something good (and true) about ego in the first episode--that ego is what allows you to be effective in the world.
I'm also enjoying Heroes, which as fall was approaching was the show I was most sure I'd like. Early on, I wasn't crazy about it, the violence was somewhat graphic, and it had a problem with what I call the Mr.-Ed premise (one character trying to convince another character that what the author made up is true). There's still a bit of the Mr. Ed premise, but I don't mind it so much now. There's still a lot of violence, but it's not quite as graphic as it was (the scene of the first Syler murders was the worst). But best of all, for me, is that the episodes seem to have themes now. The story is very complicated, with so many different protagonists, so I don't find the themes as clear as they are in Studio 60 or in 3 Lbs., but with the narration at the start and finish, I'm beginning to get it. And I love the slogan, "Save the cheerleader, save the world." For a while, it looked like the Heroes show was the least heroic of everything I was watching, but now they're really acting like heroes.
Studio 60 is in trouble, sort of. I read about it in the Wall Street Journal, whch had its numbers too. If they get cancelled, they should go direct to ipod--they're selling the episodes at $2 each, they've got on the order of 5 million viewers including tivo-ers like myself, and it costs $3M per episode. So, do the math, even if only a third of their TV viewers is willing to buy the episodes on iTunes, they'll still make a nice profit. At some point, this should be the new business model. It seems overdue to me, but I have to remind myself that I'm a techie with early-adopter tendencies.
Sat, Sep 30th, 2006 7:11 PM PDT
The TV shows I like these days fall into two categories: stories in which the primary conflicts are between good characters (as opposed to between good and evil); stories with heroic characters in a workplace/office setting.
stories in which the primary conflicts are between good characters
*How I Met Your Mother*. I love how they managed to convey two completely different meanings with the same set of words in Lily's recounting of San Francisco. Of these, my favorite was the art teacher's "oh my god this is your best work in all my years teaching I've never seen anything so needless to say this is art I can't teach you anything". (I omit the punctuation since it changes depending on which meaning the actor gives it.) I know that they teach exactly this sort of thing in drama courses (I recall having it in the one acting course I took), but I enjoy it because it's so very musical to give two different takes on the same theme.
*Jericho*, though of course the premise is a bit disturbing.
*Life on Mars*.
stories with heroic characters in a workplace/office setting
Shark, Studio 60.
Also worth mentioning, though not a TV show, *The Devil Wears Prada*. "That's all."