Lisplog

Local access to elm documentation?

via Elm - Latest posts by @eiro Marc Chantreux on Mon, 05 Oct 2020 16:10:43 GMT

i just had to seat there and read the thread! still not in my terminal
but zeal is much closer than what i expected and there are other docs i
can download that way.

thanks to both of you.
regards
marc

Local access to elm documentation?

via Elm - Latest posts by @kraklin Tomáš Látal on Mon, 05 Oct 2020 14:16:16 GMT

Cool, enjoy your offline docs then

Elm Radio episode 14: The Life of a File

via Elm - Latest posts by @jfmengels Jeroen Engels on Mon, 05 Oct 2020 14:05:11 GMT

Episode 014: The Life of a File is out! We revisit Evan’s classic talk and dive into the process for how and when to split out Elm code into modules.

Local access to elm documentation?

via Elm - Latest posts by @kraklin Tomáš Látal on Mon, 05 Oct 2020 13:52:16 GMT

So the address you are looking for is probably this one:

http://newyork.kapeli.com/feeds/zzz/user_contributed/build/Elm/Elm.tgz

Local access to elm documentation?

via Elm - Latest posts by @malaire Markus Laire on Mon, 05 Oct 2020 13:47:44 GMT

There is only one place in Zeal for downloading docsets and Elm is not listed there. “User Contributed” docsets is not mentioned anywhere.

Local access to elm documentation?

via Elm - Latest posts by @malaire Markus Laire on Mon, 05 Oct 2020 13:30:44 GMT

Where can I download the Elm docset for Zeal?

[off my chest] omg elm is so fun

via Elm - Latest posts by @DullBananas on Mon, 05 Oct 2020 06:10:00 GMT

don’t get me wrong, i love rust too. but not javascript

Elm Debug Helper: Debug.log transformation browser extension

via Elm - Latest posts by @NicolasGuilloux Guilloux Nicolas on Sun, 04 Oct 2020 17:56:38 GMT

Thank you for the extension! It works really well!

Local access to elm documentation?

via Elm - Latest posts by @kraklin Tomáš Látal on Sun, 04 Oct 2020 17:32:57 GMT

Or you can use Dash or Zeal and download Elm docset. I’m trying to keep it updated on the newest version on monthly basis.

If you would like to dig deeper, you can take a look at the python script I’m using to generate the docset and bend it to your needs

Elm-music-theory: A toolkit for musical ideas

via Elm - Latest posts by @evelios Tommy Waters on Sun, 04 Oct 2020 14:16:20 GMT

Thank you for expanding on this for me. You bring up a lot of good points that I have struggled with as well.

All of these assumptions, unfortunately, break down very quickly

This was something that was at the heart of the issue as you brought up. I think for me, the path I was going to go down was to make simple tools that made these kinds of egregious assumptions and hold each tool in a rigid compositional box.

1. A melody uses only one scale
2. A melody uses only pitches contained in the scale
3. Each pitch in a scale is an equally viable possibility
4. A variation should maintain the same scale steps, in the same directions, as in the original

Make all of these assumptions explicit from the outset so that the user of the tool understands the limitations and scope of when this tool would be useful.

I have been thinking of these in terms of my own musical compositional understanding. For example,
when starting to write a composition, I follow these explicit rules.

1. Create a harmonic progression
2. Create a harmonious melody to the composition that follows the following rules
   1. Melody notes must harmonize with the accompanying chord
   2. A melody can use passing notes as non-chord tones

Then create a tool that follows these rules.

Then as my understanding grows, I would create a tool that would have less assumptions, and less rules. However, every tool by nature of automation is always working within a box of pre-defined assumptions.

This would allow me to ignore the problems of each assumption initially to create a framework that works well in some contexts. Also, making all of these assumptions bold and clear to the user so that they knew that they were being creatively limited in some context. As long as they are aware of the limitations, they then had the ability to choose a different tool, or use it as a framework to then manipulate and create their true work. This is where the true works are, when people work within a framework, but then know what assumptions they are working with so that they can then break those rules to accomplish their true goals.

I think by nature of music, no tool will cover all contexts, nor should they.

There is also one more big problem lurking in the background. I know you are focused on western music and notation which does help limit this problem a lot. However, different genres and cultures have different means of understanding harmony. It seems like your training is heavily into the jazz culture of harmonic ideas which then brings with it it’s own framework for understanding these relationships of diatonic and chromatic harmonies. I don’t think that there will ever be the one model to rule them all to model.

I do think you already have a strong understanding of what the limitations are for each are which gives a good basis for the context in which each tool is most applicable to the particular composer which is using it.

Every time you remove one of those assumptions, the model complexity explodes. This also breaks each large assumption into many smaller assumptions, each with their own baggage.

1. This song only uses a single scale
   • Modulations would then be mode shifts
   • How do we consider stable and unstable melodic notes
   • Which harmonic model are we using for accompaniment
2. This song uses key changes
   • When is a modulation a mode shift or a key change?
   • Should this be modeled locally or globally?
3. This song uses a chromatic melody
   • Which model of adding chromatic notes are we using?
   • What implication does this have on the relationship of the chromatic note in relation to the diatonic note?
     • This also brings in assumptions that the chromatic notes must actually be related to diatonic notes
     • This also assumes that we are using the diatonic major/minor scales as a musical foundation
     • If we allow other scales other than diatonic modal keys, how do we then abstract this tool to account for all the scales and their accompanying chromatic counterparts
     • Does this then devolve into a richer model of musical set theory