The Winter Solstice and the Time of Sunrise and Sunset

Posted in The Universe and Stuff with tags , , , , , on December 21, 2016 by telescoper

You may have missed it, but the winter solstice happened today, Wednesday 21st December 2016, at 10.44am GMT (10.44 UTC). This marks the shortest day of the year: days will get longer from now until the Summer Solstice next June. As we were discussing in the pub last night, however, this does not mean that sunrise will happen earlier tomorrow than it did this morning. In fact, sunrise will carry on getting later until the new year. This is because there is a difference between mean solar time (measured by clocks) and apparent solar time (defined by the position of the Sun in the sky), so that a solar day does not always last exactly 24 hours. A description of apparent and mean time was given by Nevil Maskelyne in the Nautical Almanac for 1767:

Apparent Time is that deduced immediately from the Sun, whether from the Observation of his passing the Meridian, or from his observed Rising or Setting. This Time is different from that shewn by Clocks and Watches well regulated at Land, which is called equated or mean Time.

The discrepancy between mean time and apparent time arises because of the Earth’s axial tilt and the fact that it travels around the Sun in an elliptical orbit in which its orbital speed varies with time of year (being faster at perihelion than at aphelion).

In fact if you plot the position of the Sun in the sky at a fixed time each day from a fixed location on the Earth you get a thing called an analemma, which is a sort of figure-of-eight shape whose shape depends on the observer’s latitude. Here’s a photographic version taken in Edmonton, with photographs of the Sun’s position taken from the same position at the same time on different days over the course of a year:

maxresdefault

The winter solstice is the lowermost point on this curve and the summer solstice is at the top. The north–south component of the analemma is the Sun’s declination, and the east–west component is the so-called equation of time which quantifies the difference between mean solar time and apparent solar time. This curve can be used to calculate the earliest and/or latest sunrise and/or sunset.

Using a more rapid calculational tool (Google), I found a table of the local mean times of sunrise and sunset for Cardiff (where I live) around the 2016 winter solstice. The table shows that today is indeed the shortest day (with a time between sunrise and sunset of 7 hours 49 minutes and 55 seconds). The duration of the shortest day this year is 8 hours and 48 minutes shorter than the longest day (the summer solstice). The table also shows that sunset already started occurring later in the day before the winter solstice (although the weather has been too overcast to notice this), and sunrise will continue to happen later for a few days after the solstice. In fact the earliest sunset this year in Cardiff was on 12th December, and the latest sunrise will be on 30th December.

I hope this clarifies the situation.

Sam Rivers – Zip!

Posted in Jazz with tags , , , , on December 20, 2016 by telescoper

And now for something completely different. About five years ago I wrote a post aftering reading of the death, at the age of 88, of the legendary jazz musician Sam Rivers who passed away on 26th December 2011. Sam Rivers was born in 1923 and started playing professionally during the bebop era of the early 1950s. Later he evolved a unique avant garde style that was nevertheless firmly based in the jazz traditions he had grown up with. He was probably best known as a tenor saxophonist, but could also play flute, clarinet, piano and viola.

I first heard Sam Rivers on Humphrey Lyttelton’s BBC Radio Show The Best of Jazz in 1979. Humph was clearly a great admirer of Sam Rivers, especially the superb trio he formed with the brilliant Thurman Barker (drums) and Dave Holland (bass). The energy and vitality of the track he played made a lasting impression on me. The album was called Contrasts, by the way, and the track in question called Zip. I bought the album straight away. At least almost straight away, because it wasn’t the sort of record you could buy in the shops; I had to send away for it.

Anyway, I’ve now discovered that someone has posted this track on Youtube, so here it is. Enjoy!

Straw Poll on Statistical Computing

Posted in Bad Statistics, The Universe and Stuff with tags , , on December 20, 2016 by telescoper

The abstract of my previous (reblogged) post claims that R is “the premier language of statistical computing”. That may be true for the wider world of statistics, and I like R very much, but in my experience astronomers and cosmologists are much more likely to do their coding in Python.  It’s certainly the case that astronomers and physicists are much more likely to be taught Python than R. There may well even be some oldies out there still using other languages like Fortran, or perhaps  relying on books of statistical tables!

Out of interest therefore I’ve decided to run the following totally biased and statistically meaningless poll of my immense readership:

 

If you choose “something else”, please let me know through the comments box what your alternative is. I can then add additional options.

 

The changing landscape of astrostatistics and astroinformatics [IMA]

Posted in Uncategorized on December 20, 2016 by telescoper

Here’s a nice review article about the fields of astrostatistics and astroinformatics. The author, Eric Feigelson, points out that training for astronomers in these areas is relatively weak, and that’s why we at Cardiff are going to launch a couple of new Masters courses in the New Year to provide specialist postgraduate education in these and related topics!

arxiver's avatararXiver

http://arxiv.org/abs/1612.06238

The history and current status of the cross-disciplinary fields of astrostatistics and astroinformatics are reviewed. Astronomers need a wide range of statistical methods for both data reduction and science analysis. With the proliferation of high-throughput telescopes, efficient large scale computational methods are also becoming essential. However, astronomers receive only weak training in these fields during their formal education. Interest in the fields is rapidly growing with conferences organized by scholarly societies, textbooks and tutorial workshops, and research studies pushing the frontiers of methodology. R, the premier language of statistical computing, can provide an important software environment for the incorporation of advanced statistical and computational methodology into the astronomical community.

Read this paper on arXiv…

E. Feigelson
Tue, 20 Dec 16
14/88

Comments: 7 pages, to appear in ‘Astroinformatics’, IAU Symposium #325, M. Brescia et al. (eds.), Cambridge University Press (2017)

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Meaning, by Czeslaw Milosz

Posted in Poetry with tags , , on December 19, 2016 by telescoper

When I die, I will see the lining of the world.
The other side, beyond bird, mountain, sunset.
The true meaning, ready to be decoded.
What never added up will add Up,
What was incomprehensible will be comprehended.
– And if there is no lining to the world?
If a thrush on a branch is not a sign,
But just a thrush on the branch? If night and day
Make no sense following each other?
And on this earth there is nothing except this earth?
– Even if that is so, there will remain
A word wakened by lips that perish,
A tireless messenger who runs and runs
Through interstellar fields, through the revolving galaxies,
And calls out, protests, screams.

by Czeslaw Milosz (1911-2004)

This poem was read during yesterday’s excellent Words and Music on BBC Radio 3, which was on the theme “Encoded”, which is available on iPlayer.

 

Memories of Clem Avery

Posted in Biographical, Jazz with tags on December 19, 2016 by telescoper

All the talk about trumpets last week reminded me of an old family friend by the name of Clem Avery. There’s a very nice tribute to Clem on a website run by guitarist Roly Veitch (whence I got the photographs).

clem1

Clem Avery (1933-2008)

Clem, who passed away in November 2008, was a very close friend of my father  who died just a year earlier in 2007.  They had known each other since at least the early 60s and had played music together on many occasions (Clem on trumpet and, in later years, bass and my father on drums). That they remained good friends for such a long time is a bit surprising since at one point Clem actually sacked my Dad from his band for being too heavy-handed on the cymbals. Having heard my father play on a few occasions I think Clem probably had a point. But Clem wasn’t the sort of person you could really fall out with for long, and their friendship survived this musical falling-out.

We did try to get Clem to come to my Dad’s funeral but he couldn’t make it. I think it was because he was already suffering from the cancer that would eventually take him.

Roly’s web tribute mentions a long-term residency at the Golden Lion pub in Winlaton during the 70s and 80s in which my Dad (real name Alan) is mentioned under his nickname “Chas”. I heard the band play there on a couple of occasions and they were really good, the presence of Roly Veitch’s (electric) jazz guitar giving them a refreshingly different sound to many other traditional bands.  

I can’t add much to Roly’s piece other than to endorse what he wrote about Clem. Firstly that he was a very accomplished musician who had a far better technique than many much more famous trumpeters. His style was very firmly based on that of Bunk Johnson, though he appreciated good music of many other kinds. As well as playing the jazz that he loved, he also worked as a music teacher and, from time to time, as a session musician. I even saw him on The Tube once (the TV programme, not the London Underground)! When he played trumpet his eyebrows had a tendency to move up and down in coordination. When they were at maximum elevation he looked a lot like Stan Laurel (at least in younger years before he grew a beard). Here is an old picture that makes that comparison a bit easier to imagine:

clem51

What I remember most about Clem, however, was just that he was an extraordinarily nice man. He was tall and rather thin with a thoughtful disposition, a  wonderfully laid back attitude to life and a fine dry sense of humour. He was very knowledgeable about many things besides music too. I often sat talking with him in my Dad’s shop in Benwell (where Clem worked on a part-time basis for a while). History (especially local history) was a speciality of his and he was never short of stories to tell.

A Bit of Hummel Again

Posted in Music with tags , , on December 16, 2016 by telescoper

Since I was recently wittering on about trumpets I thought I’d share again my favourite bit from my favourite trumpet work. It’s the central Andante movement of a Trumpet Concerto by Johann Nepomuk Hummel which was written in 1803 and was one of the first major works to be composed for the (then) recently-invented keyed trumpet.  The piece was originally written in  E major, but is often performed nowadays  in E-flat major, as in this recording, which makes the fingering less difficult on modern E-flat and B-flat trumpets.

In his own lifetime Hummel was every bit as famous as Haydn and Beethoven; he was a pallbearer at the latter’s funeral, in fact. He died in 1837 with his musical reputation apparently secure, but was quickly forgotten. Always a bit overshadowed by Mozart, when the romantic era dawned Hummel’s classical style was considered extremely old-fashioned. It’s just another illustration of a fact that applies not only in music but also in many different spheres of activity: popularity in one’s own lifetime is by no means certain to turn into renown thereafter.

I have posted this piece of music before but listening to it today something struck me that hadn’t done so before, namely that parts of the writing for strings in this movement are very reminiscent of the second (Andante) movement of Mozart’s Piano Concerto No. 21 in C Major (known to many as the “Elvira Madigan” music).

I don’t usually like the sound of the classical trumpet that much- I prefer the broader and more expressive way the instrument is used in Jazz, whether it’s the brassy brilliance of Dizzy Gillespie or the moody melancholia of Miles Davis – but this piece is really lovely, especially when played with beautiful clarity by Norwegian trumpeter Tine Thing Helseth.

 

Everything we'd like to do with LSST data, but we don't know (yet) how [IMA]

Posted in The Universe and Stuff with tags , on December 16, 2016 by telescoper

Here’s a nice little summary paper (via arXiver) covering the data challenges posed by the Large Synoptic Survey Telescope (LSST) which will come online in 2020 or thereabouts.

To give a bit of a perspective, when the Sloan Digital Sky Survey (SDSS) began to collect astronomical data in 2000, it amassed more in its first few weeks than all data collected in the entire history of astronomy to that date.

Continuing at a rate of about 200 GB per night, SDSS has subsequently amassed more than 140 terabytes of information.

When LSST, which is in many ways a successor to SDSS, comes online it is expected to acquire that amount of data every five days…

arxiver's avatararXiver

http://arxiv.org/abs/1612.04772

The Large Synoptic Survey Telescope (LSST), the next-generation optical imaging survey sited at Cerro Pachon in Chile, will provide an unprecedented database of astronomical measurements. The LSST design, with an 8.4m (6.7m effective) primary mirror, a 9.6 sq. deg. field of view, and a 3.2 Gigapixel camera, will allow about 10,000 sq. deg. of sky to be covered twice per night, every three to four nights on average, with typical 5-sigma depth for point sources of $r$=24.5 (AB). With over 800 observations in $ugrizy$ bands over a 10-year period, these data will enable a deep stack reaching $r$=27.5 (about 5 magnitudes deeper than SDSS) and faint time-domain astronomy. The measured properties of newly discovered and known astrometric and photometric transients will be publicly reported within 60 sec after observation. The vast database of about 30 trillion observations of 40 billion objects will be mined for the unexpected and used…

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Beard Liberation Front backs Beard Baubles but warns on beard glitter and lights

Posted in Uncategorized on December 15, 2016 by telescoper

I’m not sure I agree with beard baubles, even if they do raise money for charity!

kmflett's avatarKmflett's Blog

Beard Liberation Front press release

15th December

Contact Keith Flett 07803 167266

Beard Liberation Front backs Beard Baubles but warns on beard glitter & lights

beardlights

The Beard Liberation Front, the informal network of beard wearers, has warned beard wearers against participating in hipster trends for pre-Xmas ‘glitter’ beards and for wearing Christmas tree lights in the beard.

The campaigners say that the glitter can be difficult to remove and may cause serious damage to the beard. The Christmas lights can overheat and there is a danger that the beard will start smouldering causing significant damages to the hairs.

In contrast the BLF is backing Beard Baubles, miniature Xmas decorations that hang in the beard provided they are worn in a measured way.

Beard Baubles raise money for a skin cancer charity

BLF organiser Keith Flett said, beard glitter and Christmas lights are a pre-Xmas step too far and any…

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The Trumpet Shall Sound

Posted in History with tags , , , , , , , on December 15, 2016 by telescoper

Following on from yesterday’s post about Handel’s Messiah I thought I’d include this very nice performance of The Trumpet Shall Sound, featuring the excellent bass voice of Alastair Miles with Crispian Steele-Perkins playing the solo trumpet part. One of the reasons for posting it – other than the obvious one (that it’s great) – is that I was thinking about it after Tuesday’s  concert.  The trumpet part at the performance I went to was played (superbly) by Dean Wright on a modern (valved) trumpet, but that wasn’t invented until many years after Handel’s time.

The historical development of the trumpet is a fascinating story but the most interesting technical developments actually happened long after Handel wrote Messiah (which was in 1741).  The keyed trumpet – a forerunner of the modern valved variety – wasn’t invented until the late 18th Century. In fact Joseph Haydn wrote his Trumpet Concerto specifically to demonstrate the capabilities of this instrument; that piece wasn’t first performed until 1800. The modern valved trumpet didn’t begin to appear until about 1818. Before that orchestras used the natural trumpet, which has no valves or other means of controlling the flow of air through the instrument and is therefore only really capable of playing harmonics (rather like a bugle).  Other notes can be generated, but only with some difficulty, using the lip. This kind trumpet is the sort of instrument that would have been played in Handel’s time. The so-called baroque trumpet  is actually a 20th century invention created for musicians who want the “period sound” of  a natural trumpet but with the additional flexibility that comes from having “vents” in the tube that can be covered with the fingers. This is the kind of instrument that Crispian Steele-Perkins is playing in the video. It is valveless but has two finger holes which the trumpeter can close and open with the thumb and little finger of the right hand for fine pitch control.