BeBOP

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BeBOP

(language)
A language combining sequential and parallel logic programming, object-oriented and meta-level programming. Both don't know nondeterminism and stream AND-parallelism. Prolog theories are first order entities and may be updated or passed in messages. BeBOP is implemented by translation to NU-Prolog and PNU-Prolog.

ftp://munnari.oz.au/pub/bebop.tar.Z.

E-mail: Andrew Davidson <ad@cs.mu.oz.au>.
This article is provided by FOLDOC - Free Online Dictionary of Computing (foldoc.org)
References in periodicals archive ?
Cops distrusted beboppers for three main reasons: The new breed of jazzmen were anti-establishment, they were confrontational in matters of race, and they had a fondness for heroin.
AY: You were talking about your admiration for beboppers, saying how they were elegant dressers, consummate technicians and also combative.
Alto sax virtuoso Charlie Parker was the acknowledged guru of the beboppers at Minton's, but he didn't invent bebop any more than any other single musician in any single city did.
The bartender at the legendary Minton's Playhouse remembers the frequent bouts fought between Ben Webster, a tenorist in the swing tradition, and Lester Young, whose style became the model for many emerging beboppers: "Lester Young and Ben Webster used to tie up in battle like dogs in the road.
He blames the breakaway of the beboppers in the 1940s for eternally dividing jazz and banishing the swingers to a musty and unsung corner of what should surely be a large and all-inclusive jazz club.
Claiming the power over words, one group proudly crowned itself Black Sheep while our Compton, California friends took a name that some would say mimicked the general disposition of the beboppers of the 1940s.
Burns also includes a photo of audience members looking baffled at the beboppers. These fans were not idiots, just pop music fans.
These were from an album called `The Weary Blues', in which he is backed by swing period musicians on one side, by beboppers on the other.
While bop was more complex and the musicians more rebellious than their antecedents, the impulse of these young white men toward jazz had as much to do with ideology as it did with a particular style of music: "The white beboppers of the forties were as removed from the society as Negroes, but as a matter of choice," as Amiri Baraka puts it (188).
Embraced by Generation Next and X, old school and new school, hip-hoppers and beboppers, the jazz police and gangster-rappers, Erykah Badu in one incredible year has leaped across musical fashion and beauty boundaries to become one of the top female singer/songwriters performing today.
After all, the history of jazz traditionally has been presented as a series of Great Leaps Forward initiated by towering individualists: the urbane New Orleans polyphony of the pianist and bandleader Jelly Roll Morton gave way to soloist-led, small-group music championed by Louis Armstrong; Basic, Benny Goodman, and the swing bands then took center stage before being supplanted after World War II by Dizzy Gillespie and the beboppers. Frustrated with the predictable harmonic framework of bop, Ornette Coleman and Coltrane led their followers into the inhospitable, atonal realm of Free Jazz during the 1960s, while another faction headed by Miles Davis headed for the broader - and much more lucrative - pastures of jazz-rock, otherwise known as fusion music.