dequote durations

1 files changed, 17 insertions, 17 deletions

diff --git a/album/genesis-frog.yaml b/album/genesis-frog.yaml
index 59fd5b90..fd2027ea 100644
--- a/album/genesis-frog.yaml
+++ b/album/genesis-frog.yaml
@@ -95,7 +95,7 @@ Additional Files:
 Section: Genesis
 ---
 Track: Prelude
-Duration: '2:03'
+Duration: 2:03
 URLs:
 - https://albatrosssoup.bandcamp.com/track/prelude
 - https://youtu.be/MEFq6t5hpxY
@@ -112,7 +112,7 @@ Commentary: |-
     This is an album about growth, so I wanted it to start very quiet and exposed. The piece opens with a quartal chord in the harp, and after the atmosphere is established a solo clarinet introduces the main theme of the album.  A portion of the orchestra comes in after that and there's a small swell before tapering off into a cello solo. The ensemble is pretty scarce in this one due to its subdued nature. There's not a lot going on in this track overall, but it does its job both as the prelude to Pondsquatter and the album as a whole.
 ---
 Track: Pondsquatter
-Duration: '5:11'
+Duration: 5:11
 URLs:
 - https://albatrosssoup.bandcamp.com/track/pondsquatter
 - https://youtu.be/tt9EOkbyv64
@@ -133,7 +133,7 @@ Commentary: |-
     The combination of Prelude and Pondsquatter to open the album with is something I thought about a lot, and in many ways they are one piece split into two parts. Consider this Movement II. Pondsquatter flows right out of Prelude and gradually adds to the orchestration. After a brief celesta interlude, the theme gets going in full. This piece has a sense of emerging, particularly out of the empty space of Prelude. There are plenty of woodwind trills and harp runs; I wanted them to feel like they were bursting out of the texture, and the openness of the quartal harmonies was eventually replaced by more triadic chords. Quartal chords retain some significance through the album, however, though they are certainly not prominent. I aimed to make the climax of this piece very satisfying, with the gong practically screaming "we've arrived!" but I was afraid of having too much of a sense of finality so I didn't give the piece a proper ending. Instead it goes straight into the next track without only a hint at a cadence.
 ---
 Track: Our Glorious Speaker
-Duration: '5:10'
+Duration: 5:10
 URLs:
 - https://albatrosssoup.bandcamp.com/track/our-glorious-speaker
 - https://youtu.be/Xqf92y6W48M
@@ -152,7 +152,7 @@ Commentary: |-
     The music was representing devotion, so I wanted it to have the warmest, most tranquil tone it could. There are two chorale-like sections, the first being the passage the strings play in the beginning, and then later in the brass when the rest of the orchestra drops out for a while. The style of this piece was inspired by Taku Iwasaki's scores, which often feature very beautiful and lush string textures. I actually don't think I captured that very well, and in fact strayed from that idea as the piece went on. But the core of the inspiration remains and I think one can tell if they are familiar with his style. Of note is the last third of the piece which is a self-indulgent, overly-romanticized arrangement of Erik Scheele's Sarabande. It's such a beautiful piece and I knew from the day I started working on this that I wanted to include it, no matter how schmaltzy I made it sound. Give me a break, it was fun, okay?
 ---
 Track: Prospitian Folklore
-Duration: '3:38'
+Duration: 3:38
 URLs:
 - https://albatrosssoup.bandcamp.com/track/prospitian-folklore
 - https://youtu.be/QLEJynNmhpM
@@ -209,7 +209,7 @@ Contributors:
 - Katie Caldwell (naks)
 - Kyle Chung (naks)
 - Thom Rossel (naks)
-Duration: '3:50'
+Duration: 3:50
 URLs:
 - https://albatrosssoup.bandcamp.com/track/buy-nak-sell-doof
 - https://youtu.be/ar66fitxQRs
@@ -238,7 +238,7 @@ Commentary: |-
     - Katie Caldwell
 ---
 Track: Pink Shells
-Duration: '3:22'
+Duration: 3:22
 URLs:
 - https://albatrosssoup.bandcamp.com/track/pink-shells
 - https://youtu.be/CReFCSa8SFc
@@ -256,7 +256,7 @@ Commentary: |-
     The middle section is a very loosely based on the Pondsquatter theme, and the high register marimba interjection makes it obvious in case you didn't pick up on it in the first five notes. This eventually leads back into the main melody of the piece, and a couple sequences later it ends. I wonder how much it shows that I was really short on ideas for this piece. Any time it was playing up the comedy in timing or shifting feel, it felt more like I had no idea what to do and desperately stuck something in so the piece could move on. Maybe I'm being hard on it; I still think it is enjoyable to listen to. But from a compositional standpoint, it is probably the weakest on the album.
 ---
 Track: Entrance of the Salamanders
-Duration: '2:56'
+Duration: 2:56
 URLs:
 - https://albatrosssoup.bandcamp.com/track/entrance-of-the-salamanders
 - https://youtu.be/kU55FMWbmaQ
@@ -274,7 +274,7 @@ Commentary: |-
     I sort of envisioned this composition as a dual piano/organ concerto in terms of how I treated the instruments. Both are featured over the orchestra, and play off it with plenty of silly textures and orchestrations. Stylistically, the oom-pah marching characteristics combined with the instrumentation may call to mind images of a circus, which is in fact how the piece got its name. It's kind of a veiled reference, but if you know what the title is referring to then it's easy to figure out why it resembles circus music. And of course in the spirit of things, for one last antic I finished it off with a slide whistle; an instrument I thought represented the salamanders' bubbles pretty well.
 ---
 Track: Thip of the Tongue
-Duration: '4:09'
+Duration: 4:09
 URLs:
 - https://albatrosssoup.bandcamp.com/track/thip-of-the-tongue
 - https://youtu.be/AFPBfMdqKEU
@@ -315,7 +315,7 @@ Commentary: |-
     This intermezzo changes the tone from the lighthearted Consort music to something more full of wonder to suit the story to come. It is a simple swell based on the Pondsquatter theme, and once it settles down, the texture becomes very sparse so as to lead into Breeding Duties.
 ---
 Track: Breeding Duties
-Duration: '5:09'
+Duration: 5:09
 URLs:
 - https://albatrosssoup.bandcamp.com/track/breeding-duties
 - https://youtu.be/-BPCS9eHWFg
@@ -336,7 +336,7 @@ Commentary: |-
     But still, I did have a lot of scenes brewing in my head with this one, so I think it is totally appropriate to imagine a story going along with it. Anyway, the majestic section cuts off for a few seconds, then a booming section based on the opening stumbles in and leaves as fast as it entered. From that point on the material from Pondsquatter comes in and is given the same feel as the rest of this piece, and if there was any one word I had to describe this last section with it would be, "shenanigans". Incidentally, I consider this and Great LOFAF Expedition of 2009 to be the heart of the album. There will be more on that later in the commentary.
 ---
 Track: Stoke the Forge
-Duration: '3:43'
+Duration: 3:43
 URLs:
 - https://albatrosssoup.bandcamp.com/track/stoke-the-forge
 - https://youtu.be/6jLZLPJE_Qc
@@ -353,7 +353,7 @@ Commentary: |-
     The piece opens with a brass fanfare based off the Folklore theme interspersed with anvil and bass drum hits. The decision to feature the anvil came from Dave's denizen, Hephaestus, who is referred to as "Lord of the Forge" with little explanation other than he desired access to Jade's Forge to repair the Caledfwlch. In fact, the entire piece has the feeling of hammering, since harsh gestures in the brass and strings are common in combination with liberal usage of timpani and bass drum. The entire piece is in Dorian, which is a mode I can rarely resist composing in, and it lends a big sense of adventure to it. Formally there is not a lot going on, other than a melody being repeated several times with different orchestration and transposition. An interesting moment occurs when the entire ensemble drops out and a flute solo comes in playing a lighter, more humorous version of the tune before heading towards the climax. All in all, it is a pretty standard theme with a solid tune despite the fact that nothing extraordinary happens for its duration. But hey, we wouldn't want overkill would we? I was saving that for the next track.
 ---
 Track: Great LOFAF Expedition of 2009
-Duration: '4:55'
+Duration: 4:55
 URLs:
 - https://albatrosssoup.bandcamp.com/track/great-lofaf-expedition-of-2009
 - https://youtu.be/J161hcxSTkg
@@ -376,7 +376,7 @@ Commentary: |-
 Section: Big Frog
 ---
 Track: The Temple's Withered Bloom
-Duration: '2:55'
+Duration: 2:55
 URLs:
 - https://albatrosssoup.bandcamp.com/track/the-temples-withered-bloom
 - https://youtu.be/wq6cPhclEsk
@@ -396,7 +396,7 @@ Commentary: |-
     The piece opens with a major chord in the strings, as if to continue the train of thought left behind by the previous track's end. However, the chord quickly changes into something more dissonant, and the tone shifts from light to dark. The choir answers the strings, and the piece progresses in this manner with the two sections being featured the most. A gamelan ensemble plays in the background, very out of tune with the rest of the ensemble, lending to the sense of foreboding. There is a musical device in here that represents Jack, a descending line that implies a tritone. It comes in quietly and at irregular intervals, indicative of the murderous asshole lying in wait among the confines of the temple. As the music progresses, this motive comes in more and more until it is an ostinato under the chordal strings and choir. Eventually the piece crescendos and leads into the next track, where Jack is finally the star of the show.
 ---
 Track: Bilious
-Duration: '4:05'
+Duration: 4:05
 URLs:
 - https://albatrosssoup.bandcamp.com/track/bilious
 - https://youtu.be/wyh3pBZZsaA
@@ -418,7 +418,7 @@ Commentary: |-
     At this point I figured, what the hell, I'll quote Black. It actually fits quite well with the "Jack" device from The Temple's Withered Bloom that I bring back here, thanks to the fact that they both emphasise on the tritone. My own Jack motive begins to take over from Radiation's, and eventually the strings are playing it in canon as it gets more and more chaotic, until everything drops out and the lower piano register begins an ostinato based on it. The orchestra builds again into more chaotic textures, the tension drops briefly, and then the theme is recapped as the climax. All in all it is probably the most exciting piece on the album, and for my first foray into more action-like music, I think it does its job well.
 ---
 Track: Speaker (Skaia's Reflection)
-Duration: '2:57'
+Duration: 2:57
 URLs:
 - https://albatrosssoup.bandcamp.com/track/speaker-skaias-reflection
 - https://youtu.be/zKpqOvFTvLA
@@ -440,7 +440,7 @@ Commentary: |-
     This piece even has the same structure and general idea as Prelude before going into a full statement of the modified theme. As a result it is difficult to talk about its composition, since it is virtually the same as Prelude only with varying material. The clarinet emerges out of the atmosphere just as before, and a texture-based section builds this time not into a false climax, but into a fuller orchestration of what the clarinet was doing earlier. It ends simply and quietly in the woodwinds, allowing the next and final track to proceed with its exciting start.
 ---
 Track: The Vast Croak
-Duration: '5:08'
+Duration: 5:08
 URLs:
 - https://albatrosssoup.bandcamp.com/track/the-vast-croak
 - https://youtu.be/gW0CGMh6CNg
@@ -479,7 +479,7 @@ Additional Names:
   Annotation: 'rerelease album download'
 Contributors:
 - Talea Ensemble (performance)
-Duration: '6:02'
+Duration: 6:02
 URLs:
 - https://youtu.be/l07w1i-C7hs
 Referenced Tracks:
@@ -502,7 +502,7 @@ Additional Names:
     [original release](https://web.archive.org/web/20121026013715/http://homestuck.bandcamp.com/track/bonus-frogsong)
 - Name: '-BONUS- Frogsong'
   Annotation: 'rerelease album download'
-Duration: '2:24'
+Duration: 2:24
 URLs:
 - https://youtu.be/xINZv3-S6xU
 Referenced Tracks: