Understanding Dijkstra's Mozart programming style

Question

I came across this article about programming styles, seen by Edsger Dijsktra. To quickly paraphrase, the main difference is Mozart, when the analogy is made to programming, ful

Answer 1

I think the Mozart story confuses what gets shipped versus how it is developed. Beethoven did not beta-test his symphonies on the public. (It would be interesting to see how much he changed any of the scores after the first public performance.)

I also don't think that Dijkstra was insisting that it all be done in your head. After all, he wrote books on disciplined programming that involved working it out on paper, and to the same extent that he wanted to see mathematical-quality discipline, have you noticed how much paper and chalk board mathematicians may consume while working on a problem?

I favor Simucal's response, but I think the Mozart-Beethoven metaphor should be discarded. That shoe-horns Dijkstra's insistence on discipline and understanding into a corner where it really doesn't belong.

Additional Remarks:

The TV popularization is not so hot, and it confuses some things about musical composition and what a composer is doing and what a programmer is doing. In Dijkstra's own words, from his 1972 Turing Award Lecture: "We must not forget that it is not our business to make programs; it is our business to design classes of computations that will display a desired behavior." A composer may be out to discover the desired behavior.

Also, in Dijkstra's notion that version 1.0 should be the final version, we too easily confuse how desired behavior and functionality evolve over time. I believe he oversimplifies in thinking that all future versions are because the first one was not thought out and done rigorously and reliably.

Even without time-to-market urgency, I think we now understand much better that important kinds of software evolve along with the users experience with it and the utilitarian purpose they have for it. Obvious counter-examples are games (also consider how theatrical motion pictures are developed). Do you think Beethoven could have written Symphony No. 9 without all of his preceding experience and exploration? Do you think the audience could have heard it for what it was? Should he have waited until he had the perfect Sonata? I'm sure Dijkstra doesn't propose this, but I do think he goes too far with Mozart-Beethoven to make his point.

In addition, consider chess-playing software. The new versions are not because the previous ones didn't play correctly. It is about exploiting advances in chess-playing heuristics and the available computer power. For this and many other situations, the idea that version 1.0 be the final version is off base. I understand that he is rightfully objecting to the release of known-to-be unreliable and maybe impaired software with deficiencies to be made up in maintenance and future releases. But the Mozartian counter-argument doesn't hold up for me.

So, did Dijkstra continue to drive the first automobile he purchased, or clones of exactly that automobile? Maybe there is planned obsolescence, but a lot of it has to do with improvements and reliability that could not have possibly been available or even considered in previous generations of automotive technology.

I am a big Dijkstra fan, but I think the Mozart-Beethoven thing is way too simplistic as well as inappropriate. I am a big Beethoven fan too.