Some context: Augusta Ada King-Noel, Countess of Lovelace (nee Byron; 10 December 1815 - 27 November 1852) was an English mathematician and writer, chiefly known for her work on Charles Babbage's proposed mechanical general-purpose computer, the Analytical Engine. She was the first to recognise that the machine had applications beyond pure calculation, and published the first algorithm intended to be carried out by such a machine. As a result, she is sometimes regarded as the first to recognise the full potential of a "computing machine" and the first computer programmer. Ada Lovelace was the only legitimate child of the poet Lord Byron, and his wife Anne Isabella "Annabella" Milbanke, Lady Wentworth.
In her notes, Lovelace emphasised the difference between the Analytical Engine and previous calculating machines, particularly its ability to be programmed to solve problems of any complexity. She realised the potential of the device extended far beyond mere number crunching. In her notes, she wrote:  [The Analytical Engine] might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine...Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent.  This analysis was an important development from previous ideas about the capabilities of computing devices and anticipated the implications of modern computing one hundred years before they were realised. Walter Isaacson ascribes Lovelace's insight regarding the application of computing to any process based on logical symbols to an observation about textiles: "When she saw some mechanical looms that used punchcards to direct the weaving of beautiful patterns, it reminded her of how Babbage's engine used punched cards to make calculations." This insight is seen as significant by writers such as Betty Toole and Benjamin Woolley, as well as the programmer John Graham-Cumming, whose project Plan 28 has the aim of constructing the first complete Analytical Engine.  According to the historian of computing and Babbage specialist Doron Swade:  Ada saw something that Babbage in some sense failed to see. In Babbage's world his engines were bound by number...What Lovelace saw--what Ada Byron saw--was that number could represent entities other than quantity. So once you had a machine for manipulating numbers, if those numbers represented other things, letters, musical notes, then the machine could manipulate symbols of which number was one instance, according to rules. It is this fundamental transition from a machine which is a number cruncher to a machine for manipulating symbols according to rules that is the fundamental transition from calculation to computation--to general-purpose computation--and looking back from the present high ground of modern computing, if we are looking and sifting history for that transition, then that transition was made explicitly by Ada in that 1843 paper.
did Ada come up with this theory?
A: Lovelace emphasised the difference between the Analytical Engine and previous calculating machines,
Some context: Tristano was born in Chicago on March 19, 1919. His mother, Rose Tristano (nee Malano), was also born in Chicago. His father, Michael Joseph Tristano, was born in Italy and moved to the United States as a child. Lennie was the second of four brothers.
In Ind's view, Tristano "was always so gentle, so charming and so quietly spoken that his directness could be unnerving." This directness was noted by others, including bassist Chubby Jackson, who commented that Tristano had almost no tact and would not worry about being rude or making others feel incompetent. Some of his students described Tristano as domineering, but others indicated that this impression came from his demanding discipline in training and attitude to music.  Writer Barry Ulanov commented in 1946 that Tristano "was not content merely to feel something, [...] he had to explore ideas, to experience them, to think them through carefully, thoroughly, logically until he could fully grasp them and then hold on to them." Tristano criticized the free jazz that began in the 1960s for its lack of musical logic as well as its expression of negative emotions. "If you feel angry with somebody you hit him on the nose - not try to play angry music", he commented; "Express all that is positive. Beauty is a positive thing." He expanded on this by distinguishing emotion from feeling, and suggested that playing a particular emotion was egotistical and lacking in feeling.  Tristano also complained about the commercialization of jazz and what he perceived to be the requirement to abandon the artistic part of playing in order to earn a living from performing. Later commentators have suggested that these complaints ignored the freedom that he was given by Atlantic and blamed others for what in many cases were the outcomes of his own career decisions.
What did the eople he taught say
A:
Some of his students described Tristano as domineering, but others indicated that this impression came from his demanding discipline in training and attitude to music.