HDTenEightyP/NetNews huggingface dataset:
From: dennis@socs.uts.edu.au (Dennis Cook)
Subject: Re: recorder care tips
Reply-To: dennis@socs.uts.EDU.AU
Organization: University of Technology, Sydney
Date: 16 Nov 92 00:48:36 GMT

de19@umail.umd.edu (Dana S Emery) writes:

>The air you exhale into the recorder has a high moisture content and a 
>high temperature.  As it transfers heat to the instrument, it also sheds
>moisture.
>The head joint thus sees a high moisture gradient, and is exactly where
>the instrument needs oil.  It is not a good iddea to encourage drops of
>moisture 
>to form on central portions of the edge or the mouth, and thus these areas
>are often 
>left raw, as is the top surface of the block.

All surfaces of the block must be left raw, as if it can't *lose*
moisture when the instrument dries out, it will gradually expand
over the years and crack the headjoint. Another thing to beware of
are the old Moeck instruments where the top of the block was a
section made out of stone; almost all the instruments that I've seen
of that type (>10 years old) have developed cracks in the headjoint.

>Because of that, debris (mould, food) can form in the windway, and removal
>of it is a delicate operation.  I have seen feathers recomended for that,

Bird feathers contain oil. Oil or grease of any sort coming
in contact with the block spells disaster. They also leave more
garbage than they remove. A more effective method is to rinse
out the headjoint with a 50/50 mixture of detergent and water,
about once every six weeks. The few traces of detergent residue
will reduce the surface tension of the water droplets, letting
the stuff run through more easily.

>but
>periodic (yearly?) disassembly seems better to me.  Of course, there is a

The better recorders have slightly tapered blocks, that can
be easily popped out with a piece of dowel about the same
diameter as the inside of the head joint.

It is imperative that the instrument be left to dry as long
as possible before doing this, otherwise you will have no end of
trouble getting the block back in afterwards. Also, avoid touching
the top surface of the block with your fingers, as they exude
oils etc.


Hopefully that made some sense.

regards,
--
| Dennis Cook                           "Never miss a chance to have sex or
| (dennis@socs.uts.EDU.AU)               appear on television." -Gore Vidal
Newsgroups: rec.music.early
From: ray@thyme.sharebase.com (Ray Gebbie)
Subject: Re: Fretwork
Reply-To: ray@thyme.sharebase.com (Ray Gebbie)
Organization: NCR/ShareBase Corporation
Date: Tue, 17 Nov 92 19:31:33 GMT

In article <Bxu4tE.6sA@usenet.ucs.indiana.edu> bgarfink@silver.ucs.indiana.edu (beth diane garfinkel) writes:
>In <1992Nov16.184751.20305@sharebase.com> ray@thyme.sharebase.com (Ray Gebbie) writes:
>By the way, what did people think of the commissioned piece they
>played, "Kineret Pulses" by Simon Bainbridge?  I didn't get to hear a
>real performance of it, but they did hold an open rehearsal here at IU,
>replete with composer.  Interesting piece, but it was a bit kmuch to
>hear it played about four or five times, with starts and stops, over the
>course of an hour. . .

They did not perform it here in Berkeley.  They substituted some Dowland pieces.
They announced that they did not feel ready to perform it without having the
composer conduct, as had been done in New York.  They did not get the music
soon enough to rehearse it properly.  (Perhaps the composer was doing some
modifications to the parts?).
-- 
Ray Gebbie, NCR Corporation, ShareBase Business Unit, Berkeley, California
From: wilcox@vax.oxford.ac.uk
Newsgroups: rec.music.early
Subject: RE: Thomas Tallis' Canon.
Date: 16 Nov 92 17:27:33 GMT
Organization: Oxford University VAX 6620

In article <01GR352TQWQC000U9F@GONZAGA.EDU>, QUINN@GONZAGA.BITNET writes:
> BTW, what comes after a hemi-demi-semi-quaver?  (That question sounds
> like it needs a punchline more than an answer!)

A semi-hemi-demi-semi-quaver of course. Better known as a note with five tails.
-- 

Stephen Wilcox             |   For Sale: Posts in British Government. Suit
wilcox@vax.oxford.ac.uk    |   outgoing American. Highest bids accepted.
Newsgroups: rec.music.early
From: smalin@well.sf.ca.us (Stephen Malinowski)
Subject: TANTRUM: why choirs go flat
Summary: The TANTRUM program can be used to demonstrate a tuning dilemma
Keywords: intonation singing pitch tuning harmony
Organization: Whole Earth 'Lectronic Link
Date: Fri, 20 Nov 1992 15:50:57 GMT


The TANTRUM tuning/temperament program can be used to demonstrate
a basic reason that choirs tend to go flat -- a reason related to
people singing _in tune_ (and not out-of-tune).

Consider the chord progress C major, A minor, D minor, G major
C major.  Start with C at a known tuning (say, 0 cents deviation),
and tune it's major third and fifth to be perfectly in tune.  Then
switch to minor, and look at the A triad; leave the two notes it has
in common with C major alone, and adjust the root to put it in tune
(-16 cents if C was 0).  Then, keeping the root from that chord and
going to the fifth of D, tune the other notes of D minor (-18 cents).
Switch to major, and tune the G major, keeping the fifth from D (-20
cents).  And finally, back to C, keeping the fifth from G.  It's now
22 cents flatter than when we started.

So, merely "singing in tune" (that is, keeping the chords sounding
good) will never be enough; you have to have pitch memory, too.
Newsgroups: rec.music.early
From: acid+@cs.cmu.edu (Christopher Colby)
Subject: Re: Thomas Tallis' Canon.
Organization: School of Computer Science, Carnegie Mellon
Date: Mon, 16 Nov 1992 17:52:43 GMT

In article <01GR352TQWQC000U9F@GONZAGA.EDU> QUINN@GONZAGA.BITNET writes:
>I also love how we say that the letter C when used as a time signature
>represents "common time," while in fact the sign derives from the broken
>circle of mensural notation, indicating what was originally known as
>"imperfect time."  This came from an abstract theological notion that
>the number 3 was "perfect" (as representing the Holy Trinity), and that
>(of course?) the number 2 was therefore less so.

Makes sense to me, actually.  If 3 is divine, 2 is common.

-chris
Newsgroups: rec.music.early
From: smalin@well.sf.ca.us (Stephen Malinowski)
Subject: TANTRUM: Temperament Analysis Software for IBMPC
Summary: Software to let you examine and experiement with various tunings.
Keywords: tuning, temperament, intonation, graphic, visualization
Organization: Whole Earth 'Lectronic Link
Date: Sun, 15 Nov 1992 21:02:38 GMT


TANTRUM is a program for studying historical tuning systems.
It displays twelve diagrams which show the degree of out-of-
tuneness of each the triads built on the twelve scale notes.
You can change the pitch of a note and see how such a change
affects the chords containing that note.  Two different tun-
ings can be compared, tunings can be shifted in pitch or ro-
tated around the circle of fifths, etc.

TANTRUM runs on an IBM/PC with a color EGA or VGA adapter.

Until I figure out how to make TANTRUM available through the
Internet (I'm new here and would appreciate advice on how to
do this!), I'll send a copy by snail mail to anyone request-
ing one; email me your address and the disk format desired.

Stephen Malinowski        smalin@well.sf.ca.us       92nov15
From: de19@umail.umd.edu (Dana S Emery)
Newsgroups: rec.music.early
Subject: Re: recorder care tips
Date: 16 Nov 92 17:32:46 GMT
Followup-To: rec.music.early
Organization: personal

In article <dennis.721874916@yak>, dennis@socs.uts.edu.au (Dennis Cook)
wrote:
> 
> de19@umail.umd.edu (Dana S Emery) writes:
> 
> >Because of that, debris (mould, food) can form in the windway, and removal
> >of it is a delicate operation.  I have seen feathers recomended for that,
> 
> Bird feathers contain oil. Oil or grease of any sort coming
> in contact with the block spells disaster. They also leave more
> garbage than they remove. 

> A more effective method is to rinse
> out the headjoint with a 50/50 mixture of detergent and water,
> about once every six weeks. The few traces of detergent residue
> will reduce the surface tension of the water droplets, letting
> the stuff run through more easily.

?!? I would do that gleefully to a plastic instrument (adding some lysol
for the mold), but I wouldnt want to see anyone doing it to my wooden ones,
a blast of 50 psi air would come to my mind before a soaking in water.

> 
> >but
> >periodic (yearly?) disassembly seems better to me.  Of course, there is a
> 
> The better recorders have slightly tapered blocks, that can
> be easily popped out with a piece of dowel about the same
> diameter as the inside of the head joint.

I lightly chamfer the ends of my dowel, and add a sole leather cap, the
point being to avoid bruiseing the recorders block with the dowel.  One
also must use minimal force.  I use a dowel which is the length of the
headjoint plus a hand.  I then hold the two together, and useing only the
weight of my hand, I bring the assembly down on a table top.
Some judicious prayer helps my sole, if not the instrument.

> It is imperative that the instrument be left to dry as long
> as possible before doing this, otherwise you will have no end of
> trouble getting the block back in afterwards. Also, avoid touching
> the top surface of the block with your fingers, as they exude
> oils etc.

Actually, I had thought to avoid a detailed discusion of HOW to do this, as
it can be risky.

I hadnt considered the finger oil aspect, but it makes sense.  Usually I
take advantage of this dissasembly to gently (400 grit) sand down any
raised grain on the block, but one must be VERY carefull not to reshape the
block, usually a couple light strokes does it. I dont recomend this to
anyone who would be unwilling to make their own blocks.

Moisture control is very important, as is minimizing moisture gradient (ie,
if one end of a piece of dry wood is standing in a furnace, with the other
end in a pail of water, there is a gradient of moisture, and concommitant
stress, from one end to the other of the stick, and probably from its
center to the outside surfaces as well.)

It should be noted that wood takes up moisture much more rapidly than it
yields it, and softwood (the block) takes it up faster than hardwood (the
body).

--

Dana S Emery <de19@umail.umd.edu>
Newsgroups: rec.music.early
From: troll@sug.org (A. Newman)
Subject: Russian Music
Summary: wanted, 1400s
Organization: Sun User Group
Date: Thu, 19 Nov 1992 16:16:02 GMT


Greetings;

I am looking for recordings of Russian, specifically Ukranian, music
from the 15th and 16th century.  Folk music, religious music,
commissioned pieces, any and all is acceptable.  Can anyone suggest
sources or specific recordings?  Or even the names of composers?

Thanks

Alex
Newsgroups: rec.music.early
From: kent@netcom.com (Kent Crispin)
Subject: Re: Tous les Matins du Monde
Organization: Netcom - Online Communication Services (408 241-9760 guest)
Date: Mon, 23 Nov 1992 23:51:56 GMT

In article <dennis.722490102@yak> dennis@socs.uts.EDU.AU writes:
>Does anyone know when this is going to be released in Australia?

Likewise, is the cd available in the US?


-- 
Kent Crispin			"No reason to get excited",
kent@netcom.netcom.com		the thief he kindly spoke...
Newsgroups: rec.music.early
Subject: RE: There is no rose
From: Bill McJohn <billmc@MICROSOFT.COM>
Date: 19 Nov 1992 17:33:00 -0800 (PST)
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----------
Kim Plofker <uw-beaver!BROWNVM.bitnet.washington.edu!ST402808>
asks:
|
|    Is anybody out there familiar with a medieval carol for two voices called
| "There is no rose"?  I have the music and I have the words, but I am looking
| for ways to vary the repetitions of the burden...
 
The version I'm familiar with has the verse in two voices and the burden
in three.  That alternation alone seems sufficient to avoid monotony.
If you have the singers available, you can also heighten the contrast
between the verse and refrain by singing the verse one-on-a-part, the
refrain chorally.
 
Varying the refrain too much can have entirely the wrong effect:  it
draws attention to the refrain at the expense of the verses.  Instead
of introducing arbitrary variations, examine the rhetoric of the poem:
how does the meaning of each verse affect how you sing that verse and
the subsequent refrain?  If you find the song boring, don't sing all
the verses.  When you've said what you have to say, stop.
 
Bill McJohn
Newsgroups: rec.music.early
Subject: RE: Music editor for Apple Mac
From: VB7R0020@SMUVM1.BITNET
Date: 20 Nov 1992 08:30:21 -0600 (CST)
Organization: Southern Methodist University
In-reply-to: Message of Tue, 17 Nov 1992 13:52:23 GMT from <sfr@PRAXIS.CO.UK>
Content-transfer-encoding: 7BIT

In respone to the inquiry about music editors:
 
I have concertware, which is pretty cheap--now around $100.   It has several
drawbacks:  If you are writing  a highly contrapuntal piece for one instrument,
such as piano, the software does not print the the rests in the right place for
 each voice, so one can't tell which voice is silent.  Rests that apply to a
whole measure appear at the beginning of the measure.  Beams are printed
parallel to the staff not parallel to the direction of the notes.
 
If these things don't bother you it is an otherwise serviceable program.
 
Sincerely
Bill Walker
Southern Methodist University
Newsgroups: rec.music.early
Subject: RE: Tous les Matins du Monde
From: Joan Boorstein <boorstein%umbsky.dnet@NS.UMB.EDU>
Date: 15 Nov 1992 01:37:38 -0500
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Neal Plotkin writes:
>The movie is about Marin Marais, the celebrated French viol player
>and composer.
 
The movie is really about Monsieur Ste. Colombe; Marin Marais is a
student of his.
 
Kiran Wagle writes:
>As I recall, the premiere was to be held yesterday in Boston.  If this
>in fact happened, a preview a month later would be just the kind of
>thing I expect from government.
 
I saw the movie Thursday evening in Boston at a benefit for the
Boston Early Music Festival.  As an added treat, Jordi gave a benefit recital
Friday evening -- concert was all Marais with two Forqueary pieces for
an encore -- truly heavenly playing -- a memorable followup to the film --
 
The movied opened Friday (11/13/92) in New York and will open in Boston
around Christmas.
 
rags writes:
 
>Well - apart from a few quibbles (the lack of realistic fingering on the
>part of many of the actors was very distracting, eg) - this film is worth
>it.
 
    Yes I, too, found this very distracting, especially considering the
care that went into nearly every other detail about the movie.  The fingering
is less than realistic -- it is a hand on a viol fingerboard with little
relation to what is done while playing a viol, let alone playing the music
coming over the soundtrack -- somehow I think it would have been easy to
show hands (why not Jordi's?) playing the actual music -- younger Depardieu
(playing the young Marais) and the girls playing Ste. Colombe's daughters
(at a young age) apparently play the viol and those scenes I did not find
disconcerting even if the fingerings did not match the music--
 
>(Plot? - a trifle sacharine perhaps, but give yourself over to the filming
>and the acting and you'll not regret it.)  Of course, the soundtrack is
>excellent - Savall performs most and directs all, and is up to his usual
>standard.  Highly recommended.
 
Indeed the plot is a trifle -- built on the anecdote about Marais sitting
under Ste. Colombe's summer 'cottage' listening to the master and gathering
his secrets.  I agree with the assessment re the soundtrack, though it
was strange to usually hear only one of the two parts of the Ste. Colombe
pieces.
 
Do try to see the movie -- it is a lovely film.
 
--- Joan Boorstein (boorstein%umbsky.dnet@ns.umb.edu)
Newsgroups: rec.music.early
Subject: RE: recorder care tips
From: Ken Koester <MAINT2@ERS.BITNET>
Date: 18 Nov 1992 08:11:13 -0500 (EST)
In-reply-to: Message of Wed, 18 Nov 1992 03:00:12 GMT from <dennis@SOCS.UTS.EDU.AU>
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On Wed, 18 Nov 1992 03:00:12 GMT Dennis Cook said:
>
>The emphasis is on RINSE, rather than SOAK. I'll describe the procedure
>in detail.
>
>In a small dish place about a teaspoon of detergent and a teaspoon
>of water; mix thoroughly. Rest the beak of the instrument in this,
>cover the labia, being careful not to touch the edge, and suck the
>water/detergent up as far as the labia. Let the stuff run out,
>and then rinse the headjoint with cold water, until the bubbles
>(from the detergent) have all but disappeared -- about a minute.
>Dry out the headjoint, with your lint-free apparatus, and let
>it sit in a well-ventilated area for about four hours.
>
Isn't it easier just to use Duponol or its equivalent, minus the cold water
rinse at the end?  I don't feel easy with dunking wood in water, no matter
how carefully or minimally.
>
>Indeed. And the narrower the windway of your recorder, the more risk
>you run. Some of the better recorders not only have the mandatory
>sideways curve in the top of the block, but also the surface is
>very slightly concave from top to bottom, and rises slightly towards
>the labia, and the chamfer thereon. (An equivalent concavity is to
>be found on the top of the windway.) Consequently, you have to make
>sure that you don't interfere with either.
>
>Generally speaking, the safest way of doing this is with a
>recorder maker glaring over your shoulder.
>
The *safest* way is to let the maker do it himself!. . . which is what I do
periodically, send it off to the Von Huene's for cleaning/revoicing.
 
>Hello. My name is Inego Montoya. You killed my father. Prepare to die.
 
"Stop saying that!"
Newsgroups: rec.music.early
From: matsa@tdb.uu.se (Mats Andersson)
Subject: Harps
Organization: Dept. of Scientific Computing, Uppsala Univ.
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 16 Nov 1992 13:46:25 GMT


  Recently I have been pondering upon harps. I have more or less decided
 that I want to build one. The EMS sell some neat instruments as far as I
 can tell from there catalog. However I must confess being ignorant of the
 different characteristics of harps. The harp I would like to aquire better
 be small. Hence my question: could You describe the gothic (renaissance)
 harp and clarsach as well as give me some hints as to their suitability
 in early music and by all means celtic music also?

   In eager expectation
      Mats Andersson
From: paisley@asc.slb.com (Gary Paisley)
Newsgroups: rec.music.early
Subject: practice chanter
Date: 16 Nov 92 23:31:02 GMT
Distribution: rec
Organization: Schlumberger Austin Systems Center
NNTP-Posting-Host: mars.asc.slb.com


I bought a practice chanter from Elderly Instruments recently, and 
am having a bit of difficulty getting what I think is the right sound out
of it. 

When I blow it I get a fundamental tone which is only 
just barely modulated by fingering on the holes in the lower section 
of the instrument. In fact, the modulation is missing for most of the
notes. I expected a much , much stronger response to the 
fingering action.

I am reasonably proficient on the recorder, penny whistle and
flute, but this is my first attempt at a double reed instrument.

I'm confused as to whether the instrument is at fault, or myself.


thanks;
Gary Paisley
From: DKWILSON@UCS.INDIANA.EDU
Newsgroups: rec.music.early
Subject: RE: "gut strings anyone..."
Date: 23 Nov 92 09:01:30 GMT
Article-I.D.: AEARN.EARLYM-L%92112320152219
Content-transfer-encoding: 7BIT

I've been meaning to post some addresses for a week or so:
        Damian Dlugolecki
        520 SE 40th Street
        Troutdale, OR  97060
        (503) 669-7966
        fax: (503) 665-2738
 
        Olaf Chris Henriksen
        34 Newbury Street
        Somerville, MA  02144
        (617) 776-8688
 
        Gamut Musical Strings
        26 North 28th Avenue East
        Duluth, MN  55812
        (218) 724-8011
 
These are makers of gut strings, and they ship anywhere.
 
David
From: wikla@cs.Helsinki.FI (Arto Wikla)
Newsgroups: rec.music.early
Subject: Re: very modern + very old
Date: 18 Nov 92 10:50:40 GMT
Organization: University of Helsinki, Finland

Dana S Emery writes:
>Mike W. Burger wrote:
>> 
>> 	On the one hand, even small groups can put together
>> performances featuring "authentic" sounds of mixed consorts.
>> On the other hand, part of the "performance" is "canned", even
>> though working up the computer parts and fine tuning them to
>> have some expressiveness would be a considerable task.  At
>> least they could keep good time and be counted upon to
>> not muff their parts :-)

>Development of emsemble is difficult with live players, and possibly more
>difficult with canned ones.  
...
>Sample based synthesizers can sound exactly like historical instruments,
>when one factors in a live recorder consort, I should think the resulting
>sound could be marvelous indeed.
...
>... I suspect that canned continuo would have
>been welcome in its day, given the limited space of a paris theatre's pit,
>so I suppose its judicious use today should have few detractors.
...

I think one of the most important features in chamber music is that
each player can (and must) react to each other, and so the music is
living all the time. Even in dances there are small changes in tempo
and accents, without which there is no swing at all.
As a continuo player myself I feel the idea of 'canned continuo' quite
horrible. ESPECIALLY the continuo MUST react to the music! If not,
the whole idea of continuo supporting others is turned upside down!
I would recommend the group of Mike Burger (?) search for repertoire
which works for the instruments the group has.

Arto Wikla, Helsinki, Finland