HDTenEightyP/NetNews huggingface dataset:
From: kiran@bronze.ucs.indiana.edu (Kiran Wagle)
Newsgroups: rec.music.early
Subject: found on alt.culture.tuva
Date: 27 Jan 93 22:08:29 GMT
Organization: Indiana University

I found this on alt.culture.tuva.  Tuvan throat singing is truly
extraordinary.  Well worth hearing.

===
From: glevin@athena.mit.edu (Golan Levin)
Newsgroups: alt.culture.tuva
Subject: Tuva Concert in the Midwest
Date: 25 Jan 93 00:07:53 GMT
Organization: Massachusetts Institute of Technology

~Subject: Overtones in Ohio

Ekii all.  This is just to remind everyone that the Tuvans will be performing
Saturday, January 30th, at Oberlin College in Ohio. This is their only
stop in the Midwest, so if you've been unable to travel out to the coastal
performances, now's your chance to see them. The Tuvans will perform at Warner
Concert Hall in the Oberlin Conservatory of Music at 8 pm; the admission 
is 4 dollars. The Tuvans will also provide a short demonstration/workshop/
seminar on Khoomei with Ted Levin at 3 pm at the conservatory. For
more details, contact Shelly Wynecoop at ssw6325@ocvaxa.cc.oberlin.edu
 .

--------------------------------------------------------------------------

I just saw ( and helped arrange ) the Tuvan shows at MIT and Harvard
last Tuesday and this afternoon.  I was really quite stunned by their 
musicianship.   Some of the highlights were a piece in which Kaigal-ool
Khovalig sang *three*notes at the same time, controlling the upper two
independently, and a piece in which all three sang a low kargyraa together
but varied their fundamental pitches over time. This last sounded a great
deal like the Gyoto and Gyume Tibetan Monks.  Ted Levin explained that
Genghis Khan had employed Tuvans in his army, and, according to new-found
documents, used them to scare off enemies with this fringhtening chant.

The Tuvans also announced that they had written a song about their encounter
with Frank Zappa, but that they were saving it so that they could premiere
it next week in San Francisco. 


-- 

Kiran Wagle                           <kiran@bronze.ucs.indiana.edu>
Newsgroups: rec.music.early
From: jlooper@pattie.wellesley.edu
Subject: Lutes
Organization: WELLESLEY COLLEGE
Date: Mon, 25 Jan 1993 08:44:52 GMT

Hello...

I'm a grad student at U. C. Berkeley and am interested in learning the
Renaissance lute.  Is there anyone in the bay area that could be recommended
for lessons, and is there anyone who has a used 8- or 10-course lute for
sale?  I've studied the viol, but would like to take up the lute if I
could.

Thanks,k

Jennifer
jlooper@garnet.berkeley.edu
Newsgroups: rec.music.early
Subject: RE: Publisher's address?
From: Doumen Jan <jqdoumen@VUB.AC.BE>
Date: 25 Jan 1993 16:57:34 +0100 (MET)
In-reply-to: <9301251515.AA27772@rc1.vub.ac.be>; from "B5R@NIHCU.BITNET" at Jan25, 93 10:08 am
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]

#
#
# I've found out about an interesting facsimile publication but
# from a place I've never heard of and for which I have no address:
           ^shame on you ;-). Brussels is the heart of Europe !
#
#     Brussels: Editions Culture et Civilisation; Thesaurus musicus

No reference to this in the telephone book.

#
# Does anyone have an address for this place or know where I could
# go (a directory of European music publishing houses?) to find it ?
#
If you know more or less what you want I can sent you some adresses
of publishing houses who are in that field.

--
DeJean.

/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure         Internet : jqdoumen@vub.ac.be        |
| B - 1640 Sint-Genesius-Rode                                                 |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/
Newsgroups: rec.music.early
From: gadfly@cbnewsi.cb.att.com (Gadfly)
Subject: Re: EM Programs
Organization: AT&T
Date: Tue, 26 Jan 1993 19:59:57 GMT
Summary: No sh*t???

In article <EARLYM-L%93012605000367@AEARN.EDVZ.UNIVIE.AC.AT>,
MVBURKE@UCS.INDIANA.EDU writes:
> I might also mention that there is a non-degree Visiting Student
> program available as well; it's a one-year program designed for
> people who need to do a lot of playing, in preparation for a concert
> or auditions or just because, and you basically just do lessons,
> major ensemble, and chamber music.  There are practically no requirements
> beyond having a BA and the permission of the teacher you want to
> study with.  The bad news is that you have to pay regular prices for it
> (9-11 hours, which is around $300/per for out-of-state grad students)...

Let me get this straight.  For about $3000 I could get all the consorts you
can eat *plus* regular (presumably weekly) lessons--for a whole year?  
Sounds like a pretty good deal!

               *** ***
Ken Perlow   ***** *****
26 Jan 93   ****** ******   7 Pluviose An CCI
            *****   *****   gadfly@ihspc.att.com
             ** ** ** **
...L'AUDACE!   *** ***   TOUJOURS DE L'AUDACE!  ENCORE DE L'AUDACE!
Newsgroups: rec.music.early
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: RE: A-Cappella groups?
Organization: Massachusetts Institute of Technology
Date: Mon, 25 Jan 1993 19:58:55 GMT

Chanticleer, the male ensemble from San Francisco, is wonderfully stylish, no
matter what the period of the music.
From: NOUREDIN@SC.BME.HU
Newsgroups: rec.music.early
Subject: Groups
Date: 22 Jan 93 17:16:19 GMT
Content-transfer-encoding: 7BIT
X-Mailer: Pegasus Mail v2.2 (R4).
X-Charset: US
X-Char-Esc: 0

Try Cascades, Everly Brothers and Beatles.
Newsgroups: rec.music.early
Subject: earlym-l archives; listserv, ftp, gopher and wais
From: Gerhard Gonter <GONTER@AWIWUW11.BITNET>
Date: 25 Jan 1993 20:05:15 +0100 (CET)
Content-transfer-encoding: 7BIT

Dear readers,
an updated version of the file earlym-l.archives is now available from
LISTSERV@AEARN.bitnet, it can be obtained by sending the command
  GET EARLYM-L ARCHIVES
or by ftp from ftp.wu-wien.ac.at as /pub/earlym-l/earlym-l.archives .

The file contains the currently valid addresses for the mailing list
and the listserv facility.

New are sections about:
+  the FTP archive                   --   ftp.wu-wien.ac.at:/pub/earlym-l
+  Gopher access to the files        --   gopher.wu-wien.ac.at:70
+  WAIS database for the notebooks   --   wais.wu-wien.ac.at:210

As usual, if you have any question/suggestion/complaint about the archive
or the mailing list, please don't hesitate and drop me a line.

Finally a request: if you find references to the mailing list on the net
still giving the old address VW5EARN@AWIWUW11.bitnet, please inform me
so that I can provide updated information about the list.

best wishes, Gerhard Gonter

--
Gerhard Gonter                                   <GONTER@AWIWUW11.BITNET>
Tel: +43/1/31336/4111     Fax: .../702     <Gerhard.Gonter@wu-wien.ac.at>
From: lectroid!transfer.stratus.com!schunix!rwyble@UUNET.UU.NET (Richard J. Wyble)
Newsgroups: rec.music.early
Subject: RE: Oil for Recorder Bores
Date: 26 Jan 93 23:40:20 GMT
In-reply-to: <9301261340.AA21373@transfer.stratus.com>; from "Cindi Roden" atJan 26, 93 8:13 am
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]

According to Cindi Roden:
>
> Concerning oiling recorders, Richard J. Wyble said:
> >When I last asked similar questions of David Green, proprieter of Antique
> >Sound Workshop, Boston, his emphatic position was to avoid "natural" oils
> >of any kind.  In fact, he refused to honor the warranty on any instrument
> >oiled with anything other than commercial woodwind bore oils.
>
> With all due respect to Mr. Wyble, I must say that I have had a 'not-good'
> opinion of Mr. Green for years and years, and the above is a good example
> of why.
> . . .
> During the years when I was madly buying recorders and other early winds,
> my conversations with Mr. Green ended in my decision never to buy an
> instrument from him or take his advice for _anything_.  Now, no flames,
> please - this is merely my own personal opinion.
>

My fond hope is that all contributors state clearly the logic for a
given position. Ms. Roden assumes the posture of critique, but quotes
only a portion of my earlier statement.

I had stated that Mr. Green took these actions "Because idiots
over-oiling ruined too many instruments. Though the "natural" oils may
be better, application appeared--to David, at least--too fussy a
project."

This was hardly a tale of whimsical or ill-informed action, but of one
well-grounded in experience. Mr. Green seemingly took a responsible
action based upon experience, without making judgement as to which oil
was in fact the best material.

Personal opinions, even when identified as such, can have unfortunate
consequences. My personal experiences with The Antique Sound Workshop
have led me to a very different "personal opinion."

--
----------------------------------------------------------------------
 rwyble@schunix.uucp                         Richard J. Wyble
 schunix!rwyble@transfer.stratus.com         Worcester, Massachusetts
----------------------------------------------------------------------
From: BRLINK@DELPHI.COM
Newsgroups: rec.music.early
Subject: RE: Early Music for High Voices
Date: 22 Jan 93 04:10:14 GMT
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
Content-transfer-encoding: 7BIT

There is a very good book called "The Countertenor", and the author's
name escapes me at present. It is the only comprehensive book, though
I'm not sure how accurate it is.
     The problem of the historicity of the falsettist is a bit thorny.
The Spanish employed them in the early 17th century, and they were used in
Rome for a short period before the rise of the castrati. There's reason to
believe that their vocal technique was different from the countertenors of
today, as they were chiefly noted as "sopranists", whose careers were short
(likely due to vocal damage).
     The presence of English countertenors are slightly more revealing, but
not conclusive. The Renaissance countertenors need not have been falsettists,
but tenors - if the ranges of the vocal parts are an indication. This issue
is debated, though -- <g>. In the work of Henry Purcell it seems that there
are indications of adult men singing high. There were two distinct alto
ranges which he wrote for. The lower one corresponds to a high tenor, or
haute contre, as Andrew Parrot recently has been advocating, the higher one
seems to be a true falsettist, though teenage cambiatas could also have sung
them (A boy's voice changed much later 300 years ago)
     These are the confessions of a countertenor trying to justify his quirky
choice of training. As my teacher at Indiana told me though, 'it's a nice
sounding voice, ask if a falsettist *ever* sang it (this repertoire)' So I
sing old music real high, and try to make it pretty. Clefs be damned. <g>
BLink
From: dennis@socs.uts.EDU.AU (Dennis Cook)
Newsgroups: rec.music.early
Subject: Oil for Recorder Bores
Date: 25 Jan 1993 13:24:15 +1100
Organization: University of Technology, Sydney
Reply-To: dennis@socs.uts.EDU.AU
NNTP-Posting-Host: yak.socs.uts.edu.au
Summary: Polymerising versus non-polymerising...
Keywords: oil recorder

A number of articles that I've read on oiling recorders take
opposing views as to what sort of oil should be used. Suitable
bore oils are divided into two groups: those that "dry", or
polymerise, and those that don't.

Representatives of the first group include linseed oil, and
oddly enough, grapeseed oil. These oils dry, forming a coating
which supposedly keeps the wood's own oils in, and moisture out.

The other group includes olive oil, and almond oil, the latter of
which seems to the favourite in this newsgroup/mailing list.
These oils don't dry; the idea being that they replace the wood's
natural oils as they are lost.

Can I have some suggestions as to which types of oil would be
more appropriate? Are different oils suited to different sorts
of wood? Does anyone have I-used-brand-X-oil-and-my-recorder-exploded
stories?

regards,
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.early
Subject: Re: English secular music
Date: 22 Jan 1993 19:52:06 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar

E7M7GRI@TOWSONVX.BITNET () writes:
>James,
>Wow! Thanks a lot.  Your info is going to be very helpful.  Over enrollment
>of high voices is a constant problem in my ensemble so the other non-English
>repertoire would also be extremely helpful.  Again thanks for the fine post.
>Gene

I suppose I should get around now to posting my mail message to the net then.
Here it is...

I looked at my music books at home, and discovered that the
Fellows book "The English Madrigal Composers" doesn't include
voicings as part of the work lists of each composer
(it does make clear how many voices for each madrigal).
I'd seen the voicing information in a booklet put
out a few years ago by Galaxy Music Corporation called
"Madrigals and other Early Music for Voices".  It's a
guide to the works in a number of collections that Galaxy
published or distributed (from Stainer & Bell mainly)
at the time.  

The bulk of the booklet is an alphabetical list of madrigal
titles, followed by the composer, voicing, and a code for the
book that contains that madrigal.  Since all volumes in
"The English Madrigalists Series" are accounted for in this 
list, it ammounts to a virtually complete index of English
madrigals.

I think all the Galaxy material is now handled through
E. Schirmer in Boston (not the G. Schirmer of yellow piano
book fame).

--James Langdell       jamesc@eng.sun.com
  Sun Microsystems     Mountain View, Calif.
Newsgroups: rec.music.early
Subject: RE: EM programs
From: Joan Boorstein <boorstein%umbsky.dnet@NS.UMB.EDU>
Date: 23 Jan 1993 22:47:37 -0500
Content-transfer-encoding: 7BIT

Gene Griswold asks:

>I would like to acquire a list of universities and/or conservatories in the US
>which offer degree programs in early music.  I often have students inquire
>about this and I am not sure where to direct them.  Any information and
>commentary on various programs is welcome.

This request reminds me that I had intended to post the following info
when I received a newsletter from EMA in December -- EMA (Early Music America)
has published the following booklet (13 pp., paperbound):

    Early Music Degree Programs in North America

It is available for $4.50 postpaid ($2.75 for EMA members; $3.50 overseas).

Send to -- with a check or money order in U.S. funds and drawn on a U.S.
bank --
        Early Music America
        30 West 26th Street, Suite 1001
        New York, NY. 10010-2011

According to the blurb 21 (19 in U.S.A., 2 in Canada) programs are covered.

Off the top of my head, I can think of programs at New England Conservatory of
Music (Boston), Longy School of Music (Cambridge, MA), Mannes (NYC) and Indiana
University(Bloomington).

--- Joan Boorstein (boorstein%umbsky.dnet@ns.umb.edu)
Newsgroups: rec.music.early
From: jlooper@pattie.wellesley.edu
Subject: Re: Tous les Matins, encore
Organization: WELLESLEY COLLEGE
Date: Mon, 25 Jan 1993 08:50:14 GMT

One more thought about Tous les Matins, which I thought was a wonderful
movie visually and, of course, musicallly...

Maybe the sloppy fingering and bowing was intentional, especially since
the costumes and settings were so beautifully done.  It could be that
the director wanted to create the impression that the music wasn't
coming from the physical efforts of the musicians, but from some exterior
source, remote from the actual people?

Maybe I do too much work on symbolism...

Jennifer
Newsgroups: rec.music.early
Subject: RE: EM Programs
From: BRLINK@DELPHI.COM
Date: 23 Jan 1993 14:13:46 -0500
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
Content-transfer-encoding: 7BIT

While we were students at Indiana University, my wife assisted the Early
Music Institute in collecting the results of a survey of schools and
colleges on just that topic. You may want to contact Mr. Thomas Binkley,
(binkley@indiana.edu), though it may be quicker to write or call. I don't
have an address handy, though you will most likely have success writing to:
Thomas Binkley
School of Music
Indiana University
Bloomington, IN 47405
Good luck!
BLink

---------------------------------------------------------------------------
BRLINK@DELPHI.COM        ( O-O )      Alto, (We're everywhere)
CIS ID:70471,2344           |         Facilitator: The Waltham Abbey Singers
St. Paul, Minnesota         o         Computer Geek Wannabe
---------------------------------------------------------------------------
From: BRLINK@DELPHI.COM
Newsgroups: rec.music.early
Subject: Reply to "High Voices" etc.
Date: 22 Jan 93 06:08:24 GMT
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
Content-transfer-encoding: 7BIT

RE: When Countertenors flame each other <g>

     Whoo, seem to have struck a nerve. To clarify, I did not say that
falsetto singing was vocally damaging. I said that the Spanish falsettists
who sang in the >early 17th century< had notoriously short careers -(3-5 yrs)
(Read Franca - the Art of the Bel Canto)
Secondly, I mentioned that this was probably a different technique because
thirdly, they were sopranists. As a baritone, I think I might be able to
produce sounds within the soprano tessitura for a length of time, but as a
trained singer, I can't conceive of how to do it on a consistent basis with-
out changing my choice of instrument! (and there are more organists than
countertenors!)
     Mr. Wong has a lovely voice, though that's not the issue. I don't know
of his endeavours in opera, but the recordings and performances I've heard
suggest that he may not balance well with the orchestra or other singers (as
the pre-castrato falsettists did)
     I hope no one reading this thread mistakenly feels that male altos are
ruining their voices. I've been singing alto for the last 6 years, and have
gone from a hooting section leader to performing Handel operas here locally.
The voice gets stronger and smoother with time. I think there may be
untrained altos (who spoil it for the rest of us) that may do better as
tenors or baritones, but any male singer who has preserved the falsetto since
the change can produce fine, healthy sounds if he's careful.
     Sorry if I riled you, there are still those who feel that countertenors
are squandering their voices, and some who plain don't like them. Fair
enough -- plenty of mezzos I'd rather not listen to. I've learned that they
don't come to my concerts, so it doesn't bug me any more.
     One thing.. is Gilles taking the head voice down, say to g or f? Or is
he integrating the chest around the break? I find that guys who sang as boys
choose the former -
Seeya
BLink
Newsgroups: rec.music.early
Subject: Wanted contact
From: Noureddin Baghiri <NOUREDIN@SC.BME.HU>
Date: Tue, 26 Jan 1993 11:56:54 GMT+0100
Content-transfer-encoding: 7BIT
X-Mailer: Pegasus Mail v2.2 (R4).
X-Charset: US
X-Char-Esc: 0

Hi!
  My name is Nirosh and I am using the account of my friend Nouredin
who is a member of this mailing list. He just informed me that there
are two people from Russia on it and I was wondering whether they
could mail to me to my account as I am interested in having
netfriends from all over the world.

Thanks

Nirosh

(nirosh@sc.bme.hu)
From: boorstein%umbsky.dnet@NS.UMB.EDU (Joan Boorstein)
Newsgroups: rec.music.early
Subject: RE: recorder dealer in Boulder Colorado
Date: 21 Jan 93 22:51:27 GMT
Content-transfer-encoding: 7BIT

Jack Campin writes:

>I'm told there's a good recorder dealer in Boulder, Colorado.  Could
>somebody give me their address, phone number and fax number?  Anyone
>here dealt with them?  What are they like?

I believe Jack refers to the Boulder Early Music Shop, whose proprietor
is Ruth Harvey.

Address: 2010 Fourteenth Street
         Boulder, Colorado 80302

Phone: (303) 499-1301

I am a viol player who has purchased lots of music from Ruth.  She is a viol
and recorder player herself and is well-aware of the needs of the 'average'
amateur musician playing early instruments: costs, trying things out,
availability of a variety of different instruments from a variety of makers,
etc.  Although I have not purchased any instruments from her, I would not
hesitate to do so.

--- Joan Boorstein (boorstein%umbsky.dnet@ns.umb.edu)
Newsgroups: rec.music.early
Subject: RE: High, Constipated Voices
From: BRLINK@DELPHI.COM
Date: 25 Jan 1993 20:11:10 -0500
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
Content-transfer-encoding: 7BIT

>the difference between pure head voice (no chest at all) and falsetto?

Didi,
On this subject you bump into the name game. I've taken vocal health and
pedagogy classes at several different institutions, and they differ in
their exact explanation of these terms.
        On the subject of Pavarotti and other tenors, the primry difference
between what they do and what I do is how the vocal folds are behaving.
The falsetto is produced from only half of the length of the folds. The
muscles around the folds close off half of the vibrating length, causing
a change of register. A tenor singing a high c is using the entire length
of the folds, which are extremely taut and close.
        Needless to say, this takes a huge amount of energy. The real trick
is to keep the tension, or "suspension" of the vocal support confined to
the diaphragmmatic (sp?) area. This is actually very hard to describe --
the idea of "tension" is not completely accurate.. Anyway - your
observation of the 'constipated' sound is fairly descriptive. The sensation
of topping out is a very thin one.
        There are also other ways of producing really high sounds - my
teacher at IU, Paul Elliott, is a naturally high tenor, with a very high
speaking register. He has been singing alto repertoire with Parrott, and
he describes the upper limits as head voice. Apparently, this is
different from what I do. His technique with this repertoire is also
described as Haute Contre.
        Then there's folks like Robbie Greenlee - with the Studio der
Fruhen Musik, who blend so well between tenor and alto that you can't
really tell that they are using *any* different voices.
        So the answer is that there is no practical answer. To me, chest
is baritone range, 'head tone' is the mix around my break, and falsetto is
the rest. You'll probably get slightly different versions from other
singers.
---------------------------------------------------------------------------
BRLINK@DELPHI.COM        ( O-O )      Alto
CIS ID:70471,2344           |         Facilitator: The Waltham Abbey Singers
St. Paul, Minnesota         o         Computer Geek Wannabe
---------------------------------------------------------------------------
Newsgroups: rec.music.early
From: "elliott chapin" <elliott.chapin@canrem.com>
Subject: fancy vocal polyphony
Reply-To: "elliott chapin" <elliott.chapin@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 22 Jan 93 13:49:18 EST

Look at the Dufay masses, or Bach's Missa Brevis in G (the Kyrie is used
in a text book I once looked at as an example of a 5-voice triple
fugue).

Elliott Chapin
---
  DeLuxe 1.12 #4315  elliott.chapin@canrem.com
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044