HDTenEightyP/NetNews huggingface dataset:
From: jqdoumen@VUB.AC.BE (Doumen Jan)
Newsgroups: rec.music.early
Subject: Apple Mac Stuffit
Date: 23 Nov 92 13:40:58 GMT
Article-I.D.: is1.9211231140.AA14630
In-reply-to: <9211201515.AA03176@rc1.vub.ac.be>; from "Richard A. Damon III" at
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]

Hi,
 
After I saw your mail about the soft for mac for musicediting I wanted
to ask you where I can find decompressors for mac programs.
I'm a PC-freak but one of my friends is a Mac-freak. I downloaded
a lot of programs for him but I can't find out where I have to get
the decompressing programs like Stuffit.
Can you help me ?
 
Thanks in advance.
 
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                     : jdoumen@nyx.cs.du.edu     |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/
Newsgroups: rec.music.early
Subject: RE: TANTRUM: Temperament Analysis Software for IBMPC
From: Warren Steel <MUDWS@UMSVM.BITNET>
Date: 16 Nov 1992 08:53:17 -0600 (CST)
In-reply-to: Message of Sun,15 Nov 1992 21:02:38 GMT from <smalin@WELL.SF.CA.US>
Content-transfer-encoding: 7BIT

:nick.DATTA    :userid.datta    :node.cs.uwp.edu :notebook.MUSIC
               :name.Dave Datta
 
On Sun, 15 Nov 1992 21:02:38 GMT Stephen Malinowski said:
>TANTRUM is a program for studying historical tuning systems.
>...
>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.
    I's suggest anonymous ftp as the best way to make the program
available to most Internet users.  You'd have to find a site
accessible by anonymous ftp that would be willing to act as a
repository for your program, perhaps two sites, one in North
America and one in Europe.  I'd suggest writing to Dave Datta
(datta@cs.uwp.edu), who maintains the best-known music archive
in the USA, and Gerhard Gonter, who manages this list.  They
could explain how to upload your program to their respective
archives.  Please keep the list informed if you find a site
for this program!
************************************************************************
* DAVID WARREN STEEL                              MUDWS@UMSVM (Bitnet) *
* Department of Music               mudws@vm.cc.olemiss.edu (Internet) *
* University of Mississippi                      office (601) 232-5183 *
* University MS 38677                              home (601) 236-5356 *
************************************************************************
From: alex@sitka.sun.com
Newsgroups: rec.music.early
Subject: Re: "gut strings anyone..."
Date: 21 Nov 1992 04:34:12 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: alex@sitka.sun.com
NNTP-Posting-Host: elvis.sitka.sun.com

Try:
	Damian Dlugolecki
	520 S.E. 40th St.
	Troutdale, OR 97060

	(503) 669-7966
	(503) 665-2738 (fax)
From: del@babel.DIALix.oz.au (D Elson)
Newsgroups: rec.music.early
Subject: very modern + very old 
Distribution: world
Date: Sun, 22 Nov 92 03:08:39 GMT
Organization: 


In article <1992Nov13.011628.21852@news.Hawaii.Edu> mike@uhunix.uhcc.Hawaii.Edu writes:

  >         In modern rock and (gag) Heavy Metal music, electronic
  > synthesizers are used with hardware and computer sequencers so much
  > that the very definition of "live" performance has been called
  > into question.

OK, am I the only fan of both Early Music and Heavy Metal on this
planet, or is someone else out there going to point out that synthesizers
are a very rare thing in a Heavy Metal band.  In fact, there is really
no such thing as a true Heavy Metal band that uses synths -- they are
mostly American AOR bands, which aren't Heavy Metal in the true
sense of the word.

Del
-----------------------------------+-------------------------------------
D Elson                            |  del@DIALix.oz.au del@adied.oz.au
-----------------------------------+-------------------------------------
Newsgroups: rec.music.early
Subject: There is no rose
From: Bill McJohn <billmc@MICROSOFT.COM>
Date: 19 Nov 1992 17:35:20 -0800 (PST)
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X-Msmail-Conversation-Id:  CB112FD6
X-Msmail-Wiseremark:  Microsoft Mail on Windows NT

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: 9th cent. Georgian music
From: QUINN@GONZAGA.BITNET
Date: 19 Nov 1992 17:24:00 -0700 (PDT)
X-VMS-Cc: QUINN
Content-transfer-encoding: 7BIT

I was visiting friends in Seattle about 5 years ago and they pulled out
a really nice set of recordings of Georgian music.  Some of it was from
the 9th century and bore an amazing resemblance to Notre Dame polyphony.
 
I'm wondering if anyone knows of any recordings of that ilk available.
My friend has been teaching in Finland for the last four years and his stuff
is still in storage in Seattle or I would just ask him for it.
 
Thanks a lot.
 
James Quinn
Quinn@Gonzaga.edu
From: de19@umail.umd.edu (Dana S Emery)
Newsgroups: rec.music.early
Subject: Re: very modern + very old
Date: 19 Nov 92 05:44:39 GMT
Followup-To: rec.music.early
Organization: personal

Arto,

I agree with you that the ideal is live musicians all the way, but recorder
players far outnumber string players, and most recorder groups muddle along
with no continuo experience at all.

I submit that a canned continuo is better than none, but I fully agree with
you that live is best.

Also, we were not necessarily limiting this thought to mechanical
accompaniment, a sythesized harpsichord was the original proposal, if I
recall aright, sorry if my "canned" misnomer mislead anyone.
--

Dana S Emery <de19@umail.umd.edu>
From: DKWILSON@UCS.INDIANA.EDU
Newsgroups: rec.music.early
Subject: RE: Fretwork
Date: 18 Nov 92 16:45:28 GMT
Article-I.D.: AEARN.EARLYM-L%92111903481531
Content-transfer-encoding: 7BIT

About the Early Music Institute at Indiana University:  Beth listed the faculty
and somehow forgot to mention baroque violinist Stanley Ritchie, who also
directs the IU Baroque Orchestra and coaches chamber music.  Last but hardly
least!
 
David
From: crwth@Merlin.DoCS.UU.SE (Olle G{llmo)
Newsgroups: rec.music.early
Subject: Old instruments shop
Date: 16 Nov 1992 07:51:43 GMT
Organization: Uppsala University, Sweden
Distribution: world
NNTP-Posting-Host: merlin.docs.uu.se
Keywords: instruments, bagpipes

Greetings,

Are there any shops in the London area which relates to this group, i.e.
shops where one can expect to find early and/or exotic music and instruments?

In particular I would like to find Northumbrian smallpipes and Uillean pipes.

      /Crwth

-- 
---- "If God is perfect -- why did He create discontinuous functions?" ----
Olle Gallmo, Dept. of Computer Systems, Uppsala University
Snail Mail: Box 325, S-751 05 Uppsala, Sweden
Email: crwth@DoCS.UU.SE
Newsgroups: rec.music.early
From: rags@triples.math.mcgill.ca (Robert A. G. Seely)
Subject: Re: Tous les Matins du Monde
Organization: /etc/organization
Date: Sun, 15 Nov 1992 16:21:19 GMT


Re fingering:  I have had the same response to the fingering from a number
of cellists and gamba players - they agreed that many of the actors were
just WAY off in their fingering, and that it WAS distracting.  One notable
exception was the young Depardieu/Marais, who - rumour has it - is an
amateur cellist himself, which probably accounts for his success, rather
than mimicking a "behind the scenes" player.  The real duds here were the
old Depardieu/Marais and Sainte Colombe - as they were so central in the
film, this was a notable negative, but as the rest of their performances
were so excellent, I would have to repeat my original comment - this is all
just a quibble.  See the film at all costs (well - again, maybe $60 is a bit
steep ;-} ).

- rags
From: esp@cup.portal.com (Emily Sue Pinnell)
Newsgroups: rec.music.early
Subject: Re: RE: Cantigas
Date: Sun, 15 Nov 92 10:28:12 PST
Organization: The Portal System (TM)

The cantigas on Sinfonye's _Bella_Domna_ are cantigas de amigo, not
to be confused with cantigas de Santa Maria.  They are very nice, thou.

esp
Newsgroups: rec.music.early
From: archer@elysium.esd.sgi.com (Archer Sully)
Subject: Re: very modern + very old
Organization:  Silicon Graphics, Inc.  Mountain View, CA
Date: Wed, 18 Nov 1992 19:26:12 GMT

In <31528@hydra.Helsinki.FI> wikla@cs.Helsinki.FI (Arto Wikla) writes:

*Dana S Emery writes:
*>Mike W. Burger wrote:
*>> 
*
*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

What he said.  Sort of....

I think synthesizers can have a place in early music, if used judiciously.
However, my personal preference is that sequencers do not.  In truth,
I think sequencers are a truly wonderful compositional tool, and are 
great for film/tv scores, but a live audience deserves live music.

That out of the way, wind controllers can be very expressive, and are 
a lot of fun.  Samplers can do a good job with recorders & such if you
sample with sufficient care and don't try to use pre-made patches.

An even better mix would be to use a synthesizer as a synth, and bring
different timbres and timbral evolution to the music.  This is a lot of
work, because you have to program all the sounds that you would use.
A lot of early music people would probably get really upset with you,
t'boot ;-).

-- archer

Newsgroups: rec.music.early
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Anonymous 4 (the singers)
Organization: Massachusetts Institute of Technology
Date: Mon, 23 Nov 1992 21:15:24 GMT

The women's quartet, Anonymous 4, gave a concert at Boston's Museum of Fine Arts
yesterday. The program was a type of "lessons and carols" presentation, with
English carols, motets, hymns and songs from the medieval period. This was my first
hearing of this group and if they come to your area, go
hear them. Not only have they done their scholarly work but they are truly
sensitive performers. Their decisions as to how to perform this music are fitting
(everything is a capella) and nothing is contrived or seemingly anachronistic.

I think many people are so used to hearing early music sung almost entirely by
all-male or mixed groups, that to hear an all-women's group is somewhat
startling. Just pretend you are evesdropping on a convent or group of noble
women.

Anonymous 4 has a recording that is just, or about to be, released, on Harmonia
Mundi.
Newsgroups: rec.music.early
Subject: There is no rose
From: E7M7GRI@TOWSONVX.BITNET
Date: 19 Nov 1992 19:15:16 -0500
MIME-version: 1.0
Content-transfer-encoding: 7BIT

Regarding recordings of "There is no rose":  Have you checked out the old
New York pro Musica Antiqua recording with Noah Greenberg?  Also there is a
nice recording by the Folger Consort.  I believe it is still available.  Both
of these recordings make use of recorders on the burden which provides some
contrast.
Gene G.
Newsgroups: rec.music.early
Subject: There is no rose
From: Kim Plofker <ST402808@BROWNVM.BITNET>
Date: 19 Nov 1992 16:02:55 -0500 (EST)
Content-transfer-encoding: 7BIT

   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, which goes
 
   There is no rose of such virtue
   As is the rose that bare Jesu.
 
   It's a pretty little refrain, but it gets repeated seven times, and doing
it over and over with no variation can get to be, well, a burden.  Has anybody
out there who's seen it or heard it or sung it have any suggestions about
how it should be performed, or recommendations of recordings of it?
 
   Thanks,
   Kim Plofker
Newsgroups: rec.music.early
Subject: RE: TANTRUM: Temperament Analysis Software for IBMPC
From: mwitten@HERMES.CHPC.UTEXAS.EDU
Date: 15 Nov 1992 16:09:45 -0600 (CST)
In-reply-to: <9211152131.AA11371@hermes.chpc.utexas.edu>; from "Stephen Malinows
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]
Comments: <Parser> W: FROM field duplicated. Last occurrence was retained.

I'd love a copy of it. My mail is below. 3.25" dsdd or better
would be fine. Thanks,
 
Matthew
>
> 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
>
 
 
--
 
_____________________________________________________________________
 
Matthew Witten, Ph.D. MED
Director, Applications Research & Development
Associate Director,
UT System Center For High Performance Computing
Balcones Research Center, 1.154 CMS
10100 Burnet Road, Austin, TX 78758-4497 USA
 
Phone: (512) 471-2472  FAX: (512) 471-2445
 
E-MAIL  MWITTEN@CHPC.UTEXAS.EDU
      or
        MWITTEN@UTHERMES.BITNET
 
"some intellectuals make their living by creating
obscurities for the rest of us to puzzle over"
_____________________________________________________________________
Newsgroups: rec.music.early
Subject: RE: vibrato in a cappella renaissance music
From: Ken Koester <MAINT2@ERS.BITNET>
Date: 18 Nov 1992 08:15:32 -0500 (EST)
In-reply-to: Message of Wed, 18 Nov 1992 06:41:29 GMT from <shallenb@SPOT.COLORADO.EDU>
Content-transfer-encoding: 7BIT

As a very appropriate and timely coincidence, =Scientific American='s December
issue has an article on vocal sound production.  Intricate and interesting,
especially if you don't know anything about it.  Makes me hesitate to speak
ever again, there's so much going on inside!
From: LIBRBA@VM.BYU.EDU
Newsgroups: rec.music.early
Subject: RE: Thomas Tallis' Canon.
Date: 17 Nov 92 07:33:21 GMT
Article-I.D.: VM.921117.143321.MST.LIBRBA
Organization: Brigham Young University, Provo, Utah, USA
In-reply-to: Message of Tue,17 Nov 1992 19:54:03 GMT from <jamesc@BASSCLAR.ENG.SUN.COM>
Content-transfer-encoding: 7BIT

In article 10147@vax.oxford.ac.uk, wilcox@vax.oxford.ac.uk () writes:
 
>What I remember from music theory days as the next level of subdivision is
>quasi-hemi-demi-semi-quaver.
 
  Hmm... I would have sworn it was a "haffa-hemi-demi-semiquaver."  Of course,
my music theory teacher was also the shop steward for the local longshoremen's
union....
 
>--James Langdell       jamesc@eng.sun.com
>  Sun Microsystems     Mountain View, Calif.
 
*************************************************************************
Rick Anderson                 "Jazz is only a word and really has no
Musikforschungsfuhrer          meaning.  We stopped using it in 1943."
Lee Library, BYU                                     -- Duke Ellington
librba@BYUVM.BITNET       Disclaimer: BYU disagrees.
*************************************************************************
From: kiran@bronze.ucs.indiana.edu (Kiran Wagle)
Newsgroups: rec.music.early
Subject: Re: Tous les Matins du Monde
Date: 16 Nov 92 01:45:47 GMT
Article-I.D.: usenet.BxsCwB.12M
Organization: Indiana University

"In France, Baroque is Suddenly a la Mode"  
 by John Rockwell, writing in the NY _Times_, Nov 8 92
 
"And French intellectuals can indulge in self-congratulation that a movie
 with as rarefied a subject as 17th-century French viol players could
 top the charts.  Since its opening in December 1991, more than 2 million
 tickets to 'Tous les Matins du Monde' have been sold in France alone,
 700,000 of them in Paris--remarkable numbers for a non-American film.
        "'Tous les Matins du Monde'... has been bought in 31 countries, it
 has been especially popular in Argentina, where it was the No. 1 film in
 its first week.  When the French Oscars, called Cesars, came around this
 year, Mr [Alain] Corneau's work was nominated for 11 prizes and won 7,
 including those for best film, best director and best music.
        "Pascal Quignard's novel by the same name was published last winter
 and became a best seller.  The soundtrack, overseen by the violist Jordi
 Savall, has sold 210,000 copies in France.  Soon after its release, the
 recording hit No. 2 on the sales charts, where it stayed for nearly two
 months, displacing all but Michael Jackson."
        "Despite its exotic subject--the relationship between the Versailles
 court composer Marin Marais and his teacher, Monsieur de Saint-Colombe....
        "'Tous les Matins du Monde' takes its title from a sentence in the
 novel that translates as 'Every morning on earth is irrevocable,'
 reflecting Sainte-Colombe's mystical fatalism."

-- 

Kiran Wagle                           <kiran@bronze.ucs.indiana.edu>
From: MAINT2@ERS.BITNET (Ken Koester)
Newsgroups: rec.music.early
Subject: RE: Mideval Music Collection
Date: 17 Nov 92 12:56:44 GMT
In-reply-to: Message of Mon, 16 Nov 1992 18:59:02 GMT from <irvine@UXH.CSO.UIUC.EDU>
Content-transfer-encoding: 7BIT

On Mon, 16 Nov 1992 18:59:02 GMT Brent Irvine said:
>        I got a CD of 'Mideval Music' and I am hooked.  I want to hear more
>        and would like to know where I can get recordings of more of this
>        kind of music.
>
Well, it would probably help us to help you if you would describe the music,
the composer (short of that perennial favorite, Anon), the performers, and/or
what it was that hooked you.  I know that comparatively not much survives from
before, say, 1400 or so. . . but that is only comparatively.  It still adds up
to a lot of music that's left.
 
That said, the quickest and easiest recommendation I can make to you is to find
a Tower records, go into the classical room, and look for the Medieval section.
My local store has over a hundred different recordings generically labelled
"Medieval", and that is w/o even scanning the composer's section.  Since it is
a chain, I feel sure that any store would have the same.
Newsgroups: rec.music.early
Subject: RE: practice chanter
From: GONTER@AWIWUW11.BITNET
Date: 17 Nov 1992 17:37:53 -0500 (EST)
Content-transfer-encoding: 7BIT
Comments: From: MVBURKE@ucs.indiana.edu

From: MVBURKE@ucs.indiana.edu
----------------------------- resent message ----------------------------
Subj:   practice chanter
 
>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.
 
I'm certainly no piper myself, but my dad is, and I did at one time make a
stab at playing, beginning with the chanter.  It was quite some time before
I could play up and down a scale on the damn thing without growing lightheaded
from the effort....I would be willing to bet that you're just not blowing
hard enough yet.  Think turbo-oboe and you'll be there :-).
 
Just for the hell of it, I tried to play the actual bagpipes too--got the
drones going all right, but absolutely could NOT muster enough breath to
kick that reed into action.
 
BTW, where is this Elderly Instruments place where you bought the thing?  I
think Dad would be interested in knowing where he could get chanters and/or
pipes in this country.  Could you send me the particulars (address of the
store, what make of chanter, etc.) privately? (mvburke@ucs.indiana.edu)
 
cheers--MVB
 
 
thanks;
Gary Paisley
Newsgroups: rec.music.early
Subject: RE: Fretwork
From: Allison Nancy Zelles <AZELLES@UCS.INDIANA.EDU>
Date: 20 Nov 1992 00:26:15 -0500 (EST)
Content-transfer-encoding: 7BIT

I just want to give some IU Early Music Institute statistics:
Officially enrolled (but of course many early musicians hang out in
Bloomington for the benefits):
  Majors:         5 recorder
                  9 harpsichordists
                  6 gambists
                  5 sopranos
                  2 tenors
                  1 countertenor
                  4 baroque strings
                  (3 vielle players unofficially)
Sopranos are just more openly opinionated by nature.
Newsgroups: rec.music.early
Subject: RE: Fretwork
From: Warren Steel <MUDWS@UMSVM.BITNET>
Date: 16 Nov 1992 08:49:43 -0600 (CST)
In-reply-to: Message of Sun,15 Nov 1992 19:00:18 GMT from <hcresnic@QUADS.UCHICAGO.EDU>
Content-transfer-encoding: 7BIT

On Sun, 15 Nov 1992 19:00:18 GMT hugh carney resnick said:
>        The viol consort Fretwork performed here on Friday night, and I just
>want to remind all the viol players out there that your work is appreciated.
         They performed Thursday night in Jackson, Mississippi--I made
the 160 mile drive each way to hear them.  I second the motion of
thanks, to the members of Fretwork and all viol players everywhere!
************************************************************************
* DAVID WARREN STEEL                              MUDWS@UMSVM (Bitnet) *
* Department of Music               mudws@vm.cc.olemiss.edu (Internet) *
* University of Mississippi                      office (601) 232-5183 *
* University MS 38677                              home (601) 236-5356 *
************************************************************************
Newsgroups: rec.music.early
From: dennis@socs.uts.edu.au (Dennis Cook)
Subject: Re: Tous les Matins du Monde
Reply-To: dennis@socs.uts.EDU.AU
Organization: University of Technology, Sydney
Date: 23 Nov 92 03:41:42 GMT

>[various discussions about "Tous les matins du monde"]

Does anyone know when this is going to be released in Australia?


regards,
--
Dennis Cook ------------------------------------------- dennis@socs.uts.edu.AU

Hello. My name is Inego Montoya. You killed my father. Prepare to die.