HDTenEightyP/NetNews huggingface dataset:
From: kos@cunyvms1.gc.cuny.edu (Bob Kosovsky)
Subject: Re: Soundtrack from movie "IF" (query)
Reply-To: kos@cunyvms1.gc.cuny.edu
Organization: Computer Center, CUNY Graduate School, New York NY 10036
Date: Wed, 19 Aug 1992 18:47:43 GMT

In article <1992Aug14.032743.28191@monu6.cc.monash.edu.au>, dazz@monu6.cc.monash.edu.au (Mr D.K. Woodman) writes:
>Does anyone remember a film called IF made in the late 60's with
>Malcolm MacDowell? If so maybe you know the name of some of the
>pieces of music used in it?

It used the Missa Luba (especially the Kyrie) - which has recently
been released on CD in a new recording.  I think there was at least another
work, but I can't remember.  At that time (1969) the Missa Luba was 
experiencing the popularity almost equivelent to the Pachelbel Canon.
Wouldn't it be nice to think that in 20 years the infatuation with the 
Canon will have subsided?

Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet:   kos@cunyvms1.bitnet        internet: kos@cunyvms1.gc.cuny.edu
Disclaimer:  My opinions do not necessarily represent those of my institutions.
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Lux aeterna
Date: 15 Aug 92 22:24:52 GMT
Organization: Princeton University
Originator: news@nimaster

In article <aw7iPB4w165w@bluemoon.rn.com> papageno@bluemoon.rn.com (Andrew Armstrong) writes:
> Has anyone else noticed that the Lux aeterna from Mozart's Requiem seems
>to repeat musical themes from earlier in the piece?  

Yes.

>Every time I hear
>the Lux aeterna I think I pick up parts from possibly Confutatis or 
>Lacrimosa.  Is it just me, or has anyone else also thought this?
>
Here you lose me.  Perhaps what you're referring to is that the Lux
Eterna/Cum Sanctis is note-for-note the same as the Requiem/Kyrie,
beginning at measure 19?  Suessmayr simply copied it, supposedly
according to Mozart's instructions.

Roger
Newsgroups: rec.music.classical
From: c9005189@wombat.newcastle.edu.au (How I Love My Beannie Weenies!!!! Heinz meanz beans!!!!!)
Subject: WANTED: SMETANA REC. & ORCHESTRAL RECORD
Organization: University of Newcastle, AUSTRALIA
Date: Mon, 17 Aug 1992 03:44:36 GMT

			ATTENTION
			---------

Could anyone recommend a really good version of Smetana's "My Country" suite,
which features a good version of the well known Mvlast ("Moldau").

Apparently I have been told that there is a good verion out on TELARC called
"My Country". This compact disc goes for 73 minutes. Can anyone tell me what
it is like?

Any recommendations would be nicely received?

Lastly, even though this doesn't apply to this group, I am a mood orchestral
fan, and am desperately looking for some Paul Mauriat records (Le Grand Orchestre
de Paul Mauriat) from the 1960s to early 1980s.

I am particularly after French imports.........

If anyone could help me, I would be most grateful?



						 Best Wishes

		
						Peter Longworth
						University of Newcastle
						Callaghan, Newcastle
						AUSTRALIA.......

P.S COULD YOU PLEASE PERSONALLY EMAIL ME........ THANXS
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Not-quite-unisons in piano tuning
Date: 14 Aug 1992 17:09:15 GMT
Organization: CS Division, UC Berkeley
Distribution: world
NNTP-Posting-Host: ginkgo.cs.berkeley.edu
Keywords: intonation, intervals

In article <7728@public.BTR.COM>, midkiff@public.BTR.COM (Neil E. Midkiff  midkiff@btr.com) writes:
|> 
|> Can anyone provide me with specific details on this "not-quite-unison
|> tuning"?  (If you saw my posting on Tuning and Temperament a few months
|> back, you know that I like to clarify things with actual numbers.)
|> 
|> I've heard references like Noam's for years, with no further information.
|> I've read a few books on piano tuning (including, most recently, Fischer's
|> book published by Dover) and have never run across any reference to anything
|> but unisons in tuning 2- or 3-string notes.
|> 
|> Clearly in real life, a tuned unison will soon degrade to a not-quite-unison
|> anyway.  But if you know any "recipes" that tuners use to get intentional
|> non-unisons, please post.  Maybe then we can figure out what the intended
|> result is and why it works.

The standard reference is Gabriel Weinreich, "Coupled Piano Strings",
J. Acoust. Soc. Am. 62(6), December 1977, pp. 1474-1484.  The slight
detuning of the strings turns out, in his account, to be very
important for piano sound as we know it.  We don't hear the three
separate pitches -- and not because they're too close: the three
strings phase-lock in a special way.  The result is a tone with a
strong attack and sharp initial decay, but a long sustain.  The
phase-locking also helps explain the curious effect of the vanishing
and reappearance of harmonics from the tone.

Weinreich's reference for the practice of detuning the unison is an
earlier JASA article which I haven't read:  "D.W. Martin and W.D.
Ward, J. Acoust. Soc. Am. 26, 932(A) (1954); 33, 582-585 (1961)".

	Vance
From: sununu@ece.arizona.edu (Arun Vaidyanath)
Newsgroups: rec.music.classical
Subject: WANTED: Franz Liszt, Petrarch Sonnets.
Date: 13 Aug 92 23:58:47 GMT
Reply-To: sununu@ece.arizona.edu (Arun Vaidyanath)
Distribution: world,local
Organization: University of Arizona Dept. of Electrical and Computer Engineering


Hello everybody,

I am interested in obtaining any of the above works either in cd or tape form.
Much appreciation if someone could inform me of their whereabouts.

Thanks in advance,

Raghu
From: ajw@Think.COM (Andy Wilson)
Newsgroups: rec.music.classical
Subject: Re: WEBERN
Date: 21 Aug 92 22:21:46 GMT
Organization: Thinking Machines Corporation, Cambridge MA, USA
NNTP-Posting-Host: custard.think.com

In article <eqJgPB2w164w@sys6626.bison.mb.ca>, al@sys6626.bison.mb.ca (Haus Der Luge) writes:
|>  
|> Does anybody here have the BOULEZ/WEBERN box set?
|>  
|> I understand it's complete save for WEBERN's early pieces that did not 
|> have opus numbers.
|>  
|> Haus der Luge
|>  

It was previously released on LP,  and I had that.  The Columbia/CBS LPs
of that time were of pretty shoddy quality,  so I was very glad to see the
set out on CD.  They did some processing to remove tape hiss,  etc. and the
sound quality is remarkable,  almost like a pure digital recording.  And
of course Boulez is a wonderful interpreter of Webern.  Highly recommended.

It does have the complete Op. 1-31, plus some transcriptions.  Boulez had
intended to do another set of all of Webern's unnumbered and posthumous works,
but I've never seen it.

|> 
|> ;--- (Haus Der Luge) a user of sys6626, running waffle 1.64
|> ;E-mail: al@sys6626.bison.mb.ca
|> ;system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
Newsgroups: rec.music.classical
From: dionne-marc@CS.YALE.EDU (Marc S. Dionne)
Subject: Re: Top composers (was Re: Mozart REQUIEM)
Organization: Yale University Computer Science Dept., New Haven, CT 06520-2158
Distribution: usa
Date: Sun, 16 Aug 1992 22:30:04 GMT

In article <1145@xlnt.COM> david@xlnt.com (David Johnson) writes:
>asbed@sol.usc.edu (Asbed Bedrossian) writes:
>>But since we're back on the subject top composers lists, let me add
>>mine here, since all the previous ones were so horribly off...
>
[deleted]
>>deadlast) Mahler       (or as they say in France: "Malheureusement Mahler")
>
>You must be joking.  Tchaikovsky equal to Mozart?  Mahler dead last?
>Mahler wrote some of the greatest symphonies known.
>-- 

Besides - Mahler can't be last - think of Bruckner! 

-- 
Marc S. Dionne / dionne@minerva.cis.yale.edu / (203) 436-0195
`Is everything all right, sir?' said our waiter as I almost knocked him down.
`It's perfectly lodza nurvurli,' I said, `thank you.'
`I DON'T WANT TO BE HERE!' shouted the brain of Orpheus.  - Russell Hoban
Newsgroups: rec.music.classical
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: A quick guide to different musical periods...
Organization: Computer Science Department University of Rochester
Date: Sat, 15 Aug 1992 14:38:23 GMT

I remember reading somewhere (can someone fill in the blank here?) an 
easy way to tell the different styles of music apart...

Baroque music goes rum-tiddle-tiddle

Classical music goes dum-de-dum-dum

Romantic music goes Laaaaaa

Gavin Steyn
steyn@cs.rochester.edu
"There are times, Jeeves, when one wonders, 'Do pants really matter?'"
From: ca_ac@gsbacd.uchicago.edu
Newsgroups: rec.music.classical
Subject: Re: A quick guide to different musical periods...
Date: 20 Aug 92 16:44:23 GMT

In article <JWA.92Aug20012124@vipunen.hut.fi>, jwa@vipunen.hut.fi (Jyrki J Wahlstedt) writes:
> In article <CB.92Aug18130216@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
> 
>    William Sadler writes:
>       The problem I had was when they played Mahler's Organ Symphony.
>    Please identify this work further.  The Eighth?
> 
>    Chris Brewster
> ----------------------
>   Yes, I wondered the same thing myself and came to the same conclusion.
>   I can't remember that Mahler would have used organ in any other symphony.
>   Just that the nickname is not Organ Symphony, but "Symphonie der
>   Tausend" (Symphony of a Thousand) (that you probably know).
> --
> !
> !	Jyrki Wahlstedt

The final movement of Mahler's Symphony No.2 "Resurrection" also employs an
organ.
						Alak Chakravorty
Newsgroups: rec.music.classical
From: steve@fid.morgan.com (Steve Apter)
Subject: Re: WANTED: Franz Liszt, Petrarch Sonnets.
Organization: Morgan Stanley & Co., New York, NY
Distribution: world,local
Date: Fri, 14 Aug 1992 03:25:25 GMT

In article <92226.214734RHASKINS@UMAB.BITNET> Robert Haskins <RHASKINS@UMAB.BITNET> writes:
>There are a number of recordings -- they are part of the Italian section of
>Liszt's Annes de Pelerinage.  Among the most highly recommended: Alfred
>Brendel and Claudio Arrau, both on Phillips, both on CD, I believe.
>
>Bob.

I haven't heard either, and I'm sure they're quite good, but I
feel confident in recommending Jeffrey Swann's recording of the
complete _Annes_ on Music & Arts (2 CDs).  Another first-class
pianist unaccountably ignored by the major labels.  Oh well.
From: maverick@cs.berkeley.edu (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Just Intonation Network
Date: 14 Aug 1992 17:21:12 GMT
Organization: CS Division, UC Berkeley
Distribution: world
NNTP-Posting-Host: mahogany.cs.berkeley.edu

In article <1992Aug14.151037.10599@m.cs.uiuc.edu>, faiman@m.cs.uiuc.edu (Michael Faiman) writes:
|> haack@iscsvax.uni.edu writes:
|> 
|> >In response to a request (OK, so I was looking for an opportunity), here's some
|> >info on the Just Intonation Network, taken from one of its publications:
|>              ^^^^^^^^^^^^^^^
|>     Is their motto, "Just intone" ?
|> 
|> Sorry, I couldn't resist.  My equal temperament got the better of me.

Well, insofar as they (I mean we!) have a motto, it's almost as much a
gag as yours.  One can buy T-shirts from the JI store whose design is
the international barred circle of negation over the mathematical
notation for the twelfth root of 2.

	Vance (closet Pythagorean)
Newsgroups: rec.music.classical
Subject: Re: Glazunov
From: hanly@brandonu.ca
Date: 13 Aug 92 16:47:58 CST
Organization: Brandon University, Brandon, Manitoba, Canada

In article <1992Aug11.230437.15126@CSD-NewsHost.Stanford.EDU>, spg@Xenon.Stanford.EDU (Stephen P. Guthrie) writes:
> I'd like to ask the net about Glazunov. Is his music worth exploring?
> I've heard a couple of the ballets (The Seasons) and the Violin Concerto,
> but none of the symphonies, quartets, etc. He seems to be a neglected composer.
> 
> 


A late work of Glazunov that I find quite pleasant is the saxophone concerto.
It has been recorded by Pekka Savijoki and the New Stockholm Chamber Orchestra.
I do not know if it has been released on CD. 

Glazunov taught Shostakovich. There are numerous anecdotes about his 
drinking habits in Shostakovich's alleged memoirs in TESTIMONY ed
by Volkov, Harper and ROW 1979. Apparently he used to drink surreptitiously
while supposedly lost in concentration while listening to students play for
him. Shostakovich, however, suggests that Glazunov could not hold a
candle to Mussorgsky as far as drinking was concerned.
 As I recall, it was a glazed drunken Glazy who mangled the first per
formance of Rachmaninoff's 1st symphony and was the immediate cause of
Rachmaninoff's profound depression during which he was unable to compose.
But then maybe our musicologists can prove this is all malicious gossip.
  Cheers, Ken Hanly
From: asbed@sol.usc.edu (Asbed Bedrossian)
Newsgroups: rec.music.classical
Subject: Re: Mozart REQUIEM
Date: 13 Aug 1992 00:47:50 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: sol.usc.edu

In article <1992Aug11.170305.1@venus.ycc.yale.edu> bamn@venus.ycc.yale.edu writes:
>In article <1992Aug11.180142.21539@titan.tsd.arlut.utexas.edu>, colby@tsd.arlut.utexas.edu (Colby Leider) writes:
>> 
>> This work is awesome.  (i just thought i would share this with everyone)
>i agree wholeheartedly, i consider it to be mozarts best!

Agreed; but it shares the spotlight with his 40th Symphony.

:ll
From: snahas@ARIES.INTEL.COM (steven nahas)
Newsgroups: rec.music.classical
Subject: Wedding music recommendations
Date: 17 Aug 92 20:37:07 GMT


Anyone have any strong recommendations for wedding/reception music?

I have in mind Pachelbel's Kanon, but need lots more, enough for a 
wedding & 4 hour reception.

Hopefully, suggestions will be available on ceedee, 'cause that's
who's performing at our wedding :-)

please fill my mailbox with your favorites for the occasion, and i'll
repost a summary.

thanks to all in advance!

steve nahas

snahas@aries.intel.com
Newsgroups: rec.music.classical
From: carnes@sparky.eecs.umich.edu (Richard Carnes)
Subject: Re: John Cage Dies At 79
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Sat, 15 Aug 1992 20:39:01 GMT

>Reprinted from the Chicago Sun-Times Obituaries (August 13, 1992) 

A pretty good obit.  One might add that Cage was probably the most
influential American composer ever, not only in music and dance but
also in painting (e.g., Johns and perhaps Motherwell and
Rauschenberg).

>Mr. Cage's experiments, his constant asking of the unanswerable
>question, "What is music?"

He answered it, too.  "Everything we do is music."  You might say he
tried to erase or at least blur the distinction between art and "real"
life.

>But Mr. Cage's influence went beyond his own music.  He was a poet,
>essayist and mushroom expert as well as a composer.

Indeed he was an expert mycologist; he was co-founder of a New York
State mycological society.  His expertise netted him a big prize on an
Italian "$64,000 Question"-type TV show in the 50s.  He also was
reportedly pretty good at bridge, poker, cribbage, and Scrabble.

Richard Carnes
From: chem91@Rosie.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: John Cage is Dead
Date: 17 Aug 92 16:58:25 GMT
Reply-To: chem91@Rosie.UH.EDU
Organization: University of Houston

In article <Bt3xMp.xL@quake.sylmar.ca.us>, brian@quake.sylmar.ca.us (Brian K. Yoder) writes:
>In article <1992Aug13.143043.2010@menudo.uh.edu> chem91@Rosie.UH.EDU writes:
>>In article <1992Aug12.225314.9339@dgbt.doc.ca>, ted@dgbt.doc.ca (Ted Grusec) writes:
>>>Long live John Cage.
>
>>Hear, hear!! And long live the small, brave, [fill in your own superlative]
>>record companies who produce the discs of Cage's music and let us _decide
>>for ourselves_ was to his greatness. (Usual disclaimers).
>
>Small?  Probably.  Brave?  Come on.  
>
>I'm all for letting people think whatever they want about Cage, and I happen 
>to think he produced garbage, and I am contempuous of him and of those
>pretentious "art lovers" who fawn at his feet (or grave as it were).  As 
>someone who has done more to destroy good music than almost anyone else
>this century, I would hope to see most music lovers applaud his passing.
>
>--Brian

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

Brian, you seem to have a problem. Anybody who "applauds" the passing of
such a gentle, thoughtful (IMHO) genius, even if they don't agree with his
musical outlook, has an attitude problem...

Chill out, dude...
Bill

ps how many "garbage" works by Cage have you actually heard?


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical,rec.music.folk,rec.music.misc,rec.music.dementia
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: musical coincidences [SUMMARY]
Organization: University of Western Australia
Date: Fri, 14 Aug 1992 08:03:35 GMT

My post didn't get through about these:

Chopin: Fantasie Impromptu/ Beatles "Yesterday" "... why she had to go.."
William Alwyn's 1st Mvt 4th Symphony/ Phil Moore's Jazz Piano Concerto finale

Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: Wedding music recommendations
Organization: Helsinki University of Technology, Finland
Date: 19 Aug 92 00:41:53

In article <9208181623.AA22254@aries> snahas@ARIES.INTEL.COM (steven nahas) writes:

   Since I've found out that this group gets this question often, 
   and it would help if I were a bit more specific, I'll try to be:

   Do like Bach and Bartok, don't care for waltzes, or dance music.

   This is going to be a Unitarian wedding, held at a country inn in
   Pennsylvania, with dinner reception following, from 4-8 pm this fall.

--deleted some text

   Specifically, any suggestions for Bach or Mozart for prelude music,
   ie before  the procesional, as well as something other than
   Mendelssohn's Wedding March for the very SHORT walk down the aisle!

   Andrea was thinking that someone might know of a recording of church
   bells (since we're not getting married AT the church) for immediately 
   following the ceremony would be very apropos.

   Reception music we would hope to garner special suggestions from the
   following composers, Stravinsky, Bartok, Beethoven, RAVEL, Scriabin,
   Tchaikovsky, Mozart, Chopin, Dvorak.                                 

   hope this further clarifies our needs :-)          
--- end quote

  Well, perhaps you should be even more specific:-) You didn't mention
  the instruments you have available or are there groups or soloists
  playing or both.

  Maybe you could use somewhere Bach's choral preludes, one of which is
  "In dir ist Freude" (a good name for a piece to be played in wedding).
  In my wedding two of our friends played some parts of Bach's Orchestral
  Suit no 2 (for flute and strings). We liked that. The concerto for two
  violins is also a good choice.

  BTW, it sounds a bit funny that you like Bach and Bartok, but do not like
  dance music, because the music of both aforementioned composers is
  quite strongly rooted in dances.

  I know that Sibelius has composed a piece for church bells but I have
  no idea whether it is recorded or not.

  You really have long evenings in Pennsylvania if you want to hear music
  of all composers you mentioned:-)

  Enjoy your wedding and marriage!
--
!
!	Jyrki Wahlstedt
!		jwa@vipunen.hut.fi
!
!  Everything not eternal is eternally out of fashion
!
Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd M. McComb)
Subject: Re: Rockin' with Ockhegem (was JOHN CAGE)
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Fri, 21 Aug 1992 23:04:06 GMT

In article <1992Aug21.201614.2576@Princeton.EDU> Roger Lustig writes:
>In article <9fjyh-l@rpi.edu> Todd M. McComb writes:
>>A somewhat earlier example of this kind of ambiguity is the 15th century
>>composer, Johannes Ockeghem.  In particular, his Missa Cuiusvis Toni can
>>be sung in any of the four basic modes of the time (depending on musica
>>ficta.)

>Don't be so sure.  Some scholars have recently reinterpreted the title
>to mean "Which tone?" rather than "whatever tone", i.e., it's a riddle
>piece like Ockhegem's Prenez sur moi votre example.  In fact, they argue
>that it should only be done in Phrygian mode.

Really?  What is the musical basis for the latter statement?
Are there plans to record it?  I don't believe it has a 'correct'
mode, but I'm willing to be shown otherwise.

>Oh, and the way to do it in other modes is to change clefs, not ficta.
>Ficta has no bearing on mode, in general.

Aren't these things tied up together?  I'm no expert -- I just like
the music.

T. M. McComb

Oh, and count me in the oak category.

Newsgroups: rec.music.classical
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: Renaissance music misconceptions
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Sun, 23 Aug 1992 04:17:45 GMT

In article <1992Aug22.232520.2706@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:
>>This thread seems to have gravitated to e-mail with the two other people
>>involved.  I still maintain that the sheer size of a chorus should not
>>stop it from singing Renaissance music well; if your 50+ voice choir can
>>do justice to Bach's Lobet dem Herrn/Alleluja motet then it can likely
>>handle Josquin or Monteverdi as well.  
>
>It also depends on the space you're singing in...

Well, more specifically, it depends on

	- How good the singers are at listening to each other, and
	- How well the singers can hear each other in the space

>>Sounds wonderful, but where will you find 11 good tenors who will
>>tolerate each other's company? :-)  
>
>Heck, where will you find 11 good tenors?  8-)

Columbia University has quite a few....I'm one of them :-)


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: A quick guide to different musical periods...
In-reply-to: will@ogre.cica.indiana.edu's message of Mon, 17 Aug 1992 14:25:00 GMT
Organization: pubs
	<1992Aug15.143823.11963@cs.rochester.edu> <l8ql2sINN74p@calvin.usc.edu>
	<1992Aug15.221716.1434@Princeton.EDU> <will.714061500@ogre>
Date: 18 Aug 92 13:02:19 CDT

William Sadler writes:

   The problem I had was when they played Mahler's Organ Symphony.
                                          ^^^^^^^^^^^^^^^^^^^^^^^

Please identify this work further.  The Eighth?

Chris Brewster
Newsgroups: rec.music.classical
From: smoliar@argon.iss.nus.sg (stephen smoliar)
Subject: Re: John Cage
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Fri, 14 Aug 1992 00:30:43 GMT

In article <92226.081455RHASKINS@UMAB.BITNET> Robert Haskins
<RHASKINS@UMAB.BITNET> writes:
> National coverage has been miniscule (a piece on National
>Public Radio, someone told me), but nothing on networks that I saw.
>
I took my usual half-hour dose of CNN International when I came home yesterday
afternoon.  There was no mention at all.  However, my wife heard the BBC news
at 4 PM;  and they deemed it worth reporting.  A Singapore Broadcasting
announcer is supposed to be calling me in about an hour to record a few
minutes worth of statement.  It suddenly hit me that I may be the only
person currently on this island to have performed his work here (since
Margaret Leng Tan is probably back in New York).
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical