HDTenEightyP/NetNews huggingface dataset:
From: james@astro.as.utexas.edu (James McCartney)
Newsgroups: rec.music.compose
Subject: Re: Hearing Mental Music
Date: 18 Nov 92 22:37:12 GMT
Organization: McDonald Observatory, University of Texas @ Austin

In article <1992Nov13.143857.29453@leland.Stanford.EDU> bil@cmn14.Stanford.EDU (Bill Schottstaedt) writes:
>This has happened to me, also, and with all the attributes of
>reality (that is, I at first am not sure I'm not actually
>hearing a clarinet, or whatever, playing in the next room). I can

  I have also had auditory hallucinations of melodies that weren't there,
but this only occurs while I am actually playing and only very rarely and
for a few seconds at most. I am always quite startled by it. It is quite
different from hearing it in your head, I could swear I actually heard the
melody.
   --- james mccartney


Newsgroups: rec.music.compose
From: downs@helios.nevada.edu (Lamont Downs)
Subject: Re: Score?
Organization: UNLV
Date: Wed, 18 Nov 1992 04:02:43 GMT

>The only notation program I've heard of that will work on a PC without 
Windows>is Score. Has anybody used this? Has anybody used any other non-
Windows based>notation programs? 

Speaking purely from hearsay, my understanding about Score is that you type 
in an ASCII file and the program translates it into musical notation. 
Supposedly puts out as good output as any other program, but sounds like a 
bear to use.

Have you looked at MusicPrinter Plus or Theme? Both are DOS based programs 
with a lot of notational power (though not quite as much heavy-duty 
artillery as Finale). MusicPrinter Plus supposedly gives very good 
quality from LaserJets. You can get working demos from the vendors.

Lamont Downs
downs@helios.nevada.edu
From: gholsonj@memstvx1.memst.edu
Newsgroups: rec.music.compose
Subject: Music Theory ibm/software
Date: 16 Nov 92 14:01:27 -0600
Organization: Memphis State University

Am interested in locating ftp sites for music theory software for the IBM.
Please give directories if possible.Thanks, gholsonj@msuvx1.memst.edu
Newsgroups: rec.music.compose
From: apoulsen@athena.mit.edu (Andy Poulsen)
Subject: Which composition/notation software to support soundblaster?
Organization: Massachusetts Institute of Technology
Date: Sun, 22 Nov 1992 19:32:27 GMT

hi,

i am in the process of doing some quartet arrangements, and am
interested in getting some notation software that will allow me to play
the notes back on my soundblaster card (my budget hasn't allowed me to
get a keyboard w/ midi yet... :( )

so the question is:  what programs are available, and what price range
to they fall in?  do they run under dos/windows/os2?

any info much appreciated.

thanks!

andy

--
andy poulsen                *  apoulsen@athena.mit.edu, andy@huey.jpl.nasa.gov 
MIT mechanical engineering  *  ***********************************************
jpl technical staff         *           "we engineers have a saying:    
(617) 227-7655              *        we may be dumb, but we're slow..."
Newsgroups: rec.music.compose
From: cmclark@dri.com (Chip Clark)
Subject: Re: composition software
Keywords: music, desktop publishing
Reply-To: cmclark@drivax.mry.novell.com
Organization: Desktop Systems Group/Novell, Monterey CA/USA
Date: Tue, 17 Nov 92 19:33:47 GMT

bjd7p@uvacs.cs.Virginia.EDU (Bert J. Dempsey) writes:


]	I am looking for software running on MS-Windows in order 
] 	to do desktop publishing that includes music.
]	
]	Specifically, I need to be able to put notes on a staff 
]	and then to pull that graphic into an environment where 
]	text can be placed beneath it. (I do _not_ need the 
]	capability to play out the notes.)

]	I have pointers to "The Copyist" and "MusicPrinter Plus",
]	but I have never actually seen this stuff run.


Songwrite is a much better program.  It is a DOS based program but will run in
a DOS session for windows.  It also allows you the ability to import the text
or write it on the staffs your self.  Nice program.


_____________________________________________________________________
                   |                                                |
Chip		   |	"I can not tell what you or other men	    |
cmclark@novell.com |	think of this life; but for my single self, | 
		   |	I had as leif not be as live to be          |
Technical Support  |	in awe of such a thing as I myself."        |
Desktop Systems    |		- Cassius  Julius Caesar  I ii      |
---------------------------------------------------------------------
For More DR DOS support contact drdos@novell.com - 
   Please include your serial number
From: fields@zip.eecs.umich.edu (Matthew Fields)
Newsgroups: rec.music.compose
Subject: Re: Score?
Date: 22 Nov 92 15:43:38 GMT
Article-I.D.: zip.1992Nov22.154338.26577
Organization: University of Michigan EECS Dept., Ann Arbor

In article <Nov.22.01.44.01.1992.450@spade.rutgers.edu> rosensta@spade.rutgers.edu (Michael "Trott" Rosenstark) writes:
>Consider also that once one becomes fluent in, for example, Score, it
>takes much less time to enter the thing; when you couple that with the
>tremendous decrease in time extracting parts, the notation programs
>are faster.  Also, much more revisable.

As a Finale expert and a past Score expert, I once again beg to
differ.  Part extraction is the pot of gold at the end of the
computerized notation rainbow, for most of us (other enticements
include notation options for e.g. paralyzed individuals, camera-ready
artwork for publishing, and "better" notation for those who just can't
or won't bring themselves to master clean manuscript).  But experience
shows that on the average it takes ten times as long to enter a
typical orchestral score into a computer as it takes to draw it on
vellum, and at least 10% longer to extract parts.  But I'm still
waiting hopefully for an environment which will actually speed up the
overall process, especially speeding up part-extraction, which is pure
informational redundancy.  Program computation speeds are reaching
just about a reasonable maximum for the hardware they're running on.
Better support for correct, standard music notation, better
structuring of data around the intrinsic structures in musical
thought, and better user interfaces are the main things needed now.
Newsgroups: rec.music.compose
From: scott@bell.b17a.ingr.com (Scott Bell)
Subject: Re: Hearing Mental Music
Organization: Intergraph
Date: Mon, 16 Nov 1992 13:50:36 GMT

In article <1992Nov13.185836.25769@math.ucla.edu>, pugh@pico.math.ucla.edu (David Pugh) writes:
|> >In article <1992Nov12.225120.20144@genie.slhs.udel.edu>  
|> >nancy@genie.slhs.udel.edu (Nancy Lebovitz) writes:
|> >> This may sound odd, but sometimes I can sort of hear music running in
|> >> my mind, but as soon as I try to pay attention to it, it stops.
|> >
|> 
|> I remember going to the Proms in England and after hearing a very loud
|> piece of music, I  would find it playing over in my mind while travelling
|> home on the tube (subway). I could only hear it while the train was roaring
|> thru the tunnels. As soon as it pulled into the station the music stopped.
|> 
   I've had this happen too, especially if I associate the music/event with 
   something that went on there. I used to listen to the "Top Gun" soundtrack
   before I went snow skiing. Now every time I even look at my skiis I hear
   those tunes in my noggin. I bet if you associate the music with some image
   ( smell, sight, whatever ), it's alot easier to kick off the music in your
   head. Just don't try so hard and maybe it'll start again.

Scott
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_
| Scott Bell                               | "I may be N by NW when the | 
| Intergraph Corp. - Mapping Sciences Div. | wind is Southerly - but I  |
| M/S IW17A2  Huntsville, AL  35894-0001   | know a hawk from a         | 
| scott@bell.b17a.ingr.com   (Internet)    | handsaw."                  | 
| 205-730-1776   #include <std_disclaim.h> |      W.S. , 'Hamlet'       | 
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_
Newsgroups: rec.music.compose
From: fields@zip.eecs.umich.edu (Matthew Fields)
Newsgroups: rec.music.compose
Subject: Re: Score and notation programs.
Date: 22 Nov 92 18:10:40 GMT
Organization: University of Michigan EECS Dept., Ann Arbor

In article <1992Nov22.172216.14547@galileo.cc.rochester.edu> kuehn@sound.esm.rochester.edu (Mikel Kuehn) writes:
>And what about macros or the
>advantages of editing?  Kind'a difficlut to do that with ink on an
>orchestral score, huh?

Yes, much faster to do that in your head, maybe with a bit of pencil on
junky paper, before you touch either computer or ink.  This is one of the
"purposes" of "aural skills" classes, that sometimes works out ok for some
people.
Newsgroups: rec.music.compose
From: phranx@imr.no (Phranx)
Subject: Rutter: Magnificat - Scandinavia premiere
Keywords: Concert, Rutter, Bergen, Norway
Organization: University of Bergen, Norway
Date: Thu, 19 Nov 92 15:51:18 GMT

I would just like to announce the Bergen Opera Choir's Christmas
Concert 1992. It's a triple "Magnificat" performance, Bach's, Finzi's
and Rutter's. The Rutter performance is a scandinavian premiere.

The performance is 12. dec at Johannes church, Bergen, Norway.
Tickets are 120,- Nkr., 80,- for students.

Phranx
Newsgroups: rec.music.compose
From: cmclark@dri.com (Chip Clark)
Subject: Re: Score and notation programs.
Reply-To: cmclark@drivax.mry.novell.com
Organization: Desktop Systems Group/Novell, Monterey CA/USA
Date: Mon, 23 Nov 92 22:19:04 GMT

kuehn@sound.esm.rochester.edu (Mikel Kuehn) writes:

]In article <0105009A.j83cok@david.roth-music.com> david@roth-music.com (David A. Roth) writes:
]>
]>WARNING: It will not save you alot of time using a music notation
]>program, it will generally look better than a handwritten part.  When
]>you consider the time to learn to use the program, and all the fussing
]>needed to produce something of standard musician notation so that
]>the musicians don't ask a lot of annoying questions...better to write
]>it out by hand. 

]Gee, hmm.  I guess you probably never thought about... part extraction?
]That has always saved me a lot of time.  And, what about macros or the
]advantages of editing?  Kind'a difficlut to do that with ink on an
]orchestral score, huh?

Nor did he think about the idea of interpretation.  The only musicians I've
had complain about the music is not because it could not have be included
via the software program, but because i failed to include it.  I did so
because I didn't bother.  If I don't do it on the computer, I'm not likely
to change with pen and ink.

Get over it.  Computer music is not a sin or some bastard version of "real"
music.  As musicians, get a life and interpret what you see and create the 
music for yourself.

(not to mention, My script is horible - the printer is much nicer)
Chip - 
cmclark@novell.com

"And happy always was it for that son
Whose father for his hoarding went to hell?" - King Henry VI -Shakespeare
Newsgroups: rec.music.compose
From: fields@zip.eecs.umich.edu (Matthew Fields)
Subject: Re: thought of the day
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Sat, 21 Nov 1992 00:12:40 GMT

In article <1992Nov21.000343.21678@zip.eecs.umich.edu> fields@zip.eecs.umich.edu (Matthew Fields) writes:
>
>
>
>seen in a fortune cookie database:
>
>Writing about music is like dancing about architecture.
[lost in posting due to malformed string:...]

      -Frank Zappa


[worth saying twice, at the expense of rubbing my face in what a hypocrite
I am...]



Newsgroups: rec.music.compose
From: fields@zip.eecs.umich.edu (Matthew Fields)
Subject: thought of the day
Organization: University of Michigan EECS Dept., Ann Arbor, MI
Date: Sat, 21 Nov 1992 00:03:43 GMT




seen in a fortune cookie database:

Writing about music is like dancing about architecture.
Newsgroups: rec.music.compose
From: MACDONAN@UK.AC.BHAM.IBM3090
Subject: art and technology
Date: Wed, 18 Nov 1992 15:01:58 GMT
Organization: The University of Birmingham, United Kingdom

Please post ideas/info for a possible conference/symposium on art
and technology with an emphasis on performing arts.
 ......thanks
Newsgroups: rec.music.compose
From: fields@zip.eecs.umich.edu (Matthew Fields)
Subject: Re: wow (was GEMS)
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Thu, 19 Nov 1992 13:59:45 GMT

In article <1efmd2INNgu5@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
>Three cheers for the illustrious Matthew Fields (three blasts on the
>shofar?) for his illuminating and entertaining articles.


Aw, gawrsh, thanks!  For the ethnomusicologists out there, a triple blast
is called Shvarim (Hebrew word meaning "breaks").



Newsgroups: rec.music.compose
From: icking@gmd.de (Werner Icking)
Subject: Re: Score?
Organization: GMD, Sankt Augustin, Germany
Date: Mon, 23 Nov 1992 14:22:38 GMT

In <0105009A.j83cok@david.roth-music.com> david@roth-music.com (David A. Roth) writes:

>WARNING: It will not save you alot of time using a music notation
>program, it will generally look better than a handwritten part. [...]

WARNING: It will NOT generally look better than ... Have a look at
JSBs Sonata et Partita a violino solo senza basso. A facsimile of
the autograph is available for some $'s. Compare it against any
printed version and you'll know what I mean.

Werner

PS: I'm trying to typeset the first movement of the first sonata with
    MusicTeX in a fashion that should come as near as possible to the
    original. So I know what I'm talking about.
--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
From: brickle@idacrd.UUCP (Frank Brickle)
Newsgroups: rec.music.compose
Subject: Re: Hearing Mental Music
Date: 16 Nov 92 19:27:50 GMT
Organization: idacrd, princeton, nj

From article <1992Nov12.225120.20144@genie.slhs.udel.edu>, by nancy@genie.slhs.udel.edu (Nancy Lebovitz):
> This may sound odd, but sometimes I can sort of hear music running in
> my mind, but as soon as I try to pay attention to it, it stops. Do any
> of you have this problem? Do you know of any way to get better access
> to your internal music?
> 
> Nancy Lebovitz
> nancy@genie.slhs.udel.edu

I think it was Roger Sessions who told about somebody -- Schnabel's wife? --
who referred to composers as people who have "Noten im Kopf".

You'll probably find there a a lot of people who have mental music running
just about all the time -- like nearly every waking moment -- in a very
detailed way. I know I do. Right at this moment it's that song "Little Boxes",
in the recording that got played a lot on the radio in the 60's. (I just got
back from California last night :-)).

Seriously, it's very weird when you start hearing tunes and passages you've
never heard before...
Newsgroups: rec.music.compose,alt.music.jewish,soc.culture.jewish
From: fields@zip.eecs.umich.edu (Matthew Fields)
Subject: teqilla
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Mon, 16 Nov 1992 21:20:16 GMT


on the ongoing saga of the trombone quartet,
I do plan to be present at the premiere of Call of the Shofar.
For those who missed:
December 20, 1992
3:00 PM
New Mexico State University Recital Hall
Admission Gratis.
This is the December concert of the Mesilla Valley Community Band,
and the piece is to be played by the Mesilla Valley Trombone Choir, which
commissioned the work.
I will be bringing my shofar.
And I'll be paying off my MC for a while.
From: david@roth-music.com (David A. Roth)
Newsgroups: rec.music.compose
Subject: Co-Writing Agreements ?
Date: Sun, 22 Nov 92 04:41:28 EST
Organization: DAVID A. ROTH MUSIC
Reply-To: david@roth-music.com (David A. Roth)
Distribution: us
X-Mailer: uAccess - Macintosh Release: 1.5v4



Anyone have a co-writing songwriter's agreement they could either
e-mail or fax to me?  (I have ones that are a total tangled mess.
:-) )

I'm looking for the kind that split everything 50/50 with the co-authors
of the song and maybe briefly address adminstrative control.

Please reply directly by e-mail or fax.  Thanks in advance!

David
david@roth-music.com
FAX: (614) 890-7684
Newsgroups: rec.music.reviews
From: gunther@world.std.com (Gunther W Anderson)
Subject: Tubular Bells 2, Mike Oldfield
Organization: The World Public Access UNIX, Brookline, MA
Date: Wed, 18 Nov 1992 16:54:15 GMT
Followup-To: rec.music.misc


I just picked up a most unusual thing.  Tubular Bells 2.  From the box:

	"The original worldwide smash was featured in 'The Exorcist'
	-- This is the newly-recorded sequel."

No one else in the world could have recorded a more complete, biting
parody of everything he has ever done.  It's amazing.  I sat here for
the whole CD with my jaw hanging open, trying to figure out where his
intentions stood within the framework of his achievement.  It's clear
that he intended a content-wise parody of his subject matter, and it's
a good bet that he also intended to parody the mindless electric-music
world that he helped create, but he is most incisive in a music parody
of the very style he's been using and maturing with all these years.
I won't argue the merits of the other works he's put out in the last
20 years, but this one carefully and systematically ridicules them all,
and the culture that they inspired and inspired them.

My one remaining question is, now that he's refuted everything that he
has done in his entire career, and indeed the whole culture, where
does he go from here?  Where is his equally cutting and complete
response to the questions he raised here?  What will replace this for
him, and will it replace it for us?  I somehow doubt it.  This is not
a work of growth, it is a work of sarcasm and destruction.  It's like
he got fed up with people telling him to do another Tubular Bells, and
this is his anger over his own fame.

						Gunther Anderson

Newsgroups: rec.music.reviews
From: stewarte@sco.COM (Stewart Evans)
Subject: Barely Works - "Don't Mind Walking"
Organization: The Santa Cruz Operation, Inc.
Date: Wed, 18 Nov 1992 07:58:04 GMT
Followup-To: rec.music.misc


Barely Works - "Don't Mind Walking" (Green Linnet, 1992)

It's obvious from looking at the personnel list that this is no 
ordinary traditional music ensemble -- or ordinary ensemble of any
sort.  The instrumentation is accordion (doubling on flute), banjo,
fiddle, hammered dulcimer (doubling on percussion), trombone, tuba
and drums.  The material includes traditional songs, hornpipes and
reels as well as original songs by band members.  

Several of the originals remind me of a British version of Poi Dog 
Pondering, especially the funky album-opener "Something'll Have To Change" 
and the closing "Stand Together" (both written by banjoist Chris Thompson).
The second track is a medley, which starts off with a traditional sounding
fiddle-banjo duet on "Staten Island", then starts to sound more like
a Bavarian brass band once the rhythm section comes in, then slides into
a syncopated shuffle.  Like Cordelia's Dad, the Barely Works clearly
regard these tunes as part of an ongoing, evolving tradition; a  
raucous version of "Old Joe Clarke" confirms this.  Various recognizable
rhythms drift around here and there: samba on "Bread and Water", a
bit of reggae, a snatch of New Orleans second-line -- but none of the
tunes are cut from whole cloth, instead they're patchwork quilts that
sound like no one style but their own.  The weak link is that a couple
of the original songs are not as memorable as they should be, but the
arrangements and playing are always interesting.

Highly recommended to fans of the above-mentioned bands, or to anyone
who likes folk music with a small "f" (and a large tuba).

-- Stewart
Newsgroups: rec.music.reviews
From: 6o25@sdf.lonestar.org (Stephen M. Jones)
Subject: TBA RRR show review 11/14/92 DALLAS
Organization: Super Dimension Fortress - Public Access Unix - Dallas, Tx.. 
Date: Tue, 17 Nov 1992 00:22:16 GMT
Followup-To: rec.music.misc


 Saturday, November 14th:  Date of TBA concert at Rock & Roll
 Revolution.  All in all I think it was one of their best shows. The
 energy was high, and there was a nice sizable crowd watching them for
 once.  They played about 16 songs.  I was kind of disappointed that the
 sdf 'posse' wasn't there.  Actually, it kind of made me feel lonely.
 Apparently they're getting tired of seeing TBA or something.  I go
 because it's something to do and I want to support the band; I think
 they are pretty good.
 
 I think the band worked together really well that night; despite the
 fact that their guitarist, Steve Jones, had been sick, he seemed to
 play with as much vigor and intensity as he always has, perhaps a
 little more.  Some of the crowd looked like they wouldn't enjoy the 
 show, but they did and even clapped wholeheartedly.  There were some
 humorous moments, as when Steve Jones got his guitar cord tangled up
 and later told the crowd "We're a new wave band."
 
 Some of my most favorite songs...Dallas, Freak, Deep Ellum Horror
 Story, Prom Baby, and Cheerleader.  I really identify with the lyrics.
 I think their music has a good positive side to it, too.  And I LOVE
 the sarcasm.  I have seen so many TBA shows that I almost know the
 lyrics to a few songs now.  Generally it's pretty loud, and sometimes I
 have a hard time making out the lyrics.  But I caught myself singing
 along to some of the more familiar songs at this show...  I guess I'm
 one of TBA's greatest fans.  I wish they could get more people to show
 up to their shows.  This night was exceptional, but usually it's pretty
 depressing for me.  One night I saw them and only three people were
 really watching them.  Me, Daniel Finster, and Jamison Crump.
 
 TBA apparently had some new material, a few songs that I hadn't
 recognized. I thought they were interesting.  It is fun to watch Steve
 play.  It's like he's on speed or something.  I don't know how he does
 it, other than practice.  I really like Steve's guitar style.  He keeps
 things interesting by playing strange chords and filling in with little
 neat riffs.  The bass player is also good, in my opinion... he even
 plays with his fingers!!  Chris's personality establishes something
 with  the audience, and Terrence is a great young drummer.  It will be
 interesting to see what happens with TBA.  I'm currently waiting for
 their tape to come out.  Look for it soon!
 
---
corey@sdf.lonestar.org 
-- 
Stephen M. Jones (214)436-4622 
SysAdmin <-> Super Dimension Fortress PAU 
6o25@sdf.lonestar.org - "Put in a quarter and play road rally." - Descendents 
Newsgroups: rec.music.reviews