HDTenEightyP/NetNews huggingface dataset:
From: dvf@kepler.unh.edu (David V Feldman)
Newsgroups: rec.music.classical
Subject: Theoretical developments in recent concert music
Date: 12 Dec 1992 19:42:18 GMT
Organization: University of New Hampshire  -  Durham, NH
Distribution: worldwide
NNTP-Posting-Host: kepler.unh.edu

In the opinions of readers of this group, what pieces of music
composed recently represent the most important theoretical 
developments in compositional technique.

By recently I mean, so within the last five or ten years.

I am not here concerned in anyway with whether the music is good or
bad, beautiful or ugly, but simply with innovations in melody, harmony,
rhythm, timbre, form, tuning, theatre, spacial location, integration
of new technology, etc. whose significance is potentially wider than
the individual piece where they are instantiated.  I am especially
interested to hear about the work of younger or lesser known composers
whose work I am unlikely to know from recordings or broadcast.

David Feldman

P.S.  I posted this first to rec.music.compose and got a handful of
responses of varying interest, but none that spoke directly to my
question.
From: ray.horton@tfd.gwinnett.com (Ray Horton)
Newsgroups: rec.music.classical
Subject: Re: Maddy Prior's Christm
Date: 15 Dec 92 10:40:00 GMT
Article-I.D.: tfd.140.148.uupcb
Reply-To: ray.horton@tfd.gwinnett.com (Ray Horton)
Distribution: world
Organization: The Fifth Dimension - Louisville, KY - 502-423-8654

MJ>Newsgroups: rec.music.classical
MJ>From: mvalinis@magnus.acs.ohio-state.edu (Michael J Valinis)
MJ>Subject: Re: Maddy Prior's Christmas album
MJ>Message-ID: <1992Dec13.215516.24301@magnus.acs.ohio-state.edu>
MJ>Date: Sun, 13 Dec 1992 21:55:16 GMT

MJ>It's called "A Tapestry of Carols".  I wholeheartedly second this nomination!

If classical Christmas music is the subject, look for The Louisville
Orchestra's recording on First Edition Records of Samuel Barber's
_Die Natali_.  It's a gorgeous setting of carols.
---
 . DeLuxe. 1.25 #12024 . "Now for something we hope you'll really like!"
                                             
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: why no women composers (was Re: FINAL FINAL THOUGHTS !!
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Date: Fri, 11 Dec 1992 17:43:24 GMT

apter@fid.morgan.com (Steve Apter) writes:
: In article <Dec.10.20.28.52.1992.4810@ruhets.rutgers.edu> bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
: >apter@fid.morgan.com (Steve Apter) writes:
: >
: >|In article <Bz24o0.IrG.1@cs.cmu.edu> acid+@cs.cmu.edu (Christopher Colby) writes:
: >|>In article <1992Dec10.010932.19279@dgbt.doc.ca> ted@dgbt.doc.ca (Ted Grusec) writes:
: >|>>Creative activity, of the composing and other sorts, is all in the
: >|>>testosterone, and not in culture.  Read Camille Paglia.
: >|>
: >|>Hey buddy, you owe me the cost of one new Decstation B/W display.  I just
: >|>put my fist through one.
: >|>
: >|>-chris
: >
: >|>I don't see a smiley here, so it looks like Mr Grusec has just been dealt
: >|an ace.
: >
: >Only if you consider putting your fist through a Decstation B/W display
: >"creative activity."
: 
: "Fist-fucking, in its starkly depersonalized conflation of voluntary rape
: and primitive exploratory surgery, dramatizes the daemonism of the sexual
: imagination, untouched by five thousand years of civilization.  My amazement
: never ceases at the biological conceptualism in male sexuality.  What woman
: could invent such compulsive structures?  What woman, unpaid, would live 
: and love in so hellish an underworld?"

I'm sorry, but is this supposed to *mean* something? The 'biological
conceptualism in male sexuality'? THis is surely what an information
scientist would classify as noise....

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Bela Siki
Date: 21 Dec 92 00:02:18 GMT
Organization: MIND LINK! - British Columbia, Canada

Does anyone know if this pianist is still alive? He used to teach at one of
the universities in Seattle. He played the Bartok Piano Concerto #2 about 20
years ago with the Vancouver Symphony under Lukas Foss, and I think made a
recording (of the Dohnanyi Nursery Rhyme thing?) with the Seattle symphony
under Milton Katims.
Newsgroups: rec.music.classical
From: r4smith@student.business.uwo.ca (Richard Smith)
Subject: re Ken Zuroski and Interesting phenomenon
Organization: University of Western Ontario
Date: Sat, 12 Dec 1992 21:16:18 GMT

You might be interested in the ideas of John Cage whose most 
controversial work, 4'33", consisted of several movements in which the 
performer doesn't play a note. Each movement is marked by opening and 
closing the cover over the keys of a piano and is strictly timed. The 
idea is that the movements frame ambient sounds so that they can be 
listened to as music.

Needless to say, a lot of people consider the work to be something of a 
high-flown joke, especially now that its shock-value has long since worn 
off. But 4'33" nontheless remains an important step in 20th-century 
explorations of chance and the environment as elements of music.

r4smith@student.business.uwo.ca (Richard Smith)
Western Business School  --  London, Ontario
Newsgroups: rec.music.classical
From: dwong@chopsuey.pico ( paganini's admirer )
Subject: Re: How to read orchestral scores?
Reply-To: dwong@chopsuey.pico
Organization: Sun Microsystems
Date: Wed, 16 Dec 1992 01:40:46 GMT

In article GIx@news.cso.uiuc.edu, al21146@uxa.cso.uiuc.edu (Richard Feynman Albert LiFeynman ) writes:
>  I have a few questions on how to read orchestral scores.
>1.  How can a person read a whole page of notes at once and knows how it
>  sounds? I can read a Bruckner symphony with relative ease due to its
>  block structure. I need the music on and I can not read all the lines
>  at once. I need to follow the melody. A complex Mahler symphony is too
>  difficult to read for me.

It is difficult for many, not just you. :-)  Minimum requirement is to be able
to play the score on piano if you want to learn it.

>2. Is it possible to self-train in score reading? Almost all my musical 
>  knowledge I know I learned on my own, by reading books and trial and error.
>  If this is so, what is the proper way to do?way

Can you read all the cleives fluently?  If not, lots of practice.  Play on the
piano if a real orchestra is not available. :-)
 
>3. In order to do serios musical criticism on interpretation we must learn to
>  read orchestral scores. Is this true? This is the feeling I get from listening
>to classical music for the past nine years.
>

and many other music theory classes...

>  Thank you for your messianic instruction!
>
>Al
>al21146@uxa.cso.uiuc.edu
>

David W.


Newsgroups: rec.music.classical,ne.general
From: kepowers@mbunix.mitre.org (McKillop)
Subject: Re: Mezzo-soprano Teri Medley Expands Caroling at Boston Ritz-Carlton
Organization: The MITRE Corporation, Bedford, MA
Date: Fri, 11 Dec 1992 21:56:36 GMT

>In view of the enthusiastic response to the Teri Medley Christmas Caroling
>at the Ritz-Carlton Hotel in Boston, the Ritz-Carlton, Boston's leading
>luxury hotel ...

Actually, the Ritz recently lost its 5 diamond rating.  The Four
Seasons is a much nicer hotel.

-- 
Kelly E. McKillop			The MITRE Corporation
Intelligence Systems Integration	Burlington Road
(617) 271-8281				Bedford, MA 01730
kepowers@mbunix.mitre.org		linus!mbunix!kepowers
Organization: University of Maryland at Baltimore
Date: Thursday, 17 Dec 1992 13:29:59 EST
From: Robert Haskins <RHASKINS@UMAB.BITNET>
Newsgroups: rec.music.classical
Subject:    Ruinous endings (was: The BEST Finale)

Simon.N.McRae@dartmouth.edu (Simon N McRae) writes:

> Has anyone considered on the other hand the most ruinous endings?  I
> mean by this the worst tie up's to otherwise wonderful music.  I'd have
> to nominate in this catgory any Italian opera by Mozart.

I will leave it to others to debate this point; I'd rather take up the
idea for this (potentially) most entertaining thread.  I've always found
Bartok's endings rather problematical -- two standouts are the end of
the Fourth String Quartet (the recap of the end of the first movement)
to close this magnificent work always seemed to me too pat and convenient,
though I know others regard it as the consummate brilliant stroke; and
the end of Music for Strings, Percussion, and Celeste -- too abrupt.
One good one, however, is the end of the Third String Quartet (and
now that I think of it, the Sixth Quartet).

Bob
Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Re: Greatest living conductors
Date: Fri, 18 Dec 1992 18:02:33 GMT
Organization: Colorado State University, Fort Collins, CO  80523

  How about Haitink?  Has he ever made a bad recording?  His Mahler is wonderful
and I understand the same is true of his Shostakovich.


  As for Abbado, I love his Mahler's 3rd, 6th, and 7th, and he is usually a
safe conductor -

   However.....

  Don't come near his DG recording of Beethoven's 6th symphony!!!!

  This is the worst CD I own, in the sense of being made by a good conductor.
It is heartless, cold, and empty - yuckkkk!!!

Does anyone have a good recommend for this piece?

Mike
From: carlson@ab24.larc.nasa.gov (Ann Carlson)
Newsgroups: rec.music.classical
Subject: Samuel Barber's Hermit Songs
Date: 14 Dec 1992 19:11:11 GMT
Organization: NASA Langley Research Center, Hampton, VA  USA
Distribution: world
NNTP-Posting-Host: ab24.larc.nasa.gov

Does anyone know of a good biography of Samuel Barber or book about
American composers which includes information about how Barber came
to write the Hermit Songs and what they meant to him?  Our library
has nothing, and it would be easiest to request and inter-library
loan if I had a specific title.

I am performing these pieces in the spring, and would like to be
able to talk a bit about the history of the pieces during my program.
Also, I would like a recommendation for a good recording of these 
songs - preferably the version for high voice.

Please either post responses or email to "acarlson@nyx.cs.du.edu"  

-- 



*************************************************      
*Dr. Ann B. Carlson (a.b.carlson@larc.nasa.gov) *       O .
*MS 366                                         *         o  _///_ //
*NASA Langley Research Center                   *          <`)=  _<<
*Hampton, VA 23681-0001                         *             \\\  \\
*************************************************
From: elmo@maple.circa.ufl.edu
Newsgroups: rec.music.classical
Subject: Re: Greatest living pianist
Date: 14 Dec 92 15:29:06 GMT
Reply-To: elmo@maple.circa.ufl.edu
Organization: University of Florida - CIRCA

In article <1992Dec11.125316.23366@visual.com>, rwh@visual.com (Rob Holzel) writes:
>> I'd say it's without a doubt Alicia de Larrocha.>
>I'd nominate a dozen others before her, including Lazar Berman, Murray
>Perahia, Annie Fischer, even Garrick Ohlsson and Emanuel Ax.  

Greatest living pianist huh?  Hmmm.... that's a tough one.  I don't think I
can name one right away.  For that matter, ever.  For several of us, it's 
like picking "the favorite one of your children."  Simply can't do it.
However, If I had a top 5 list of my faves, it would definitely include, in
no particular order...

1. Richter   2. Brendel  3. Pollini  4. ?  5. ?
                                             
Damn, can't think of 4. or 5. right away.  Too bad Glenn Gould conked out
around 10 years ago.  He would have been around the same age as Brendel,
and would have definitely made it in the list.  As far as dead guys go,
here's my top five (they didn't die too long ago):

1. Gould  2. Serkin  3. Rubinstein  4. Arrau  5. Horowitz?

Hmmm, maybe I need a top ten instead.  Nah, this will do for now.
From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
Subject: Re: Shostakovich symphony recommendations
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 21 Dec 92 01:47:32 GMT

In article <BzJutF.Hvy@mach1.wlu.ca> bili6745@mach1.wlu.ca (bilinsky keith) writes:
>In article <1992Dec19.202445.18333@magnus.acs.ohio-state.edu> jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>>
>> jason requests recommendations for Shostakovich's symphonic works.
>>
>
>Listen to Shostakovich 5, get the 1959 New york, Bernstien if you can,
>Others will flame it for being inaccurate but its a woderfully exciting
>work/performence.
>

I wouldn't say flame you -- just disagree.  I prefer Bernstein's/NY Phil
later version (recorded live in Tokyo).  In both versions, he's as good
as it gets in the first three movements, especially the luscious 
largo (3rd movement).  But, in the earlier version, his tempo in the
finale is so fast that I lose track of the music.  This interpretation 
is indeed daring and worth listening to, but it seems a poor choice 
for a first listen.  The latter recording is more conventional and 
still brilliant.  (Also it's available at mid-price with the 1st cello
concerto performed by Ormandy/Ma/Philadelphia.)  And, for another 
great interpretation of the 5th, try the Rodshensky/USSR Ministry 
of Culture Orchestra on Melodya.  They're interpretation of the 
3rd movement is possibly more gorgeous than Bernstein's!  

John D.
From: haynes@cats.ucsc.edu (Jim Haynes)
Newsgroups: rec.music.classical
Subject: Re: Requia
Date: 20 Dec 1992 06:47:55 GMT
Organization: University of California; Santa Cruz
NNTP-Posting-Host: hobbes.ucsc.edu


In article <1992Dec19.071338.4510@news.columbia.edu> gmw1@cunixa.cc.columbia.edu (Gabe M Wiener) writes:
>	One blouse, two blice....

For some reason this reminds me of
	The teacher taught,
	The preacher praught,
	And the screecher scraught.

and it also reminded me of a former colleague who started out majoring in
Classical Studies before switching to Computer Science.  Once he amazed me
by supplying the correct (I assume) plural for 'platypus' at the drop of a hat.
-- 
haynes@cats.ucsc.edu
haynes@cats.bitnet

"Ya can talk all ya wanna, but it's dif'rent than it was!"
"No it aint!  But ya gotta know the territory!"
        Meredith Willson: "The Music Man"
Newsgroups: rec.music.classical
Subject: Re: Looking for Classical Wedding Musicrea/fol
From: phoogenboom@eagle.wesleyan.edu
Date: 19 Dec 92 14:56:50 EST
Followup-To: rec.music.classical
Organization: Wesleyan University

In article <mixterhp-181292150616@152.10.11.116>, mixterhp@appstate.edu (Perry Mixter ) writes:
> In article <1992Dec17.164602.14299@hubcap.clemson.edu>,
> jayc@hubcap.clemson.edu (Jay Crawford) wrote:
>> 
>> I'm getting married in June in a small church that has a nice pipe organ.  My
>> fiance and I would like to open the ceremony with 30 minutes or so of music, 
>> as well as have the entrance and exit with nontraditional music.  When I say
>> nontraditional, I mean the standard "wedding music" selections that you always
>> hear.  The church is Episcopal and has the restriction that the music can be 
>> classical as long as its sacred, so operas, etc., are out.  I'm looking for 
>> suggestions for organ music to play prior to the wedding, during the entrance,
>> during the exit, and any hymns that seem appropriate.  We both enjoy classical
>> music very much, but aren't too familiar with organ pieces.  Thanks!
>> 
>> -- 
>> Jay Crawford          
>> jayc@hubcap.clemson.edu
> 
> For preludes:	
> Bach	     Air on a G String or almost anything by Bach
> Handel    Selections from Water Music
Both SECULAR!

> 
> For exit music
> You CANNOT go wrong with the Finale from WidorUs Symphony #5 (Toccata), but
> your organist had best be up for the challenge of playing it!  The Toccata
> is played all the time in churches so it should pass your churchUs
> requirements.
It is, however, actually SECULAR!


> Go hire yourself a first rate trumpeter to play. He/she will suggest some
> prelude music, and it is guaranteed to knock the socks off the
> congregation.					
> 
> Good luck!
> 
> Perry Mixter
> Director, Office of Cultural Affairs 
> Appalachian State University
> Boone, North Carolina  28608
> 
> Internet address: MIXTERHP@APPSTATE.EDU
> Bitnet address:    MIXTERHP@APPSTATE.BITNET 

Peter Hoogenboom
phoogenb@ucs.indiana.edu
email, please, til 1/10/93.
Newsgroups: rec.music.classical
From: packer@amarna.gsfc.nasa.gov (Charles Packer)
Subject: Re: Pachelbel, Beethoven, and Mel Gibson
News-Software: VAX/VMS VNEWS 1.4-b1  
Organization: Dept. of Independence
Date: Fri, 18 Dec 1992 21:24:00 GMT

In article <105123@bu.edu>, spacefox@acs.bu.edu (Godfrey Degamo) writes...
>What's the best music to romance a woman at the piano?


Debussy's "Clair de Lune". Then, when she says "That was 
wonderful," you can reply "But you didn't even swoon!"
From: roger@crux.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical
Subject: Re: Requia
Date: 15 Dec 92 06:40:14 GMT
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Originator: news@nimaster

In article <1992Dec14.215344.8507@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>cb@tamarack13.timbuk (Chris Brewster) writes:

>: I didn't study Latin but my wife did.  We agreed that more than one
>: kleenex would be several kleenices, and she informed me that more than
>: one thermos would be several thermores.  I want to get these things
>: right.

>Naaaaah, more than one thermos would be thermoi - it's Greek not
>Latin. (The th and os are giveaways).

It could easily be a Latin loanword from Greek.

>One the same grounds the plural of octopus would be????

Octopodes, octopi, or octopus (long U).  Depends on what happened to
the word, and where and when it was being used.  Octopuses is fine
too.

My two cats, Banjo and Harmonica, would like you to know that, collectively,
they are an octopus(s).

Roger
>
>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: rsm13@cunixa.cc.columbia.edu (Ravi S Moorthy)
Subject: Works of Karol Szymanowski
Organization: Columbia University
Date: Sat, 12 Dec 1992 17:01:48 GMT


I have never heard any of Szymanowski's orchestral works.  Can
somebody suggest me some.

Ravi

Newsgroups: rec.music.classical
From: gds@york.cs.ucla.edu (Greg Skinner)
Subject: Re: How to read orchestral scores?
Originator: gds@york.cs.ucla.edu
Keywords: scores, orchestra
Reply-To: gds@cs.ucla.edu (Greg Skinner)
Organization: in your face!
Date: Thu, 17 Dec 92 22:17:03 GMT

In article <1992Dec17.112406.7768@lloyd.Camex.COM> chrisi@lloyd.Camex.COM (Chris Ischay) writes:
>Toscanini had another uncanny ability with respect to scores, in that his
>memory was phenomenally good and I believe he literally never conducted
>with a score before him.  Memorizing something like Meistersinger to the
>point where you can detect players' individual missed notes in rehearsal
>seems like something that belongs in Guiness.

This doesn't seem like a particularly uncanny ability.  I imagine that
after you have heard a piece enough times, you can detect even the
slightest mistakes or changes.  On the other hand, if nothing else, I
have a good memory for music.  (I have not tested my memory on a long
and complicated work, though.)

>I figure some people's brains can, and others like mine can't.  It's like
>those aptitude test things in school where you come out a genius at one
>thing and a dunce at something else.

Funny how brains work.  I wish I could make my fingers do on the
keyboard what my brain wants them to. :-)

--gregbo
Newsgroups: rec.music.classical
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Bartok in "The Shining" (was Bela Bartok info.)
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Tue, 15 Dec 1992 20:36:57 GMT


In article <92350.134032MLH119@psuvm.psu.edu>, <MLH119@psuvm.psu.edu> writes:
|> Could anyone tell me what the name of the piece of Bartok's music that was
|> used in the soundtrack to the movie, The Shining.
|> Any information would be greatly appreciated.
|> 
|> Michael Hock --- MLH119 at PSUVM

Seems to me they used some excerpts from a piece with a title something
like: Music for orchestra, piano, and celeste

I'm not sure of the title; perhaps someone else has more precise info.

Bradford Kellogg
Newsgroups: rec.music.classical
From: erwin@helsinki.ks.uiuc.edu (Edgar Erwin)
Subject: Glass in Perfume Add
Organization: University of Illinois at Urbana
Date: Fri, 11 Dec 1992 19:17:15 GMT


Recently someone asked about the music in a perfume add.  They suspected it  
might be by Philip Glass.  I assumed at the time that it was just another  
imatation of Glass, as in several other commercials including one for a pain  
reliever.  Well, I heard the perfume commercial Thursday night (during the  
Simpsons) and it was in fact Glass.  Specifically "A Gentleman's Honor", from  
_The Photographer_.   (Can't remember the name of the perfume.)

Ed erwin@lisboa.ks.uiuc.edu
From: wbriancc@soda.berkeley.edu (Brian Wong)
Newsgroups: rec.music.classical
Subject: 1812 Overture - Recommendations?
Date: 17 Dec 1992 04:26:38 GMT
Organization: U.C. Berkeley, CS Undergraduate Association
Distribution: usa
NNTP-Posting-Host: soda.berkeley.edu


I am looking for a good version of Tchaikovsky's 1812 Overture.  Can anyone
out there recommend such a recording (CD)?  Please reply via e-mail.  Thanks
for your time.

Brian Wong
wbriancc@soda.berkeley.edu
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Schirmer, Chopin, Mikuli, and Horowitz...
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Mon, 14 Dec 1992 21:45:50 GMT

In article <104607@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:

>     Anyways, after buying Chopin Nocturnes For the Piano, Joseffy Edition
>from the Schirmer's Library of Musical Classics (L. 30), I discovered,
>looking at the back of the book, that there is a Mikuli and Joseffy
>Editions of Chopin's works.  I suppose they are arranged differently,
>but by how much?  And does it really make a significant difference?

There can be differences of recommended fingerings, for one thing.  But
with Chopin there are lots of problems, because there are many sources
(first editions, autographs) that often conflict, plus the evidence of
his students' copies.  Chopin, it seems, was known to change his mind.

Every editor has to make some tough decisions.  Mikuli and Joseffy took
different paths; you may want to do some comparisons.  Then there's the
Paderewski complete edition, much of which is available from Dover; and 
the Henle edition, the Palmer, and more and more.  

Editing Chopin is a particular nightmare, even compared to other 
composers.  In Chopin's day there were strange copyright laws that 
protected one internationally only if the publication appeared in 
all the countries in question on the same day.  So Chopin often
made three publishers' copies, for Leipzig, Paris, and London.  Needless
to say the copies weren't exact--so which is the "real" one?  Then he
corrected the proofs from the engravers, adding more changes in some
cases.  On top of these complications, he hired a copyist named Fontana,
who could reproduce his handwriting almost exactly.  

Roger
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.classical
Subject: Re: re Ken Zuroski and Interesting phenomenon
Date: 18 Dec 1992 21:00:45 +0800
Organization: The University of Western Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Richard Smith (r4smith@student.business.uwo.ca) wrote:
: You might be interested in the ideas of John Cage whose most 
: controversial work, 4'33", consisted of several movements in which the 
: performer doesn't play a note. Each movement is marked by opening and 
: closing the cover over the keys of a piano and is strictly timed. The 
: idea is that the movements frame ambient sounds so that they can be 
: listened to as music.
: 

I knew it, I knew it... a cajun.