HDTenEightyP/NetNews huggingface dataset:
From: elw@jaguar.sky2 (Ellis Workman)
Subject: Re: Fast horn playing
Reply-To: elw@jaguar.sky2
Organization: Mayo FOundation/Clinic
Date: Wed, 19 Aug 92 13:42:29 GMT


>I wonder if there are any professional horn players on the net who can offer
>a word of advice on learning to articulate fast.  I played the horn from
>about age 14 until about 20, then quit for 28 years.  About four years ago I
>started again.

I am a trumpet player, but there are common principals in brass articulation
that apply to all brass instruments:

	1. Try to move as little of the tongue as possible, this can
	   be practiced without the instrument.  The less mass that moves
	   the faster you will be able to move it.  Make sure there is 
	   adequate breath support behind the tongue so that the note 
	   speaks immediately.  Keep the tongue behind the teeth and do
	   NOT attempt to propel the air through your instrument with the tongue.

	2. Practice to develop a whole continuum or palette of articulations
	   from legato (sounding like a slur) and a very hard marcato.
	   There are infinitely many articulations from soft D  to a hard T.
	   The other benefit of this is that you can legato tongue awkward
	   intervals that need to be slurred and get away with it.

	3. At first practice for speed in the single tonguing with a legato 
	   tongue.

	4. Practice tonguing patterns on scales with a metronome and chart progress.
	   Each pattern on each pitch of the scale
		 ____
		 dddd d {      (3/4 meter 4 1/16, stacatto 1/4 note, 1/4 rest)
		____ ____
		dddd dddd d {  (4/4 meter 8 1/16, "

		etc. gradually increasing the number of 1/16 notes in each pattern


	5.  Your metronome speeds will be faster for the shorter patterns.


	6.  Practice to develop  good slow multiple tonguing (double & triple)
	    that is indistinguishable from single tonguing.  In this way you will
	    never get caught in the trap of attempting to play something that is
	    "to fast for single tonguing" and "to slow for double/triple tonguing".
	    Double and triple tonguing are merely techniques for coping with fast 
	    passages, not something the audience or conductor should be aware of.
	    Use of a tape recorder, particularly with the capability of playback
	    at a slower speed is very helpful in showing how uneven multiple tonguing
	    actually is.

	7.  Try to find a teacher who can help you.


Good Luck!



-------------------------------------------------------
Ellis Workman                   Internet:  elw@mayo.edu
Biomedical Imaging Resource
Mayo Clinic/Foundation          Talk:    (507) 284-4435                  
Rochester, MN 55905             FAX:     (507)-284-1632

Principal Trumpet;  Rochester (Minnesota) Symphony Orchestra
-------------------------------------------------------
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical
Subject: Re: Wanted: A crash course in composer's styles to guess who wrote a piece
Date: 14 Aug 92 21:38:20 GMT
Followup-To: rec.music.classical
Organization: Univ. of Arizona

In article <!c6m09.bskendig@netcom.com>, bskendig@netcom.com (Brian Kendig)
wrote:
> Just curious, and wanting to impress some people by making myself look
> educated.  ;)
Hmm, well, I'd suggest actually educating yourself, which takes rather more
time (but what else are you doing with your life?). Having taken numerous
music history courses (as part of my doctoral minor), which were quite
fortunately taught by marvelous professors, I've been dragged through loads
of music I'd never have listened to otherwise, and come to understand and
love it, and I've *begun* to have a serious idea of what are the notable
stylistic features of particular periods and composers (but I still feel
like I've got a long way to go, especially with doctoral prelims coming 
up soon!)...really, there is no substitute for lots of listening, and as
far as knowing what to listen for, well, try the Norton series on history
of western music (Prentice-Hall series is good too)...but forget the idea
of a "crash course"....

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: akumar@pollux.usc.edu (Anant Kumar)
Newsgroups: rec.music.classical
Subject: SpicMacay:Indian Dance(ODISSI):LEC-DEM:AUG 19:FREE
Date: 12 Aug 1992 15:30:44 -0700
Organization: University of Southern California, Los Angeles, CA
Distribution: ca
NNTP-Posting-Host: pollux.usc.edu


  Society for Promotion of Indian Classical Music And Culture Amongst Youth
                                (SPIC-MACAY)

                                 presents

                   An evening (Lecture-Demonstration) with

           	 One of the foremost Indian Classical Dancers
			  The Great Odissi Exponent


                             SANJUKTA PANIGRAHI



                        Wednesday Aug. 19, 1992, 7:30 pm.
			
 		       Titan pavilion A, University Center
			  California State University
                                   Fullerton

			**ALSO AT:
			  Peterson Hall, Room 103
			  UC, SAN DIEGO. August 20th, 7:30 pm.
			  Call (619) 291 9377 for more Info.
			**

                        ADMISSION FREE AND OPEN TO ALL.
	     (First Come First Served, limited by hall capacity)

		For CARPOOL and other info, contact:
                           USC, Los Angeles (213) 748-6353 (Kartik)
                           UC, Irvine       (714) 856-3589 (Sanjiv)
                           UC, Los Angeles  (310) 312-1644 (Munira)
			   CSU, Fullerton   (714) 992-5875 (Subha)

                or e-mail: ananthan@usc.edu   (Kartik)

Lecture-Demonstration: 
---------------------
The artist explains the art form and its intricacies. She illustrates
her explanations with demonstrations of each action (mudra) even as she
talks.

The audience will be sitting on the floor, close to the artist. It might be
a good idea to get your own cushions.

Directions and Parking:
----------------------
From 91 Freeway
Take 57 N. (Pomona), Exit Nutwood Avenue. Take left at exit (lights)
right on State College Blvd.
First Right on Dorothy Lane
Immediate Left and go on to Parking Lots A & B.

parking Fee is $2 per car.

---
from 60 Freeway.
Take 57 South, Exit Nutwood. Right at exit and follow above directions.
--------------------------------------------------------
Newsgroups: rec.music.classical
From: Bill_P_Pearce@cup.portal.com
Newsgroups: rec.music.classical
Subject: Re: De mortuis nil...?
Date: 15 Aug 92 05:45:26 GMT
  <1992Aug13.171123.14704@husc3.harvard.edu>
Organization: The Portal System (TM)


   In article <1992Aug13.171123.14704@husc3.harvard.edu> Noam Elkies
seems to question "prolificacy", and I think someone else wondered about
it (Roger Lustig, I think).  It certainly wasn't in my vocabulary, but
the Oxford English Dictionary defines it as follows: "the quality or
state of being prolific"  OED also defines "prolificity" in the same
language.


      Bill Pearce
Newsgroups: rec.music.classical
From: jwa@vipunen.hut.fi (Jyrki J Wahlstedt)
Subject: Re: Bach and religious feelings
Organization: Helsinki University of Technology, Finland
	<1992Aug19.141214.19568@Princeton.EDU>
Date: 20 Aug 92 02:02:12

In article <1992Aug19.141214.19568@Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes:
[ A lot deleted ]
> (Not that music *is* a language, mind you; that metaphor has real
> problems when you begin to make any sort of serious parallels to real
> languages.)

  Olivier Messiaen tried to construct a musical language, sort of, in
  "Meditations sur le mystere de la sainte trinite". I mention this
  only as a curiosity.

> By "context for listening" I mean your education, your family
> background, the music you grew up with, the position of music in the
> society you live in, and the effort you've put into learning music over
> a lifetime, among other things.  These affect your availability to feel,
> as well as the things available for you to feel.

  I noticed a few weeks ago the influence of the culture very clearly.
  I was in Tanzania driving in a car where there were also some
  Tanzanians and my friend to whom I have sent some cassettes sometimes.
  We played a cassette containing Brandenburg Concertos (I don't remember
  which one was on, say 4th). Suddenly one of the Tanzanians asked:
  "Is someone singing or what's that?". The musical communication really
  isn't universal.

  It is just curious that feelings are not predictable. I remember when
  I was about 15 years old and classical music was quite new to me. Till
  then I had listened Beatles and alike (late 60s). Some pieces of Bach,
  especially the organ music, hit me hard and deep (I haven't recovered
  yet). There was some innocence due to unexposure, I think, but the
  feelings were real and strong. This is a fact, not a general truth.
--
!
!	Jyrki Wahlstedt
!		jwa@vipunen.hut.fi
!
!  Everything not eternal is eternally out of fashion
!
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: RE: Tower Records : Sale
Organization: Visual
Date: Fri, 14 Aug 92 19:02:33 GMT

>there are a few of us here at yale who will be interested in
>driving down to NY but would like to do so if there is a sale!

Well, suppose I was to tell you the Tower in Boston is the
biggest record store in the world?  And suppose I was also to 
mention that in Harvard Square are several stores competing in
the classical market, including Tower and HMV (another superstore)
as well as a local chain called Newbury Comics, where Polygram,
CBS, and BMI recordings are usually priced between $9.99 and
$11.99 almost any day you pick?

Competition in the Boston market is intense.  You and your friends
should consider a trip to Cambridge and downtown Boston -- then
hit the several *used* CD stores in the area as well.  The
classical department in the NYC city Tower is about half that
of the one in Boston, plus if I remember correctly, you have to
go to another address altogether to look at clearance CDs and 
cutouts.  

Rob
From: rwh@visual.com (Rob Holzel)
Subject: Re: New Vox Box and Vox Legends Catalog
Organization: Visual
Date: Fri, 14 Aug 92 19:08:50 GMT

>Chavez
>The Complete Symphonies
>London Symphony Orchestra
>Eduardo Mata, conductor
>CDX 5061

This set is a fantastic value: comprehensive (they're all here), solid
performances, and good DDD sound.

All this, and only about ten bucks for the two-disc set.


Newsgroups: rec.music.classical
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical
Subject: Re: Wanted: A crash course in composer's styles
Date: 15 Aug 92 16:04:44 GMT
Followup-To: rec.music.classical
Organization: Univ. of Arizona

(Gabe M Wiener) wrote:
> DANGER, WILL ROBINSON!
indeed. I'm sure none who have read Rosen's book will disagree that, 
marvelous though it is, it's hardly something to put into the hands 
of someone trying to get started understanding musical styles. I'm
not sure that I don't think Grout is even worse. I refer to my own
copy fairly frequently, and there is a lot of good information there,
but come on, have you ever tried to just *read* Grout? Gak...It's
enough to make anyone want to go back to "Rolling Stone"...I guess it
just goes to show that there is no "Lazy Man's Guide to Musical Riches"
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: Renaissance music misconceptions
Originator: news@nimaster
Organization: Princeton University
Date: Sat, 22 Aug 1992 23:25:20 GMT

In article <1992Aug22.002515.15005@husc3.harvard.edu> elkies@ramanujan.harvard.edu (Noam Elkies) 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...

>from a week's vacation.  Among others, he mentions
>>                                                   the 19-part motet 
>>`O bone Jesu' by Robert Carver (written for James IV Chapel Royal at 
>>Stirling and including 11 parts for tenors - what an excellent choice),

>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-)

>Presumably this motet is for male
>choir, with "tenor" including some alto lines, and the remaining 8
>being bass parts? 

Actually, the voices probably weren't even called "tenor."  In the time
around 1500, much (if not most) 4-part music was written for male choirs
in a more-or-less ATTB arrangement; this is certainly true for Josquin.
What we call then now (even though the four would hav ebeen called
Cantus, Altus, Tenor, Bassus) is another matter.  Those names referred
to function as much as voice range, and a tenor partbook might have 3
or 4 clefs, even ignoring the later chiavette issue.  Other parts added
to the basic parts were usually referred to by number, e.g., Quinta
Vox.

So a pice might indeed have a huge number of parts written in the c4 and
c5 (tenor and baritone, we sometimes call them) clefs.

> And what's an "Earthquake" mass?  Guess I'll find
>all of that out next week.

It's sung on the Sunday Before WWF Championships.

Roger

Newsgroups: rec.music.classical
From: mccomt@aix.rpi.edu (Todd M. McComb)
Subject: Re: Bach and religious feelings
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Fri, 21 Aug 1992 17:53:09 GMT

In article <173a2sINNk4l@agate.berkeley.edu> Vance Maverick writes:
>In article <dcjybvj@rpi.edu>, mccomt@aix.rpi.edu (Todd M. McComb) writes:
>|> Facts are boring.

>Do you have a reference for this claim?

Mutlu's postings on soc.history?

Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Arthur Cohn
Organization: University of Western Australia
Date: Sat, 15 Aug 1992 05:28:37 GMT

Is anyone aware of Arthur Cohn's quintuple concerto for viol consort and
romantic orchestra has ever been recorded? Anything else by same
composer?

What about Loeffler's Death of Tintagel (after Maeterlinck) (with viol
d'amore and romantic orchestra)

Are other similar recordings of baroque and pre-baroque instruments with
romantic orchestra around?

(I know of the various 20c harpsichord concerti, the suite for
Uillean Pipes and orchestra, the concerto for taragota and orchestra)
Newsgroups: rec.music.classical
From: pmy@vivaldi.acc.virginia.edu (Pete Yadlowsky)
Subject: Re: John Cage
Organization: University of Virginia
Date: Thu, 13 Aug 1992 18:48:30 GMT

Haus Der Luge writes

>Would anybody here be able to help me contact John Cage ???

um, a spiritual medium may be of some use. He died Wednesday.

>As well ... could anybody recommend any CD's of his works in
>particular?  I have some of the "JOHN CAGE EDITION" titles, but
>that's it.

One of my favorites is the Sonatas and Interludes for prepared piano,
on the Denon label. Performed by Yuji Takahashi. 

--
Peter M. Yadlowsky              |  Wake! The sky is light!
Academic Computing Center       | Let us to the Net again...
University of Virginia          |    Companion keyboard.
pmy@Virginia.EDU                |                      - after Basho
From: garretso@oac.hsc.uth.tmc.edu (Leon T. Garretson)
Newsgroups: rec.music.classical
Subject: Re: Wedding music suggestions?
Date: 17 Aug 1992 15:19:59 GMT
Organization: UT Health Science Center Houston

In article <1992Aug17.045435.20152@Princeton.EDU> mikulska@astro.Princeton.EDU (Margaret Mikulska) writes:
>>In article <1992Aug16.144811.9375@Princeton.EDU>, roger@phoenix.Princeton.EDU (Roger Lustig) writes...

----------------- flames deleted -----------------

>Besides, the original poster asked for suggestions.  And guess what: one
>of the purposes of USENET is to exchange opinions, especially when the
>opinions are informed.  Nobody is forcing anybody to take those opinions
>into account, though.
>
	OK here's a suggestion. Widor: Toccata from Symphony #5 (?) for
	organ. Pretty tough to play but on the occasions I've heard it
	at weddings the bride and groom had to wait on the steps of the
	church for the guests to leave as they all sat there entranced,
	listening to the music. A REAL BIG BLOW as some would say.

	Leon
Newsgroups: rec.music.classical
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: WEBERN
Organization: Educational Computing Network
Date: Thu, 13 Aug 1992 20:03:29 GMT

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

I do.  Yup, they just go from Opus 1 to the last one, and include the
Bach arrangement.  Julliard does the string quartets.  I think it is on
3 CDs

Jeff
Newsgroups: rec.music.classical
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Re: JOHN CAGE
Organization: University of Western Australia
Date: Sun, 23 Aug 1992 04:18:13 GMT

roger@phoenix.Princeton.EDU (Roger Lustig) writes:
: In article <1992Aug23.030649.6798@uniwa.uwa.edu.au> diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott) writes:
: 'cause it made a nicer thud when it hit the floor.
: 
: Next?
: 
drumm roll and cymbal crash...


Why are we both at work on a Sunday?
From: ienne@lamisun3.epfl.ch (Paolo Ienne)
Newsgroups: rec.music.classical
Subject: Re: Complete Set of LvB Piano Sonatas
Keywords: Arrau, Beethoven
Date: 13 Aug 92 07:25:30 GMT
Organization: Ecole Polytechnique Federale de Lausanne

In article <1008@clbull.frcl.bull.fr>, freja@cl.bull.fr (Etienne Frejaville) writes:
|> In article <1992Jul23.113444.18001@philabs.philips.com>, kpl@philabs.philips.com (K P Lee) writes:
|> |> 
|> |> In article <1992Jul22.144109.1967@brandonu.ca>, hanly@brandonu.ca writes:
|> |> |> There is also a complete set of the sonatas recorded by Claudio Arrau on
|> |> |> lp's but I don't know whether they have been released on CD. I found
|> |> |> them quite enjoyable but have not really compared them with other versions.
|> |> 
|> |> This is available on the Philips label, 432 301-2, 10 CDs.
|> |> 
|> 
|> 
|>  There is also an earlier recording of the complete set by the same pianist 
|>   on the EMI label.
|> 
|> --------Etienne FREJAVILLE---Bull S.A   --------------------------------
|>  SPO-PARIS/DSE/LANG		        e-mail: E.Frejaville@frcl.bull.fr
|>  Rue Jean-Jaures, F6/1D/05, BP 53       tel: (33-1) 30806548
|>  78340 Les Clayes-sous-Bois, France     Fax: (33-1) 30807950
|> 
|> "On ne monte pas au paradis avec un train de marchandises"
|>                                 
|>                                  Paul Klee (a propos d'Anton Bruckner)

But, as far as I know, the Philips version is better. Arrau is said to have
musically found his LvB way in his eighties. Whether this is true or not, I can't
say. But some of the performances I listened to from the Philips recent recordings
are worth having.


paolo.
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Soundtrack from movie "IF" (query)
In-reply-to: kos@cunyvms1.gc.cuny.edu's message of Wed, 19 Aug 1992 18:47:43 GMT
Organization: pubs
	<1992Aug19.184743.2356@timessqr.gc.cuny.edu>
Date: 20 Aug 92 12:26:03 CDT

Bob Kosovsky writes:

   Wouldn't it be nice to think that in 20 years the infatuation with
   the  [Pachelbel] Canon will have subsided?

Too late, Bob--we're already nearing the 20-year mark and no let-up 
is in sight.

Chris Brewster
Newsgroups: rec.music.classical,news.answers
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.music.classical
Subject: Re: New Vox Box and Vox Legends Catalogy
Date: 12 Aug 92 16:26:57 GMT
Article-I.D.: mindlink.14226
Distribution: world
Organization: MIND LINK! - British Columbia, Canada

I scanned through this message hoping that Horenstein's Mahler recordings would
be one of the Vox Box CD sets but, alas, this was not the case. Would his
versions of symphonies 1 and 9 fit on a double-CD?
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: Authentic performance/pitch.
Date: 20 Aug 1992 12:56:20 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <basinski-190892142043@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:

>     The "key associations" originated *before* equal-temperament, and were
>originally based upon the *very* different nature of different keys based 
>upon Just intonation...i.e. you Tune to C major, and that causes the 
>C - E major third to be a perfect and "sweet" third, but if you play in
>A major, the A - C third is different. So this "key characteristic" is not
>based upon the relative pitch level of the work but the pitch relationships
>of the intervals of the key. J.S.Bach used to drive the organ makers crazy
>by going in to inspect these organs right after they'd been tuned (justly)
>and playing pieces in Db minor, etc. which sounded hideous of course...

Though the point of this paragraph is correct - that key associations came
not from absolute pitch differences but largely from the different intervals
in unequal tuning systems - these unequal tuning systems were not just
intonation. They were temperaments, most commonly some variation of 1/4-
comma meantone, though by the time of Bach more complex "good" tempera-
ments that allowed one to play (with varying success) in any key were
becoming more widespread.

However, composers of the Baroque did seem to prefer "pure" major thirds
or something close to them in the most commonly played keys. This was an
argument against equal temperament at the time because ET thirds are
quite a bit off pure 5/4's and 6/5's. The Baroque composers seemed to
be saying that they preferred having mostly pure or almost pure thirds
at the expense of not being able to play in extremely rare keys. 

In the case of Bach, he apparently did use "good" temperaments (hence
the "Well-Tempered" Clavier). However, it is also true that, according
to his son Emanuel, he preferred such a temperament to "equal" tempera-
ment. By the way, while he was often hired as a consultant to test out
organs, I don't recall the anectdote you relate above.

Bill Alves
From: eb11@quads.uchicago.edu (Ernest Barreto)
Newsgroups: rec.music.classical
Subject: How about some JOHN CAGE suggestions?
Summary: cage suggestions, please
Keywords: cage, suggest
Date: 23 Aug 92 15:53:03 GMT
Reply-To: eb11@midway.uchicago.edu
Organization: University of Chicago Computing Organizations


Now that our Cage awareness is at an all-time high, would someone
(Roger?) post a list of some of his more prominent works?

E
Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel (x2025))
Subject: Re: Mozart REQUIEM
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Distribution: usa
Date: Thu, 13 Aug 92 15:07:00 GMT

In article <l8k5oiINN9e4@sol.usc.edu>, asbed@sol.usc.edu (Asbed Bedrossian) writes...

>..
>last - 2) ?
>last - 1) Bernstein
>deadlast) Mahler       (or as they say in France: "Malheureusement Mahler")
> 

This guy needs either mental reprogramming, a good stero, or to listen to 
some of Mahler's music. (or all 3)

8^)  Ron
Newsgroups: rec.music.classical