HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.early
Subject: RE: A-Cappella groups?
From: tom terry <TERRY@UCONNVM.BITNET>
Date: 21 Jan 1993 14:37:52 -0500 (EST)
In-reply-to: Message of Thu, 21 Jan 1993 16:59:08 GMT from <gleason@SCF16.SCF.LORAL.COM>
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In addition to the Tallis Scholars and Kings Singers, the following groups are
favorites of mine:
Boston Camerata. Their "Renaissance Christmas" album is glorious.
Cambridge Singers.  Try "Faire is the Heaven" for a suberb tour of English
litturgical a cappella music.
Chanticleer. Get their album that has Bibel's "Ave Maria"-- I forget which one
it is.

These five groups are so good that it's hard to go wrong with most of their
recordings-- and there are scores of other fantastic recordings. Good luck!
From: lectroid!transfer.stratus.com!schunix!rwyble@UUNET.UU.NET (Richard J. Wyble)
Newsgroups: rec.music.early
Subject: RE: Oil for Recorder Bores
Date: 25 Jan 93 09:05:21 GMT
Article-I.D.: schunix.m0nGZ7a-001DdWC
In-reply-to: <9301251120.AA17863@transfer.stratus.com>; from "Dennis Cook" atJan 25, 93 1:24 pm
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]

According to Dennis Cook:
>
> A number of articles that I've read on oiling recorders take
> opposing views as to what sort of oil should be used. Suitable
> . . .
> Can I have some suggestions as to which types of oil would be
> more appropriate? Are different oils suited to different sorts
> of wood? Does anyone have I-used-brand-X-oil-and-my-recorder-exploded
> stories?

When I last asked similar questions of David Green, proprieter of
Antique Sound Workshop, Boston, his emphatic position was to avoid
"natural" oils of any kind. In fact, he refused to honor the warranty
on any instrument oiled with anything other than commercial woodwind
bore oils. ( This must have been five years back: I have no idea
whether this policy still stands. )

Why? Because idiots over-oiling ruined too many instruments. Though
the "natural" oils may be better, application appeared--to David, at
least--too fussy a project.

--
----------------------------------------------------------------------
 rwyble@schunix.uucp                         Richard J. Wyble
 schunix!rwyble@transfer.stratus.com         Worcester, Massachusetts
----------------------------------------------------------------------
From: YANASAK@RALVM5.VNET.IBM.COM
Date: Fri, 22 Jan 93 10:44:14 EST
Subject: Lute Society of America
Newsgroups: rec.music.early

Does anyone have any information regarding the existence of The Lute
Society of America?  (I've found back issues of their newsletter, but
they're quite a few years old.)  If they still exist, any information
regarding membership and functions would be appreciated.

If they don't exist, then the same query applies to The Lute Society
(the one in the UK, not the US).

Thanks,
-Ivan Yanasak                     yanasak@ralvm5.vnet.ibm.com
====================================================================
Newsgroups: rec.music.early
From: gleason@scf16.scf.loral.com (Robert Gleason)
Subject: A-Cappella groups?
Organization: Loral Space and Range Systems, Sunnyvale, CA
Distribution: rec
Date: Thu, 21 Jan 1993 16:59:08 GMT


Greetings,

I am hoping that some of you may be able to help me. I am very much a 
lover of a cappella music, namely medieval and madrigal music. However
my collection is lacking.  I have heard of groups like the Tallis Scholars
and the the Kings Singers and a few others.

Could any of you out there give this humble listener some recomendations
on groups or titles that I might enjoy?

Also, I am curious about the Hilliard Ensemble. I just purchased Miserie
(sp?) and was not impressed (I found it simple and repetitive in too much
but not all, of what I have listened to).  Do other works by them involve
more complex polyphony? That is what I'm looking for.

Thanks one and all for your time,

Robert Gleason.
Newsgroups: rec.music.early
Subject: RE: Early Music for High Voices
From: XCJMBZA@IUP.BITNET
Date: 22 Jan 1993 00:00:00 -0500 (EST)
X-Organization: Indiana University of Pennsylvania
Content-transfer-encoding: 7BIT

I am a falsettist alto.  The author of the book you are speaking of is Peter Gil
   es.  He also has a WONDERFUL training manual, which I am studying from with t
   he
aid of a vocal coach, titled A BASIC COUNTER-TENOR METHOD.  Peter, himself, is a
    counter-tenor.
        I truly feel that as the English have been saying for centuries; the
alto mechanism is a male voice.  Call me sexist, but male altos just have a
better tone and strength which add a certain "haunting" beauty to the tamber
of the voice.
        I highly recommend the two Giles books for any other young men who
wish to develop their falsetto.  It is natural and is NOT destructive to your
throat or voice.  In fact, if you follow the instructions in the Giles manual,
you will eventually lose, or should say forcefully eliminate your vocal "break".
           I have been singing for three years now as alto, and all I can say is

that with every new year, my voice matures and becomes purer in pitch and in
strength.  I have no pain nor discomfort before, during or after singing in my
falsetto.  So to the wonderfully STUCK UP faculty here at IUP's voice department
   that told me that falsetto is damaging and WRONG, $^%$^&^%$&#!!!!
        I should also note that there is also another form of falsettist known
as male treble.  Randall Wong, an exceptionally high falsettist, sings with the
choir CHANTICLEER.  They are very good and I strongly suggest any of their many
cd's.  Take care.
Newsgroups: rec.music.early
Subject: RE: Early Music for High Voices
From: Ching Chang <cchang@LIBRARY.BERKELEY.EDU>
Date: 21 Jan 1993 12:08:54 -0800 (PST)
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Hi, there.

Speaking of high voices and c/t's, could someone indicate some current
articles in journals or books, etc., as well any more important works
which are not so recent about countertenors? I'm trying to get a quick
education on the subject.

Much, much obliged.

Ching.

P.S., please don't send me to the New Grove, I've done that.
From: jqdoumen@VUB.AC.BE (Doumen Jan)
Newsgroups: rec.music.early
Subject: Kuijkens/La Petite Bande - articles
Date: 27 Jan 93 08:26:49 GMT
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X-Mailer: ELM [version 2.3 PL11]

For those who are interested in the
Kuijken family (Sigiswald, Barthold and Wieland Kuijken,
La Petite Bande, The Kuijken Quartet, The Kuijken Consort)
and don't find too much information about them.

Kuijken.readme :

This file contains articles about the Kuijken family
which were originally published in Dutch in Belgian
newspapers or magazines. Because I have been told
that out of Belgium there doesn't seem to be much
information available about these musicians, and
because of the lack of large amounts of net-inf. about
classical music in general, compared to other domains,
I decided to contribute my part by translating these
articles and dropping them on the net.

You can always help me by :
-dropping me a line if you find major or minor
linguistic or grammatical mistakes.
-telling me about, or sending me copies of other
articles in any language.
(Perhaps I can enlarge this file till it becomes a net-
reference to this family of wonderful musicians.)
-sending me a list of their recordings which you have
in your collection.
-any comments.

I would like to thank the following people for their
assistance :
Carlos Escalante, for whom I originally started to
translate these articles
Marianne Stes, for helping me translate from Dutch to English.
Willy Verheulpen, for assistance in making the post-
script version of this text.

Where to find the texts :

The ASCII-text is available by sending a mail to listserv@aearn with in the
body 'get kuijken.00*  ', with * the number corresponding to the article
you want.

Or you can ftp the ASCII and PS files from
ftp.wu-wien.ac.at (/pub/earlym-l/kuijken)
and cs.uwp.edu (pub/music/articles/kuijken).

Or via Gopher from gopher.wu-wien.ac.at

The following files can be found there :


      Postscript                                   ASCII

                                               kuijken.readme
KuijkenStringQuartet.eps                       kuijken.001
TheInstrumentShowsMeTheWay.eps                 kuijken.002
BaroqueMusicGivesThePeopleTranquility.eps      kuijken.003
ToSpeakWithWordsOnceAgain.eps                  kuijken.004
SigiswaldKuijkenWinsTheCrescendoPrice.eps      kuijken.005
TwentyYearsLaPetiteBande.eps                   kuijken.006

Have a nice reading.

p.s. - Two more articles are being translated. One from a German magazine
       and one recently published in Belgium.
     - I also made a discography and this will be available soon.
     - The post script versions contain scanned images, that's why they
       are so large.

DeJean.
Vrije Universiteit Brussel
Instituut Voor Moleculaire Biologie
Dienst ULTR
Paardenstraat 64
B-1640 Sint-Genesius-Rode
Belgium

Doumen Jan
Wolvertemsesteenweg 210
B-1785 Merchtem
Belgium

jqdoumen@vub.ac.be
jqdoumen@bbrbfu60.bitnet
Newsgroups: rec.music.early
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Paul O'Dette, lute
Organization: Massachusetts Institute of Technology
Date: Wed, 27 Jan 1993 19:50:17 GMT

O'Dette did a solo concert at Boston's Museum of Fine Arts last Sunday (1/24),
and it was exquisite (wouldn't expect otherwise, though). He used one lute, a
10-course by Nurse, from a 17th-C English model. The program was late-16th early
17th C, Italian, French, Dutch, and English pieces. The premise for this
selection was the contrasting styles in vogue at the time. O'Dette also based the
program on the variety of pieces and composers found in Lord Herbert of
Cherbury's Lute Book, although only a few of the pieces he played came from that
collection.

Several of the pieces required some retuning, although to standard tunings for
the period. However, one piece was in F minor, with the lowest four courses tuned
to F, E, D-flat, C. Some bizarre harmonic progressions in that one!
From: yanasak@vnet.ibm.com
Date: Mon, 25 Jan 93 08:37:36 EST
Subject: LSA request: thanks
Newsgroups: rec.music.early

Thanks to all who gave me information regarding the LSA and the "lute list".
I have been added to the list, and have written for information.

(Now comes the easy part: determining which type of lute to start with,
locating a source for said lute, locating a source of lessons, ...)

Thanks again,
-Ivan Yanasak                yanasak@vnet.ibm.com
=======================================================================
Newsgroups: rec.music.early
Subject: Palestrina
From: Liane R Curtis <lcurtis@MAGNUS.ACS.OHIO-STATE.EDU>
Date: 22 Jan 1993 15:34:11 -0500 (EST)
In-reply-to: <9301192348.AA19599@quark.magnus.acs.ohio-state.edu>; 
 from"XCJMBZA%IUP.BITNET@OHSTVMA.ACS.OHIO-STATE.EDU" at Jan 19, 93 6:46 pm
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]

>
> ....sorry to butt in, but I have to.  You state,"...lists the clefs (and
> therefore the ranges)....WRONG!!!  Being a Counter-Tenor I have come across
> way too many cases of vocal "biggotry/prejudice" where people assume voice
> name/titles or clefs determine actual vocal range.  They don't.  I don't want
> to get into a huge argument, but that statement was just incorrect and very
> misleading to new vocalists/performers who might be reading the list.
>
>
>                                         -=*>> Jim SeKoch <<*=-
>


My comment was in regard to the sacred music of Palestrina, where, in reliable
original sources, leger lines are simply not used.  Therefore the clef is an
accurate indicator of of the range of a voice part,
although not necessarily tessitura.  Clefs are used
similarly by other contemporary composers, in the sacred genres.
I said nothing about voice names or titles.

On another subject, I know of documentary evidence for falsettists from the
fifteenth century; certainly the earliest polyphony (Notre Dame et al) suggests
the use of
falsettists.



Liane Curtis
lcurtis@magnus.acs.ohio-state.edu
Newsgroups: rec.music.early
Subject: Publisher's address?
From: B5R@NIHCU.BITNET
Date: 25 Jan 1993 10:08:54 -0500 (EST)
Content-transfer-encoding: 7BIT

I've found out about an interesting facsimile publication but
from a place I've never heard of and for which I have no address:

    Brussels: Editions Culture et Civilisation; Thesaurus musicus

Does anyone have an address for this place or know where I could
go (a directory of European music publishing houses?) to find it ?

                         Thanks,
                         Bev Ross
                         BITNET:  B5R@NIHCU
                         Internet:  B5R@CU.NIH.GOV
From: BRLINK@DELPHI.COM
Newsgroups: rec.music.early
Subject: High Voices and their effects on bivalves.
Date: 23 Jan 93 00:31:41 GMT
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII
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[CSorry about the cursing - DOS... grumble.
RE: Being discovered & Dead People who sang high -
Becky and Steve, yes it's me. Early music conferences being rather thin on
Compuserve, Delphi, et al, I thought I would pop into cyberspace on the
Internet! So far so good, and it's nice to know I haven't p*d off another
countertenor on my first foray!
     As for Waltham, Feb 28th at the Basilica, 3:00 PM, Lenten Music of
Victoria -- The Missa Pro Defunctis, Lamentations of Jeremiah and Holy Week
Responsories. Should be a good 4-hour show. Admission is free, but bring
your own popcorn.
     As for documentary evidence of 15th century falsettists, could you let
me know where these are archived? All I've been able to unearth is inferences -
(So & so was on the ledger for 15 years, and he sang counter or mean, etc.)
As to the Notre Dame school, this is an example as to why research is frus-
trating for me here in the Twin Cities. How certain are we as to the pitch
level? Could those high parts in the trios have been sung by pre-break teens?
In my experience with boy choirs, if you tacked on an extra 6 or 7 years to
some of those voices, you'd have a heck of a lot of power and the viruosity
of an adult. Were there ledgers kept of the singers in Paris? What about the
presence of high tenors like my friend Mr. Knight?
     I feel I'm entitled to play devil's advocate a bit, given my voice part<G>
As I direct an early vocal group making attempts at authenticity, and have
the good fortune of employing female means, falsettists and high tenors --
this information would be welcome.
     Seeya -
BLink
---------------------------------------------------------------------------
BRLINK@DELPHI.COM        ( O-O )      Alto, (We're everywhere)
CIS ID:70471,2344           |         Facilitator: The Waltham Abbey Singers
St. Paul, Minnesota         o         Computer Geek Wannabe
---------------------------------------------------------------------------
Newsgroups: rec.music.early
From: k22164@kyyppari.hkkk.fi (Mikko Reinikainen)
Subject: Re: Tous les Matins, encore
Date: 26 Jan 93 08:42:48 GMT
Organization: Helsinki School of Economics, Finland

In <25JAN93.03501495@pattie.wellesley.edu> jlooper@pattie.wellesley.edu writes:

>Maybe the sloppy fingering and bowing was intentional, especially since
>the costumes and settings were so beautifully done.  It could be that
>the director wanted to create the impression that the music wasn't
>coming from the physical efforts of the musicians, but from some exterior
>source, remote from the actual people?

>Maybe I do too much work on symbolism...

>Jennifer

Maybe you do :-), but your explanation suites beautifully to French
psyche and our Europeans constant yield for the things unseeable,
untouchable (unthinkable?) in contrats to your Anglo-Saxian practical
utilitarism... 

;-) ;-)

	Mikko Reinikainen
	Finland
--
Mikko Reinikainen
k22164@kyyppari.hkkk.fi
Helsinki School Of Economics and Business Administration
Helsinki University/Faculty Of Law
From: CBAYLON@NAS.BITNET (Charlotte Baylon)
Newsgroups: rec.music.early
Subject: London
Date: 27 Jan 93 14:41:00 GMT
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Dear Early Musicians:

I am posting this question for a friend who doesn't have access to a computer,
hoping that individual responses will be directed to me and I can pass the info
to him.  He will be in the London area from February 22 through March 3
(2/22-3/3!) and is interested in any early music activity going on during that
time.  From a previous posting I read in this list and passed to him, he knows
to get "Time Out",  any Saturday editions of the national newspapers, and to
listed to Radio 3.

He is especially interested in rarely performed choral a cappella music of the
rennaissance - he has transcribed for performance more than 100 pieces from
manuscripts in Washington DC's Smithsonian museum, where he works.  Is there
anything special happening during that time frame in London that my friend
should know about?

Thanks for any info.

Charlotte Baylon
cbaylon@nas.edu
From: caedmon@VIOLET.BERKELEY.EDU
Newsgroups: rec.music.early
Subject: UNJOIN
Date: 28 Jan 93 05:12:50 GMT
Content-transfer-encoding: 7BIT

UNJOIN EARLYM-L
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.early
Subject: recorder dealer in Boulder Colorado
Date: 21 Jan 93 17:13:49 GMT
Organization: Glasgow University Computing Science Dept.

I'm told there's a good recorder dealer in Boulder, Colorado.  Could
somebody give me their address, phone number and fax number?  Anyone
here dealt with them?  What are they like?

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.music.early
Subject: RE: Lute Society of America
From: Brad Arnold <ALI00BCA@UNCCVM.BITNET>
Date: 22 Jan 1993 12:48:45 -0500 (EST)
In-reply-to: Message of Fri,22 Jan 1993 10:44:14 EST from <YANASAK@RALVM5.VNET.IBM.COM>
Content-transfer-encoding: 7BIT

I know that the Lute Society of America was in existence as late as 1989 and
had an active chapter in Durham NC.  Sorry but I have lost the names and
addresses of the contact people there.  Carole Marsh at UNC-Greensboro may
be of some help.  When I studied with her in 1987-88 she knew some of the
people involoved.
Newsgroups: rec.music.early
Subject: RE: A-Cappella groups?
From: LISABETH STANLEY <LSTANLEY@UGA.BITNET>
Date: 21 Jan 1993 19:20:21 -0500 (EST)
In-reply-to: Message of Thu,21 Jan 1993 16:59:08 GMT from <gleason@SCF16.SCF.LORAL.COM>
Content-transfer-encoding: 7BIT

Recommendations for a cappella groups:

The Cambridge Singers- Flora gave me fairest flowers (English madrigals)
                       Heritage of English Church music (motets and anthems
                       from Renaissance to the present)
The Sixteen- a group similar to the Tallis Scholars (although they have more
             voices, I think).  They have a wonderful CD out of John Sheppards
             church music (early to mid 16th c.) He's a favorite composer of
             mine.  They also have recorded Taverner's mass Corona Spinea, and
             some votive antiphons.
Gothic voices- Music for a Lionhearted King.  This recording celebrates the
             800th (?) anniversary of the coronation of King Richard I.
             It includes troubadour songs (monodic) as well as some very
             nice medieval polyphony (namely conductus).  It is all a cappella
             and the total # of singers is four- 1 alto (a woman) and 3
             tenors.  If you have not really listened to medieval music, or
             don't like it, I highly recommend this recording!  It will
             surprise you. Also:  A Feather on the breath of God.  Sequences
             and hymns by Hildegard von Bingen (11th c.)


Lisabeth Stanley              "If there's nothing wrong with
School of Music                me, maybe there's something
University of Georgia          wrong with the universe!"
LSTANLEY@UGA.BITNET
lstanley@uga.cc.uga.edu              -Beverly Crusher
Newsgroups: rec.music.early
Subject: RE: Oil for Recorder Bores
From: Cindi Roden <RODEN@GUVM.BITNET>
Date: 26 Jan 1993 08:13:59 -0500 (EST)
In-reply-to: Message of Mon,25 Jan 1993 14:05:21 EST from <lectroid!transfer.stratus.com!schunix!rwyble@UUNET.UU.NET>
Content-transfer-encoding: 7BIT

Concerning oiling recorders, Richard J. Wyble said:
>When I last asked similar questions of David Green, proprieter of Antique
>Sound Workshop, Boston, his emphatic position was to avoid "natural" oils
>of any kind.  In fact, he refused to honor the warranty on any instrument
>oiled with anything other than commercial woodwind bore oils.

With all due respect to Mr. Wyble, I must say that I have had a 'not-good'
opinion of Mr. Green for years and years, and the above is a good example
of why.  Remember that he is a dealer, not an instrument maker, and it is
extremely unlikely that he has the knowledge of the properties and require-
ments of the various woods, or the physics of sound, that the makers have.
His goal and purpose in life is to maximize his profits, period.
During the years when I was madly buying recorders and other early winds,
my conversations with Mr. Green ended in my decision never to buy an
instrument from him or take his advice for _anything_.  Now, no flames,
please - this is merely my own personal opinion.

Call up a recorder maker - or several - to get the best possible answers
to your questions about oiling recorders.  Try Phil Levin for example, or
Von Heune, or Rob Gilliam-Turner (sorry, don't have any of the numbers with
me); or any of the MANY other good recorder makers.  They may have varying
opinions, but they will say what their own experimentation has showed them
to be best for their own instruments.

Cindi Roden

PS - Hi, Dennis Cook, how are you anyway?  If you've talked to the above
guys already, what did they say, specifically?
From: pooh@brokendrum.stack.urc.tue.nl
Newsgroups: rec.music.early
Subject: The Crwth
Date: 24 Jan 93 13:03:39 GMT
X-Mailer: rnMac Buggy, I mean Beta, Test Version


Hello,

Some time ago (~Tue, 20 Oct 1992) some of you requested a copy
of my bibliography concerning my little research concerning the
Crwth instrument. Here it is.

Catheleijne Berck.

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

Bibliography concerning the Crwth:

O. Andersson, 'The Bowed-Harp', ed. Kathleen Schlessinger. New York, AMS
press, 1973.

O. Andersson, 'The Bowed Harp of Trontheim Cathedral and Related
Instruments in East and West', The Galpin Society Journal, xxiii (1970),
pp. 4-34.

W. Bachmann, 'The Origins of Bowing', Londen, translated into Engels by
N. Deane. Oxford University press, 1969. Original title: 'Die Anfange
des streichinstrumentspiels'.

C. Bullock-Davies, 'Menestrellorum Multitudo, Minstrels at a royal
feast', Cardiff, University of Wales Press, 1978.

C. Dolmetsch, 'The Crwth', The consort 13 (1956) pp. 23-24.

C. Dolmetsch, 'The Crwth', Journal of the Viola da Gamba Society of
America 6 (1969) pp. 54-59.

D. Munrow, 'Instruments of the Middle Ages and Renaissance', Londen,
Oxford University press, 1976.

M. Remnant, 'English Bowed Instruments from Anlo-Saxon to Tudor Times',
Oxford, Clarendon press, 1986.

J. Rimmer, 'The Crwth', The New Grove Dictionary of Musical Instruments
6, pp. 523-525

C. Sachs, 'The History of Musical Instruments', Londen, J. M. Dent and
Sons, 1940, p. 262 en 268.

-----------------------------------------------------------------------
/* internet:  pooh@stack.urc.tue.nl * snail mail: Hoogstraat 214     *
 *            pooh@es.ele.tue.nl    *             5615 PX  Eindhoven *
 * telephone: +31 40-572314 (home)  *             the Netherlands    *
 *            +31 40-446969 (work)  */
Newsgroups: rec.music.early
Subject: EARLY MUSIC publication
From: E7M7GRI@TOWSONVX.BITNET
Date: 23 Jan 1993 11:02:34 -0500
MIME-version: 1.0
Content-transfer-encoding: 7BIT

Does anybody know the 800 number for the New York office of the publishers
of the magazine EARLY MUSIC?
Thanks much.
Gene Griswold