HDTenEightyP/NetNews huggingface dataset:
From: MAINT2@ERS.BITNET (Ken Koester)
Newsgroups: bit.listserv.allmusic
Subject: Re: Perfumed ambience
Date: 14 Oct 92 18:40:40 GMT
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On Mon, 12 Oct 1992 18:46:08 PDT <MASUDA@SJSUVM1> said:
>
>melody                renaissance

Don't buy it, myself.  The Renaissance is above all, polyphonic and, what
we today would call syncopated, constant shifting between triple and duple
meter.

>virtuosity            baroque, classical

Only a partial answer.  One of the most important ideas of the Baroque is that
of *affect*:  each movement, each section of a piece is for the performer to
promote a particular feeling or emotion in the listener.  If you ignore the
*affect* of a section, you aren't in the groove.  And of course, virtuosity
began long before the Baroque.  Classical is a reaction to supposed Baroque
excesses.

>But I still have to say that classically trained musicians in general
>are hard to jam with (for me, at least). :)
>
>Michael M. Masuda
>
Don't doubt it.  And play-only-by-ear musicians are hard to play late
Beethoven string quartets with.  As long as one doesn't try to draw any
further conclusions from the above pair of observations, we're ok.  It
is generalizing about "feeling" or "superiority" that makes the "debate"--
it isn't really, but what the heck--sound perfectly silly.
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From: jwright@ux4.cso.uiuc.edu (Ceridwyn)
Subject: Re: More Indigo Girls
Organization: University of Illinois at Urbana
Date: Fri, 16 Oct 1992 04:56:19 GMT

Scott Hammer <SCOTH@WMVM1.CC.WM.EDU> writes:

>On Mon, 12 Oct 1992 15:26:17 EDT Julie Meloni said:
>>About RITES..., well, yes it IS experimental, but the base is still that of
>>two acoustic guitars (E's is a full-bodies Martin J-40M, and A's is a rebuilt
>>1942 Martin O-18, if anyone is interested), with E playing lead and A strumming
>>her heart out.  But you can't play the same music for the rest of your life,
>What year is E's J-40M?

>What fascinates me about the Indigo Girls is how neither of them has a par-
>ticularly great voice (no flames yet -- hear me out) but the blend of their
>two voices is stunning.  Similarly, neither of them is really a guitar hero,
>but together, they produce a very full satisfying sound.

>-Scott "I Really Like Them" Hammer
> College of William and Mary

It's called Charisma with a capital C!!!
They work well together.  Surprising since they didn't like each other at all
in 5th/6th grade -> high school.
Ceridwyn ->University of Illinois, Urbana-Champaign <if you've been wondering>
jwright@ux4.cso.uiuc.edu
-- 
       jCeridwyn                         "I feel like a furrball in
jwright@ux4.cso.uiuc.edu                    the throat of life."
filker/pagan/lesbian/Misty fan                -Mork from Ork-
From: MAINT2@ERS.BITNET (Ken Koester)
Newsgroups: bit.listserv.allmusic
Subject: Re: classical training,improv,heart
Date: 16 Oct 92 16:24:41 GMT
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              16 Oct 1992 13:10:17 GMT from <ujwb@UXA.ECN.BGU.ED U>

On Fri, 16 Oct 1992 13:10:17 GMT Jeff Beer said:
>
>when you are playing something from the score, of course you have to
>listen to the others in the ensemble.  but you listen off what you
>expect, if the drummer puts an accent in the wrong place, you won't
>really play off that.  in improvisation, a drummer many put an accent in
>a different and unexpected place, and you have to be able to handle
>that.  not only do you have to be ready for that, to be able to
>play off that, to make it part of the music.  That is quite a significant
>difference.
>
Not as much as you might think.  It's true you don't have to worry too much
about someone changing the pitches (barring early music, ornamentation, and
possibly cadenzas), but any number of other things can change, even for
"score readers"--it just *aint* all there in the score, my man.  If one of
your group has a different idea on the fly about how to do notes inegales,
or weight-and-release, by gum you better all pick up on it, or you got
problems.  Tempos can change; ritards aren't signaled if you don't have a
conductor (ie, a small chamber group); dynamics shift; people can be "hot"
or "cold" on the beat; notes may be detached, paired, chopped; articulations
attacks and sustains have to be matched.  It's true you rehearse these things.
But it's also true that performance differs from rehearsal.  Perhaps, though,
you are considering that the differences are more noticeable in improvising
traditions.  Probably true:  it's taken me 7 years of doing early music just
to be able to sense why the group isn't tight when it isn't, and what I as a
performer can do about it (not much:  I've only been playing 7 years.  But
you can always talk it out afterwards.).  But I seriously doubt I have to
work any less harder at it than if I had been playing jazz or R&R for 7 years.

Which is my ultimate point about all this:  making music well is equally
difficult no matter what tradition you work in.  If it ever gets *easy*,
you're probably doing something wrong :-)
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Date:         Sun, 11 Oct 1992 22:32:00 EDT
From:         "alt.wasted.time" <TIFFANYDE@URVAX.BITNET>
Subject:      Re: XTC, how are they?

>Can anyone give me their opinion of the band XTC?

Yah, they're great.  Especially the song "Dear God."  Ask Gary to find out
more.  Of course, there was just a huge discussion on them, so maybe Gary
won't enlighten you to one of his fave bands.  Oh well, there's my opinion.
You'll have to ask for more.

BTW, it's not the Gary from Baltimore that I just replied to in my last
note.  It's the other Gary.  Woops, I mean ..........   :-)

later days and sunny rays,
                          D.T>
-----------------------+---------------------------+-------------------------
Derek Tiffany          | TIFFANYDE@URVAX.URICH.EDU | URICH, cuz you gotta be
University of Richmond | djt0u@aurora.urich.edu    |<= djt{zero}u@aurora...
-----------------------+---------------------------+-------------------------
"I have a secret to tell
 from my electrical well
 It's a simple message and Im leaving out
 The whistles and bells."
                                - They Might Be Giants
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Date:         Tue, 13 Oct 1992 08:21:36 EDT
Reply-To:     Early Music List <EARLYM-L@AEARN.BITNET>
Comments:     Resent-From: Ken Koester <MAINT2@ERS>
Comments:     Originally-From: QUINN@GONZAGA.BITNET
Comments:     Warning -- original Sender: tag was EARLYM-L@AEARN
From:         Ken Koester <MAINT2@ERS.BITNET>
Subject:      Re: Arvo Part (review of ARBOS)

This sounded like it might intrigue the Bloomster :-)

----------------------------Original message----------------------------
I got hold of Arvo Part's _Miserere_ recently.  The jacket blurb said
(among other things) that it transcended any effort to categorize (or
something to that effect) -- but it seemed pretty straightforward
to me, a blend of neo-renaissance and minimalist styles.  The ten
minutes of an unaccompanied hand drum droning very subtle variations
of the same rythm over and over, interrrupted with a lush choral
piece that evoked renaissance polyphony in decidedly modern tonalities
is amazing.  I listened to it while walking 3 miles through city
traffic -- as David said, not at all an appropriate setting.

I haven't heard ARBOS yet, but if any of this sounds enticing, _Miserere_
is definitely worth a listen.

James Quinn
Quinn@Gonzaga.Bitnet

GLOSSARY:
interrrupted . . . interrupted
rythm . . . rhythm
etc.
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Date:         Thu, 8 Oct 1992 12:49:09 EDT
From:         Tim Johnson <ST402711@BROWNVM.BITNET>
Subject:      Re: Drivin' with my eyes closed...

>Anyone know where I can get really good padding for my steering wheel. My
>thumbs are starting to hurt from 'wheel drumming'...
>Bob T

  In a well designed car, you should be able to slip
your arms through the steering wheel to slap the dash.
As long as you aren't taking sharp turns, this should
allow you sufficient car control as well as enhanced
percussive freedom.

                           -Tim
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: bit.listserv.allmusic
Subject: Re: Classical Music Poll - part II
Date: 13 Oct 92 18:07:12 GMT
Organization: Educational Computing Network

In article <ALLMUSIC%92101313392758@AUVM.AMERICAN.EDU> Tim Johnson <ST402711@BROWNVM.BITNET> writes:
>A list of the few works which got more than one mention.
>
>In order by composer:

That list is alphabetical order.  Which piece got the most votes?

Jeff
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Date:         Fri, 16 Oct 1992 08:36:00 EST
From:         MCINTYRE@MSUPA.BITNET
Subject:      Philip Glass's _The Voyage_

>From:         Tim Johnson <ST402711@BROWNVM.BITNET>

>  Did anyone catch the world premiere of Philip Glass's
>new opera "The Voyage" ?

>  I heard the beginning of it, but didn't get to hear
>it all the way through.

>  Um, it sounded pretty much like everything else that
>Glass has ever done.

>  Well, that's not actually fair.  Einstein on the Beach
>is not like Koyanisqaatsi, is not like Mishima is not
>like Akhenaten.  But most of what Glass writes ends up
>sounding like Koyanisqaatsi.  After the initial, obligatory,
>shrieking sopranos, The Voyage also sounded just like
>Koyanisqaatsi.  Maybe it got better later.  I dunno.
>But it was a pretty disappointing start.

I listened to the whole thing as it was broadcast, but I have
not yet listened back to the tape, so the following is first
impressions.

Tim says "Maybe it got better later."  I didn't think it varyed
much at all, which I found surprising.  I too was disappointed
in the music.  I would still like to see _The Voyage_ performed
live, though.  From the descriptions of the action, it sounds
like a very visual opera.

John McIntyre
Physics - Astronomy Dept
Michigan State University
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Date:         Thu, 8 Oct 1992 13:22:11 -0400
From:         "(Russ Gelinas)" <R_GELINAS@UNHH.UNH.EDU>
Subject:      debut albums

  What a concept!  Groups who's first album was their best.  Answer:  Most.
Sad but true.

  So I'm out 2 days and had to delete 100 Allmusic messages.  None of them
had Sinead O'Connor for a subject.  I'm surprised.  Do you all hate the pope
as much as she?  Anyone see her interview on empTV?  She gave a pretty
convincing explanation of why she believes organized religion is responsible
for a good chunk of the world's woes.

  Personally, I think one must really be an artist to be able to stun a
Saturday Night Live crowd into silence.  Performance art at it's best.

  Sorry if this has been covered, but is SRVaughn's new live CD from 1980
any good?

Russ
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Date:         Wed, 14 Oct 1992 08:13:03 CDT
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      Re: VINYL Records
              14 Oct 1992 18:40:16 +1000 from <chuck@CS.UNSW.OZ.AU>

On Wed, 14 Oct 1992 18:40:16 +1000 Mark Andrew Hawling said:
>Problem is that so many reissue CDs have sound that is worse than the
>original vinyl record. When I went to replace some of my worn records
>with CD reissues I found the CDs were terrible. Two examples that
>come to mind were Miles Davis' "Bitches Brew" and the original
>reissues of Hendrix' "Band of Gypsies". STuff that is recorded now
>for CD can sound pretty good, but digital still does sound different
>to analog. The sample rates apparently aren't quite high enough to
>capture the entire spectrum of the music.

Speaking of reissues on cd's sometimes you get an extra cut on the cd
that the vinyl didn't have, but that's not the case with Little Feats
Waiting For Columbus they left off at least one cut that i can recall
thats pretty unusual........L.W.
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Return-Path: crispen <@ada3.ca.boeing.com:crispen@efftoo>
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Date:         Wed, 7 Oct 1992 09:23:00 CDT
From:         crispen <crispen@EFFTOO.BOEING.COM>
Subject:      Re: Progressive

"(Jeff Preston)" <bt979@CLEVELAND.FREENET.EDU> asks:

>  In that case, Rev. Bob "Bob," I guess you're the one to ask the following
>question: Are (Bill) Bruford's _Feels Good To Me_ and _One of a Kind_ to be
>considered progressive rock, or jazz-rock (ala the dreaded "f" word)?  I
>figure you're the right guy to ask, since "the other Dave" plays on these
>two platters.

Beats me.  Sorry that I never heard them.  Thanks to you, though,
they're on my list.
+-------------------------------+--------------------------------------+
| Rev. Bob "Bob" Crispen        | Music should not be held responsible |
| crispen@foxy.boeing.com       |   for the people who listen to it.   |
+-------------------------------+--------------------------------------+
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Date:         Wed, 7 Oct 1992 13:30:37 CDT
From:         Little Inquisitor <U33963@UICVM.BITNET>
Subject:      Let's Get it On!!//Frequent posters

I'm still laughing about this one.  This morning WXRT ran an *absolutely* hilar
ious spoof using Marvin Gaye's "Let's Get it On" (exat title?), with the actual
 voices of Bush and Clinton (and Quayle) in key places of the song.  Someone re
ally had fun with this one.  Bush's nerdy, high-pitched patrician off-key voice
 really made this come off: just when one expects Marvin to deliver the punch l
ine, one instead hears the prez yell out "Let's Get it On!"  (Obviously, from t
hat debate thing.)  There are also brilliant splicings and juxtapositions of th
e Quayle Man, mouthing some notorious bloopers ("No, I didn't live in this cent
ury").  When the song ended, the DJ (Tom Marker?) and the crew were laughing so
 hard it was incredible and even more contagiously funny. To quote the Smut Mis
tress, my wife and I nearly peed.  Worse for me though, at the pool later, I wa
s laughing so hard just thinking about it, I nearly drowned.  Thought that one
of the lifeguards, who's a student of mine, would have to pull me out. (Libidin
ous One, restrain yourself!)

Allmusic's Top Posters is shocking.  Shades of the U.S. House Bank scandal!  To
 have one's name publicly and prominently displayed before the teeming masses.
Imagine if employers, families, co-workers and SOs saw you way up there on the
list?  The moral implications and ethical dilemmas -- not to speak about the bl
eary eyes and tired digits!  Anyone have suggestions on how to proceed against
the top 10/20 culprits?  Thoughts on proper punishment(s)?  Popular tribunals,
inquisitorial trials?  Os, else, should the perpetrators be regarded as heroes/
heroines of electronic musicdom and accorded honors and frequent poster privile
ges.  As they say on the street around here, you be the judge.

Renato "Always to trying to get it on" Barahona
From: ST102315@BROWNVM.BITNET (Jake)
Newsgroups: bit.listserv.allmusic
Subject: Re: A survivor from Warsaw
Date: 16 Oct 92 16:45:46 GMT
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>Sonia "grasshopper"
>
>p.s. Jake, in defending blues, I thought it was funny you pointed out that
>Robert Lockwood (I think) could also play JAZZ and Little Walter could also
>play BE-BOP....  Hey, you don't have to switch out of blues to defend the
>blues!  Albert King hanging on ONE note is all you'll ever need...
>
>And on that "three chords" business--
>
>    so who's counting?

Don't I know it!  One of my favorite quotes is, "If you use more than
three chords, you're just showing off, anyways."  And there's no doubt
that I enjoy many songs by Blind Willie Johnson and John Lee Hooker
where you'd be hard-pressed to find more than one chord.  It's just
that I was trying to write to a mainly non-blues audience, and felt
that my points would be better made if I compared blues songs to other
types of music which presumably are not viewed as being "primitive" or
only using three chords.

Blues with a feeling, that's what I have today,
jwgh
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Organization:      LOGISTICS INFORMATION CENTER (IC-LOG)
Motto:          FIRST LINE TECHNICAL SUPPORT
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Date:         Tue, 13 Oct 1992 00:23:07 KST
From:         DMetcalf%IC-LOG@WALKER-LTT.ARMY.MIL
Subject:      SELLING OUT

I think the keyword in yer' discourse on SOC's recent escapade, or any OTHER
group, be they r&r, soul, jazz or improvisor, is "sell"... when the ONLY
motive for performing is "green", folks ARE 'selling out'... now, I make a
little money on my tapes, or my 'zine, or wotever; but my music is MUCH more
important than recovering a few buckz... & I suspect you're right on MANY
musicfolks, not only r&r!  Then too, Americans seem to be BROUGHT UP to look
for a TICKET to the top, 'stead of WORKING (in the artistic sense, I mean)
for it...

ZZAJ
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Date:         Thu, 8 Oct 1992 10:22:40 CDT
From:         "Leonard Watkins" <ISTS024@UABDPO.BITNET>
Subject:      U2 played here last night

U2 played in town last night and got a full page write-up in the paper
a full page, damn their not the beatles. I don't understand, I'm not
knocking U2 (I don't care for them though), but damn we've had acts
that deserve more attention that U2. Just my HO. BTW everyone i've
talked to that went said it was very good. Public Enemy opened for
them aren't they are Rap group...Strange combination would you not
agree. L.W.
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From: Janne.Salmi@hut.fi (Janne Salmi)
Subject: Re: Mike Oldfield
Organization: Helsinki Univ. of Tech., Finland
Date: Tue, 6 Oct 1992 21:27:12 GMT

In article <ALLMUSIC%92100213194120@AUVM.AMERICAN.EDU> RTURNBUL@TOROVM1.VNET.IBM.COM writes:


->    Exposed - (live; half 'Incantations' and half 'Tubular Bells' I think; was
->               this an import?)

A nice one, especially the Incantations part, plus the live
performance of "Guilty"... not much of a song but Pekka Pohjola is an
adequate funk bassist...

->    The Complete Mike Oldfield - (have most of it already, but contains some
->                                  songs I've never heard of; is it
->                                  worth picking up?)

Vocal side: "Crime of Passion" is a nice song... but be sure that you
get "Pictures In The Dark" too. My version (German) didn't have it,
but I have it as a Maxi-single which has the coolest b-side "The Trap"
on it.

The live side is good. I don't remember what's on the instrumental
side because I also have this "Music Wonderland" compilation (centers
on instrumentals) and I forget which one had which tracks.

->    Killing Fields Soundtrack - (been meaning to pick this up; any
->                                 comments on it?)

Well... it's got very original synth sounds... and three really good
songs. Nice choir. The last song "Etude" (originally by this Spanish
guitarist whose name I forget) is worth having... but I think it was
on the "Complete"... I don't remember if "Evacuation" was there too.

- Janski
From: OLIVOTTO@ITNCISCA.BITNET (OUT,
              OUT - YOU'LL NOT FEEL THE FALL-OUT...)
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Subject: Re: discussions on all forms of music?
Date: 15 Oct 92 13:30:08 GMT
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Leonard says:

>>What's the latest in sampling technology?

>I wish they'd outlaw it

        Sorry, I can't agree. No flames meant, but I don't think the blame
must be put on the technological means. This would more or less mean that
a man should be jailed because, since he's a male, there are some chances
that he may rape someone. Unfair, I think.
        I must say that I don't have any sampler at home, neither in the
studio. I perfectly agree if you say that the sound of real instruments is
impossible to reproduce via an electronic device, bot for timbral qualities,
expression, feeling, and so on. But the sampler in itself can be a very po-
werful and extraordinary creative device. An example I always give is Peter
Gabriel's IV album _Security_. It was recorded in the early Eighties, with a
very basic model of the Fairlight Music Synthesizer, and he managed to get
some sounds which no-one had ever heard before. That was a revolution, not
a record. Perhaps for the first time a worldwide audience learned that it
was possible to make music with a drain-pipe, with paving stones, smashed
windows, and have all these sounds elaborated and "bent" through an extreme
use of sampling techniques.
        A good painter with a huge palette won't usually paint a crappy
picture. Give the same palette to the tasteless and mediocre man and you'll
only have wonderful colours awfully used and no taste, no technique -- no-
thing.
        At least, this is what I feel... :)

        Ciao, Marco
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Date:         Thu, 8 Oct 1992 09:19:24 EDT
From:         Michelle May <MAMAY@WAYNEST1.BITNET>
Subject:      Re: APRS address

Thanks for the address, Marco.

 I knew you'd get it to me eventually.



 Dyeing her gray hair,
 Michelle
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Date:         Tue, 13 Oct 1992 08:06:12 EDT
From:         "l.l. cool bean" <REWOICC@ERENJ.BITNET>
Subject:      pamela golden

i found _happens all the time_ in rhino records a few months ago and
bought it on the recommendation of a friend of mine who shares mot of
my musical tastes. it's good and it's got some strong tracks, but it
didn't seem to last long in the player. the best songs were probably
the ones where levin/marotta/fast appeared since they were the most
devloped efforts...the others seemed unfinished somehow.

the chrome-plated megaophone's description of a "female peter gabriel
and KaTe bush" is an interesting one as KaTe is often called a female
peter gabriel. golden's voice is less earthy than KaTe's and sweeter.
the music is fairly inoccuous, synth-based pop. nice, but not compelling.

paemal golden has a number of other releases as well, but i've not seen,
heard or bought them.

woj
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Date:         Sun, 11 Oct 1992 16:28:55 EDT
From:         Julie Meloni <JCMELO00@UKCC.UKY.EDU>
Subject:      Re: Indigo Girls

While Rites of Passage is the IG's latest and best album, if you truly want to
get a feel from where they're coming from, take their studio albums in the
order of release: 1987 Strange Fire (re-released 1989), 1989 Indigo Girls,
1991 Nomads Indians Saints, 1992 Rites of Passage.  I'm in a rush now, but
I'll be VERY VERY glad to answer ANY questions about the Indigo Girls--personal
, musical, whatever.

                    Julie Meloni
                    jcmelo00@ukcc.uky.edu
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