HDTenEightyP/NetNews huggingface dataset:
From: baker@westsd.dco.dec.com (Art Baker)
Subject: Re: Help, which instrument?
Organization: Digital Equipment Corporation
Date: Thu, 16 Apr 1992 13:35:50 GMT

In article <1992Apr16.075931.14764@arcetri.astro.it> tribioli@arcetri.astro.it (Francesco Tribioli) writes:
>Why do you want to play an instrument ?
>Do you want to complete the range of your HIGH above average intelligences?
>I don't think you should look at music (or life in general)  in this way.
>Music in particular  should not be a study subject but a different 
>way to express yourself, like a different way to speak. Study is necessary
>to acquire the technical skill to manage your instrument in a way you
>can speak with it. Music is not a race to gain the first place!! Music is ART.

Maybe music is different things to different people...


-- 
	***********************************************************
	* Art Baker			| Joy and fierceness...	  *
	* baker@westsd.dco.dec.com	|  			  *
	***********************************************************
Newsgroups: rec.music.classical
From: smoliar@hilbert.iss.nus.sg (stephen smoliar)
Subject: Re: government and the arts
Summary: Glyndebourne spin-offs
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore
Date: Fri, 17 Apr 1992 00:47:56 GMT

In article <1992Apr14.190429.5454@vax.oxford.ac.uk> wilcox@vax.oxford.ac.uk writes:
>
> 
>> Can you name an opera house on earth that is not government supported?
>
>Actually, Glyndbourne in the UK isn't, but I think it only serves to
>illustrate
>my points. It is a country home, part of the "season", performances have a
>two-hour interval to allow the patrons to get pissed on champagne and stuff
>themselves with smoked salmon, tickets start at about 100 pounds ($180), there
>is a waiting list to get tickets and many have now gone to the burgeoning
>corporate entertainment business. Need I go on? Unfortunately, they also
>produce some of the best opera in this country. We plebs have to wait until
>the
>touring company visits the regions to see them.
>
Actually, Stephen, I am not sure what points you thought you were illustrating.
If all that elitism helps provide the revenue required to SUPPORT a touring
company, then I would say that Glyndebourne is serving a much broader community
than your champagne-and-lox (let's call a spade a spade, shall we?) crowd.
Furthermore, that support extends beyond the British Isles.  I happen to have
several tapes of Glyndebourne performances in my personal collection, tapes
which probably could not have been made had not funds been raised to finance
them in the first place.  (I am sure they were not paid for by subsequent
sales.)  If anything, Glyndebourne may be a model of how a privately-funded
arts organization can have major (i.e. world-wide) positive impact.
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: Re: Transcriptions of famous pieces for guitar
Organization: Computer Science Department University of Rochester
Date: Mon, 13 Apr 1992 12:53:14 GMT

In article <1992Apr13.040119.6452@iconix.oz.au> ajm@iconix.oz.au (Andrew Mack) writes:
>I once heard the finale from Stravinsky's "Firebird" suite on guitar,
>but don't know who played it. Can anyone help?

Yamashita did; it's paired with his transcription of Dvorak's ninth
symphony.  (What did anyone else, think of them btw?  The ninth struck
me as more impressive as an achievement than as actual music.  I did
like bits of the firebird transcription, though).

Gavin Steyn
steyn@cs.rochester.edu
"There are times, Jeeves, when one wonders, 'Do pants really matter?'"
Newsgroups: rec.music.classical
From: ladasky@netcom.com (John J. Ladasky II)
Subject: Re: Music from Excalibur
Date: Wed, 08 Apr 92 18:32:02 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

In article <1992Apr8.082651.1@tesla.njit.edu> kpm8447@tesla.njit.edu writes:
>Does anyone have the Excalibur soundtrack or know which songs are on it?
>[...]
>1) Carmina Burana: Introduction
>
>2) Siegfried's Funeral Music and Final Scene (from Gotterdammerung)
>[...]

And, of course,

3) Prelude from "Tristan and Isolde" (love scene btwn. Lancelot & Guinevere).

Is this a FAQ?

A question for all of you... was there ANY original music written for 
Excalibur?

-- 
-----------------------------------------------------------------------------
John J. Ladasky II 					(ladasky@netcom.COM)

Netcom - Online Communication Services San Jose, CA
-----------------------------------------------------------------------------
Newsgroups: rec.music.classical
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: Good Perf Major Schools?????
In-reply-to: william sadler's message of Tue, 14 Apr 1992 10:55:48 -0500
Organization: pubs
	<CB.92Apr7104710@tamarack12.timbuk>
	<1992Apr12.152832.1@eagle.wesleyan.edu>
	<CB.92Apr13124041@tamarack12.timbuk>
	<1992Apr14.105559.7006@bronze.ucs.indiana.edu>
Date: 14 Apr 92 12:09:36 CDT

William Sadler writes:

   >I'm sure not everyone finds happiness [at Indiana U], but, as far as 
   >I know, it's the only school at that level of quality that has anything
   >like IU's sheer SIZE

   And that is the crux of the problem.  As a current enrollee in these
   hallowed factory halls I have to say that I have seen many people come
   through here and leave, let's say, different.  If you said, "Needing
   psychological care" you wouldn't be wrong.

   But it is the BIGGEST school of music if not the best.  

   As a graduate school it is probably OK if you are looking for a specific
   teacher to study with.  But, you have to be prepared to compete with all
   of the other people wanting to study with that teacher.  The vocal
   department is the worst example.
   ...

You make good points, and I can easily imagine all the problems you cite
being perfectly true.  Some of this, though, must be inherent in becoming a
musician *anywhere*.  A friend who went to Juilliard didn't find it any bed
of roses, and he was considered a success there.  Assessing an organization
of this complexity involves the inside/outside difference in perceptions.
For example, I work at Cray Research, where we often feel that things are
going the wrong way, but still (outside perspective) it's a great,
successful company.  I'm sure IU isn't any more fair than life in general,
but I still think it's a special place.

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7
Newsgroups: rec.music.classical,rec.music.misc
From: The Shadow <swcramer@silver.ucs.indiana.edu>
Subject: wanted - soundtrack from Star Trek II Wrath of Khan
Keywords: trek khan wrath soundtrack
Organization: Indiana University
Date: Thu, 16 Apr 1992 02:23:53 -0500


I am looking for the soundtrack to Star Trek II - Wrath of Khan.

At one time I had access to the tape and it was fantastic.  I would
love to have it again - be it on CD (preferable but I do not think it
is _on_ CD) or tape.

_Any_ help would be greatly appreciated.

-Scott Cramer



Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Britten
Organization: Open Software Foundation
Date: Tue, 7 Apr 1992 16:21:04 GMT

In article <28688@brahms.udel.edu>, conrad@brahms.udel.edu (Jon Conrad) writes:
|> 
|> For his simulation of sounds using instruments (and voices), there are a
|> great many examples, of which I'll offer only the ones that jump to
|> mind.

Her's another.  In the "Lachrymosa" section of War Requiem, the soprano
sings short phrases with a long note in each.  These notes are doubled by a
woodwind instrument which seems to me to mimic the vowel color in the
particular register.  The effect is marked in Britten's own recording,
absent in Rattle's.

The tuba imitating a foghorn in Peter Grimes is rather too easy...
-- 
David Brooks				dbrooks@osf.org
Systems Engineering, OSF		uunet!osf.org!dbrooks
April is the crullerist month: time to make the dougnuts.
From: frank@rover.uchicago.edu (Frank - Hardware Hacker - Borger)
Subject: Re: CHICAGOESE: Come again?, or Today's Chuckle
News-Software: VAX/VMS VNEWS 1.41    
Reply-To: frank@rover.uchicago.edu
Organization: Joint Center for Radiation Therapy
Date: Mon, 6 Apr 1992 18:41:00 GMT

In article <28666@brahms.udel.edu>, conrad@brahms.udel.edu (Jon Conrad) writes...

	We used to summer in Michigan a few miles from Interlocken National
	Music Camp, and were there when they first cranked up their FM station.

	The local radio station decided it was time to have a classical hour
	on Sunday morning. (Previous to this, the closest thing to music you
	heard was the sound of a MasseyFerguson tractor as the intro to the
	farm hour.)

	Anyway, the luckless announcer got stuck with announcing a good
	Russian composition and said

	"The last composition was the Russian Easter overture by (pregnant
	pause...) (phonetic spelling of his pronunciation follows)
	rimsky and curseacough.


+---_      Frank R. Borger - Physicist     Internet:  Frank@rover.uchicago.edu
|__|_)  Michael Reese  - Univ. of Chicago  Phone : 312-791-8075 fax : 567-7455
|  | \ _  Center for Radiation Therapy
|     |_)   2929 South Ellis Avenue        Bachelor; A man who never made the
      |_)   Chicago, Illinois 60616        same mistake once! 
Newsgroups: rec.music.classical
From: bob@bob.NoSubdomain.NoDomain (Bob Baccus)
Subject: Re: Ralph Vaughan Williams
Reply-To: bob@bob.b23a.ingr.com
Organization: Intergraph Corporation, Huntsville, AL.
Date: Mon, 6 Apr 1992 17:17:06 GMT

In article <1992Apr6.154837.20789@wpi.WPI.EDU>, martino@wpi.WPI.EDU (Robert Paul Martino Jr) writes:
|> Thanks to everyone who emailed and posted about my questions about RVW.  Seems
|> he's a lot more well known than I thought.  

Did anyone mention his "Folk Song Suite"? It was recorded on the old
Mercury records by Frederick Fennell and the Eastman Wind Ensemble. This
is a great recording and it also has both suites by Holst and a few other
works.

Bob

  * ***** You Are A Redneck if ****** *   Bob Baccus   (205) 730-2939       *
  * Everybody you meet can tell....   *    wyle!bob!bob     or              *
  *  what kind of underwear you wear. *     baccus@infonode.ingr.com        *

Newsgroups: rec.music.classical
From: sasghm@theseus.unx.sas.com (Gary Merrill)
Subject: Re: government and the arts
    <1992Apr15.181146.26277@uxa.ecn.bgu.edu> 
    <1992Apr16.124723.3133@unx.sas.com> 
    <1992Apr16.162101.14329@uxa.ecn.bgu.edu>
Organization: SAS Institute Inc.
Date: Thu, 16 Apr 1992 18:32:19 GMT
Distribution: na
Originator: sasghm@theseus.unx.sas.com
X-Bytes: 2003

In article <1992Apr16.162101.14329@uxa.ecn.bgu.edu>, ujwb@uxa.ecn.bgu.edu (Jeff Beer) writes:
|> In article <1992Apr16.124723.3133@unx.sas.com> sasghm@theseus.unx.sas.com (Gary Merrill) writes:
|> >|> The Chicago Symphony wouldn't be able to go to the toilet between their
|> >|> Mozart performances if they didn't get subsidized.  Grant, I am sure
|> >
|> >The content of your position is simply this:  If we didn't subsidize
|> >symphonies, then there wouldn't be subsidized symphonies.  True, but
|> >not particularly enlightening.
|> 
|> Most people tend to think the Chicago Symphony is a good thing.

*Most* people don't give a crap about the Chicago Symphony -- if they
even realize it exists.  If *most* people thought it was such a good thing,
the issue of subsidy would hardly arise.  *Most* people think Nintendo is a
good thing, and as a consequence *it* doesn't need a subsidy. And from what
I hear Nintendo games are about four times as expensive as a CD or tape.
Yet people buy them up like crazy!
(Just to forestall the usual ad hominem responses I'll point I won't have one
of the hideous things in my house, though we do have two flutes, a clarinet,
a piano, a bassoon, a recorder, a guitar, and a tuba.  But I digress.)

Perhaps you mean "most people who like listening to symphonies" or "most people
who think of themselves as interested in classical music performance" or some
such.  This remark of yours is another illustration of the elitist, narrow,
and unrealistic view taken by those who want "the people" to subsidize the
arts through their taxes.

|> >(Once again, need I point out that such a response comes from someone whose
|> >machine name ends in ".edu"?)

|> so what

So look at your own comment about *most people*.  No one in the real world
would make such an outrageous claim.


-- 
Gary H. Merrill  [Principal Systems Developer, C Compiler Development]
SAS Institute Inc. / SAS Campus Dr. / Cary, NC  27513 / (919) 677-8000
sasghm@unx.sas.com ... !mcnc!sas!sasghm
From: lung@oasys.dt.navy.mil (Terence Lung)
Newsgroups: rec.music.classical
Subject: More Viola Jokes
Date: 12 Apr 92 22:42:53 GMT
Reply-To: lung@oasys.dt.navy.mil (Terence Lung)
Organization: Carderock Division, NSWC, Bethesda, MD

Q:  Why do violists leave their violas on the dashboard of their cars?
A:  So they can park in handicapped zones.
 
Q:  What do a viola solo and peeing in your pants have in common?
A:  Both are embarrassing and neither can be heard.
 
Q:  Why are orchestra internmissions only twenty minutes long?
A:  So the violists don't need to be retrained.
 
Q:  What is the definition of a minor second?
A:  Two violists playing in unison.
 
Q:  What do a SCOD missile and a viola player have in common?
A:  They're both offensive and inaccurate.
 
Q:  What's the range of a viola?
A:  About twenty yards, if you've got a good arm.
 
Q:  Why are violas so large?
A:  It's an optical illusion.  It's not that the violas are large,
    just that the viola player's heads are so small.
 
Q:  What's the difference between a viola and a vacuum cleaner?
A:  You have to plug in a vacuum cleaner before it sucks.
 
Q:  What's the difference between a violist and a shaggy dog?
A:  A shaggy dog knows when to stop scratching.
 
Q:  What's the difference between a chain saw and a viola?
A:  If you absolutely had to, you could use a chain saw in a string
    quartet.
 
Q:  What's the difference between peeing in your pants and a viola
    solo?
 
A:  You don't get that warm feeling all over after a viola solo.
 
Q:  Why does a viola burn longer than a violin?
A:  It's usually still in the case.
 
Q:  What's the difference between a viola and a power lawn mower?
A:  You can tune a lawn mower.
Newsgroups: rec.music.classical
From: cb@tamarack.timbuk (Chris Brewster)
Subject: Re: Burgmuller, John Ogdon & Daniel Adni query
In-reply-to: dbarker@camins.camosun.bc.ca's message of Sat, 11 Apr 1992 01:45:03 GMT
Organization: pubs
	<1992Apr10.174503.1@camins.camosun.bc.ca>
Date: 11 Apr 92 00:20:47 CDT

dbarker writes:

   Ogdon was a GREAT pianist and his untimley death and sparse 
   recorded legacy a tragedy. Interestingly the English seem to
   have specialised in tragic, or underrecorded, pianists.

A minor personal anecdote (second hand).  My sister was lining up a
piano teacher at Indiana and went to talk with Ogdon.  He simply
couldn't communicate; his wife did the talking, and Ogdon kind of
cringed at the other side of the room.  My sister was left at a loss
by this experience and ended up studying with James Tocco (now you can
see part of why I suggested Indiana to that recent poster :-).  Only
when Ogdon died did I hear the story of his problem, which I gather
was...neurological maybe?  Some kind of disease?  A major loss, in any
case.

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 15 Apr 92 18:11:46 GMT
Distribution: na
Organization: Educational Computing Network

In article <1992Apr15.140753.5218@unx.sas.com> sasghm@theseus.unx.sas.com (Gary Merrill) writes:
>My point, which by this time should be fairly obvious, is that what
>you want to avoid is an *establishment* -- either private or government.
>Letting people decide freely when, how much, and where they want
>to contribute to art is how you do so.  What's the mystery?

A nice neat simple solution.  What do you think some of the
ramifications of that are?

The Chicago Symphony wouldn't be able to go to the toilet between their
Mozart performances if they didn't get subsidized.  Grant, I am sure
most of them are private, but there is a lot of public funding of
symphonies, and even more so in countries with more enlightened cultural
policies.  but the point is, the CSO doesn't exist on the ticket price alone. 

>Capitalism is letting the market decide.  Compelling others, through
>the force of government, to pay my bills while I develop what I think of
>as "my art" is not capitalism by any stretch of the imagination.

who said it was?  and who said everything must be according to the
dictates of capititalism?  or that if it is not according to the
dictates of capitalism, that it is bad?

I will say it: subsdizing art is not capitalism.  I will also say: 
it is a good thing.

It is a good thing in many ways...  Not only does it help artists, but
it can also help the regional locality.  For instance,  sometimes art
subsidies are community festivals.  The city or state may provide
infrastructure support, and money, along with corporate support.  Then
thousands of people show up, spend money, and help the local economy.

Jeff
Newsgroups: rec.music.classical,comp.music
From: hyx1@cunixb.cc.columbia.edu (Harry Y Xu)
Subject: Re: Help, which instrument?
Organization: Columbia University
Date: Thu, 16 Apr 1992 03:14:16 GMT

roger@phoenix.Princeton.EDU (Roger Lustig) writes:
> hyx1@cunixa.cc.columbia.edu (Harry Y Xu) writes:
>
>>	Can somebody give me advise on which instrument is the easiest to 
>>learn?  I know the Q might sound stupid, but can't think of better wording.
>>
>>	I have no musical potential/intellence.
>
>No, seriously, what do you mean by the above?

	Don't u believe tht somepeople have more musical potential
than others (due to natural talent and childhood exposure, I guess.) ?
	Howard Gardner (Psychologist?) suggested 7 independent 
"intelligences", or talents:
	1. logical-mathematical,
	2. spatial,
	3. linguistic,
	4. bodily-kinesthetic (supposedly possessed by actors, athletes, 
		and dancers, etc.)
	5. insight into onself,
	6. understanding of others,  and
	7. MUSICAL.

	What I mean was that--I lack musical intelligence.  (Mainly due to
lack of exposure, I guess.)  I think I'm high above average in 6 of them;
but, my MUSICAL intelligence must be far below average within the lowest 
percentile.  (I haven't failed any class yet because some of my teachers 
successfully petitioned the music teacher to pass me back in JHS.)
	...hmmm, maybe I should start increasing exposure. Could be too late.
	Oh, let me tune my redio from 1010Wins (News) to ....hmmm, what 
station?  How about Light 106 FM?  Well, I'm not really listening anyway.

====================================>.sig <===================================
  Harry Xu  (KB2LHA)	   Internet:  hyx1@cunixb.cc.columbia.edu
 *Columbia University Amateur Radio Club (CUARC-<>-W2AEE)  *Founded, 1913*
 *The American Radio Relay League:  Amateur Radio >>---> A National Resource
 *New York Road Runners Club  -&-  Columbia University Road Runners Club 
 ::::::"Go run.  Nothing else can make you feel as good as making love."  --ME
====================================> end <===================================
Newsgroups: rec.music.classical
From: charliem@oakhill.sps.mot.com (Charlie Mayne)
Subject: Re: Help, which instrument?
Reply-To: charliem@oakhill.UUCP (Charlie Mayne)
Organization: Motorola Inc., Austin, Texas
Date: Thu, 16 Apr 1992 16:05:55 GMT

In article <1992Apr15.155140.1@urc.tue.nl> elmenb@urc.tue.nl writes:
>In article <1992Apr15.030528.22310@cunixf.cc.columbia.edu>, hyx1@cunixa.cc.columbia.edu (Harry Y Xu) writes:
>=> Hi,
>=> 	I plan to put up an effort to learn an instrument over the Summer.
>=> I just want to entain my ear (amongst other body parts); just want to learn
>=> an easy-to-pick-up instrument.
>=> 	Can somebody give me advise on which instrument is the easiest to 
>=> learn?  I know the Q might sound stupid, but can't think of better wording.
>=> 
>=> PS.	I sort of like woodwind and brass, but not sure.
>=> 	I have no musical potential/intellence.
>=> 	I'm a poor college student without much $ to spend on it.
>=> 
>
>I suggest you try the flute. It's easy to learn to play simple tunes on a
>flute. However, if you like it and intend to get on, after three or four years
>I don't think there's any difference in what instrument you try. Every
>instrument has its own difficulties you have to master to be good at it.
>
>Nicole
>elmenb@urc.tue.nl

The flute would not be a bad choice.  After a couple of weeks, most people
get a pleasant enough tone to enjoy.

Stay away from the brass instruments.  It takes more than a summer to start
sounding even decent, and more than a couple of years before one starts to 
sound like what they are really supposed to sound like.  Also, it is hard to 
practice without offending everyone in the vacinity.  

Are you interested in singing?  It also takes years to get it working well,
but if you have an ear it can sound pretty good from the start.
Here are some things to consider:

  -) You don't have to purchase the instrument

  -) It is easy to carry

  -) You can practice in the shower

  -) Male voices are in high demand in church, civic, and university chorus, 
     so it is easy to find musically rewarding performing opportunities, even 
     for a beginner.  

Whatever you do, line up a few private lessons to get started.  If you are
planning to stay with it for a long time, choose what you want to do without
regard for how difficult it is to learn the basics.  Some paths may be less
frustrating at first, but all are difficult to master.  

I don't recall meeting any musician who regretted learning their ax.

-- 
Charlie Mayne                                   | Motorola Incorporated
charliem@oakhill.sps.mot.com                    | Microprocessor Products Group
charliem%oakhill@cs.utexas.edu                  | Austin, Texas  78735-8598
"The most dangerous thing ... is to be ... without wind." Tristan Jones
Newsgroups: rec.music.classical
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: government and the arts
In-reply-to: sasghm@theseus.unx.sas.com's message of Mon, 13 Apr 1992 18:43:24 GMT
Organization: pubs
	<1992Apr8.221929.21158@scubed.com> <1992Apr9.173358.29008@unx.sas.com>
	<1992Apr11.005446.8595@acsu.buffalo.edu>
	<1992Apr13.184324.12198@unx.sas.com>
Distribution: na
Date: 13 Apr 92 17:00:17 CDT

Karl Henning writes:
    
   Think how many photographs of crucifixes in apple juice
   coulda been paid for by /one/ of those stealth bombers ... :-)

Gary Merrill writes:

   As a genuine work of art, I'll take the stealth bomber.

The point isn't the *amount* of money.  The point is the simple irreducible
fact that we are paying someone to insult us, and not even insult us
interestingly.  Serrano is just another Andrew Dice Clay, but with a knack
for playing the game of the art world.  Naturally I don't want Jesse Helms
making arts funding decisions, but whoever made the Serrano decision needs
to be replaced.

Chris Brewster
cb@cray.com
GEnie: C.BREWSTER7