HDTenEightyP/NetNews huggingface dataset:
From: gavras@acs.bu.edu (alexis gavras)
Newsgroups: rec.music.compose,rec.music.makers
Subject: For Garry Simmons
Date: 7 Oct 92 20:12:08 GMT
Followup-To: rec.music.compose
Distribution: usa
Organization: Boston University, Boston, MA, USA
Originator: gavras@acs.bu.edu

I'm responding with a posting because the adress you gave in your e-mail to me
bounced. First of all, thank you for responding. I have yet to try this out, 
but I think I've found a hookup sequence which will work with my equipment for
my purpose, which for now, since I have yet to acquire a mixer, is simply to 
record sounds exclusively from the module. Since my module doesen't seem to 
have the track echoing option, I'll be using a seperate MIDI merger, amd my 
setup will be as follows: Keyboard MIDI out to module MIDI in ; module MIDI 
through to sequencer MIDI in; sequencer MIDI out also into module MIDI in, 
with the aid of the merger (I'm told the Anatek pocket merger is the least 
expensive). Like I said, I haven't tried this out yet, but it seems to be the 
only setup that will work, so if you run into any similar problems when you 
start qequencing, keep this in mind. 

                        Thanks again,

                                         Alexis























































Xref: sparky rec.music.compose:198 rec.music.beatles:4893
From: stevedc@syma.sussex.ac.uk (Stephen Carter)
Newsgroups: rec.music.compose,rec.music.beatles
Subject: Re: 'Happy Birthday To You'
Date: 8 Oct 92 07:16:45 GMT
Organization: University of Sussex
X-Newsreader: Tin 1.1 PL4

edc@franklin.bchs.uh.edu (edward s. chen) writes:
: In article <1992Oct7.042740.8794@galileo.cc.rochester.edu> jwlr@gauguin.cc.rochester.edu (James Willer) writes:
: >ladasky@netcom.com (John J. Ladasky II) writes:
: >
: >Paul McCartney never *owned* the all that stuff! John and Paul signed away
: >the rights to Northern Songs early on, and Paul was negotiating with Yoko
: >(as John's estate) to buy the rights to the Maclen catalog when it was
: >bought out from under them by MJ. (Paul has since declared that there was
: >some kind of 'insider stuff/secret deal' between MJ and Yoko.)
: >
: 
: No!  To my knowledge, Paul has never "since declared...'insider stuff/secret 
: deal' between Wacko Jacko and Yoko."   He has made a point of saying "I think
: there may have been something going on, look at the evidence and make up your 
: own mind."

I have also heard an interview with paul where he recounts a visit by
MJ to his farm (near here :-), and MJ was happily playing with the
kids, while he and Paul (presumably) were working on their joint song
thingy.  MJ asked Paul what was a good thing to invest in, paul
replied that song copyright was good stuff....  

Ther rest, as they say, was history..

Stephen Carter, Systems & Operations Manager, Computing Services, 
 University of Sussex, Brighton BN1 9QJ, UK
  JANET        : stevedc@uk.ac.sussex.central
   EARN/BITNET  : stevedc@central.sussex.ac.uk      
    ARPA/INTERNET: stevedc%central.sussex.ac.uk@nsfnet-relay.ac.uk 
Newsgroups: rec.music.compose
From: rolfe@fraser.sfu.ca (Christopher John Rolfe)
Subject: Re: FM synthesis
Organization: Simon Fraser University, Burnaby, B.C., Canada
Date: Fri, 16 Oct 1992 23:39:51 GMT

fullerto@pike.cis.ohio-state.edu (timothy dwight fullerton) writes:

>	I am working on a project for school which requires the programming of 
>patches onto a tx 816. Is anyone acquainted with sources of patches or 
>instructions for programming any DX7-like synthesizer?

	Try to find John Chowning's ( innovator of FM synthesis ) book 'FM
Synthesis for Musicians' ( written in collaboration with someone -
I've forgotten the details ).  
	Also read his several articles in the Computer Music Journal (
starting in the seventies somewhere ).  
	
	Be ye not afeared of Besel functions.  Keep ye thy modulation index
subtle ( < 2.0 ).  Use a patch librarian/editor.

	And try posting the request in rec.music.synth ( there you
will find the techno-heads and perhaps someone who is willing to send
you some patches ).  






-- 
Chris                   | 2617 East 4th,| If brevity is the soul of 
rolfe@sfu.ca            | Van., B.C.    | wit, what is semibrevity
Simon Fraser University | V5M 1K5       | the soul of?
Burnaby,  Canada        | Canada        | 
Newsgroups: rec.music.compose
From: hjv@phil.ruu.nl (Hendrik Jan Veenstra)
Subject: Re: Atari software?
Organization: Department of Philosophy, University of Utrecht, The Netherlands
Date: Wed, 14 Oct 1992 16:38:08 GMT

mtvfb@nl (Fokke de Boer) writes:

>Or possibly CuBase. I admit that the score printed by Notator is better,
>though. I once read something like: "CuBase is for musicians, Notator is
>for composers" or something similar.

No, not Cubase - it's terrible on scores... Notator is for composers and
Cubase...???

--
Hendrik Jan Veenstra  |  hjv@phil.ruu.nl  |   You look for your dreams in
Dept. of Philosophy   |                   |   heaven, but what the hell are
University of Utrecht |                   |   you supposed to do when they
The Netherlands       |                   |   come true...?
Newsgroups: rec.music.compose,rec.music.beatles
From: kim@inquis.enet.dec.com 
Subject: Re: What Paul Owns
Organization: Digital Equipment Corporation
Date:  9 OCT 92 14:03:28 EST


In article <1992Oct8.193506.26848@math.ucla.edu>, dmac@julia.math.ucla.edu (saki) writes...
>In article <1992Oct7.172407.1440@b11.b11.ingr.com> mcconnel@b11.b11.ingr.com (Guy McConnell) writes:
>>    And while we're talking about this (we *were* talking about it,
>>right?) I seem to recall being told that Paul owned the rights to
>>the Georgia Tech fight song "The Ramblin' Wreck" or whatever it's
>>called.  I don't recall where I got this idea but I've wondered
>>about it ever since.  Anyone know the scoop?
> 
>Paul owns a college football song but I recall that it was the University
>of Michigan tune. I could very well be wrong. I can't find it in any of
>my available books.
> 
>He does own various musicals, such as "A Chorus Line" and "Annie", in
>addition to Buddy Holly et al.
> 
>Someone within phoning distance (and with sufficient interest in
>the subject :-) might want to call MPL Productions in London for
>the details. I bet they'll know.

All right, this is getting to be ridiculous.  Pardon my possible ignorance,
but can people actually "buy" and thereby owning copyrights to anything?

This "Happy Birthday" thing has confused me.  I always thought it was a public
domain song (like "Dry Bones" (: ), so anyone can use it.  What does it mean
if someone with lots of money can buy the rights to such a well known song
which I thought anyone could use anytime!  Or am I completely off-base on this?

Howard K.
Newsgroups: rec.music.compose
From: cmclark@dri.com (Chip Clark)
Subject: Re: Music software.
Reply-To: cmclark@drivax.mry.novell.com
Organization: Desktop Systems Group/Novell, Monterey CA/USA
Date: Wed, 7 Oct 92 19:25:30 GMT


]I've got a 286 and Sound Blaster Pro.  The only software
]that I've seen only accepts one note at a time through midi
]input.  Is there any good software that you can play along
]fairly fast and have it write out the music. ( Of course I'd
]expect to have to go back over it and make revisions )  One that
]can tell the difference between a quarter note and a full note
]preferably. -- ??????????????????????????

YES - SongWrite does. I can do chords upto 16 notes full and it records 
them all - it does not do multiple lines of music but that is preferential
anyway - and it sometime gets extra notations when you strike 2 keys
but not at the same time it cancels the lengeth of the first note with
the second note (ie - you want a chord of Bb - D and F held for a full 
measure - but play Bb first and follow up with D and F, it may write a Bb
eighth note followed by the chord of D and F doted half notes tied to eighth
notes to complete the measure).  

I have worked with Music Master and with Finale and find for ease of music 
writing - Songwrite has them beat hands down.

I would like to get the latest version - but don't have the bucks right now.
I understand it has even more features of improvement.

If you decide to look at their product (I don't get kick backs) please tell
them you heard it from Eddie Clark in Monterey.


Thanks

Newsgroups: rec.music.compose,rec.music.beatles
From: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Subject: Re: 'Happy Birthday To You'
Reply-To: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Organization: Columbia University
Date: Wed, 7 Oct 1992 18:28:27 GMT

And now, for 300 dollars, name the songwriters for "Happy Birthday to
You", and its original title...

--Joe Brennan


PS- There is a REASON that some fine news programs want the new
material to be longer than the quoted material.  It's not a bug!

Newsgroups: rec.music.compose,rec.music.beatles
From: fields@zip.eecs.umich.edu (Matthew H. Fields)
Subject: Re: 'Happy Birthday To You'
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Wed, 7 Oct 1992 19:41:29 GMT

elsewhere I was told:
"The song Happy Birthday to You was also published as Good Morning
to All in 1893 by Mildred J. Hill and Patty S. Hill. It was 
used without permission and resulted in a rather famous lawsuit
in 1934. Mildred Hill died in 1916 and Patty Hill died in 1946.
 
"While it may be that particular arrangements of the song are
possibly under copyright, it is possible that the tune itself
has entered the public domain so many years after the deaths
of its creators. I cannot find any evidence to the contrary,
but I advise you to contact the two music performing rights
agencies (BMI and ASCAP) to make certain, stressing that
you are interested in the tune, not a particular published
arrangement."
 
BMI
320 W. 57th Street
New York, NY  10019
 
ASCAP
1 Lincoln Plaza
New York, NY  10023
 
---well, that's what I was told, which is just slightly different
from a few other versions of the story, but I don't know if it
sheds any light on anything.



Newsgroups: rec.music.compose,rec.music.beatles
From: dmac@julia.math.ucla.edu (saki)
Subject: Re: What Paul Owns
Summary: Song copyrights
Organization: UCLA Mathematics Department
Date: Thu, 8 Oct 92 19:35:06 GMT

In article <1992Oct7.172407.1440@b11.b11.ingr.com> mcconnel@b11.b11.ingr.com (Guy McConnell) writes:
>    And while we're talking about this (we *were* talking about it,
>right?) I seem to recall being told that Paul owned the rights to
>the Georgia Tech fight song "The Ramblin' Wreck" or whatever it's
>called.  I don't recall where I got this idea but I've wondered
>about it ever since.  Anyone know the scoop?

Paul owns a college football song but I recall that it was the University
of Michigan tune. I could very well be wrong. I can't find it in any of
my available books.

He does own various musicals, such as "A Chorus Line" and "Annie", in
addition to Buddy Holly et al.

Someone within phoning distance (and with sufficient interest in
the subject :-) might want to call MPL Productions in London for
the details. I bet they'll know.

--
"The Lana Sisters, clad in pink, added a welcome feminine flavour.
'Much better than those Beatles' I heard one gentleman remark."
------------------------------------------------------------------
saki (dmac@math.ucla.edu)
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.compose
Subject: What's cmn? [Re: beaming gripes]
Date: 10 Oct 92 17:58:30 GMT
Article-I.D.: husc3.1992Oct10.135831.16233
Organization: Harvard Math Department

In article <1992Oct6.152442.17450@leland.Stanford.EDU>
bil@cmn16.Stanford.EDU (Bill Schottstaedt) writes:
"In article <1992Oct5.224649.16107@husc3.harvard.edu>  
"elkies@ramanujan.harvard.edu (Noam Elkies) writes:
"> Is it too much to ask that all three should be specificable?
"
"cmn (cmn.tar.Z from ccrma-ftp) beams the original (8 32 16 32) 
"pattern correctly, and it is easy to add explicit beaming
"choices -- I'll add this to the examples.

What's cmn?  (Computer Music Notation?)  I don't think I've seen
mentioned of this one before, a least not by that name.

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
Newsgroups: rec.music.compose,rec.music.beatles
From: dmac@julia.math.ucla.edu (saki)
Subject: Re: What Paul Owns
Organization: UCLA Mathematics Department
Date: Fri, 9 Oct 92 21:12:46 GMT

In article <7186418874907@c00465-224wi.eos.ncsu.edu> jcsmith@eos.ncsu.edu (Jay C. Smith) writes:
>In article <1992Oct8.193506.26848@math.ucla.edu> dmac@julia.math.ucla.edu 
>(saki) writes:
>>In article <1992Oct7.172407.1440@b11.b11.ingr.com> mcconnel@b11.b11.ingr.com 
>>(Guy McConnell) writes:
>>>I seem to recall being told that Paul owned the rights to
>>>the Georgia Tech fight song "The Ramblin' Wreck" or whatever it's
>>>called.
>>
>>Paul owns a college football song but I recall that it was the University
>>of Michigan tune. I could very well be wrong. I can't find it in any of
>>my available books.

I'm told by three trustworthy people---Sam Gabelt, C. Garner, and Eric
Robinette---that Paul bought "On Wisconsin" (at least I got the region
of the country right) and, in fact, recently refused to relinquish
the rights to the song when U. of Wisconsin asked for them back.

--
"The Lana Sisters, clad in pink, added a welcome feminine flavour.
'Much better than those Beatles' I heard one gentleman remark."
------------------------------------------------------------------
saki (dmac@math.ucla.edu)
From: rlapham@ncratl.AtlantaGA.NCR.COM (Richard Lapham)
Newsgroups: rec.music.compose
Subject: Re: Scoring software gripes [beaming]
Date: 9 Oct 92 00:27:22 GMT
Organization: NCR Engineering and Manufacturing Atlanta -- Atlanta, GA
X-Newsreader: TIN [version 1.1 PL6]

Noam Elkies (elkies@ramanujan.harvard.edu) wrote:
: In article <1992Oct4.210703.2845@zip.eecs.umich.edu>
: Moreover, the tree structure may depend on context; either beaming
: of 1/16,1/32,1/16,1/32 can be "correct" (is the implied local rhythm
: 2*(3/32) or a syncopated 3/16?).  Even more important than having
: reasonable defaults is the capability to override them.
: 
: --Noam D. Elkies (elkies@zariski.harvard.edu)
:   Dept. of Mathematics, Harvard University

In response to this article on the beaming of the 8th, 32nd, 16th, 32nd
note grouping, there is a way to get the desired beaming with a little bit of
manipulation to the music.  However, the only way that it will work is if
the grouping is the only layer or voice in the measure.

1st - Use the "Speedy Note Entry Tool".  Enter an 8th note (any pitch) and
hit the "O" key.  then enter the 32nd, 16th, and 32nd notes on the correct
pitches.
2nd - Switch to Layer 2 or Voice 2 and enter a quarter note on the pitch 
of the intended first 8th note.
3rd - Click the "Special Tools" icon, and click the measure.  Switch back to
Layer 1 using the layer button in the "Special Tools" window and use the 
"Beam Extension Tool" to extend the 8th note beam of the grouping to the
quarter note.  Switch back to Layer 2 and use the "Stem Length Tool" to adjust
the height of the quarter note stem to match the beam.  You can also use the 
"Beam Angle Tool" to make any further adjustments as far as the angle of the
beam is concerned.

Although it would be nice if Finale did this by default, there is a way to 
get around this small problem in the program, and with a little manipulation,
you can do almost anything in Finale.

P.S.  I solved this problem using Finale 2.0.1 for Windows, but I'm sure the 
Mac version works the same way.

Tim Lapham, Suwanee, GA, USA.
Xref: sparky rec.music.compose:196 rec.music.beatles:4884
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.compose,rec.music.beatles
Subject: Re: 'Happy Birthday To You'
Date: 7 Oct 1992 18:42:09 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <1992Oct7.140107.15982@zip.eecs.umich.edu> fields@zip.eecs.umich.edu (Matthew H. Fields) writes:
>In article <1992Oct7.042740.8794@galileo.cc.rochester.edu> jwlr@gauguin.cc.rochester.edu (James Willer) writes:
>>"Happy Birthday" *is* copyrighted material, and public performance without
>>permission/royalties *is* illegal. This is true regardless of *who* owns it.

>Really.  But civil law, not criminal, no? and who's going to sue a restaraunt
>staff for singing it? You can't squeeze blood from a turnip.  Sounds like
>an urban legend.

One of several instances of "Happy Birthday" lawsuits came from the Pinter
movie "Betrayal" ten or twelve years ago. The producers of the movie were
unaware that it was copyrighted and had to pay significant damages. No,
no one's going to sue a restaraunt for singing it, but it's definitely
not urban legend.

Bill

Newsgroups: rec.music.compose
From: mjc+@cs.cmu.edu (Monica Cellio)
Subject: Atari software?
Organization: School of Computer Science, Carnegie Mellon
Date: Thu, 8 Oct 1992 17:19:12 GMT

Is anyone out there familiar with the composition software that's available 
for the Atari?  I'd be interested in hearing feedback on what's available,
what it costs, and what you like and dislike about it.  I'll summarize email.
Thanks.

Monica

Newsgroups: rec.music.compose,rec.music.beatles
From: fields@zip.eecs.umich.edu (Matthew H. Fields)
Subject: Re: 'Happy Birthday To You'
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Wed, 7 Oct 1992 19:47:45 GMT

In article <71846984017588@c00487-224wi.eos.ncsu.edu> jcsmith@eos.ncsu.edu (Jay C. Smith) writes:
>The rights were to "Happy Birthday To You" were auctioned within the past
>few years by the original holders (or their heirs), and I don't remember
>any mention of Dr. Macca or His Gloved One in connection with this.  They
>were probably purchased by some big insurance company or pension fund--the
>song has a pretty steady source of income.

I missed something here.  Maybe my brain did a flip when it thought that
the song actually went out and got a job---no, it was back at this song
being a money-maker.  Amazing.  Incredible.  Fantastic.  True?

Xref: sparky rec.music.compose:191 rec.music.beatles:4880
From: edc@evolution.bchs.uh.edu (edward s. chen)
Newsgroups: rec.music.compose,rec.music.beatles
Subject: Re: 'Happy Birthday To You'
Date: 7 Oct 92 21:09:01 GMT
Organization: Little to none, or maybe not......

In article <1992Oct7.194422.9908@zip.eecs.umich.edu> you write:
>In article <1992Oct7.155741.18170@menudo.uh.edu> 
>>edc@franklin.bchs.uh.edu (edward s. chen) writes:
>>Now, the "secret deal" was first bought to light in Musician magazine.  In 
>>the
>>US, the first copyright lasts for 25 years.  If the songwriter dies within 
>>that
>>first 25 years, all rights (again, for US airplay, etc) to the material 
>>revert
>>back to the estate for the copyright renewal (also lasting 25 years), 
>>*regardless* of any other deals made in the intervening time.
>

>These numbers don't sound right! it was 50 years when I was growing up, and
>went up to 75 in '78, didn't it?

Nope, this is indeed the current copyright law in the US.  You may be thinking
about the actual performances, which are protected for 50 years (with 
extensions possible).  So, had Northern Songs decided not to renew the
copyright in 1988 the *material* would have lapsed into the public domain
(ie: anyone could use the song "Please Please Me" for any purpose without
paying royalties), but the Beatles performance would've been protected until
at least 2013.

The current owner of the copyright for the Len-Mac catalog is Michael Jackson.

The current owner of the Beatles performances is EMI, and they have the right
to issue anything, at any time they desire.  (But, they would probably not
release something if the Boys vehemently objected to it, eg. "Sessions")

For the Nike "Revolution" commercial, permission had to be obtained from
Jacko for use of the song, and EMI for use of the Beatles recording.

Now, this situation is somewhat different in many other countries worldwide.
In Japan, the performance is only protected for 25 years -  thus, the rampant
collections like "Lennon Tracks", "McCartney Tracks", etc which are legitimate
in Japan -- but still technically bootlegs in the United States.  

<ESC>
-- 
..You either kiss the future or the past goodbye...
                          -- Ringo Starr (written by O'Deherty / Velez)
From: jsturges@iastate.edu (Jason L Sturges)
Newsgroups: rec.music.compose
Subject: Just intonation
Summary: Can anyone send information on Just intonation?
Keywords: Just intonation, tuning, pianos.
Date: 13 Oct 92 21:57:01 GMT
Article-I.D.: news.Bw2yB9.LIo
Organization: Iowa State University, Ames, IA


 I've just recently found out about something called just intonation (as
opposed to standard intonation).  Does anyone know how the tuning of this
works?  (as on a c - c' keyboard octave?)  Thanx in advance!

							-- Jason Sturges
Newsgroups: rec.music.reviews,rec.music.industrial,rec.music.misc
From: awrc@dcs.ed.ac.uk (Al Crawford)
Subject: Review: Neil Arthur - One Day, One Time
Reply-To: awrc@dcs.ed.ac.uk (Al Crawford)
Organization: The University Of Edinburgh - Department Of Computer Science
Date: Tue, 13 Oct 1992 17:52:02 GMT
Followup-To: rec.music.misc


Neil Arthur		One Day, One Time	Chrysalis CDCHS 3909 [UK]

	Total Running Time: 16 min 16 sec

	1.	One Day, One Time (7" Mix)
	2.	One Day, One Time (Bone O'Fido Mix)
	3.	Going Round In Triangles
	4.	Laughing In The Rain

After what seems like an age in the wilderness (well, 6 or 7 years anyway)
ex-Blancmange vocalist Neil Arthur re-emerges with this competent little
single.

The Blancmange synth-pop influence is fairly apparent, although the sound
has been updated with an understated dance beat that's enough to
contemporarise the track without making it sound ridiculous. The slight
quirkiness of sound that characterised Blancmange is still there although
what I'd have thought to be the most obvious common feature, Arthur's
voice, seems to have changed over the years. It's more controlled, lacking
the occasional hints of strangulated histrionics that characterised his
work with Blancmange. A bit of a shame, really, it's lost a lot of
character.

The dance remix has a slightly pumped up beat but is generally disposable.
"Going Round In Triangles" is another fusion of fairly conventional guitar
rock and a dance aesthetic but doesn't offer much apart from the cute
title.

"Laughing In The Rain" is a definite improvement though - it's more
reminiscent of Blancmange, Arthur's voice takes on some of its old
character, and there's no real attempt to conform to the tyranny of the
beat.

So, a pleasant enough offering. He's never going to achieve the same
heights Blancmange did though, Stephen Luscombe was just too central to
that group's sound for Arthur to have a hope in hell of equalling their
achievements. Still, this solo effort is decent if unexceptional listening,
so it's better than nothing and maybe we can even hope for a Blancmange
reunion on a track or two of the (presumed) forthcoming album. Certainly
good enough for me to be looking out for any future releases.

Erland Rating: +1
Crawford Rating: Orange/Apple/Pointer

--
			Al Crawford - awrc@dcs.ed.ac.uk
	  Department Of Computer Science, The University of Edinburgh
   Rm 1410, JCMB, Kings Buildings, Mayfield Rd, EDINBURGH, EH9 3JZ, Scotland
	     Tel: +44 (0) 31 650 5165  Fax: +44 (0) 31 667 7209
Newsgroups: rec.music.reviews,rec.music.industrial,rec.music.misc