HDTenEightyP/NetNews huggingface dataset:
From: jpino@dcc.uchile.cl (Jose A. Pino)
Subject: Re: flight of the Bumblebee
Originator: jpino@dcc.uchile.cl
Date: Fri, 18 Dec 1992 14:25:00 GMT
Organization: Universidad de Chile, Depto. de Ciencias de la Computacion

andreas@appel012.hydromech.uni-hannover.de (Andreas A. W. Dunker) writes:

>There are several version of "the Flight of the (B)Humblebee". The best
>I know is that from Bobby McFerrin and Yo-Yo Ma. And there
>exists a version with a brass ensemble. Does anyone know about
>further variations?

An interesting flute performance is recorded by Michala Petri in Philips
Silver Line Classics 420 897-2.


Newsgroups: rec.music.classical
From: k22164@kyyppari.hkkk.fi (Mikko Reinikainen)
Subject: Christmas Lieder
Date: 13 Dec 92 20:41:49 GMT
Distribution: rec
Organization: Helsinki School of Economics, Finland

Last Christmas somebody knowing my fondness of Peter Schreier gave me
his CD "Weihnachtslieder-Christmas Songs" with Norman Shetler, piano
on Eurodisc-label (GD 69013). The disc includes Christmas songs (or
Lieder, which I in my opinion gives a clearer picture of the genre)
by Peter Cornelius (1824-74), Joseph Haas (1879-1960), Max Reger
(1873-1916) and Hugo Wolf (1860-1903).

It's wonderful CD: the songs are charmingly faithful to the
"Lieder"-mannerisms, yet there is a pleasant variety of atmospesheres!
I recommend this kind of Christmas music and especially this CD to
everyone bored with the more familiar Carols etc. we are surrounded
these days!

I would also appreciate any information on other recordings of this
genre of Christmas music.

	Mikko Reinikainen
	Finland
--
Mikko Reinikainen
k22164@kyyppari.hkkk.fi
Helsinki School Of Economics and Business Administration
Helsinki University/Faculty Of Law
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: schirmer, chopin, mikuli,
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 16 Dec 92 11:21:19 EST

JB>In article <104607#bu.edu>, spacefox@acs.bu.edu (Godfrey Degamo) writes:
  >|>      Anyways, after buying Chopin Nocturnes For the Piano, Joseffy Editio
  >|> from the Schirmer's Library of Musical Classics (L. 30), I discovered,
  >|> looking at the back of the book, that there is a Mikuli and Joseffy
  >|> Editions of Chopin's works.  I suppose they are arranged differently,
  >|> but by how much?  And does it really make a significant difference?

JB>Some people think it does.  Joseffy tends to be a bit more liberal about
  >the score.  Some teachers don't like his editions.  On the other hand, his
  >editions do contain the nice forwards by James H.??  I think most of my
  >Chopin scores are Joseffy, but do believe that there are certain pieces that
  >are only published in one of the two editions (I think the Etudes are only
  >done by Mikuli, and you'd do better with the Peters edition of those).

That "James H" wouldn't be the great James Huneker, would it? As in
"Mezzotints in Modern Music (1899)", "Old Fogy: His Musical Opinons and
Grotesques (1913)" and "Overtones: A Book of Temperaments -- Richard
Strauss, Parsifal, Verdi, Balzac, Flaubert, Nietzsche and Turgenieff
(1906)"? I see it must be: "Old Fogy" is dedicated to Rafael Joseffy!

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical,alt.flame
From: mikulska@crux.Princeton.EDU (Margaret Mikulska)
Subject: Re: why no women composers (was Re: FINAL FINAL THOUGHTS !!
Originator: news@nimaster
Reply-To: mikulska@astro.princeton.edu (Margaret Mikulska)
Organization: Princeton University
Date: Fri, 11 Dec 1992 22:20:14 GMT

In article <VuLLVB1w165w@cybernet.cse.fau.edu> elmo@cybernet.cse.fau.edu (Yuri Villanueva) writes:
>
>Maybe it's because there are very few women on the CDs that girls don't find
>too many role models in music... or maybe our culture unknowingly
>discourages girls to pusrue their careers (in any endeavor, not just music)
>seriously.  If so, then it's unfortunate, because it's a vicious cycle, and
>things are probably gonna stay like that no matter what the feminists do.
>If it's because nature gave boys an extra music gene that girls don't got,
>then I guess it ain't too much of a tragedy.

Indeed, it's not a tragedy from a man's point of view.  Now imagine
you're told "You are _biologically_ unable to pursue a serious career
in music" when all you _really_ want to do is music.  Not much of a 
tragedy, just an inconvenience, right?

Thank you for such a sensitive and thoughtful contribution to this
discussion.

-Margaret

Newsgroups: rec.music.classical
From: pajerek@telstar.kodak.com (Don Pajerek)
Subject: re: Requia
Reply-To: pajerek@telstar.kodak.com (Don Pajerek)
Organization: Digital Equipment Corp. - Telstar
Distribution: usa
Date: Mon, 14 Dec 1992 17:39:20 GMT

In article <r8ubopx@Unify.Com> dbrus.Unify.Com.ceb@unify.uucp (Caroline E. Bryan) writes:
>Contrary to the recent assertion by one of our opera buffs that non-opera
>classical music fans invariably point to symphonies as the only music they
>listen to, I'm a devoted fan of Requiems (Requia if your Latin's not so
>rusty).  Can anyone recommend (with reasons) any specific requia (w/ or w/o
>particular recordings)?  I already know and enjoy
>
>	Durufle
>	Faure
>	Gilles (need a pointer to a CD recording of this)
>	Mozart (about the only Mozart I like -- he was over-pianoed in my
>		youth)
>
>I know I listen to others but they're all 19 miles from here.  Can someone
>recommend others?
>
>
>Carrie		ceb@rechenau.unify.com	x6244		        ------------+


Sure. Try the Stravinsky _Requiem Canticles_, recently recorded as
part of the Robert Craft set of various Stravinsky pieces.


Don Pajerek

Standard disclaimers apply.
Newsgroups: rec.music.classical
From: caf@omen.UUCP (Chuck Forsberg)
Subject: Re: Too Polite (was Re: news: pavarotti booed out
Organization: Omen Technology INC, Portland Rain Forest
Distribution: rec
Date: Fri, 18 Dec 1992 12:15:53 GMT

In article <1992Dec17.175722.10617@nmsu.edu> dclason@dante.nmsu.edu (Dennis Clason) writes:
>In article <1992Dec15.150531.19216@news2.cis.umn.edu> jill@gopher.ccbr.umn.edu (Jill Hollifield) writes:
>>I live in Minnesota, "Home of the Obligatory Standing Ovation" (tm).
>>I have never been to a concert where there wasn't a SO, whether
>>the performance was good, bad, or indifferent.
>>
>>So, my questions:  Does this happen anywhere else?  And what are *your*
>>criteria for a standing ovation?  What has to happen to bring you
>>to your feet?

In a city where "fast break" basketball is valued, "louder and faster
is better" as mentioned by Phil Murthe, a double bass player I knew.

-- 
Chuck Forsberg WA7KGX          ...!tektronix!reed!omen!caf 
Author of YMODEM, ZMODEM, Professional-YAM, ZCOMM, and DSZ
  Omen Technology Inc    "The High Reliability Software"
17505-V NW Sauvie IS RD   Portland OR 97231   503-621-3406
From: herb@sybase.com (Herb Lison)
Newsgroups: rec.music.classical
Subject: Re: Bad Brahms (Was Re: Brahms symphonies question)
Date: 17 Dec 92 18:56:45 GMT
Organization: Sybase, Inc.

The earlier post about Brahms reminded me of the surprise I experienced
a few years ago when I found myself no longer enjoying many of his
compositions which I had formerly loved.  I suppose that it is not
very unusual for taste to change with age, but I was particularly
surprised how drastic the change was with respect to Brahms.  I have
no idea why this might be, but found interestingly enough, that Artur
Rubenstein, the late great pianist, had experienced the same turnabout.

Herb Lison
Newsgroups: rec.music.classical
From: "alexander inglis" <alexander.inglis@canrem.com>
Subject: beethoven's symphonies
Reply-To: "alexander inglis" <alexander.inglis@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 18 Dec 92 17:04:45 EST

   >    Subject: Beethoven's Symphonies

TGL>This afternoon I was in a record store here in Toronto and noticed that
   >Sony has compiled many of their "Essential Classics" into box sets.  The on
   >that I was interested in, in particular, was a compilation of Beethoven's N
   >Sypmphonies.

TGL>Being on a student's budget, all nine of the symphonies in a $32.99 (Cdn.) 
   >set is a good deal.  I am just wondering, is this a good recording?  It is 
   >done by George Szell and the Cleveland Orchestra...

TGL>...or should I hold out and spend $75 to get the Harnoncourt set?

The Szell set is pretty darn good ... but it's not the last word. The
recording quality itself suffers from a fuzzy, harsh upper end.

As much as I am NOT a Karajan fan, I'd have to admit his 1963 set,
currently at HMV Yonge & Dundas, and elsewhere, for C$25.99 makes an
excellent first set. Warm sound, detailed for the era and Karajan does
respect the nitty gritty details in the scores.

The Harnoncourt has received raves in many quarters but at the price I
just don't find it competitive -- as a first set. I admit to only having
heard extended excerpts in record stores; it didn't appeal much.

If you'll indulge me, Sams, just next door to HMV, is selling off the
EMI Furtwaengler discs at C$6.99 each. If you can find all 5, it's a
bargain. Mono sound, but echt Beethoven in execution.

If you go in for a few singles, and can't find everything with EMI
Furtwaengler, Klemperer and Walter are great supplements. If you'd
like to *sample* the early instrument route, try Norrington's coupling
of Symphony 2 & 8. Hogwood's set is also admired by many though it
wasn't for me.

Alexander Inglis  |  InterNet: alexander.inglis@canrem.com
Toronto,  Canada  |  CompuServe: 70307,20     BIX: ainglis
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.music.classical
From: downs@helios.nevada.edu (Lamont Downs)
Subject: Drottningholm on laserdisk?
Keywords: opera authentic laserdisk videodisk
Organization: UNLV
Date: Thu, 17 Dec 1992 03:44:27 GMT

Does anyone know if the Drottningholm opera performances on 
laserdisk reviewed by Gramophone some time back (Don Giovanni, etc.) are 
ever to be released in the U.S. (NTSC format)? I assume the disks Gramophone 
reviewed were the British video standard (PAL?) and could not be directly 
imported into this country in any case. Can anyone provide more on this?

Thanks,
Lamont Downs
downs@helios.nevada.edu
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: The BEST finale!
Organization: Morgan Stanley & Co., New York, NY
Date: Wed, 16 Dec 1992 22:21:06 GMT


In article <1gnii7INNibh@master.cs.rose-hulman.edu> stinerkt@NeXTwork.Rose-Hulman.Edu (Kevin T Stiner) writes:
>
>What is YOUR favorite ending or finale to a classical piece?
>


Bartok:		Concerto for Orchestra
Messiaen:	Visions de l'Amen
Janacek:	The Cunning Little Vixen
Prokofiev:	Piano Concerto 3
Scriabin	Etude opus 8 #12 (or opus 12 #8 -- I never remember)
Beethoven	Grosse Fuge
Berlioz		Symphonie Fantastique


--


Out of these, it has to be the Scriabin, which is nothing *but*
ending.






Newsgroups: rec.music.classical
From: shire@dorsai.com (Kenneth Shire)
Subject: Re: Marriage of Figaro
Organization: The Dorsai Embassy, New York's Computer Consulate. +1.718.729.5018
Date: Thu, 17 Dec 1992 00:56:32 GMT

Regarding favorite versions of "The Marriage of Figaro," I just watched 
the Jean Pierre Ponnelle film with Mirella Freni, Herman Prey, Kiri te 
Kanawa and Fischer-Dieskau, Karl Bohm conducting and found it wonderful 
as both music and drama.  So, if video is permitted, this performance 
rates amongst my favorites.  
Newsgroups: rec.music.classical,alt.flame
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: why no women composers (was Re: FINAL FINAL THOUGHTS !!
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Sun, 13 Dec 1992 17:01:24 GMT

In article <1992Dec13.161609.2970@dgbt.doc.ca> ted@dgbt.doc.ca (Ted Grusec) writes:

>About women composers, the
>curious thing to me is that there is neither great money (by most) to
>be made by composing, nor does composing carry "masculine" stereotype
>baggage, and also, there are very many women who are professional
>musicians with no barriers that I am aware of on the basis of gender.
>Therefore, if composing was not gender-linked, why wouldn't there be
>"equality" of numbers?>  Any evidence, or insights, anyone?

Well, it's not that simple.  For one thing, the hero-composer is one
of the greatest artistic stereotypes from the 19th Century.  Beethoven
(not your average man, to be sure) was the source of this; from then
on, composers figured as fictional heroes from Kappelmeister Kreisler
to Adrian Leverkuehn.  I'd say that composing *does* carry a good deal
of such baggage, though we're often left with no more than the handles 
nowadays.  

In more practical terms, I can think of more than one case where female
students in composition were treated quite differently from male ones.  
And given that our universities still, to some extent, have faculties
reflecting gender-based hiring practices of 20 or 30 years ago, things
are not exactly equitable along that front.

Anyway, "equality of numbers" takes generations to achieve under such
circumstances. 

Roger
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Re: underappreciated composers
Date: 14 Dec 92 03:17:19 GMT
Organization: Temple University
X-Newsreader: Tin 1.1 PL5

I'd nominate Dvorak as underappreciated?  How often do you hear his Third 
Symphony?  His Fifth?  Even his Sixth doesn't get played as much as it
deserves to be.  His Symphonic Variations on an Original Theme, Op. 78?  
These are wonderful pieces, almost extinct nowadays.

John
Newsgroups: rec.music.classical
From: dbarker@spang.Camosun.BC.CA (Deryk Barker)
Subject: Re: Mahler novice
Organization: Camosun College, Victoria B.C, Canada
X-Newsreader: Tin 1.1 PL4
Distribution: rec
Date: Wed, 16 Dec 1992 22:01:40 GMT

cb@tamarack13.timbuk (Chris Brewster) writes:
: Magnus Nordin writes:
: 
:    I'm curious about Mahler and have decided to start listening to his
:    symphonies. My question is: which symphonies to buy and which
:    conductor(s)?
: 
: No one has mentioned Das Lied von der Erde, which probably should be
: considered a symphony (there being a well-worn anecdote about Mahler's
: reluctance to call something a "Ninth Symphony").  This is among
: Mahler's greatest works and has a wide appeal.  Standard recommendation
: (heartily endorsed here) is Klemperer.

Standard Chris? How about the 1951 Walter/Patzak/Ferrier or the 1936
Walter, or - best of all - the 1973 Horenstein? (Available on Descant
from the Berkshire Record Outlet - check Fanfare for their 1-800
number).

--
Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
Email: (dbarker@spang.camosun.bc.ca)
Phone: +1 604 370 4452
Newsgroups: rec.music.classical
From: jcm2w@kelvin.seas.Virginia.EDU (John Clarke Mccanless)
Subject: Re: Most drawn-out ending (Was: Best endings)
Organization: University of Virginia
Date: Sun, 20 Dec 1992 03:00:47 GMT

In article <1992Dec19.230054.4363@cronkite.ocis.temple.edu> zorro@picasso.ocis.temple.edu (John Grabowski) writes:
>
>I'm gonna get flamed for this, but...
>
>Beethoven's 5th Symphony.
>
>Sounds like it's going to wrap up about five different times in the finale.
>
1812 Overture.

-- 
John C. McCanless				jcm2w@virginia.edu

"Genius!  Pure, unadulterated, GENIUS!!"  - Wile E. Coyote

Xref: sparky rec.music.classical:18568 alt.conspiracy:13175
From: gpalo@digi.lonestar.org (Gerry Palo)
Newsgroups: rec.music.classical,alt.conspiracy
Subject: Re: Karajan and the Nazi party (was Re: Wagner in Israel (a bit long).
Date: 14 Dec 92 22:18:26 GMT
Organization: DSC Communications Corp, Plano, TX

In article <1992Dec8.183021.12933@Princeton.EDU> roger@astro.princeton.edu (Roger Lustig) writes:
>In article <1992Dec8.180246.8245@jhunix.hcf.jhu.edu> velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
>>In article <1992Dec8.172105.20972@cs.ucla.edu> pierce@lanai.cs.ucla.edu (Brad Pierce) writes:
>
>>>|  Last thing: Israel's sole classical music radio station (Kol-HaMusika)
>>>|still does not broadcast orchestral pieces conducted by Herbert von Karajan.
>>>|There is no law against that, but since he was a member of the Nazi party, 
>
>>>Would you please post more about Herbert von Karajan's Nazi involvement?
>
>>I would like to see some info on this too.  As I recall, HvK enlisted in
>>the Nazi party early on (mid-1930s?) mainly for careerist reasons.  I think
>
>That's what *he* said.
>
>>he registered with the Austrian Nazi party, before the Anschluss, but I am
>
>Alas, no.  He joined the party *three* times.  Twice in Germany, once
>in Austria before the *Machtergreifung* -- i.e., 1/30/33 -- at a 
>time when the Nazi party was still illegal in Austria.  Hardly a 
>career move, that.  
>
>>not sure.  I also faintly remember that his forthrightness in discussing the
>>issue was very limited.
>
>An understatement.  The best source on this is a slightly cranky German
>author named Fred Prieberg.
>
>>HvK's party affiliations in the 30s may be quite irrelevant to his qualities
>>as conductor, of course, and I personally make no inferences.
>
>Absolutely--his conducting was another matter.  But so is one's purchase
>of his records, and I personally saw to it that as little of my money
>as possible found its way into his pockets.
>
>Roger

Does anyone know what Herbert von Karajan and Leonard Bernstein
thought of each other?  American and German, former Nazi and Jew,
both genius conductors, both with long careers conducting and
recording magnificently with the same orchestras - especially the 
Vienna Philharmonic.

Certainly Bernstein must have had something to say about him -- and
about Wagner too.  Anyone know on what sort of personal terms they were?

Another question (as long as I am asking):  Of the other German/Austrian
composers of the highest rank, did any of them express antisemitic senti-
ments inside or outside their music:  Bach, Handel, Mozart, Haydn, Beethoven, 
Schubert, Schuman, Brahms?  Add Weber and Bruckner.  Presumably we can omit 
Mendelsohn and Mahler.

Gerry Palo (73237.2006@compuserve.com)
From: spacefox@acs.bu.edu (Godfrey Degamo)
Newsgroups: rec.music.classical
Subject: Re: Pianists
Date: 17 Dec 92 18:28:31 GMT
Organization: Boston University, Boston, MA, USA
Originator: spacefox@acs.bu.edu


In article <1992Dec15.192028.738@fid.morgan.com>, apter@fid.morgan.com (Steve Apter) writes:
|> In article <104788@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
|> >
|> >Oh yeah, if there is a shortest of great piano players, look out for
|> >Maurice Martin
|> 
|> 
|> OK.  How short *is* he?
|> 
|> 
|> 
|> >
|> >
|> >                                  -G. Degamo,
|> >                                    spacefox@acs.bu.edu


He's so short he can't reach the keyboard!  Ooops... I meant to say shortage.
Hahaha.....  anyways, I don't think there is one greatest pianist.



                       -G. Degamo,
                        spacefox@acs.bu.edu
From: josh@aris.ss.uci.edu (Josh Stern)
Subject: Re: Pianists
Newsgroups: rec.music.classical
Organization: University of California, Irvine
Date: 16 Dec 92 10:51:18 GMT

In article <104788@bu.edu> spacefox@acs.bu.edu (Godfrey Degamo) writes:
>
>What about Anthony DiBonaventura?  He started piano at the age of 3 and
>did his first professional concert at the age of 4! (Sorry I don't have his 
>biography memorized, but I do know that he has made many musical triumphs at 
>a very early age.  Has pieces written exclusvely for him.  And is known 
>around the world.  Cool guy, professor at my university, teacher of my 
>teacher and this year one the Metcalf award for teaching excellence.) 
>One on Domenico Scarlatti's Sonatas and the other on Rachmaninoff's Preludes.
        ^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>I believe produced or distributed by Titanic Records.
                                      ^^^^^^^^^^^^^^^
The Scarlatti is on Titanic and is splendid in every way.  A great disc!
Is the Rachmaninoff as good?

- Josh

Newsgroups: rec.music.classical
From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: How to read orchestral scores?
Keywords: scores, orchestra
Organization: Camex Inc., Boston MA
Date: Thu, 17 Dec 1992 11:24:06 EST

In article <BzA0ts.GIx@news.cso.uiuc.edu> al21146@uxa.cso.uiuc.edu (Richard
Feynman Albert LiFeynman ) writes:

>  I have a few questions on how to read orchestral scores.

The skill levels for doing this vary from being able to follow along
through being able to hear music from what you see up to being able to
conduct intelligent interpretations.  They all amaze me, who am pretty
crummy at so much simultaneity -- probably part of why I chose viola to
play.

My music theory teacher had the ability to look at an unfamiliar full
orchestral score and play it sensibly on the piano at sight, transposing at
will.  Now that *really* pissed me off!  %^)

Toscanini had another uncanny ability with respect to scores, in that his
memory was phenomenally good and I believe he literally never conducted
with a score before him.  Memorizing something like Meistersinger to the
point where you can detect players' individual missed notes in rehearsal
seems like something that belongs in Guiness.

I figure some people's brains can, and others like mine can't.  It's like
those aptitude test things in school where you come out a genius at one
thing and a dunce at something else.

Chris Ischay
chrisi@camex.com
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: why no women composers (was Re: FINAL FINAL THOUGHTS !!
Organization: Morgan Stanley & Co., New York, NY
Date: Tue, 15 Dec 1992 20:11:59 GMT

In article <1992Dec11.174324.11840@spang.Camosun.BC.CA> dbarker@spang.Camosun.BC.CA (Deryk Barker) writes:
>apter@fid.morgan.com (Steve Apter) writes:
>: In article <Dec.10.20.28.52.1992.4810@ruhets.rutgers.edu> bweiner@ruhets.rutgers.edu (Benjamin Weiner) writes:
>: >apter@fid.morgan.com (Steve Apter) writes:
>: >
>: >|In article <Bz24o0.IrG.1@cs.cmu.edu> acid+@cs.cmu.edu (Christopher Colby) writes:
>: >|>In article <1992Dec10.010932.19279@dgbt.doc.ca> ted@dgbt.doc.ca (Ted Grusec) writes:
>: >|>>Creative activity, of the composing and other sorts, is all in the
>: >|>>testosterone, and not in culture.  Read Camille Paglia.
>: >|>
>: >|>Hey buddy, you owe me the cost of one new Decstation B/W display.  I just
>: >|>put my fist through one.
>: >|>
>: >|>-chris
>: >
>: >|>I don't see a smiley here, so it looks like Mr Grusec has just been dealt
>: >|an ace.
>: >
>: >Only if you consider putting your fist through a Decstation B/W display
>: >"creative activity."
>: 
>: "Fist-fucking, in its starkly depersonalized conflation of voluntary rape
>: and primitive exploratory surgery, dramatizes the daemonism of the sexual
>: imagination, untouched by five thousand years of civilization.  My amazement
>: never ceases at the biological conceptualism in male sexuality.  What woman
>: could invent such compulsive structures?  What woman, unpaid, would live 
>: and love in so hellish an underworld?"
>
>I'm sorry, but is this supposed to *mean* something? The 'biological
>conceptualism in male sexuality'? THis is surely what an information
>scientist would classify as noise....



... and the devout Cageian would sit entranced before, for hours.


>
>--
>Real:  Deryk Barker, Computer Science Dept., Camosun College, Victoria B.C.
>Email: (dbarker@spang.camosun.bc.ca)
>Phone: +1 604 370 4452