HDTenEightyP/NetNews huggingface dataset:
From: prokopy@en.ecn.purdue.edu (Dave)
Subject: CDs for sale - good deals!
Organization: Purdue University Engineering Computer Network
Date: Mon, 12 Oct 92 06:35:44 GMT

Okay, the following CDs are for sale, with cool rates if you buy a bunch.
All discs are in good condition (of course), and prices INCLUDE postage.

DAVID BOWIE                          Space Oddity
                                     The Man Who Sold The World
                                     Hunky Dory
                                     Aladdin Sane
                                     Pin Ups
                                     Diamond Dogs
                                     Young Americans
                                     Station To Station
  (each for $8 or all eight for $60.)

EAGLES                               Their Greatest Hits
                                     Greatest Hits, Volume II
  (each for $8 or both for $15.)

VAM MORRISON                         His Band And The Street Choir
                                     Tupelo Honey
                                     Saint Dominic's Preview
                                     Avalon Sunset
  (each for $7 or all four for $25.)

R.E.M.                               Murmur
                                     Reckoning
                                     Fables Of The Reconstruction
  (each for $9 or all three for $25.)

plus ...
JIMI HENDRIX                         The Cry Of Love            $7
PROCOL HARUM                         The Best Of Procol Harum   $7
TODD RUNDGREN                        Nearly Human               $5

I will consider offers first for those prices listed above, but I'm
open to negotiations, so send e-mail, and let's bargain!

-- 
( David Prokopy - prokopy@en.ecn.purdue.edu or prokopy@sage.cc.purdue.edu )
( "Time and distance are out of place here ..."                           )
(  -R.E.M., "Feeling Gravitys Pull"                                       )
Newsgroups: rec.music.marketplace,rec.music.makers,alt.guitar.bass,alt.guitar,misc.forsale
From: webb@chopin.udel.edu (W Webb Pickersgill)
Subject: FORSALE:Ibanez Programmable F/X pedal.
Organization: University of Delaware
Date: Sat, 10 Oct 1992 22:35:17 GMT

	I have an Ibanez Programmable Modulation Delay.  It has 19
patches(all programable) and a special mode that allows you to flip
through a preset loop of programs at the touch of the pedal. It has a
digital delay(800ms) and a modulator(makes effects like chorus, phase
flange) Listed $299.  Paid about $200.  Make offer!  Or for more info
Mail me your questions.
				Webb
 
+-------------------------------+---------------+----------------------+
|   ___    ____                 | Factor Hartke | webb@chopin.udel.edu | 
|  (   `--'  .-'         ___    |  Samson GHS   | Webb Pickersgill     | 
|  |8) O O  ||||||||||||||[_-~) | Ibanez A.R.T. | (302) 837-1861       | 
|  (__.--.__| Kubicki Factor    |   Digitech    | Bassist4:Seven Wishes|
+-------------------------------+---------------+----------------------+
From: prokopy@en.ecn.purdue.edu (Dave)
Newsgroups: rec.music.marketplace,purdue.forsale
Subject: CDs for sale - good deals! - UPDATE
Date: 14 Oct 92 17:16:06 GMT
Organization: Purdue University Engineering Computer Network

I posted a few days ago for discs for sale, with special deals for
multiple purchases ...

The following are sold:
DAVID BOWIE  
                                     Aladdin Sane
                                     Diamond Dogs
                                     Young Americans
                                     Station To Station

EAGLES                               Their Greatest Hits
                                     Greatest Hits, Volume II

VAM MORRISON                         His Band And The Street Choir
                                     Tupelo Honey
                                     Saint Dominic's Preview
                                     Avalon Sunset

R.E.M.                               Murmur
                                     Reckoning
                                     Fables Of The Reconstruction

PROCOL HARUM                         The Best Of Procol Harum
TODD RUNDGREN                        Nearly Human

... But the following are still available.  Prices include postage,
and all discs are in good condition ...

DAVID BOWIE                          Space Oddity
                                     The Man Who Sold The World
                                     Hunky Dory
                                     Pin Ups
 (each for $8 or all four for $30)

JIMI HENDRIX                         The Cry Of Love

As always, I'm open to negotiations ...

-- 
( David Prokopy - prokopy@en.ecn.purdue.edu or prokopy@sage.cc.purdue.edu )
( "Time and distance are out of place here ..."                           )
(  -R.E.M., "Feeling Gravitys Pull"                                       )
Newsgroups: rec.music.compose,rec.music.beatles
From: jcsmith@eos.ncsu.edu (Jay C. Smith)
Subject: Re: 'Happy Birthday To You'
Organization: North Carolina State University, Project Eos
Date: Wed, 7 Oct 1992 14:57:20 GMT


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.

--
Jay C. Smith
Domain/internet: jcsmith@eos.ncsu.edu
------------------------------------------------------------------------
"Good.  For a minute I thought we were in trouble."
From: mjc+@cs.cmu.edu (Monica Cellio)
Newsgroups: rec.music.compose
Subject: Re: Atari software?
Date: 8 Oct 92 18:37:23 GMT
Organization: School of Computer Science, Carnegie Mellon

Lesson learned: try to be too concise and what comes out is vague.  Oops.

I'm looking for notation and playback software -- I want to be able to 
easily enter a piece I'm writing, play back all or some lines, and print
the whole thing out.  Being able to do entry from a MIDI keyboard, rather
than from a mouse, would be nice, but I realize it's a hard problem.
I'm not looking for software that would be used in performance/recording/
etc; I'm not a keyboard player or an electronic music fan.  I just want 
the relative convenience of computer notation (rather than pen and paper)
and the ability to hear the entire piece (which I may be arranging for
multiple instruments and so can't play myself).

Thanks.

Monica
Newsgroups: rec.music.compose
From: u7911050@cc2.nctu.edu.tw
Newsgroups: rec.music.compose
Subject: Music composition
Date: 13 Oct 92 10:16:27 GMT
Organization: National Chiao Tung University
X-Newsreader: TIN [version 1.1 PL6]

Hello, all.

I don't exactly understand what this area is talking about.
I hope I didn't post this into the wrong place.

I've learned piano for about 1-2 years and I have the basic idea for
MIDI, I've always wanted to use them to write something. 

I've tried for many times to compose a good song.  For many times, 
some wonderful melody (even the whole song structure) strike into my brain
but it's always a pity that I can't organize them when I want to write
them down. 

In another situation, I wrote the melody one segment by another.
But when it is done, I can't even connect them into a song.

Anybody has a good advice for

--
                      .---------------------------.
---------------------+---------------------------+------------------------.
|   E-mail address:                   ----                         |\  | \ |                        |
|     u7911050@cc.nctu.edu.tw        '----   ---  --+--  .  .  |,~ | \ |   |
|   E.E. Department of                ----' `---`-  `--  `--`- |   |  \|   |
|   National Chiao Tung University   ==========================|======== / |
`--------------------------------------------------------------------------
From: maverick@fir.CS.Berkeley.EDU (Vance Maverick)
Newsgroups: rec.music.compose
Subject: Re: Just intonation
Date: 14 Oct 1992 00:19:03 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: fir.cs.berkeley.edu
Keywords: Just intonation, tuning, pianos.

In article <Bw2yB9.LIo@news.iastate.edu>, jsturges@iastate.edu (Jason L Sturges) writes:
|> 
|>  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!

There is no single just tuning.  The word "just" means
that the intervals are tuned to ratios of small
integers.  If you try to implement a fixed keyboard
tuning with small integers, you will run into
inconsistencies.  For example, here are some standard
mappings from musical intervals to frequency ratios:

	Interval	Ratio
	---------------------
	Octave		2/1
	Perfect 5th	3/2
	Perfect 4th	4/3
	Major 3rd	5/4
	Minor 3rd	6/5

Let's build a scale from these, making the intervals in
the tonic, subdominant, and dominant of C major
"perfect" in this sense.  (Numbers given are
multipliers.)

C     D     E     F     G     A     B     C'    D'
---------------------------------------------------
1     9/8   5/4   4/3   3/2   5/3   15/16 2     9/4

Looks good -- but what about D:A?  Should be a
perfect 5th, or 3/2, but (5/3)/(9/8) = 40/27.

This just tuning is fine if you only use these three
chords and never the supertonic (unlikely if you have a
classical background, since the supertonic is almost
equivalent to the subdominant there), and if you don't
modulate -- or more likely, if you enjoy the sound of
the unusual intervals that creep in at the margins of
the system.  (I certainly do.)

So there is no single just tuning, and you are free to
invent your own.  (Not everyone is loose about this,
though.  The last time I went to the Just Intonation
Network, it was to hear Michael Harrison; he told us
the (nice) tuning he had used for his new piece, and
asked us all not to use it or reveal it without his
permission!)

	Vance
Newsgroups: rec.music.compose
From: downs@helios.nevada.edu (Lamont Downs)
Subject: Re: Scoring software gripes [beaming]
Organization: UNLV
Date: Fri, 9 Oct 1992 14:27:06 GMT

>But congradulations on having a workaround.  This is a perfect example of
>what I mean when I say the users are doing all the work that the engineers
>should be doing right in the first place.
>

Coda is currently working on a version 3.0 of Finale, although they're
being _very_ cagy about when to expect it out or what features it might
include. It'll be interesting to see if they've improved this particular
area, since although I really _enjoy_ using Finale a lot I do find the
beaming procedures (especially beaming across staves) to be a major weakness.

Lamont Downs
downs@helios.nevada.edu
Newsgroups: rec.music.compose,rec.music.beatles
From: edc@evolution.bchs.uh.edu (edward s. chen)
Subject: Re: 'Happy Birthday To You'
Organization: Little to none, or maybe not......
Date: Fri, 9 Oct 1992 00:54:43 GMT

In article <1992Oct7.194422.9908@zip.eecs.umich.edu> fields@zip.eecs.umich.edu (Matthew H. Fields) writes:
>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?
>

The exact quote, from page 44 of _Musician_ magazine, May 1990.

"In the US, song copyrights are issued and extended in two terms of 28 years 
each.  However, when the law was revised in 1978, a provision was added to take
care of the composer's heirs.  It's a complex law, but experts understand it
to mean that if a composer dies during the first 28-year term of a copyright,
the heirs can claim the second 28-year term - regardless of any other 
publishing deals."

<ESC>
-- 
..You either kiss the future or the past goodbye...
                          -- Ringo Starr (written by O'Deherty / Velez)
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.compose
Subject: Re: Just intonation
Date: 14 Oct 1992 19:23:53 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu
Keywords: Just intonation, tuning, pianos.

In article <Bw2yB9.LIo@news.iastate.edu> jsturges@iastate.edu (Jason L Sturges) writes:

> 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!

Rather than just a single scale (like equal temperament), just intonation
is more of a classification of any number of tuning systems. In just in-
tonation, the ratios of the frequencies can all be represented by rela-
tively low number fractions: 3/2, 5/4, 7/6, and so on. (A scale built en-
tirely on 3/2 ratios, by the way, is a special case called Pythagorean
tuning.) By contrast, tuning systems that use temperament have ratios that
are irrational numbers, that is, they cannot be represented by finite frac-
tions. As a result, justly-tuned scales sound much more consonant, but
because unequal interval sizes, modulation is very limited. A very common
just tuning method would be:

1/1  16/15  9/8   6/5   5/4   4/3   ???   3/2   8/5   5/3   16/9  15/8  2/1
 C    C#     D    Eb     E     F    F#     G    Ab     A     Bb     B    C

The tritone (F#/Gb) can be derived a number of ways, and that tends to vary
from scale to scale. Some composers (like me) have a preference for more
uncommon ratios, like those based on the 7th or 11th harmonic. These result
in wonderful sonorities quite far removed from conventional equal tempera-
ment. Try 7/4 for Bb or 7/6 for Eb or 11/8 for F#, just to give a few ex-
amples.

Among the composers who use just intonation are Harry Partch, Lou Harrison,
Terry Riley, and La Monte Young. Partch's book, _Genesis of a Music_ is
a good, if somewhat eccentric, introduction to his music and just intona-
tion in general.

The Just Intonation Network is an organization of composers and others
who like JI. They have a free catalog of books (including Partch's),
recordings, software, and other goodies. Just write to:

The Just Intonation Network
535 Stevenson St.
San Francisco, CA 94103

Tell them I sent you. :-)

Bill Alves
Newsgroups: rec.music.compose,rec.music.beatles
From: jcsmith@eos.ncsu.edu (Jay C. Smith)
Subject: Re: 'Happy Birthday To You'
Organization: North Carolina State University, Project Eos
Date: Fri, 9 Oct 1992 00:39:55 GMT

In article <1992Oct7.194745.10192@zip.eecs.umich.edu> 
fields@zip.eecs.umich.edu (Matthew H. Fields) writes:
>...---no, it was back at this song
>being a money-maker.  Amazing.  Incredible.  Fantastic.  True?

Look, it was the only song in my beginning piano (yes, I finally got around
to it last year!) book that wasn't public domain.  "Good Morning To All" was 
on the facing page and was indeed public domain.  There is a subtle difference
--"Happy Birthday To You" has a few extra notes thrown in.  I could go look up 
the copyright notice that was so rather obviously printed at the bottom of the 
page "Happy Birthday To You" was on...(and the book was less than two years 
old)

Any time you hear the song "Happy Birthday To You" in a film, play, on TV,
over the radio, etc.--someone's getting money for that (or some lawyer is
preparing to sue to get the money).  The copyright owners also receive 
royalties when the song is published in a beginning piano book.

And I'm pretty darn sure the rights changed hands within the past few years.
There was an article about it (somewhere!) that mentioned how unaware most
people were that such a common song was not in the public domain.

Obligatory Beatles note:  remember on the Christmas records when the Fabs
were having trouble keeping themselves from singing copyrighted material?

--
Jay C. Smith
Domain/internet: jcsmith@eos.ncsu.edu
------------------------------------------------------------------------
"Good.  For a minute I thought we were in trouble."
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.compose
Subject: Re: Software (IBM) Needed...
Date: 8 Oct 1992 12:10:40 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Matthew H. Fields (fields@zip.eecs.umich.edu) wrote:
: This is such a FAQ that perhaps we should once a week broadcast the following
: message:
This question is asked a lot on Comp.Music and rec.music.synth, and the
views aired by Dr. Fields reflect accurately the pints of view of the 
majority of voices there.

I have used Music Printer PLus for a while now, and have written 
chamber and large scale orchestral and choral works. I have had no 
problems with articulations, strange symbols, notes of any lengths, 
bizaare notions of Penderecki etc. Part extraction is a cinch and 
is flawless. (EG: from completed score of second symphony, part 
extraction for oboes took 1'32" for a 40 minute work). The only 
limitation I find it has is that it doesn't recognise fingered trem., 
but that's in the next version. It also plays the scores exceptionally 
well to MIDI. I am more than happy with it, and would suggest that anyone
with a PC and $1000 spare would be well advised to investigate it.

I believe that LIME for the Macintosh is a superb environment for
composition, and that again complete flexibility and accuracy is the
key. 

The problem with notation software (and this is almost a truism, so
forgive the remark) is that people play differently from the written
piece. I find that I have no problems with transcription in Music
printer plus if I do three things:
	- Play the piece at a half speed. (Change speed afterwards)
	- Play exceptionally woodenly, on the bar, with no sense of
	  feeling at all (edit anacruces etc. afterwards).
	- Play with no ornamentation whatsoever. A trill is shorthand 
	  for lots of little notes, so just play a semibreve. Add the
	  symbol later.
	- Play in small chunks, reflecting sections of the piece, or
	tempi, or time sigs, and glue the chunks together.

This makes transcriptions work quite well. For those who are not happy
with these compromises, goose quill and vellum remains a viable
alternative. 



Newsgroups: rec.music.compose
From: rolfe@fraser.sfu.ca (Christopher John Rolfe)
Subject: Re: 'Happy Birthday To You'
Organization: Simon Fraser University, Burnaby, B.C., Canada
Date: Thu, 8 Oct 1992 00:33:12 GMT

fields@zip.eecs.umich.edu (Matthew H. Fields) writes:

>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.

	If the year 1893 is correct then copyright protection of
pre-1978 material under the 1976 US Copyright Act would have expired
in 1968 at the latest ( 28 years, plus 47 year renewal ).  Come to
think of it there WAS a rash of variations and arrangements in the
early seventies.  

	For works published on or after Jan 1, 1978, it is much
simpler:  life of the longest surviving author plus 50 years.  
	
>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."

	Good advice. The Harry Fox Agency also keeps records on public
domain compositions. 



-- 
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        |
From: fullerto@pike.cis.ohio-state.edu (timothy dwight fullerton)
Newsgroups: rec.music.compose
Subject: FM synthesis
Date: 16 Oct 92 20:21:06 GMT
Organization: The Ohio State University Dept. of Computer and Info. Science


	Hi all;

	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?

	Thanks in advance;

		Tim
Newsgroups: rec.music.compose,rec.music.beatles
From: johniac@johniac.austin.ibm.com (John Iacoletti)
Subject: Re: The Fab's song ownership
Date: Thu, 08 Oct 92 16:23:27 GMT
Reply-To: johniac@austin.ibm.com (John Iacoletti)
Organization: IBM Advanced Workstations and Systems, Austin, TX

In article <1992Oct7.202519.17882@math.ucla.edu>, dmac@julia.math.ucla.edu (saki) writes:
|> d) Associated Television (ATV) bought James' share and much of the
|> rest from existing stockholders. Lennon & McCartney tried to buy back
|> enough stock to give themselves a majority, but with Macca getting
|> poor advice from his in-laws (the Eastmans) and John insulting "the men
|> in suits" from whom he wished to buy, they got nowhere. ATV acquired
|> the controlling share and John and Paul gradually relinquished their
|> rights by selling them back to ATV in 1969-70.

By the way, a fairly thorough discussion of the ATV debacle can be
found in _Apple To The Core_ by Peter McCabe and Robert D. Schonfeld.

-- 
John Iacoletti       IBM AWS Austin       Internet: johniac@austin.ibm.com
        My opinions do not reflect the views of the IBM Corporation
                "Fight the real enemy" -- Sinead O'Connor
Newsgroups: rec.music.compose
From: fields@zip.eecs.umich.edu (Matthew Fields)
Subject: Re: Music composition
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Sat, 17 Oct 1992 02:03:19 GMT

In article <1992Oct16.222048.25439@dartvax.dartmouth.edu> Joseph.J.Marcheso.Jr.@dartmouth.edu (Joseph J. Marcheso Jr.) writes:
>I have always heard that 1) Composition cannot be taught 2) Composition
>should not be taught, however here is my $.02

In my limited experience, the only folks who say this are folks who a)
have never managed to learn to compose, or b) who are entrusted with the
task of teaching composition but don't feel like doing it, or c) both.
You know who you are.  I don't have to name names.

But on the other hand, imaginativeness and drive are harder to teach.
This is why I think kindergarten teachers have the potential to do a lot
of good in the world.

Newsgroups: rec.music.compose
From: bil@cmn16.Stanford.EDU (Bill Schottstaedt)
Subject: Re: What's cmn? [Re: beaming gripes]
Organization: DSO, Stanford University
Date: Mon, 12 Oct 92 14:07:49 GMT

> :In article <1992Oct10.135831.16233@husc3.harvard.edu>
> :elkies@ramanujan.harvard.edu (Noam Elkies) writes:
> :>What's cmn?

On the etymological question, I'm told that "Common Music
Notation" originated, at least in the computer context, with
Donald Byrd, one of the first to try to write such a program
(I have heard that he had to submit his stack of IBM cards
to the computer "operator" and wait a week to see the results).

On cmn, the program, it's yet another notation program, intended
(in the glorious, but distant future) to complement other styles
of work in Rick Taube's Common Music, but in the meantime, it's
a Common Lisp/CLOS/PostScript/Sonata font based program, 
runnning in Allegro CL, MCL, or akcl on NeXTs, Macs, and
(I'm told) SGI's, and if I could get access to a Sun with
Lucid, I claim I could get it running there in no time, or less.
cmn.tar.Z (at ccrma-ftp.stanford.edu on the pub directory)
is the source code, documentation (wn or rtf), and a bunch of
examples. 
Newsgroups: rec.music.compose