Dear All,
What should we make of the indisputable evidence of unequal
temperament on fixed-fret citterns? There are many surviving examples,
and virtually all are in unequal temperament. Modern reproductions with
equal temperament only play in tune in G major (I once owned one). And
citterns were frequently played in comforts with lutes.
Jim
Sent from my Verizon, Samsung Galaxy smartphone
-------- Original message --------
From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
Date: 5/13/18 5:51 AM (GMT-05:00)
To: Andreas Schlegel <lute.cor...@sunrise.ch>, Lutelist Net
<lute@cs.dartmouth.edu>
Subject: [LUTE] Re: LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND
SEVENTEENTH,CENTURIES
------=_Part_1069186_1226149732.1526205101799
Content-Type: text/plain; charset=UTF-8
Content-Transfer-Encoding: quoted-printable
Dear Andreas,
Yes - Otterstedt's very fine review of Dolata's book in Early Music
(December 2017) does indeed present a very welcome demolition of the
current modern fashion for promoting meantone tunings on the lute. It
was also brave since, as she pointed out, 'Not moving with the tide can
wreck a career, for the pressure to conform in 'early music' is great'
.
The knowledge that some unequal tunings can result in sweeter thirds
has made many make a wholly illogical jump to then asserting that lutes
must therefore have been fretted in a way to allow this - without any
proper understanding of the actual historical evidence and of the very
real practical problems associated with this idea.
I think the matter is important, so I hope you won't mind me copying
this reply to the wider list.
regards,
Martyn
From: Andreas Schlegel <lute.cor...@sunrise.ch>
To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>
Sent: Saturday, 12 May 2018, 9:26
Subject: Re: [LUTE] Re: LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH
AND SEVENTEENTH,CENTURIES
Dear Martyn,
Thanks for your clear words!Here's the review of Annette Otterstedt
(Lyra viol and Viola da Gamba expert, formerely Institut für
Musikforschung, Berlin) on Dolata's book.Some very important thoughts,
I think!
All the best,
Andreas
PS: By the way: Accords nouveaux and not equal temperament is really
difficult… But if nobody is playing this repertory which was the
standard repertory for solo literature for at least one generation,
it's clear that this argument can't be seen from our
turbo-meantone-fret-movers. And: With the standard double frets, it's
much more difficult…In short: Let beside all the topics which can be
dangerous for your hypothesis - and your hypothesis is much more true!
Am 12.05.2018 um 10:12 schrieb Martyn Hodgson
<hodgsonmar...@cs.dartmouth.edu>:
Thank you for this Ranier.
I think we need to be very careful before accepting this (and similar
plugs for non-equal temperament on plucked fretted instruments) as a
wholly authoritative work on lute temperaments in the 16th & 17th Cs
and which should, according to the author, be generally adopted in
modern times.
The dismissal of equal temperament, despite its clear advocacy in
many
early sources (see Lindley et al), seems largely to be founded on a
prior prejudicial belief by the author that some form of unequal
(probably meantone) temperament was the norm on lutes. Of course, a
meantone tuning, if practicable, does indeed produce some more
harmonious intervals (thirds in particular) than equal temperament
and
for keyboard instruments, where each semitone can be individually
tempered, such a temperament was and is common. But on fretted
instruments, where a fret has to serve for both chromatic and
diatonic
intervals, this can not always be the case.
In advocating some general unequal temperament on the lute, the paper
has recourse to the chimera of 'tastini' (and/or constant fret
adjustments) which not only fail to be seen in the overwhelming
majority of early representations, but were actively disparaged at
the
time (eg Galilei). The problems of tempering any fretted instrument
are
also evidenced very graphically in General Thompson's 1829 proposal
for
an enharmonic guitar (also one by Lacote) requiring around 300
different fret positions on the fingerboard - which then had to be
reset on change of key..... Similarly the idea that logarithms were
absolutely necessary before the calculation of equal intervals to any
reasonable degree of accuracy is simply not the case.
Failure to consider temperament on similar plucked fretted
instruments
also presents potential bias in the paper. For example the use of
sliding chord shapes on the early guitar (and to some extent the
theorbo) necessarily requires a fretting pattern close to equal
temperament. Similarly the focus on the 'old' lute tuning, ignores
the
special considerations which must be made for the new lute tunings
(especially the Dm tuning) which require very good unison tuning to
the
next higher open course on three adjacent frets (third, fourth and
fifth) - as frequently found in compositions for these instruments.
No doubt in practice some fret adjustment may well have been made to
sweeten the most awkward intervals in a particular piece or set/suite
(for example to temper some common thirds) but to present this sort
of
thing as a proven case for the use of a formal general meantone
temperament is, I suggest, misleading.
Nevertheless, the paper does include some helpful information as well
as another personal perspective. It is yet another useful addition to
the expanding number of views about lute temperament, but one which I
think needs to be itself tempered by a degree of healthy but positive
scepticism..........
regards,
Martyn
__________________________________________________________________
From: Rainer <rads.bera_g...@t-online.de>
To: Lute net <lute@cs.dartmouth.edu>
Sent: Thursday, 10 May 2018, 13:00
Subject: [LUTE] LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND
SEVENTEENTH,CENTURIES
Dear lute netters,
I have no idea if this is well known:
[1]https://scholarworks.iu.edu/dspace/bitstream/handle/2022/18424/Wea
d%
2C%20Adam%20%28DM%20EMI%29.pdf?sequence=1&isAllowed=y
Rainer
To get on or off this list see list information at
[2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1.
https://scholarworks.iu.edu/dspace/bitstream/handle/2022/18424/Wead,
Adam (DM EMI).pdf?sequence=1&isAllowed=y
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Andreas SchlegelEckstr. 6CH-5737 MenzikenFestnetz +41 (0)62 771 47
07Mobile +41 (0)78 646 87 63lute.cor...@sunrise.ch
------=_Part_1069186_1226149732.1526205101799
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Content-Transfer-Encoding: quoted-printable
<html><head></head><body><div style="color:#000; background-color:#fff;
font-family:Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif;font-size:13px"><div id="yiv7560999122"><div
id="yui_3_16_0_ym19_1_1526204789622_2769"><div style="color: rgb(0, 0,
0); background-color: rgb(255, 255, 255);"
id="yui_3_16_0_ym19_1_1526204789622_2768"><div id="yiv7560999122"
style="font-size: 13px; font-family: "Helvetica Neue",
Helvetica, Arial, "Lucida Grande", sans-serif;"><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_5742"><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_5741"
style="color:#000;background-color:#fff;font-family:Helvetica Neue,
Helvetica, Arial, Lucida Grande, sans-serif;font-size:13px;"><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3350"><span
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3629">Dear
Andreas,</span></div><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3351"><span><br
clear="none"></span></div><div !
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3353"><span
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3352">Yes -
Otterstedt's very fine review of Dolata's book in Early Music (December
2017) does indeed present a very welcome demolition of the current
modern fashion for promoting meantone tunings on the lute. It was also
brave since, as she pointed out, '<i
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3559">Not moving with
the tide can wreck a career, for the pressure to conform in 'early
music' is great' . </i></span></div><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3353"><span><i><br
clear="none"></i></span></div><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3353"><span
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3693"><span
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3692">The knowledge
that some unequal tunings can result in sweeter thirds has made many
make a wholly illogical jump to then asserting that lutes must the!
refore have been fretted in a way to allow this - without any !
proper understanding of the actual historical evidence and of the very
real practical problems associated with this
idea.</span></span></div><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3353"><span><span><br
clear="none"></span></span></div><div dir="ltr"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3353"><span
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_5982"><span
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_5981">I think the
matter is important, so I hope you won't mind me copying this reply to
the wider list.</span></span></div><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3353"><br
clear="none"></div><div dir="ltr"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3353"><span
id="yui_3_16_0_ym19_1_1526204789622_3034"><span
id="yui_3_16_0_ym19_1_1526204789622_3033">regards,</span></span></div><
div dir="ltr"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3353"><span><span><br
clear="none"></span></span></div><div dir="ltr" id="yiv7560999122!
yui_3_16_0_ym19_1_1526203499268_3353"><span><span>Martyn</span></span><
/div><div class="yiv7560999122qtdSeparateBR"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3354"><br
clear="none"><br clear="none"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3848"></div></div></di
v></div><div id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_5773"
style=""> <div id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3357"
style=""> <div id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3356"
style=""> <div class="yiv7560999122qtdSeparateBR"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_5772" style=""><br
clear="none"><font face="HelveticaNeue, Helvetica Neue, Helvetica,
Arial, Lucida Grande, sans-serif" style="" size="2"
id="yui_3_16_0_ym19_1_1526204789622_3147"><br clear="none"
id="yui_3_16_0_ym19_1_1526204789622_3146"></font></div><div
class="yiv7560999122yqt3513164323" id="yiv7560999122yqt47722"
style=""><div dir="ltr"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3355" style=!
""> <font id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3360"
size="!
2" face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida
Grande, sans-serif"> </font><hr
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3359" size="1"> <font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2" id="yui_3_16_0_ym19_1_1526204789622_3264"><b><span
style="font-weight:bold;">From:</span></b> Andreas Schlegel
<lute.cor...@sunrise.ch><br clear="none"> <b><span
style="font-weight:bold;">To:</span></b> Martyn Hodgson
<hodgsonmar...@yahoo.co.uk> <br clear="none"> <b><span
style="font-weight:bold;">Sent:</span></b> Saturday, 12 May 2018,
9:26<br clear="none"> <b><span
style="font-weight:bold;">Subject:</span></b> Re: [LUTE] Re: LUTE
TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH,CENTURIES<br
clear="none"> </font></div> <div class="yiv7560999122y_msg_container"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3540" style=""><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
s!
ans-serif" style="" size="2"><br clear="none"></font><div
id="yiv7560999122" style=""><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3542"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">Dear Martyn,</font><div class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3541"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br clear="none"
class="yiv7560999122"></font></div><div class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3558"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">Thanks for your clear words!</font></div><div
class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3543"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">Here's the review of Annette Otterstedt (Lyra viol
and Viola da Gamba expert, formerely Institut!
für Musikforschung, Berlin) on Dolata's book.</font></div><div clas!
s="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3544"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">Some very important thoughts, I
think!</font></div><div class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3557"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br clear="none"
class="yiv7560999122"></font></div><div class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3545"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">All the best,</font></div><div
class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3546"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br clear="none"
class="yiv7560999122"></font></div><div class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3556"><font
face="Helvet!
icaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2">Andreas</font></div><div class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_3555"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br clear="none"
class="yiv7560999122"></font></div><div class="yiv7560999122"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">PS: By the way: Accords nouveaux and not equal
temperament is really difficult… But if nobody is playing this
repertory which was the standard repertory for solo literature for at
least one generation, it's clear that this argument can't be seen from
our turbo-meantone-fret-movers. And: With the standard double frets,
it's much more difficult…</font></div><div class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6253"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-ser!
if" size="2">In short: Let beside all the topics which can be
dangerous!
for your hypothesis - and your hypothesis is much more
true!</font></div><div class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6254"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br clear="none"
class="yiv7560999122"></font></div><div
class="yiv7560999122"></div></div></div><div id="yiv7560999122"
style=""><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6260"><div
class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6259"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br clear="none" class="yiv7560999122"></font><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6258"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br clear="none"
class="yiv7560999122"></font><blockquote class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6257" type="cite"><div
class="yiv7!
560999122" id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6447"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">Am 12.05.2018 um 10:12 schrieb Martyn Hodgson
<<a rel="nofollow" shape="rect" class="yiv7560999122"
ymailto="mailto:hodgsonmar...@cs.dartmouth.edu"; target="_blank"
href="mailto:hodgsonmar...@cs.dartmouth.edu";>hodgsonmartyn@cs.dartmouth
.edu</a>>:</font></div><font face="HelveticaNeue, Helvetica Neue,
Helvetica, Arial, Lucida Grande, sans-serif" size="2"><br clear="none"
class="yiv7560999122Apple-interchange-newline"></font><div
class="yiv7560999122yqt9624310564" id="yiv7560999122yqt69192"><div
class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6256"><div
class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6255"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2" id="yui_3_16_0_ym19_1_1526204789622_3165">
Thank you !
for this Ranier.<br clear="none" class="yiv7560999122"> I
t!
hink we need to be very careful before accepting this (and similar<br
clear="none" class="yiv7560999122"> plugs for non-equal
temperament on plucked fretted instruments) as a<br clear="none"
class="yiv7560999122"> wholly authoritative work on lute
temperaments in the 16th & 17th Cs<br clear="none"
class="yiv7560999122"> and which should, according to the
author, be generally adopted in<br clear="none" class="yiv7560999122">
modern times.<br clear="none" class="yiv7560999122">
The dismissal of equal temperament, despite its clear
advocacy in many<br clear="none" class="yiv7560999122">
early sources (see Lindley et al), seems largely to be
founded on a<br clear="none" class="yiv7560999122"> prior
prejudicial belief by the author that some form of unequal<br
clear="none" class="yiv7560999122"> (probably meantone)
temperament was the norm on lutes. Of course, a<br clear="no!
ne" class="yiv7560999122"> meantone tuning, if practicable,
does indeed produce some more<br clear="none" class="yiv7560999122">
harmonious intervals (thirds in particular) than equal
temperament and<br clear="none" class="yiv7560999122"> for
keyboard instruments, where each semitone can be individually<br
clear="none" class="yiv7560999122"> tempered, such a
temperament was and is common. But on fretted<br clear="none"
class="yiv7560999122"> instruments, where a fret has to
serve for both chromatic and diatonic<br clear="none"
class="yiv7560999122"> intervals, this can not always be
the case.<br clear="none" class="yiv7560999122"> In
advocating some general unequal temperament on the lute, the paper<br
clear="none" class="yiv7560999122"> has recourse to the
chimera of 'tastini' (and/or constant fret<br clear="none"
class="yiv7560999122"> adjustments) which not only fa!
il to be seen in the overwhelming<br clear="none"
class="yiv7560999122"!
> majority of early representations, but were actively
disparaged at the<br clear="none" class="yiv7560999122">
time (eg Galilei). The problems of tempering any fretted
instrument are<br clear="none" class="yiv7560999122"> also
evidenced very graphically in General Thompson's 1829 proposal for<br
clear="none" class="yiv7560999122"> an enharmonic guitar
(also one by Lacote) requiring around 300<br clear="none"
class="yiv7560999122"> different fret positions on the
fingerboard - which then had to be<br clear="none"
class="yiv7560999122"> reset on change of key.....
Similarly the idea that logarithms were<br clear="none"
class="yiv7560999122"> absolutely necessary before the
calculation of equal intervals to any<br clear="none"
class="yiv7560999122"> reasonable degree of accuracy is
simply not the case.<br clear="none" class="yiv7560999122">
Failure to consider tem!
perament on similar plucked fretted instruments<br clear="none"
class="yiv7560999122"> also presents potential bias in the
paper. For example the use of<br clear="none" class="yiv7560999122">
sliding chord shapes on the early guitar (and to some
extent the<br clear="none" class="yiv7560999122"> theorbo)
necessarily requires a fretting pattern close to equal<br clear="none"
class="yiv7560999122"> temperament. Similarly the focus on
the 'old' lute tuning, ignores the<br clear="none"
class="yiv7560999122"> special considerations which must be
made for the new lute tunings<br clear="none" class="yiv7560999122">
(especially the Dm tuning) which require very good unison
tuning to the<br clear="none" class="yiv7560999122"> next
higher open course on three adjacent frets (third, fourth and<br
clear="none" class="yiv7560999122"> fifth) - as frequently
found in compositions for these instr!
uments.<br clear="none" class="yiv7560999122"> No doubt in
!
practice some fret adjustment may well have been made to<br
clear="none" class="yiv7560999122"> sweeten the most
awkward intervals in a particular piece or set/suite<br clear="none"
class="yiv7560999122"> (for example to temper some common
thirds) but to present this sort of<br clear="none"
class="yiv7560999122"> thing as a proven case for the use
of a formal general meantone<br clear="none" class="yiv7560999122">
temperament is, I suggest, misleading.<br clear="none"
class="yiv7560999122"> Nevertheless, the paper does include
some helpful information as well<br clear="none" class="yiv7560999122">
as another personal perspective. It is yet another useful
addition to<br clear="none" class="yiv7560999122"> the
expanding number of views about lute temperament, but one which I<br
clear="none" class="yiv7560999122"> think needs to be
itself tempered by a degree of healthy but positive!
<br clear="none" class="yiv7560999122">
scepticism..........<br clear="none" class="yiv7560999122">
regards,<br clear="none" class="yiv7560999122">
Martyn<br clear="none" class="yiv7560999122">
_______________________________________________
___________________<br clear="none" class="yiv7560999122"><br
clear="none" class="yiv7560999122"> From: Rainer <<a
rel="nofollow" shape="rect" class="yiv7560999122"
ymailto="mailto:rads.bera_g...@t-online.de"; target="_blank"
href="mailto:rads.bera_g...@t-online.de";>rads.bera_g...@t-online.de</a>
><br clear="none" class="yiv7560999122"> To: Lute net
<<a rel="nofollow" shape="rect" class="yiv7560999122"
ymailto="mailto:lute@cs.dartmouth.edu"; target="_blank"
href="mailto:lute@cs.dartmouth.edu";>lute@cs.dartmouth.edu</a>><br
clear="none" class="yiv7560999122"> Sent: Thursday, 10 May
2018, 13:00<br clear="none" class="yiv7560999122"> &nbs!
p; Subject: [LUTE] LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH
AN!
D<br clear="none" class="yiv7560999122">
SEVENTEENTH,CENTURIES<br clear="none"
class="yiv7560999122"> Dear lute netters,<br clear="none"
class="yiv7560999122"> I have no idea if this is well
known:<br clear="none" class="yiv7560999122"> [1]<a
rel="nofollow" shape="rect" class="yiv7560999122" target="_blank"
href="https://scholarworks.iu.edu/dspace/bitstream/handle/2022/18424/We
ad%">https://scholarworks.iu.edu/dspace/bitstream/handle/2022/18424/Wea
d%</a><br clear="none" class="yiv7560999122">
2C%20Adam%20%28DM%20EMI%29.pdf?sequence=1&isAllowed=y<b
r clear="none" class="yiv7560999122"> Rainer<br
clear="none" class="yiv7560999122"> To get on or off this
list see list information at<br clear="none" class="yiv7560999122">
[2]<a rel="nofollow" shape="rect" class="yiv7560999122"
target="_blank"
href="http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html";>http://ww
w.cs.dartmouth.edu/!
~wbc/lute-admin/index.html</a><br clear="none"
class="yiv7560999122"><br clear="none" class="yiv7560999122">
--<br clear="none" class="yiv7560999122"><br clear="none"
class="yiv7560999122">References<br clear="none"
class="yiv7560999122"><br clear="none" class="yiv7560999122">
1. <a rel="nofollow" shape="rect" class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6262" target="_blank"
href="https://scholarworks.iu.edu/dspace/bitstream/handle/2022/18424/We
ad">https://scholarworks.iu.edu/dspace/bitstream/handle/2022/18424/Wead
</a>, Adam (DM EMI).pdf?sequence=1&isAllowed=y<br clear="none"
class="yiv7560999122"> 2. <a rel="nofollow" shape="rect"
class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6263" target="_blank"
href="http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html";>http://ww
w.cs.dartmouth.edu/~wbc/lute-admin/index.html</a><br clear="none"
class="yiv7560999122"><br clear="none" class="yiv75!
60999122"></font></div></div></div></blockquote></div><font
face="Helve!
ticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2"><br clear="none" class="yiv7560999122"></font><div
class="yiv7560999122"
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6265">
<div style="color: rgb(0, 0, 0); font-style: normal; font-weight:
normal; letter-spacing: normal; text-indent: 0px; text-transform: none;
white-space: normal; word-spacing: 0px;"><font face="HelveticaNeue,
Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2">Andreas Schlegel</font></div><div style="color: rgb(0, 0, 0);
font-style: normal; font-weight: normal; letter-spacing: normal;
text-indent: 0px; text-transform: none; white-space: normal;
word-spacing: 0px;" id="yui_3_16_0_ym19_1_1526204789622_3011"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">Eckstr. 6</font></div><div
id="yiv7560999122yui_3_16_0_ym19_1_1526203499268_6264" style="color:
rgb(0, 0, 0); font-style: normal; font-weight: normal; letter-spacing:
normal; text-indent: 0px; text-transform: none; white-space: normal;
word-spacing: 0px;"><font face="HelveticaNeue, Helvetica Neue,
Helvetica, Arial, Lucida Grande, sans-serif" size="2">CH-5737 Menzi!
ken</font></div><div style="color: rgb(0, 0, 0); font-style: normal;
font-weight: normal; letter-spacing: normal; text-indent: 0px;
text-transform: none; white-space: normal; word-spacing: 0px;"
id="yui_3_16_0_ym19_1_1526204789622_3164"><font face="HelveticaNeue,
Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2">Festnetz +41 (0)62 771 47 07</font></div><div style="color:
rgb(0, 0, 0); font-style: normal; font-weight: normal; letter-spacing:
normal; text-indent: 0px; text-transform: none; white-space: normal;
word-spacing: 0px;" id="yui_3_16_0_ym19_1_1526204789622_2934"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">Mobile +41 (0)78 646 87 63</font></div><div
style="color: rgb(0, 0, 0); font-style: normal; font-weight: normal;
letter-spacing: normal; text-indent: 0px; text-transform: none;
white-space: normal; word-spacing: 0px;"
id="yui_3_16_0_ym19_1_1526204789622_2933"><a rel="nofollow"
shape="rect" clas!
s="yiv7560999122" ymailto="mailto:lute.cor...@sunrise.ch"; targ!
et="_blank" href="mailto:lute.cor...@sunrise.ch";><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2">lute.cor...@sunrise.ch</font></a></div><div
class="yiv7560999122" style="color: rgb(0, 0, 0); font-style: normal;
font-weight: normal; letter-spacing: normal; text-indent: 0px;
text-transform: none; white-space: normal; word-spacing: 0px;"
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