>not only did I miss out on notation class, but I can't remember my compositionor orchestration teachers ever broaching the topic.
I find that astounding. Even in my day in college (at the University of
Minnesota, many years ago, when it was just a "music department" rather than a
"conservatory"), music notation was offered and was a necessity for music majors
in comp and theory.
None of the three universities I attended betw. 1964 and 1976 (University of WI/Madison, University of MD/College Park and State University of NY/Buffalo) offered such a course. I taught myself notation by looking at scores, reading various composers' opinions, and most of all through a lovely book, now long out of print, called _Preparing Music Manuscript_ by Anthony Donato
He said that any scores using the >Petrucci font would be rejected out-of-hand by publishers and performance >organizations.
What a hoot. Take a look at some of the contemporary music published by these same big-name publishers in the 1960s and '70s. Most of it isn't even engraved, but merely reproduces the composer's MS! Cage, Feldman, Xenakis--I could go on forever. Compared to these publications, Petrucci is a miracle of craftsmanship and artistic perfection. As for performance organizations, I've never heard of a composer's performance materials being rejected by any ensemble for using the Petrucci font. If someone tried that on me, I'd very nicely offer to re-edit the material--for an appropriate fee in 4 figures.
-- Andrew Stiller Kallisti Music Press
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