Dean M. Estabrook / 05.2.4 / 09:11 PM wrote:
>It opend previsously via Explorer (5.2) I believe. The whole message I
>get when I now try to open it is:
>
>Internet Explorer doesn't know how to handle the type of file you have
>selected. You can save this file to your disk, or you can configure a
Dennis Bathory-Kitsz wrote:
At 06:26 PM 2/4/05, Bruce K H Kau wrote:
So, when did they introduce smart shape vegetables?
You should see the carrots.
Just mind your Peas and Q's
cd
--
http://www.livejournal.com/users/dershem/#
___
Finale mailing list
Final
At 06:26 PM 2/4/05, Bruce K H Kau wrote:
>Well, to pick at nits here ... wouldn't all those potatoes print backwards?
Sure, but I'm printing on the back of transparencies. :) :)
>So, when did they introduce smart shape vegetables?
You should see the carrots.
Dennis
Well, to pick at nits here ... wouldn't all those potatoes print backwards?
So, when did they introduce smart shape vegetables?
At 09:48 PM 2/4/2005 -0500, Dennis Bathory-Kitsz wrote:
>At 04:22 PM 2/3/05 +0100, Daniel Wolf wrote:
>>Which version of Finale was it that included stencils for cutting
At 04:22 PM 2/3/05 +0100, Daniel Wolf wrote:
>Which version of Finale was it that included stencils for cutting clefs
>and noteheads out of raw potatoes? Those were the days of real engraving!
Alas, we could not keep the engraving set after it was opened:
http://maltedmedia.com/photos/maestro-at-
Hi Dean,
Sounds like you need to reinstall the Macromedia Flash Player:
http://www.macromedia.com/shockwave/download/download.cgi?
P1_Prod_Version=ShockwaveFlash
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 04 Feb 2005, at 9:11 PM, Dean M. Estabrook wrote:
Hey, Darcy:
It opend previsously via
> This whole field of research has always seemed hopelessly mired in a
> priori assumptions and inadequate study design. I consider the people
> who claim "scientific" basis for tonality to be the phrenologists of
> modern musical scholarship.
>
> And don't get me started on the bloody prehistoric
Hey, Darcy:
It opend previsously via Explorer (5.2) I believe. The whole message I
get when I now try to open it is:
Internet Explorer doesn't know how to handle the type of file you have
selected. You can save this file to your disk, or you can configure a
helper application to open it.
MIME
Man, the tension/release goes right back to the first
inhalation/exhalation cycle performed by a human. It's all there,
regardless of gender considerations.
Dean
On Feb 4, 2005, at 5:41 PM, Dennis Bathory-Kitsz wrote:
At 04:25 PM 2/4/05 -0800, Brad Beyenhof wrote:
On Sat, 05 Feb 2005 00:14:19 +
Dean,
What kind of file is this? What application did it open with before?
Do you have a link?
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 04 Feb 2005, at 8:53 PM, Dean M. Estabrook wrote:
Ok ... the other day someone suggested I download OS X.3.7 to improve
my life. So, I did. Now, a file
Ok ... the other day someone suggested I download OS X.3.7 to improve
my life. So, I did. Now, a file I had just downloaded a few minutes
prior to my new OS download, and which had played beautifully (it's a
great slide show of Iraq pics with the BYU Choir singing in the
background), will no lo
At 04:25 PM 2/4/05 -0800, Brad Beyenhof wrote:
>On Sat, 05 Feb 2005 00:14:19 +, Owain Sutton <[EMAIL PROTECTED]>
wrote:
>>
>> >>There have been some pretty intense commentaries about this
>> >>tension-release technique being sexually analogous and
>> >>gender-specific, and that in recent years
On 4 Feb 2005 at 20:10, Darcy James Argue wrote:
> On 04 Feb 2005, at 7:18 PM, David W. Fenton wrote:
>
> >> . . . However, I would think that anyone,
> >> ever, from anywhere, would agree that a minor second is much more
> >> dissonant than a perfect fifth, and that those two extreme
> >> inter
On 04 Feb 2005, at 7:18 PM, David W. Fenton wrote:
. . . However, I would think that anyone,
ever, from anywhere, would agree that a minor second is much more
dissonant than a perfect fifth, and that those two extreme intervals
are absolutely dissonant and absolutely consonant respectively, and
wi
Brad Beyenhof wrote:
On Fri, 04 Feb 2005 23:33:58 +, Owain Sutton <[EMAIL PROTECTED]> wrote:
Ken Moore wrote:
Even Debussy, who took
it on board, went on to transform it out of recognition.
And Schoenberg *didn't* transform the Wagnerian influence out of
recognition?
He did, but I think Ken'
On Fri, 04 Feb 2005 19:22:52 -0500, David W. Fenton <[EMAIL PROTECTED]> wrote:
> My experience with students from all over the world have demonstrated
> to me that Andrew is simply WRONG.
[snip]
> ...the Western definition of "consonant" and "dissonant" didn't do
> it for them, since it reversed th
On Fri, 04 Feb 2005 18:47:48 -0500, Dennis Bathory-Kitsz wrote:
> Gawd I hate you. :)
Ooh! an actual smiley! Maybe you won't get flamed this time! :-P
--
Brad Beyenhof
[EMAIL PROTECTED]
my blog: http://augmentedfourth.blogspot.com
FinaleIRC (come chat!): http://finaleirc.com
On 4 Feb 2005 at 15:01, Darcy James Argue wrote:
> On 04 Feb 2005, at 2:41 PM, Andrew Stiller wrote:
> >
> > I would agree that there is no hard-and-fast natural boundary
> > between the dissonant and the consonant, and that culture plays a
> > big role in drawing such arbitrary boundaries. Howeve
On 4 Feb 2005 at 16:43, Christopher Smith wrote:
> On Feb 4, 2005, at 2:56 PM, dhbailey wrote:
> >
> > Ah, but was she a "major" composer? That teacher's statement begs
> > the entire issue of what makes a composer a major composer -- is it
> > the total output, is it the number of performances o
On Sat, 05 Feb 2005 00:14:19 +, Owain Sutton <[EMAIL PROTECTED]> wrote:
>
> >>There have been some pretty intense commentaries about this
> >>tension-release technique being sexually analogous and
> >>gender-specific, and that in recent years, women composers have
> >>emancipated their writing
On Fri, 04 Feb 2005 23:33:58 +, Owain Sutton <[EMAIL PROTECTED]> wrote:
> Ken Moore wrote:
>
> > Even Debussy, who took
> > it on board, went on to transform it out of recognition.
>
> And Schoenberg *didn't* transform the Wagnerian influence out of
> recognition?
He did, but I think Ken's po
On 4 Feb 2005 at 14:41, Andrew Stiller wrote:
[I wrote:]
> >How do you tell the difference between the consonance and the
> >dissonance, then?
> >
> >Without reference to other music or a system of rules not reflected
> >in the musical text where the dissonance is never resolved, the two
> >terms
There have been some pretty intense commentaries about this
tension-release technique being sexually analogous and
gender-specific, and that in recent years, women composers have
emancipated their writing from the build-to-climax model implicit in
harmonic and architectural tension-release, and th
On 4 Feb 2005 at 9:01, Dennis Bathory-Kitsz wrote:
> At 08:41 AM 2/4/05 -0500, dhbailey wrote:
> >they look for that good old mix of dissonance and consonance
> >where the composer builds the tension masterfully and controls the
> >release, so that the audience feels good at the end.
>
> Let's m
On 4 Feb 2005 at 8:23, Christopher Smith wrote:
> On Feb 3, 2005, at 9:57 PM, David W. Fenton wrote:
>
> > On 3 Feb 2005 at 21:51, Christopher Smith wrote:
> >
> >> On Feb 3, 2005, at 8:10 PM, David W. Fenton wrote:
> >>
> >>> On 3 Feb 2005 at 12:07, Andrew Stiller wrote:
> >>>
> In any even
At 08:51 PM 2/4/05 +, Ken Moore wrote:
>When I first heard of it, it was supposed to have a beneficial effect on
>teen-age behaviour. I would have thought that would have been easy to
>measure in its early days.
Nothing in education is easy to measure. Sometimes just the existence of a
progra
Ken Moore wrote:
Even Debussy, who took
it on board, went on to transform it out of recognition.
And Schoenberg *didn't* transform the Wagnerian influence out of
recognition?
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Ughh...I have had this happen...
This isn't perfect but maybe it will speed things up a bit for
youit is set to batch process a folder of documents but you can
also change it to process all open docs. You still have to change
the paper size to US letter manually when the window pops up but
In message <[EMAIL PROTECTED]> Dennis
Bathory-Kitsz writes:
>Thanks very much for the detailed responses about UK education. I support
>the idea of including composition, particularly if literacy is part of it.
I agree that it's desirable; I don't know to what extent it's required.
>[...]
>
>>Was
In message <[EMAIL PROTECTED]> you write:
>Since you brought up Schoenberg, I noticed an interesting thing the
>other day when I picked up a "collected writings" book in the
>bookstore (I think it was all letters he had written to various
>people). As you may know, Joseph Hauer created his own form
Christopher Smith wrote:
On Feb 4, 2005, at 2:56 PM, dhbailey wrote:
I have no clue how to define "major composer" anymore -- so I attempt
to steer clear of that title in discussing composers. Who was more
major during their lifetimes, Salieri or Mozart? Who is more major now?
Actually, I thin
On Feb 4, 2005, at 2:56 PM, dhbailey wrote:
Ah, but was she a "major" composer? That teacher's statement begs the
entire issue of what makes a composer a major composer -- is it the
total output, is it the number of performances of a single
masterpiece, is it the number of different organizatio
I never said that dissonance/consonance was the only way to build
tension/release, but it has been a major means to that end
throughout music history.
--
David H. Bailey
Surely you mean *Western* music history--and that only since the 13th
century (yes, there was harmony before that, but it was
Nature or nurture? Nobody knows for sure.
--
David H. Bailey
Of course they do. Tension/release governs the structure of every
known human music and may therefore be safely considered as
biological in its basis. And since music appeals equally to both
sexes, the notion that this is some sort of
I would also question the audience's need to have all dissonance
released in the end to "feel good." There are many, many works
(mostly from the 20th century, granted) that are very successful
without resolving harmonically at the end. Just for one broad
example, it is very common to end big ba
David Bailey:
Tension in the listener? That's not important, huh? Release of
that tension? That's not important either?
Of course they are. But there are numerous, powerful ways to create
and release musical tension without reference to harmony, and highly
dissonated music tends to rely on pr
Jari Williamsson wrote:
dhbailey wrote:
And that happens if you use Finale's Explode Music function?
Aren't we talking about TGTool's Smart Explosion?
Yes, we were, but I was just wondering if the same bug reared its ugly
head in using Finale's built in Explode Music function.
--
David H. Baile
Please answer me offlist; however, I have heard discussed the add-on
to MAILMAN to have a searchable database with the closed archive.
Please send me as many details as possible to set up this service for
the list;-)
--
Henry Howey, D.M.A.
Professor of Music
Sam Houston State University
Box 2208
dhbailey wrote:
And that happens if you use Finale's Explode Music function?
Aren't we talking about TGTool's Smart Explosion?
Best regards,
Jari Williamsson
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On 04 Feb 2005, at 2:56 PM, Phil Daley wrote:
This seems obvious to me, growing up in the west.
I wonder if people who grew up in the east see that situation the
same way?
Yes. They do. And there's plenty of research to back this up --
Google away, if you're interested.
- Darcy
-
[EMAIL
Hate to add a post that is simply "me too," but Andrew is 100% correct.
I would add that there are also timbres that are absolutely dissonant
-- although clearly there's a tremendous amount of cultural variability
there as well.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 04 Feb 2005, at 2
At 2/4/2005 02:41 PM, Andrew Stiller wrote:
>>How do you tell the difference between the consonance and
the
>>dissonance, then?
>>
>>Without reference to other music or a system of rules not
reflected
>>in the musical text where the dissonance is never resolved, the
two
>>terms are simply meanin
Lee Actor wrote:
I don't know how many times I performed Cécile Chaminade Flute Sonata,
which was written in pre-1900 IIRC, and is Cécile not female name?
Maybe you're thinking of the popular Chaminade Concertino for Flute & Piano
(or Orchestra), written in 1902. And yes, Cecile was a gal.
Ah, bu
>
> I don't know how many times I performed Cécile Chaminade Flute Sonata,
> which was written in pre-1900 IIRC, and is Cécile not female name?
>
Maybe you're thinking of the popular Chaminade Concertino for Flute & Piano
(or Orchestra), written in 1902. And yes, Cecile was a gal.
-Lee
___
How do you tell the difference between the consonance and the
dissonance, then?
Without reference to other music or a system of rules not reflected
in the musical text where the dissonance is never resolved, the two
terms are simply meaningless.
At least, so it seems to *me*.
--
David W. Fenton
Andrew Levin wrote:
David Bailey wrote:
What happens if you simply extract each staff normally, then when you
open each instrumental file, use the staff tool to turn on display of
measure expressions?
After extracting parts the display is already set to show measure
expressions. And they're the
And any gender issue would only be a tendency, not a rule. Women are
not a homogenous group any more than men are.
Well put Christopher!! Bravo!!
I do believe that there are gender tendencies in most things in
life...so I guess that those tendencies could also be reflected in
music. But I have
No, there isn't a way to do this with Finale Script, at least there
wasn't when I last checked. I already requested that, but it won't hurt
to request it again.
Johannes
Brad Beyenhof wrote:
For those of you who have used FinaleScript (I have, but mostly just
for batch printing):
Is there a way
I don't know how many times I performed Cécile Chaminade Flute Sonata,
which was written in pre-1900 IIRC, and is Cécile not female name?
When I first heard Maria Schneider's music, I felt she took Gil Evans'
music to where gender influenced. But when I actually met her, I felt
her music is muc
You know, that's kind of offensive considering all of the real pre-1900
female composers they could have chosen.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 04 Feb 2005, at 11:44 AM, Phil Daley wrote:
This brought to mind a thing that happened when I was in high school.
The HS band director
At 2/4/2005 10:41 AM, Dennis Bathory-Kitsz wrote:
>At 10:27 AM 2/4/05 -0500, John Howell wrote:
>>Commentaries? In other words, opinions, right? Let me know when
>>there are some valid, controlled studies available rather than just
>>commentaries. Hey, there might be dissertations waiting to be
For those of you who have used FinaleScript (I have, but mostly just
for batch printing):
Is there a way for FinaleScript to change the Page Setup (from the
File menu) settings for a group of files? Inexplicably, I was sent a
ton of files whose Page Layout dimensions are Letter, but Page Setup
siz
Jari wrote:
You could run the File Integrity check on it, but if that doesn't
solve it I think you should send the file to Tobias.
Results:
Data check deleted 534 entries (out of 1168), 3 fonts, one
articulation definition, and one text expressions definition. I also
fixed "minor inconsistencies
David Bailey wrote:
What happens if you simply extract each staff normally, then when
you open each instrumental file, use the staff tool to turn on
display of measure expressions?
After extracting parts the display is already set to show measure
expressions. And they're there. Problem is, when
At 10:27 AM 2/4/05 -0500, John Howell wrote:
>Commentaries? In other words, opinions, right? Let me know when
>there are some valid, controlled studies available rather than just
>commentaries. Hey, there might be dissertations waiting to be
>written!
But wait, it's okay to have opinions abo
John Howell wrote:
Which is exactly how Hindemith treats it at the beginning of "The
Craft of Musical Composition," giving the theoretical basis for
Neo-Classicism much as Rameau had given the theoretical basis for
major/minor tonality in 1722.
John
And of course, Hindemith's theory is totally
Dennis Bathory-Kitsz wrote:
At 04:22 PM 2/3/05 +0100, Daniel Wolf wrote:
Which version of Finale was it that included stencils for cutting clefs
and noteheads out of raw potatoes? Those were the days of real engraving!
Oh, you must mean these:
http://maltedmedia.com/photos/maestro-yukon-go
At 9:01 AM -0500 2/4/05, Dennis Bathory-Kitsz wrote:
At 08:41 AM 2/4/05 -0500, dhbailey wrote:
they look for that good old mix of dissonance and consonance
where the composer builds the tension masterfully and controls the
release, so that the audience feels good at the end.
Let's mix it up some mo
At 3:01 AM -0300 2/4/05, M. Perticone wrote:
hello mr. fenton and listers,
But if there's no dissonance, there's also no consonance.
You can't change the definition of one without altering the
definition of the other, [snip]
of course i understand what you say it's true from a musical syntax
sta
On Feb 4, 2005, at 9:59 AM, Dennis Bathory-Kitsz wrote:
At 04:22 PM 2/3/05 +0100, Daniel Wolf wrote:
Which version of Finale was it that included stencils for cutting
clefs
and noteheads out of raw potatoes? Those were the days of real
engraving!
Oh, you must mean these:
http://maltedmedia.com/ph
At 04:22 PM 2/3/05 +0100, Daniel Wolf wrote:
>Which version of Finale was it that included stencils for cutting clefs
>and noteheads out of raw potatoes? Those were the days of real engraving!
Oh, you must mean these:
http://maltedmedia.com/photos/maestro-yukon-gold.jpg
Dennis
___
On Feb 4, 2005, at 9:28 AM, dhbailey wrote:
Christopher Smith wrote:
There are other ways to build and release tension than harmonically.
Volume is one. Marcelo Perticone mentioned another couple of very
good examples from conventional repertoire. Schoenberg's opus 16 (I
think that is the right
It is quite clear that Fin05 changed something in the rules for how
score expressions are copied. The old rules were awful, so this is not a
complete case of changing something that wasn't broken. Another issue
may be that TGTools Smart Explosion has not been updated to reflect the
new rules.
I use this plug-in, and I noticed that it duplicates a lot of expressions. I
can't find the email I sent to Tobias about it, so I don't remember how we
solved it.
On 2/4/05 7:42 AM, "Jari Williamsson" <[EMAIL PROTECTED]>
saith:
> Andrew Levin wrote:
>
>> Do I have a file problem? There was a Fi
On Feb 4, 2005, at 9:23 AM, dhbailey wrote:
Schoenberg was a male and he pioneered (or was pivotal, anyway) in the
abandoning of the tension/release model of composition,
Tension-release in HARMONY, not in all ways. And he didn't abandon it
completely anyway, he just made it easier to ignore it
At 09:23 AM 2/4/05 -0500, dhbailey wrote:
>You mean to tell me that men are the only participants in a sexual
>encounter who enjoy it? Come on, now, Dennis. That's not been my
>experience! Why does the sexual analogy of the tension-release have to
>be from a male point of view? I know of sev
At 09:11 AM 2/4/05 -0500, dhbailey wrote:
>The reviewer didn't like the show. Period. What's the big deal?
Do I really have to put in a string of smilies? Here are some for future use:
:) :) :) :) :) :) :) :) :) :) :) :)
Dennis
___
Fi
Christopher Smith wrote:
On Feb 4, 2005, at 8:41 AM, dhbailey wrote:
Christopher Smith wrote:
On Feb 3, 2005, at 9:57 PM, David W. Fenton wrote:
On 3 Feb 2005 at 21:51, Christopher Smith wrote:
On Feb 3, 2005, at 8:10 PM, David W. Fenton wrote:
On 3 Feb 2005 at 12:07, Andrew Stiller wrote:
In any e
Dennis Bathory-Kitsz wrote:
At 08:41 AM 2/4/05 -0500, dhbailey wrote:
they look for that good old mix of dissonance and consonance
where the composer builds the tension masterfully and controls the
release, so that the audience feels good at the end.
Let's mix it up some more! :)
There have been
On Feb 4, 2005, at 8:41 AM, dhbailey wrote:
Christopher Smith wrote:
On Feb 3, 2005, at 9:57 PM, David W. Fenton wrote:
On 3 Feb 2005 at 21:51, Christopher Smith wrote:
On Feb 3, 2005, at 8:10 PM, David W. Fenton wrote:
On 3 Feb 2005 at 12:07, Andrew Stiller wrote:
In any event, "emancipation of th
Dear All - is there anyone in the UK that has a set of parts for 'A Boy Like
That' and 'Maria' from West Side Story, and would be willing to rent them to
us. Boosey and Hawkes are trying to get hold of a set from the states for us
to hire, but they are not getting results.
And the concert is next
Dennis Bathory-Kitsz wrote:
At 08:04 AM 2/4/05 -0500, Raymond Horton wrote:
One more crosspost from Orchestra-L:
FROM: Erich Graf, President, Local 104, Salt Lake City; Principal flutist,
Utah Symphony
[EMAIL PROTECTED]
The virtual orchestra production of "Oliver" appeared in Salt Lake City
several
At 02:56 PM 2/4/05 +0100, Jari Williamsson wrote:
>The problem here is that there's no standard for how a pitch wheel event
>should be interpreted. HP assumes that all devices work like the
>SoftSynth, while many other devices (such as SoundBlaster for example)
>use a much higher pitch wheel det
At 08:41 AM 2/4/05 -0500, dhbailey wrote:
>they look for that good old mix of dissonance and consonance
>where the composer builds the tension masterfully and controls the
>release, so that the audience feels good at the end.
Let's mix it up some more! :)
There have been some pretty intense com
Don Hart wrote:
Is that a bug in HP pitchbend glissandos ? Chromatic and diatonic work OK
but the gliss doesn't move the pitch far enough with pitchbend selected.
The problem here is that there's no standard for how a pitch wheel event
should be interpreted. HP assumes that all devices work like
At 08:04 AM 2/4/05 -0500, Raymond Horton wrote:
>One more crosspost from Orchestra-L:
>FROM: Erich Graf, President, Local 104, Salt Lake City; Principal flutist,
>Utah Symphony
>[EMAIL PROTECTED]
>The virtual orchestra production of "Oliver" appeared in Salt Lake City
>several months ago. Not only
Andrew Levin wrote:
Do I have a file problem? There was a Finale version some versions back
that created problems with files, that a later utility would check out.
Could this be it?
You could run the File Integrity check on it, but if that doesn't solve
it I think you should send the file to Tob
Christopher Smith wrote:
On Feb 3, 2005, at 9:57 PM, David W. Fenton wrote:
On 3 Feb 2005 at 21:51, Christopher Smith wrote:
On Feb 3, 2005, at 8:10 PM, David W. Fenton wrote:
On 3 Feb 2005 at 12:07, Andrew Stiller wrote:
In any event, "emancipation of the dissonance" certainly does not
imply elimi
Friends:
Apologies if I missed something along the way, and am repeating what has
already been written here.
I am remembering from a few weeks back, a discussion of how to hide
stems, as for plainchant, and I further remember the observation in that
thread, that one could hide stems globally, o
On Feb 3, 2005, at 9:57 PM, David W. Fenton wrote:
On 3 Feb 2005 at 21:51, Christopher Smith wrote:
On Feb 3, 2005, at 8:10 PM, David W. Fenton wrote:
On 3 Feb 2005 at 12:07, Andrew Stiller wrote:
In any event, "emancipation of the dissonance" certainly does not
imply elimination of the consonant.
Ken,
Thanks very much for the detailed responses about UK education. I support
the idea of including composition, particularly if literacy is part of it.
At 09:13 PM 2/3/05 +, Ken Moore wrote:
>I haven't deliberately misled you, but the compositional element of
>11-15 music has no stylistic r
One more crosspost from Orchestra-L:
FROM: Erich Graf, President, Local 104, Salt Lake City; Principal flutist,
Utah Symphony
[EMAIL PROTECTED]
The virtual orchestra production of "Oliver" appeared in Salt Lake City
several months ago. Not only did our local music critic criticize the
paucity of th
Andrew Levin wrote:
Chuck Israels wrote:
You haven't exactly "wrought" this. This stuff has to do with 2005
and its staff lists.
That may be, but I think it's something else. I tried the same procedure
with FinMac 2004c and got some interesting results.
1) I had kept the original score, which
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