Fellow listers;
I received the following query from a colleague & would appreciate any input
from the collective wisdom of the list:
***
As you know, the graver is the scoring tool used to create the staff lines
in traditional plate engraving. I started researching what
This was a bit before 1920 (I believe 1913) but it is one of my
favorites: Charles Ives "The Fourth of July" from A Symphony: New
England Holidays
Strickly from the 20's, I'd have to say Duke Ellington's music while
he was at the Cotton Club in the late 1920's. One of my favorites is
"The Moo
Noel Stoutenburg wrote:
While it is a widely used format PDF is not open to any more or less
extent that the ETF format.
I consider it open enough when I don't necessarily need any Adobe
product to read or write them. (Mac OS has built-in support.) PDF's are
ubiquitous enough that we can count
> > I'm not certain that releasing unlock codes or whatever is feasible
> > as it would seriously damage the companies ability to be sold on if
> > a catastrophe happened, as the prvious version of the software
> > would be available to use easily in unlocked form.
> Uh, it wouldn't be released u
In the GPO manual there is a drawing of a fellow with a keyboard on his
lap happily playing away. He has a carefree air and appears to be
singing along with his Personal Orchestra. He sports a bow tie, so it
may be that he is performing before an audience.
How I envy him! What does he know of t
On 10 Mar 2005, at 03:08, Williams, Jim wrote:
Hi, John...
I'm out of my element on a Mac, so I'll try a few generalities:
*On a PC, it is necessary to start GPO Studio BEFORE launching Finale.
I imagine that's also true for Mac, so do start GPO Studio first.
Yes, same on Mac and I did this.
*Have
Hi, John...
I'm out of my element on a Mac, so I'll try a few generalities:
*On a PC, it is necessary to start GPO Studio BEFORE launching Finale. I
imagine that's also true for Mac, so do start GPO Studio first.
*Have you gone through the setup routine for GPO Studio?
*Does the standalone
On 9 Mar 2005 at 18:26, Noel Stoutenburg wrote:
> dhbailey wrote:
>
> > Can anybody produce corporate statements (especially from publicly
> > traded companies) where the corporation tries to reassure the
> > customer what will happen when/if the corporation goes out of
> > business? Don't raise
On 9 Mar 2005 at 18:20, Noel Stoutenburg wrote:
> David W. Fenton wrote:
>
> >On 8 Mar 2005 at 21:58, Noel Stoutenburg wrote:
> >
> >>The flaw here, is that the phrases "Commercial software is sold" and
> >>"legal purchaser" implies that the user of a particular piece of
> >>commerical software h
On 9 Mar 2005 at 18:07, Noel Stoutenburg wrote:
> I wrote:
>
> >The truly critical element here is for each user to make
> >certain that every data file considered critical are stored in an
> >accessible format. To that end, I'd submit that ~.mus files are not
> >as good a choice for long term a
On 9 Mar 2005 at 22:57, Simon Troup wrote:
> I'm not certain that releasing unlock codes or whatever is feasible as
> it would seriously damage the companies ability to be sold on if a
> catastrophe happened, as the prvious version of the software would be
> available to use easily in unlocked for
Hi Jim
Thanks for taking time out from grading papers to offer help. I tried
re-installing GPO but it said everything was already there. Anyway,
somehow GPO eventually appeared in Finale's Output Devices so I have
them set to GPO Studio 1,2,3,4 (but in italics -- doesn't that mean
it's not real
Christopher Smith wrote:
subsequent ubiquity
How many places will you see that used? Six brownie points!
:)
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Responding to David Bailey, who wrote, in part:
So what is your suggestion as to what sort of bargaining power we have
to use against MakeMusic?
Daniel Wolf wrote
Here's a suggestion: if a group of power users (participants in this
forum, for example), with a nice round membership number (100
Robert Patterson wrote:
As I've said before, my last line of defense is to archive in open
formats like PDF.
While it is a widely used format PDF is not open to any more or less
extent that the ETF format.
while "Makemusic" has technically existed continuously since 1988, it
is in fact a comp
dhbailey wrote:
Can anybody produce corporate statements (especially from publicly
traded companies) where the corporation tries to reassure the customer
what will happen when/if the corporation goes out of business? Don't
raise the issue of banks and the FDIC, because they're required by law
On Mar 9, 2005, at 2:49 PM, dhbailey wrote:
That's an easy one -- Rhapsody in Blue isn't jazz.
Well then, no wonder I like it!
mdl
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David W. Fenton wrote:
On 8 Mar 2005 at 21:58, Noel Stoutenburg wrote:
The flaw here, is that the phrases "Commercial software is sold" and
"legal purchaser" implies that the user of a particular piece of
commerical software has ownership rights in the software. While it
might be true for some
I wrote:
The truly critical element here is for each user to make
certain that every data file considered critical are stored in an
accessible format. To that end, I'd submit that ~.mus files are not
as good a choice for long term archival purposes as ~.etf files. . . .
to which David Fenton respo
In response to my comments, in part
The real issue is not whether or not one can continue to use Finale;
it is whether one can access the information in a given set of Finale
files. Neither the survival of Finale, nor the creation of an
Escrowed untether is the critical step in the process her
Johannes Gebauer wrote:
1) Is there a way to Save only part of a score as Audiofile?
If there's an easier way, I've not yet found it. What I'd do is make a
copy of the score, from which I'd delete the bits you didn't want to
play, and save that.
ns
__
Jari Williamsson schrieb:
Darcy James Argue wrote:
IIRC (and I may not be), when the registration scheme for Finale 2004
was announced, I believe Coda -- or at least, some people at Coda --
were actually sympathetic to Dennis's ideas. I seem to recall someone
saying something about at least cre
> > There's more going on here than blind devotion and the Stockholm
> > Syndrome.
>
> You seem to give more empasis to MM's interests than to your own long-
> term interests.
>
> Setting up a key escrow should not be all that tough for MM to do. I
> see no obstacles to their implementing it, ei
Mark D Lew wrote:
On Mar 9, 2005, at 6:55 AM, Darcy James Argue wrote:
Porgy and Bess has great songs, but I'd rather hear Sarah Vaughan sing
them.
Even if you subtract all the voice parts, Porgy & Bess is still great,
just for the orchestra. That said, the parts of P&B I like best are the
lig
Most corporations don't publicly discuss their own demise nor what steps
they may have taken to support their customers in the event of their
going belly up. That doesn't mean they haven't taken such steps.
But to make a public statement to the effect of "when we go out of
business..." or even
On Mar 9, 2005, at 6:55 AM, Darcy James Argue wrote:
Porgy and Bess has great songs, but I'd rather hear Sarah Vaughan sing
them.
Even if you subtract all the voice parts, Porgy & Bess is still great,
just for the orchestra. That said, the parts of P&B I like best are
the lightly accompanied ch
Darcy James Argue wrote:
IIRC (and I may not be), when the registration scheme for Finale 2004
was announced, I believe Coda -- or at least, some people at Coda --
were actually sympathetic to Dennis's ideas. I seem to recall someone
saying something about at least creating some method for a us
What's the point of setting it up if they don't announce it?
"Of course, the whole point of a Doomsday Machine is lost, if you
*keep* it a *secret*! Why didn't you tell the world, EH? "
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 09 Mar 2005, at 4:42 PM, dhbailey wrote:
David W. Fenton wrote:
IIRC (and I may not be), when the registration scheme for Finale 2004
was announced, I believe Coda -- or at least, some people at Coda --
were actually sympathetic to Dennis's ideas. I seem to recall someone
saying something about at least creating some method for a user to
transfer their reg
David W. Fenton wrote:
[snip]>
Would you *object* if MM set up a key escrow?
If not, why argue against it?
Does anybody know for a fact that they have not set up such an escrow?
--
David H. Bailey
[EMAIL PROTECTED]
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On 9 Mar 2005 at 20:30, Simon Troup wrote:
> > > > I hope Coda/MM will prepare for their users' needs in those last
> > > > hours, should the time come sooner rather than later.
> > >
> > > Did I miss something? Have you become the Nostradamus of the list
> > > or is this just speculation?
> >
>
On 9 Mar 2005 at 19:35, Simon Troup wrote:
> > But it is truly amazing to watch the victims of said abuse actually
> > justify it and defend their abusers.
>
> That's just your perception.
>
> Having marketed software that I've written myself I'm quite
> sympathetic about MakeMusic!s efforts to
In message <[EMAIL PROTECTED]> Darcy James
Argue writes:
>Just taking a little straw poll here: what do listers consider the best
>pieces of music to come out of the 1920's? Genre is unimportant -- go
>ahead and nominate Tin Pan Alley songs and Jelly Roll Morton pieces
>alongside serial works,
On 9 Mar 2005 at 13:20, dhbailey wrote:
> Noel Stoutenburg wrote:
> >
> > IN all honesty, given the installed base of files out there in
> > Finale Formats, even if MakeMusic! were to completely dissapear
> > tomorrow, I doubt that it would be more than a few months before
> > someone else had a
On 9 Mar 2005 at 11:20, Noel Stoutenburg wrote:
> d. collins wrote:
>
> > In other words, you accept the fact that six months from now, or six
> > years, or any time, you might no longer be able to use the copy of
> > Finale you purchased
>
> The real issue is not whether or not one can continue
> > > I hope Coda/MM will prepare for their users' needs in those last
> > > hours, should the time come sooner rather than later.
> >
> > Did I miss something? Have you become the Nostradamus of the list or
> > is this just speculation?
>
> Would you advise a parent who supports a family of 6 to
On 9 Mar 2005 at 10:28, Noel Stoutenburg wrote:
> If a product made use of an authentication scheme such as that used by
> MakeMusic!, and failed to provide public maps of the formats of data
> files inhibiting or preventing development of other packages which
> might read and write data files of
On 9 Mar 2005 at 16:56, Jari Williamsson wrote:
> Dennis Bathory-Kitsz wrote:
>
> > As usual, Dennis's long answer.
>
> And as usual, I don't understand what you're trying to say. Here's how
> I see it:
>
> * No current user of the Fin2004/2005 seem to see the current CP
> system as a problem.
On 9 Mar 2005 at 15:34, Simon Troup wrote:
> > I hope Coda/MM will prepare for their users' needs in those last
> > hours, should the time come sooner rather than later.
>
> Did I miss something? Have you become the Nostradamus of the list or
> is this just speculation?
Would you advise a parent
On 9 Mar 2005 at 9:40, A-NO-NE Music wrote:
> dhbailey / 05.3.9 / 08:43 AM wrote:
>
> >And don't suggest they go back to the "insert the original
> >installation CD" anti-piracy concept -- they tried that back with
> >Finale97 (or was it 98) and very quickly scrapped that idea over the
> >hue and
On 9 Mar 2005 at 6:07, dhbailey wrote:
> We could all switch to using Score, I guess.
> Except that it wasn't a Mac program, as I recall, so Mac users would
> be out of luck, and none of us have machines that have DOS installed
> anymore, so the rest of us would be hard pressed to make that swi
> But it is truly amazing to watch the victims of said abuse actually
> justify it and defend their abusers.
That's just your perception.
Having marketed software that I've written myself I'm quite sympathetic about
MakeMusic!s efforts to protect its investment, call it abuse if you like.
Like
On 8 Mar 2005 at 21:58, Noel Stoutenburg wrote:
> The flaw here, is that the phrases "Commercial software is sold" and
> "legal purchaser" implies that the user of a particular piece of
> commerical software has ownership rights in the software. While it
> might be true for some programs, the fac
It astounds me that customers are so ready to defend their own abuse and
and incoveniencing by the companies they pay money to. It is one
thing, as I do, to accept that the world is not perfect. That fighting
an industry-wide rising tide of incovenience and abuse of customers is
tantamount to
dhbailey wrote:
So what is your suggestion as to what sort of bargaining power we have
to use against MakeMusic? We could all switch to using Score, I
guess. Except that it wasn't a Mac program, as I recall, so Mac users
would be out of luck, and none of us have machines that have DOS
install
Johannes Gebauer wrote:
I have never really used playback much, but now I have the need to do it
properly.
1) Is there a way to Save only part of a score as Audiofile?
2) Is there a way to make HP stop between movements? It already does
this for Finale bars, at least briefly, but it doesn't do i
Noel Stoutenburg wrote:
IN all honesty, given the installed base of files out there in Finale
Formats, even if MakeMusic! were to completely dissapear tomorrow, I
doubt that it would be more than a few months before someone else had a
package out that would read files created with Finale.
Sibel
At 12:46 PM 3/9/05 -0500, Darcy James Argue wrote:
>FWIW, my recording -- the Pollini on DG -- calls op. 25 a "Suite for
>Piano."
As it does in German on my score, UE 7627, "Suite für Klavier". (Erratic
engraving job, by the way, some nice, some ugly.)
Dennis
__
I have never really used playback much, but now I have the need to do it
properly.
1) Is there a way to Save only part of a score as Audiofile?
2) Is there a way to make HP stop between movements? It already does
this for Finale bars, at least briefly, but it doesn't do it for repeat
bar ends,
FWIW, my recording -- the Pollini on DG -- calls op. 25 a "Suite for
Piano."
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 08 Mar 2005, at 7:23 PM, Brad Beyenhof wrote:
On Tue, 8 Mar 2005 16:19:09 -0800, Brad Beyenhof <[EMAIL PROTECTED]>
wrote:
On Tue, 8 Mar 2005 18:53:21 -0500, Darcy James Ar
On 08 Mar 2005, at 11:04 PM, Raymond Horton wrote:
Gershwin: Rhapsody in Blue (preferably original version, not the
orchestral version)
Darcy James Argue wrote:
Funny you should mention that... I've actually been looking for a modern
recording of the original orchestration -- you wouldn't happen
d. collins wrote:
In other words, you accept the fact that six months from now, or six
years, or any time, you might no longer be able to use the copy of
Finale you purchased
The real issue is not whether or not one can continue to use Finale; it
is whether one can access the information in a gi
On Mar 8, 2005, at 6:53 PM, Darcy James Argue wrote:
Just taking a little straw poll here: what do listers consider the
best pieces of music to come out of the 1920's?
My top 10, in no particular order:
Varèse: Octandre
Varèse: Arcana
Stravinsky: Octet for Winds
Schoenberg: Variations for Orchestr
Hey Allen,
On 09 Mar 2005, at 11:36 AM, Allen Fisher wrote:
If you launch GPO *before* you launch Finale, it should work.
I know it *should*, but it don't.
(Does it work for you? I haven't found anyone on the Northern Sounds
GPO forum who's gotten it to work.)
If that doesn't, send a report in
Milhaud: La creation du monde
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d. collins wrote:
I've purchased software and saw the company go out of business less
then one year after that (and couldn't get a new key to reinstall it),
so I certainly understand Dennis's concern. Several others suggested
the recourse to hacks if MM happened to go down. But will they still
Most of the other features do, but search and replace is not a slave to the
bondage that is the barline ;-)
On 3/8/05 11:37 AM, "Dennis Bathory-Kitsz" <[EMAIL PROTECTED]> saith:
> At 11:21 AM 3/8/05 -0600, Allen Fisher wrote:
>> Have you tried note mover? It has a search and replace function tha
If you launch GPO *before* you launch Finale, it should work. If that
doesn't, send a report in to Mac Support...
On 3/9/05 9:01 AM, "Gerald Berg" <[EMAIL PROTECTED]> saith:
> gee Darcy - that was an impressive response!
>
> Short of never quitting GPO studio I think we're sunk on that point.
>
Dennis Bathory-Kitsz writes, alleging that the authentication scheme
used by MakeMusic! / Coda is "victimware", and having given it further
thought, I realize that there is at least one case in which I would be
willing to agree that an authentication scheme such as MakeMusic!'s
might qualify as
Dennis Bathory-Kitsz wrote:
As usual, Dennis's long answer.
And as usual, I don't understand what you're trying to say. Here's how I
see it:
* No current user of the Fin2004/2005 seem to see the current CP system
as a problem.
* If MM goes down, the clause #1 in the Fin2005 license agreement w
Dennis Bathory-Kitsz wrote:
Noel, you're conflating two issues. Your argument is about language and
law. Whenever anyone buys a physical manifestation of 'intellectual
property', they purchase a certain body of rights, implicit and explicit.
That's IP101.
And that's not the issue. The issue is comm
> I hope Coda/MM will prepare for their users' needs in those last
> hours, should the time come sooner rather than later.
Did I miss something? Have you become the Nostradamus of the list or is this
just speculation?
--
Simon Troup
Digital Music Art
-
Finale IRC channe
Okay, I found this at Giardinelli:
http://www.giardinelli.com/srs7/fg=42/g=accessories/search/detail/
base_id/110579
It's a swivel-mound LED stand light and it includes lithium batteries,
and -- at $7.99, it's by far the cheapest LED stand light I've seen.
On the other hand, I suspect it's a r
Hi all,
One of the nice features of GPO is that it uses the sustain pedal to
switch between tonguing and slurring. A fellow named Adam Burford
wrote a plugin called Fingar (Windows only) which automatically creates
sustain pedal data (CC#64) to match the slurs in your score. A *very*
nice ide
At 02:24 PM 3/9/05 +, Simon Troup wrote:
>I don't feel like a victim
Yet.
>Just thought I should put one on record as you're
>using fairly inflammatory language that certainly doesn't square
>with my experience.
Yet.
>In view of the current "something for nothing" climate where
>piracy i
gee Darcy - that was an impressive response!
Short of never quitting GPO studio I think we're sunk on that point.
Jerry
On 9-Mar-05, at 5:44 AM, Darcy James Argue wrote:
The only thing I can't figure out is how to get Finale to remember the
choices I made in Finale's MIDI Setup. Even after settin
On 09 Mar 2005, at 9:15 AM, Christopher Smith wrote:
It looks like (after a couple of mentions) that many consider Rhapsody
to be a great work. Although I accept that it was groundbreaking,
influential, got a lot of press, yada-yada, I question whether it was
really "great." It was rushed off af
dhbailey / 05.3.9 / 08:43 AM wrote:
>And don't suggest they go back to the "insert the original installation
>CD" anti-piracy concept -- they tried that back with Finale97 (or was it
>98) and very quickly scrapped that idea over the hue and cry of
>complaints.
Both 97 and 98. My 98 CD is los
> victimization
> disguise offensive tethering practices.
Dennis
I quite like the scheme. I get to use Finale in my office and on my laptop. No
messing about with CDs and when I've phoned because my hard drive has blown up
or I've changed computer they're always very cool about it.
I don't fe
At 08:43 AM 3/9/05 -0500, dhbailey wrote:
>And lose the improvements that make my income-generating work easier,
>faster, better?
Yes, even if for one year, in order to send the message.
>It's also hard to skip upgrades when others with whom you work are
>upgrading -- since the earlier version
At 07:41 AM 3/9/05 -0500, Darcy James Argue wrote:
Just FYI -- in case you've never heard the original version, with the
Paul Whiteman band and Gershwin at the Piano, you can listen to it
here:
http://www.redhotjazz.com/Songs/Whiteman/rhapblua.ram
There is also a version recorded in 1927 using ele
I worked it out.
Johannes
Johannes Gebauer schrieb:
I am trying to set up a complicated repeat:
First Section with 1./2.time bar. Second section. Dal Segno into first
section. Fine in the 1. time bar. Jump to next movement.
I can't get the Fine to work, it just continues repeating the section,
p
> Further, it gets a bit more complicated in that you do own
> the disk and jewel box it came in
It's a minor point, but whenever I get one of those "if you break the seal" CD
envelopes, I always just unstick the bottom of the envelope so that I haven't
agreed to anything. Also, I like the seal
I am trying to set up a complicated repeat:
First Section with 1./2.time bar. Second section. Dal Segno into first
section. Fine in the 1. time bar. Jump to next movement.
I can't get the Fine to work, it just continues repeating the section,
playing the second section, goes back into first, rep
Dennis Bathory-Kitsz wrote:
[snip]>
As usual, Dennis's long answer. The short answer on bargaining power: It's
not too late. Skip all further upgrades. Tell them why. The minute they
escrow a fail-safe mechanism is the minute I'll place my order. Anyone else?
And lose the improvements that make my
At 06:07 AM 3/9/05 -0500, dhbailey wrote:
>So what is your suggestion as to what sort of bargaining power we have
>to use against MakeMusic?
The operant really is "we", isn't it?
What I hoped was that, as soon as the new scheme appeared, we Finale users
en masse would refuse to upgrade. Period.
At 07:41 AM 3/9/05 -0500, Darcy James Argue wrote:
>Just FYI -- in case you've never heard the original version, with the
>Paul Whiteman band and Gershwin at the Piano, you can listen to it
>here:
>http://www.redhotjazz.com/Songs/Whiteman/rhapblua.ram
>There is also a version recorded in 1927 usi
Per Ottar Gjerstad" <[EMAIL PROTECTED]> wrote:
>
> Olivier Messiaen: Turangalila Symphony
GREAT work (just listened to it again recently), but not 1920s! It was from
1948. Maybe one of the best works of the 1940s?
Messiaen's first published work, 8 Piano preludes, is 1929 -- but I wouldn't
put
On 9 Mar 2005 , at 3:58 AM, [EMAIL PROTECTED] wrote:
Just taking a little straw poll here: what do listers consider the best
pieces of music to come out of the 1920's? Genre is unimportant -- go
ahead and nominate Tin Pan Alley songs and Jelly Roll Morton pieces
alongside serial works, if you like
On 08 Mar 2005, at 11:04 PM, Raymond Horton wrote:
Gershwin: Rhapsody in Blue (preferably original version, not the
orchestral version) (1924)
Just FYI -- in case you've never heard the original version, with the
Paul Whiteman band and Gershwin at the Piano, you can listen to it
here:
http://ww
Dennis Bathory-Kitsz wrote:
[snip]
Keep in mind that a contract may not be used to vacate guaranteed rights,
and less offensive practices have been subject to government regulation.
Regulation is the unwelcome last step, of course, but corporate
recalcitrance may require the language-and-law soluti
Hi Bonnie,
OS X does not install fonts "in the Font Book application." The Font
Book application merely tells you what fonts are installed on your
system! If you can see it in Font Book, it's installed somewhere on
your system. That doesn't necessarily mean it's available to all
applications
Hi John,
Did you move any GPO folders after you installed them? That VST error
message suggests that something went awry in your installation. I
would suggest doing a full reinstall of GPO and GPO Studio and seeing
if that fixes the problem.
Also, once you've got Finale talking to GPO properl
I would say A Colour Symphony by (Sir) Artur Bliss. Was composed in 1922 and
revised on 1932. Incredible composition and orchestration!
Roger
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At 01:33 AM 3/9/05 -0600, Noel Stoutenburg wrote:
>I am aware of the language used on the Finale site, but it doesn't
>change the fact that you are not acquiring any ownership rights in the
>software, but agreeing to acquire a non-exclusive permission to use the
>property of MakeMusic! under the
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