At 8:22 PM -0400 5/24/07, Darcy James Argue wrote:
Personally, I think that's terrible practice. There is a key change
before a quarter-note pickup? Use an accidental, fercrissakes, and
change the key sig at the beginning of the next bar.
I would certainly agree (not necessarily in precisely
John Howell wrote:
At 8:22 PM -0400 5/24/07, Darcy James Argue wrote:
Personally, I think that's terrible practice. There is a key change
before a quarter-note pickup? Use an accidental, fercrissakes, and
change the key sig at the beginning of the next bar.
I would certainly agree (not
Andrew Stiller wrote:
On May 24, 2007, at 6:36 PM, keith helgesen wrote:
I guess they made a ton of cash from gullible
people! Wish I'd thought of it.
Cage, like Copland, was a gay man who lived largely upon the income
of his partners.
I said this before (RE Copland) but apparently it
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of dhbailey
Sent: 24 May 2007 23:52
To: finale@shsu.edu
Subject: Re: [Finale] Key signature question
John Roberts wrote:
Pardon my ignorance, but can I legally change the key
signature in the
Christopher Smith wrote:
On May 24, 2007, at 6:52 PM, dhbailey wrote:
In Fin2007, you can set the measure attribute for the second measure
so that it isn't calculated in the measure numbers. In earlier
versions you have to monkey around with defining additional regions to
handle the
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of dhbailey
Sent: 25 May 2007 10:25
To: finale@shsu.edu
Subject: Re: [Finale] Key signature question
I find it curious, and I am trying to wrack my brains (feeble though
they may be) as to just
i don't usually follow the discussions about figured bass, so maybe
you are already aware of it, but the rousseau font (comes with
notation prog berlioz) is free and has some basic figures. not sure
how useful this is, but well, now you know, if you didn't already.
does anyone here know anything about this
programme? there isn't much info about what it
can actually do, or how it compares to finale /
sibelius / noteability.
http://www.berlioz.tm.fr
examples they offer are nothing worse than
examples i've seen of finale or sibelius out of
the box.
At 5/24/2007 08:33 PM, Andrew Stiller wrote:
On May 24, 2007, at 6:36 PM, keith helgesen wrote:
I guess they made a ton of cash from gullible
people! Wish I'd thought of it.
Cage, like Copland, was a gay man who lived largely upon the income
of his partners.
I said this before (RE
At 5/25/2007 05:17 AM, dhbailey wrote:
I have no reason to doubt Andrew's remarks regarding Copland. I can
only say how surprised I am to learn that, given the high rental rates
for his music and the frequent performances and recordings it receives.
But then again, I do know that even for
I can certainly believe that of Cage, since his music never became
popular and widely performed
!?
in comparison to composers from the 19th c. whose name begins with
schu- perhaps, but cage is featured very regularly on contemporary
music programmes and in festivals and is even often used
Yes, but did his stuff have anything to do with actual music?
It seems to me that he was all about performance.
At 5/24/2007 07:42 PM, Darcy James Argue wrote:
I'm not the hugest fan of mid-to-late Cage, but I found this
appearance totally charming. He had a much better sense of humor
about
At 7:42 PM -0400 5/24/07, Darcy James Argue wrote:
It's perhaps a bit ironic that John Cage's first TV appearance is
funnier than Frank Zappa's. (I wanted to link to the YouTube of a
very young Frank Zappa's appearance on the Steve Allen show, in
which he plays a bicycle, but the copyright
On May 25, 2007, at 6:33 AM, Phil Daley wrote:
At 5/24/2007 08:33 PM, Andrew Stiller wrote:
One can become very famous indeed and still be
scrabbling for every penny.
Especially if the stuff is totally off the wall.
I would compare it to those artists who throw paint against canvas.
ie.
At 06:15 PM 5/22/2007 +1000, Rudolf van Berkum wrote:
At Sun, 20 May 2007 17:24:32 -0400 Dennis Bathory-Kitsz wrote:
Finale always orphans the graphic data if it's brought in without linking,
even accidentally, no matter how it's adjusted later.
Can you or anyone confirm this behavior?
FinWin
At 08:11 AM 5/25/2007 -0400, Christopher Smith wrote:
Not that you personally would ever be caught dead in the Museum of
Modern Art in NYC, but in the entrance there is an enormous Jackson
Pollack canvas created by the artist dripping paint onto it (I'm
sorry I don't remember the name of
How brilliantly sneaky, Christopher!
--Richard
On May 24, 2007, at 4:17 PM, Christopher Smith wrote:
What I have done sometimes when I have two files open is to drag
and drop a measure containing a certain custom line into the file
that doesn't contain it. Then I clear that measure and the
phil, such a reactionary comment makes me seriously doubt that you
have any of the tools necessary to even comprehend, let alone judge,
what constitutes modern art (and by extension music).
there is however much reductionist and simplistic music written today
which (cor)responds only to the
Randolph Peters wrote:
I thought the list might get a kick out of John Cage's first
national TV appearance (1960):
http://blog.wfmu.org/freeform/2007/04/john_cage_on_a_.html
The past half century sure has changed our perspective on what is
considered legitimate music! (At least for some of
On May 25, 2007, at 9:19 AM, Dennis Bathory-Kitsz wrote:
At 08:11 AM 5/25/2007 -0400, Christopher Smith wrote:
Not that you personally would ever be caught dead in the Museum of
Modern Art in NYC, but in the entrance there is an enormous Jackson
Pollack canvas created by the artist dripping
Good point. I only have a Master's Degree in music.
that in itself doesn't mean anything, and you using it as a
disclaimer doesn't change my perception of your remarks. talk to me
about what you know rather than the official recognition some
institution bestowed on you and we can
At 5/25/2007 12:42 PM, shirling neueweise wrote:
Good point. I only have a Master's Degree in music.
that in itself doesn't mean anything, and you using it as a
disclaimer doesn't change my perception of your remarks. talk to me
about what you know rather than the official recognition some
At 11:55 AM 5/25/2007 -0400, Christopher Smith wrote:
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A467
5page_number=18template_id=1sort_order=1
It appears to be similar in size, date of creation, and composition
to the one that grabbed you. Funny how such a similar
On 25 May 2007 at 12:54, Phil Daley wrote:
At 5/25/2007 12:42 PM, shirling neueweise wrote:
Good point. I only have a Master's Degree in music.
that in itself doesn't mean anything, and you using it as a
disclaimer doesn't change my perception of your remarks. talk to me
about
On 25 May 2007 at 9:53, Randolph Peters wrote:
And the Emperor Has No Clothes! reaction just adds to the
nostalgia. It is reassuring to know that some music, somewhere, can
still get people riled up.
There will always be the crowd like the guy who didn't get
Monteverdi, the guy who thought
From: Phil Daley
To: finale@shsu.edu
Sent: Friday, May 25, 2007 9:54 AM
Subject: Re: [Finale] OT: John Cage's first national TV appearance (1960)
Phil wrote:
My favorite composer is JS Bach.
At 5/25/2007 01:26 PM, Mariposa Symphony Orchestra wrote:
1) Phil - that really isn't relevant to much of this thread; whether on the
philoso-theolo level, or much else.Congratulations, your favorite
composer is Bach.
OK, but people have been talking about modern symphonies and their lack
My favorite composer is JS Bach.
that's lovely. would you like to tell us why? i have no doubt that
your master's degree has given you the tools and experience to be a
little more lucid in your commentary about music of past eras than
your recent comments about modern music and look
Phil,
We get it. You really, really hate anything you're not already
familiar with. My sympathies.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 25 May 2007, at 2:15 PM, Phil Daley wrote:
At 5/25/2007 01:26 PM, Mariposa Symphony Orchestra wrote:
1) Phil - that really isn't
At 5:25 AM -0400 5/25/07, dhbailey wrote:
It always amazes me that people who have obviously performed a lot
of music and have spent enough hours at it above the average, enough
to be able to pass an audition to get into college music
departments, and who care enough to want to pursue
Phil -- in my experience, it's not whether a piece is new or old, but simply if
it's and good.My orchestra's concerts include a great deal of new
(admittedly macrobiotic) music, and I can honestly say (through dedicated
outreach I expend much time on, through pre-concert chats, etc) that my
OK, but people have been talking about modern
symphonies and their lack of audience and some
have them have gone bankrupt.
IMHO, this is because they perform too many new music things.
which modern symphonies? what do they mean by
lack of audience? what was their managgemetn
like? were
On 25 May 2007 at 14:15, Phil Daley wrote:
At 5/25/2007 01:26 PM, Mariposa Symphony Orchestra wrote:
1) Phil - that really isn't relevant to much of this thread; whether
on the philoso-theolo level, or much else.Congratulations, your
favorite composer is Bach.
OK, but people have
At 12:44 PM +0200 5/25/07, shirling neueweise wrote:
(No attribution given):
I can certainly believe that of Cage, since his music never became
popular and widely performed
!?
in comparison to composers from the 19th c. whose name begins with
schu- perhaps, but cage is featured very
John Howell wrote:
But when a huge percentage of the population enjoys music which is tonal,
rhythmically coherent, and non-aeleatoric, the questions don't last very long.
Les says:
Absolutely correct. But no harbinger of the worth of the music, merely of the
exposure (or lack thereof) or
One student found it interesting. Most had very negative things
to say, and these were their spontaneous reactions to what they had
trouble perceiving as music. This was, of course, general student
population, and not an educated and prepared in-group, but I do
think the reaction can be
At 12:33 -0700 5/25/07, Mariposa Symphony Orchestra wrote:
I can honestly say (through dedicated outreach I expend much time
on, through pre-concert chats, etc) that my audience has grown
vastly in its comprehension of new works. ... I have been rewarded
for these efforts by a far-more
Phil Daley wrote:
At 5/25/2007 01:26 PM, Mariposa Symphony Orchestra wrote:
1) Phil - that really isn't relevant to much of this thread; whether
on the
philoso-theolo level, or much else.Congratulations, your favorite
composer is Bach.
OK, but people have been talking about modern
Owain Sutton wrote:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of dhbailey
Sent: 25 May 2007 10:25
To: finale@shsu.edu
Subject: Re: [Finale] Key signature question
I find it curious, and I am trying to wrack my brains (feeble though
they may
On May 25, 2007, at 6:17 AM, shirling neueweise wrote:
does anyone here know anything about this programme? there isn't much
info about what it can actually do, or how it compares to finale /
sibelius / noteability.
http://www.berlioz.tm.fr
All I know about Berlioz is sociological.
At 4:40 PM -0400 5/25/07, Andrew Stiller wrote:
On May 25, 2007, at 6:17 AM, shirling neueweise wrote:
does anyone here know anything about this
programme? there isn't much info about what it
can actually do, or how it compares to finale /
sibelius / noteability.
I find it curious, and I am trying to wrack my brains
(feeble though
they may be) as to just when I became aware of that sort
of stuff. I
definitely was aware of it long before I got to college,
and I don't
recall ever having it explained to me. I just was observant of the
On May 25, 2007, at 3:17 PM, David W. Fenton wrote:
Yes, if you present new music
as bad-tasting medicine that you listen to for your own good, people
won't like it.
That is exactly how Brahms was presented as late as 1900, and that is
exactly how audiences reacted. During his lifetime
Les says:
And in some cases - the contempt is replaced with respect and
curiosity for more of the same.Ah, educationsometimes it
actually pays off.
As a grad student (1970) I was once invited to give the final lecture
in the 2-semester undergraduate music history survey. One
Jef Shirling (Neueweise?) said:
i would add that there are also many cases of people simply liking
new music, with no training or understanding of it.
I was once invited to talk about electronic music to an elementary
school assembly. I played Varèse's _Poème électronique_ and the kids
On May 25, 2007, at 9:19 AM, Dennis Bathory-Kitsz wrote:
And so it is at the heart of answering the prosaic question of why
music as
art differs from music as commerce. There is only one moment of
transformation, one pivot-point, that belongs to a work of art.
Fascinating. I have always
On May 25, 2007, at 1:20 PM, David W. Fenton wrote:
All of these people would benefit from absorbing the message of
Wagner's Meistersinger.
That people should support German composers???
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/
On May 25, 2007, at 3:15 PM, Mariposa Symphony Orchestra wrote:
Sure, I like Bach; I marvel especially at his contrapuntal creativity;
I enjoy the sound of his music.
Me, I like his grinding dissonances!
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/
Phil Daley wrote:
OK, but people have been talking about modern symphonies and their
lack of audience and some have them have gone bankrupt.
IMHO, this is because they perform too many new music things.
To paraphrase R. Murray Schafer:
More orchestras have gone bankrupt playing Beethoven
On 25 May 2007 at 18:04, Andrew Stiller wrote:
On May 25, 2007, at 1:20 PM, David W. Fenton wrote:
All of these people would benefit from absorbing the message of
Wagner's Meistersinger.
That people should support German composers???
I see you've never actually grappled with the actual
At 6:04 AM -0400 5/15/07, dhbailey wrote:
Williams, Jim wrote:
Nine yards of material in a kilt. Perhaps true Scotsmen can give
even further detail.
I am a Welshman by ancestry. We wear pants.
I've seen lots of kilts and there's no way that there are 27-feet of
material in any of them.
At 5/25/2007 02:58 PM, John Howell wrote:
Oh certainly. No argument there. But when a huge percentage of the
population enjoys music which is tonal, rhythmically coherent, and
non-aeleatoric, the questions don't last very long.
Absolutely my point, thanks.
Phil Daley AutoDesk
At 5/25/2007 03:32 PM, shirling neueweise wrote:
h, and i used to have trouble listening to bach. and i used to
not be able to play scales on the piano. oh, and i hated olives when
i was a teenager and now can't get enough of them.
Bach has been my favorite composer since I was 7.
Phil
At 5/25/2007 03:15 PM, Mariposa Symphony Orchestra wrote:
Phil -- in my experience, it's not whether a piece is new or old, but simply
if it's and good.
I agree. But if it's non-tonal, it's not good.
Anything that hurts my ears when I listen to it, I stop listening.
It seems like a simple
At 5/25/2007 03:17 PM, David W. Fenton wrote:
I think that is an opinion with no factual basis. Reading Gregory
Sandow's blog:
Is this some know-it-all person?
The information I have comes from daily newspapers.
People, who don't know what current public option is, are out in the dark.
Phil
On May 25, 2007, at 7:06 PM, Phil Daley wrote:
At 5/25/2007 03:17 PM, David W. Fenton wrote:
I think that is an opinion with no factual basis. Reading Gregory
Sandow's blog:
Is this some know-it-all person?
The information I have comes from daily newspapers.
People, who don't know what
In a message dated 5/25/2007 10:42:26 AM Pacific Standard Time, [EMAIL
PROTECTED]
(Les Marsden) writes:
4) Perhaps most important of all: if some work of art strikes me VERY
negatively - in whatever discipline, I make the very forceful effort to
return to
that art, over and over, with
On 25 May 2007 at 19:06, Phil Daley wrote:
At 5/25/2007 03:17 PM, David W. Fenton wrote:
I think that is an opinion with no factual basis. Reading Gregory
Sandow's blog:
Is this some know-it-all person?
He's someone who makes his living studying the issues of how
Classical music
The Phil Daley v. The World thread has become a flame war.
yeah and one side is using silly putty as ammo.
so there.
--
shirling neueweise ... new music publishers
mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com
___
Finale mailing
At 06:01 PM 5/25/2007 -0400, Andrew Stiller wrote:
I was once invited to talk about electronic music to an elementary
school assembly. I played Varèse's _Poème électronique_ and the kids
loved it. So did the teachers.
I taught elementary school music for six years. There was nothing the kids
Dennis Bathory-Kitsz said:
Kids aren't fixed. Maybe later, when inundated with tonality, their aural view
will narrow. But it doesn't start out that way.
And Les replies:
Of the many, many nails hit-upon-the-head over the years by Dennis, there's
never been one so squarely whacked.
At 06:03 PM 5/25/2007 -0400, Andrew Stiller wrote:
Fascinating. I have always thought about it oppositely: that a pop tune
gives up all its secrets on one listening, whereas with a classical
piece there are often new insights with every hearing.
Yes, for the most part I agree (pop music has
In a message dated 5/25/2007 5:40:51 PM Pacific Standard Time,
[EMAIL PROTECTED] writes:
The Phil Daley v. The World thread has become a flame war.
yeah and one side is using silly putty as ammo.
Jef: the problem with flame wars--besides the obvious issue of rudeness--is
that they always
On 25 May 2007 at 21:35, [EMAIL PROTECTED] wrote:
In a message dated 5/25/2007 5:40:51 PM Pacific Standard Time,
[EMAIL PROTECTED] writes:
The Phil Daley v. The World thread has become a flame war.
yeah and one side is using silly putty as ammo.
Jef: the problem with flame
My kilt is made of just about 7 years of fabric. It started out as 3.5
yards. The material was torn in half length wise. The ends were joined to
make the total length. It was then hand sewn into pleats about three inches
deep. The actual construction requires a certain amount of adjustment
Jef: the problem with flame wars
david, um, i actually thought the silly putty comment was quite
funny, didn't you hear me laughing? sorry you don't share my sense of
humour.
1) if someone says something OT that you consider stupid
it's more involved than that, i don't have a problem
I agree with Les and Dennis.
One of the most frustrating things, being in a symphony orchestra that
is run from the top down, with fairly little interest in input from the
members, is seeing things that _work_ and then are forgotten, because
our management staff and conducting staff are so
Guy Hayden wrote:
My kilt is made of just about 7 years of fabric.
We all admire your dedication, Guy!
RBH
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
On May 25, 2007, at 7:04 PM, Phil Daley wrote:
I agree. But if it's non-tonal, it's not good.
Really? Berg's violin concerto is not good? Wozzeck and Lulu are not
good? *All* of Varèse is not good? Three of the four movements of
Ives' fourth symphony are not good? Pierrot Lunaire and
Andrew,
Why are you wasting your time? Of course Phil wants to go there. His
musical tastes ossified at age seven, and he's actually proud of that
fact. I feel rather sorry for him that he's grown so attached to his
blinkers, but, what'cha gonna do?
Cheers,
- Darcy
-
[EMAIL
I felt like saying nearly the same words to Andrew, also, but I
appreciated reading his post, because he makes such good arguments -
including that excellent Louvre guard line which I had not heard before.
RBH
Darcy James Argue wrote:
Andrew,
Why are you wasting your time? Of course Phil
71 matches
Mail list logo
