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
standpoint. but from a more acoustical appr
At 10:31 AM 2/3/05 -0800, Brad Beyenhof wrote:
>But in any case, Opus 25 was much more than "emancipation of the
>dissonance" for Schoenberg. It was completely atonal, with the goal of
>completely eradicating emphasis of any one pitch and avoiding
>commonly-percieved structures that lend themselves
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. I recently had a conversati
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. I recently had a conversation with
a couple of young composers, one of whom had never heard the term
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. I recently had a conversation with
> a couple of young composers, one of whom had never heard the term. The
> other one helpfully said, "it means
On Thu, 03 Feb 2005 12:24:44 -0500, Dennis Bathory-Kitsz wrote:
> I'm not entirely sure about not eliminating the consonant, though. Again,
> I'm sloshing around in bad old guy memory territory, but didn't Schoenberg
> alter one of the pitches in one appearance of a row in his Op. 25 Suite so
> a
On Thu, 03 Feb 2005 12:24:44 -0500, Dennis Bathory-Kitsz wrote:
> I'm not entirely sure about not eliminating the consonant, though. Again,
> I'm sloshing around in bad old guy memory territory, but didn't Schoenberg
> alter one of the pitches in one appearance of a row in his Op. 25 Suite so
> a
At 12:07 PM 2/3/05 -0500, Andrew Stiller wrote:
>In any event, "emancipation of the dissonance" certainly does not
>imply elimination of the consonant. I recently had a conversation
>with a couple of young composers, one of whom had never heard the
>term. The other one helpfully said, "it means
In his book, 1910: The Emancipation of Dissonance, published in 96, Thomas
Harrison attributes the phrase to Shoenberg, for what it's worth.
Interesting discussion, all -
Stu
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At 12:29 PM 2/2/05 -0500, Andrew Stiller wrote:
Another crrosspost from Orchestra-L:
The pioneer figure was Arnold Schoenberg, with his theory of the
emancipation of dissonance
The theory, and the term, belong to Charles Seeger. The emancipation
of a large chunk of the American population was still
At 12:29 PM 2/2/05 -0500, Andrew Stiller wrote:
>>Another crrosspost from Orchestra-L:
>>The pioneer figure was Arnold Schoenberg, with his theory of the
>>emancipation of dissonance
>
>The theory, and the term, belong to Charles Seeger. The emancipation
>of a large chunk of the American populatio
Another crrosspost from Orchestra-L:
Martin Kettle
Tuesday February 1, 2005
The Guardian
When did the music die? And why? It will be 30 years in August since the
death of Dmitri Shostakovitch. Next year also marks the 30th anniversary
of the death of Benjamin Britten. Aaron Copland, older than bot
Andrew Stiller wrote:
aren't you describing everything that went wrong during the 20th
century in the shrinking world of "art" music, where most composers
have to have day jobs?
No such thing happened. The art music world actually expanded, vastly,
during the 20th century. If a contemporary
Another crrosspost from Orchestra-L:
Martin Kettle
Tuesday February 1, 2005
The Guardian
When did the music die? And why? It will be 30 years in August since the
death of Dmitri Shostakovitch. Next year also marks the 30th anniversary
of the death of Benjamin Britten. Aaron Copland, older than both
aren't you describing everything that went wrong during the 20th
century in the shrinking world of "art" music, where most composers
have to have day jobs?
No such thing happened. The art music world actually expanded,
vastly, during the 20th century. If a contemporary composer's
university
Lon Price wrote:
[snip]
I have about 40 woodwind students, and it seems that very few of them
have much enthusiasm for what they're doing. I'm constantly trying to
think up ways to get them interested enough to practice once in a
while. And if one of them shows real promise, what then? I don'
Dean M. Estabrook wrote:
David's thought that we might be in the twilight of our art form, made
me think of the Fin du siècle phenomenon. Is the recent end of the 20th
Century abnormal, compared to the previous, say, four centuries? Was
there any sense of culmination and delineation in any of th
On Jan 31, 2005, at 5:03 PM, David W. Fenton wrote:
Nonetheless, there was a time in the mid-century when many composers,
in my opinion, went wildly off track and abandoned even their willing
potential audiences. That has not been the case for an extremely long
time (at least 30 years now), but the
At 07:48 PM 1/31/05 -0500, David W. Fenton wrote:
>Given that you seem to place ZERO value on the contributions of live
>musicians to performance, it's not surprising that you think this.
David,
I place enormous value on live performance -- when it's needed, when it
isn't mere reproduction, when
David's thought that we might be in the twilight of our art form, made
me think of the Fin du siècle phenomenon. Is the recent end of the 20th
Century abnormal, compared to the previous, say, four centuries? Was
there any sense of culmination and delineation in any of the art forms?
Is there a
On 30 Jan 2005 at 23:20, Dennis Bathory-Kitsz wrote:
> Omigawd, there's a giant leap between Dvorak and Stockhausen! And this
> crawling thing has always troubled me. Nobody has to crawl through old
> films to get to new films, old books to get to new books, old jazz to
> get to new jazz, old danc
On 30 Jan 2005 at 22:23, Dennis Bathory-Kitsz wrote:
> At 09:37 PM 1/30/05 -0500, Raymond Horton wrote:
> >musicians are fighting an INFERIOR
> >product
>
> Can you quantify its inferiority? And how will your quantification
> stand up in another few years?
>
> I think that if inferiority is you
Phil Daley wrote:
At 1/31/2005 01:38 PM, Andrew Stiller wrote:
>A historical precedent that I'm surprised hasn't been mentioned here so
>far is sound film.
>The introduction of movie soundtracks in 1929 put thousands of pit
>musicians out of work almost overnight, just months before the start of
>t
At 01:06 PM 1/31/05 -0800, Lon Price wrote:
>"Texas Tenor" without the
>vowels.
Helluva way to sing.
Dennis
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chestra
Music and Mariposa? Ah, Paradise!!!
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http://www.sierratel.com/mcf/nprc/mso.htm
-
Original Message -
From:
Ken Moore
To:
finale@shsu.edu
Sent:
Monday, January 31, 2005 2:18 AM
Subject:
Re
>Andrew Stiller wrote:
>A historical precedent that I'm surprised hasn't been mentioned here
so far is sound film.
> The introduction of movie soundtracks in 1929 put thousands of pit
musicians out of work almost overnight, just months before the start of
the Great Depression.
>
> The Buffalo Ph
On Jan 31, 2005, at 7:27 AM, John Howell wrote:
At 1:08 PM -0800 1/30/05, Lon Price wrote:
The problem starts at the college level. Performance majors are so
busy learning the established literature that they have no time to
devote to a new student work, or at least that was my experience when
Andrew Stiller wrote:
[snip]
I will say, though, that prior to the 1960s there was a huge amount of
Baroque music that had never received a modern performance, and whose
creators were widely thought to be minor figures unworthy of extensive
revival. Among these were Telemann and Zelenka.
Oh boy
At 1/31/2005 01:53 PM, Andrew Stiller wrote:
>As for the larger question, I have no doubt that there is at least a
>significant amount of such. It all depends, though, on just where you
>set the bar for greatness--and that's a can of worms I'd just as soon
>not open.
I was a theory major, but took
At 1/31/2005 01:38 PM, Andrew Stiller wrote:
>A historical precedent that I'm surprised hasn't been mentioned here so
>far is sound film.
>The introduction of movie soundtracks in 1929 put thousands of pit
>musicians out of work almost overnight, just months before the start of
>the Great Depressio
The problem starts at the college level. Performance majors are so
busy learning the established literature that they have no time to
devote to a new student work, or at least that was my experience when
I studied composition at USC.
My experience was otherwise, and I have observed that priorit
mlhttp://www.sierratel.com/mcf/nprc/mso.htm
- Original Message -
From:
Ken
Moore
To: finale@shsu.edu
Sent: Monday, January 31, 2005 2:18
AM
Subject: Re: [Finale] Garritan and other
stuff
In message <[EMAIL PROTECTED]> Carl
Dersham writes:>"Necrophi
A historical precedent that I'm surprised hasn't been mentioned here so
far is sound film.
The introduction of movie soundtracks in 1929 put thousands of pit
musicians out of work almost overnight, just months before the start of
the Great Depression.
The Buffalo Philharmonic Orchestra (and pro
In message <[EMAIL PROTECTED]> Carl Dersham writes:
>"Necrophilharmonic." I like that. Mind if I drop that word to some of
>my horror writing friends?
Not my coining. I got it from another posting on the list.
--
Ken Moore
[EMAIL PROTECTED]
Web site: http://www.mooremusic.org.uk/
I reject em
At 1:08 PM -0800 1/30/05, Lon Price wrote:
The problem starts at the college level. Performance majors are so
busy learning the established literature that they have no time to
devote to a new student work, or at least that was my experience
when I studied composition at USC. If the compositio
I meant to say _Mamma Mia_ is, I assume, being played with an
orchestra of 20 or 25 OR an even smaller combo.
RBH
dhbailey wrote:
Aaron Sherber wrote:
At 09:37 PM 01/30/2005, Raymond Horton wrote:
>There is another, major, difference between musicians fighting for
their
>jobs, and the ice-d
dhbailey wrote:
Aaron Sherber wrote:
At 09:37 PM 01/30/2005, Raymond Horton wrote:
>There is another, major, difference between musicians fighting for
their
>jobs, and the ice-deliverers vs. refrigerators comparison. In the
>latter case, the new refrigerator was a SUPERIOR product, and the for
Aaron Sherber wrote:
At 09:37 PM 01/30/2005, Raymond Horton wrote:
>There is another, major, difference between musicians fighting for their
>jobs, and the ice-deliverers vs. refrigerators comparison. In the
>latter case, the new refrigerator was a SUPERIOR product, and the for
>the ice delive
Christopher Smith wrote:
On Jan 30, 2005, at 5:47 PM, Aaron Sherber wrote:
Darcy, I think there's a difference between your right to *fight* for
a job and your right to *have* that job. I agree that workers have the
right to fight for their jobs, and *should* do so, and that there's
nothing arti
Ken Moore wrote:
In message <[EMAIL PROTECTED]>
Dennis Bathory-Kitsz writes:
I think the nonpop world has made a big mistake -- practically and
psychologically -- in dedicating itself to museum culture. (The term I use
for DWEM lovers is "necrosones".)
I guess I'm one of those (can't I be a nec
At 12:46 PM 1/30/05 -0800, you wrote:
>Nearly every single concert of the MSO included
>world premieres of brand-new, never-before-heard-anywhere
>music.
Now yer talking! Great description of the process of using new pieces as a
natural part of programming.
>Contemporary music which I find to
At 09:37 PM 1/30/05 -0500, Raymond Horton wrote:
>musicians are fighting an INFERIOR
>product
Can you quantify its inferiority? And how will your quantification stand up
in another few years?
I think that if inferiority is your argument, it won't be long before
you'll be losing it (if not alread
At 09:37 PM 01/30/2005, Raymond Horton wrote:
>There is another, major, difference between musicians fighting for their
>jobs, and the ice-deliverers vs. refrigerators comparison. In the
>latter case, the new refrigerator was a SUPERIOR product, and the for
>the ice deliverers to fight progress wo
There is another, major, difference between musicians fighting for their
jobs, and the ice-deliverers vs. refrigerators comparison. In the
latter case, the new refrigerator was a SUPERIOR product, and the for
the ice deliverers to fight progress would have been futile. In the
case of live mus
At 08:58 PM 01/30/2005, Darcy James Argue wrote:
>Well, what you are effectively saying here is that you support the
>workers' right to fight to preserve their jobs -- provided they doesn't
>actually succeed.
Hmm. Not quite. What I think I said in one of my earlier posts is that I
don't think the
On 30 Jan 2005, at 5:47 PM, Aaron Sherber wrote:
Darcy, I think there's a difference between your right to *fight* for
a job and your right to *have* that job. I agree that workers have the
right to fight for their jobs, and *should* do so, and that there's
nothing artificial about that fight. I
On 30 Jan 2005 at 17:47, Aaron Sherber wrote:
> At 04:54 PM 01/30/2005, Darcy James Argue wrote:
> >It's no more "artificial" for workers to fight for their jobs than
> it >is for corporations to try to eliminate jobs. For crissakes, the
> >entire free market system is an "artificial" human co
At 10:53 PM 1/30/05 +, you wrote:
>I guess I'm one of those (can't I be a necrophilharmonic? at least that
>all comes from Greek) when I listen to Messiaen or Berio.
Hey, mixing it up is good! Television does. :)
But you can be necroharmonic if you like... and sure, we're past the age of
Mess
Ken Moore wrote:
In message <[EMAIL PROTECTED]>
Dennis Bathory-Kitsz writes:
I think the nonpop world has made a big mistake -- practically and
psychologically -- in dedicating itself to museum culture. (The term I use
for DWEM lovers is "necrosones".)
I guess I'm one of those (can't I be a necro
At 05:58 PM 01/30/2005, Christopher Smith wrote:
>I'm not clear on a point of semantics what is the difference in your
>mind between "restricting" and "limiting" refrigerator manufacture?
>Because I don't see a difference.
There is no difference; I should have used the same word twice. The ice
u
In message <[EMAIL PROTECTED]>
Dennis Bathory-Kitsz writes:
>I think the nonpop world has made a big mistake -- practically and
>psychologically -- in dedicating itself to museum culture. (The term I use
>for DWEM lovers is "necrosones".)
I guess I'm one of those (can't I be a necrophilharmonic?
Lon Price wrote:
The problem starts at the college level. Performance majors are so busy
learning the established literature that they have no time to devote to
a new student work, or at least that was my experience when I studied
composition at USC. If the composition was technically diffic
On Jan 30, 2005, at 5:47 PM, Aaron Sherber wrote:
Darcy, I think there's a difference between your right to *fight* for
a job and your right to *have* that job. I agree that workers have the
right to fight for their jobs, and *should* do so, and that there's
nothing artificial about that fight.
At 04:54 PM 01/30/2005, Darcy James Argue wrote:
>It's no more "artificial" for workers to fight for their jobs than it
>is for corporations to try to eliminate jobs. For crissakes, the
>entire free market system is an "artificial" human construct.
>
>Again, it doesn't matter if you're a musician,
On 30 Jan 2005, at 4:39 PM, Aaron Sherber wrote:
Yes. I don't dispute anyone's right to fight for their job, or to
unionize to do so. My point, which I think I said before, is that no
one has an absolute right to a job. In purely labor terms, a musician
is no different from a welder or an ice de
At 02:56 PM 01/30/2005, Darcy James Argue wrote:
>On 30 Jan 2005, at 12:05 PM, Aaron Sherber wrote:
>
>> Personally, as I've said before, I find the labor issue the least
>> convincing of these three.
>
>Why? When corporations act in their own economic interests by cutting
>jobs, people refer to "
On Jan 30, 2005, at 4:45 AM, dhbailey wrote:
For many people, notation is how we learned to represent music on
paper, so it is second nature for us to create compositions and then
have a program like Finale perform them for us, either to use as a
demo or simply so that we can hear it. Many peop
dhbailey wrote:
Christopher Smith wrote:
[snip]>
Surely you are not comparing the relative worth to society of
ice-delivery and music?
Depends on where you earn your income, I guess. Nobody in this
discussion has brought up the spectre of eliminating music, certainly I
hope not me.
We have be
On Jan 30, 2005, at 3:19 PM, dhbailey wrote:
Christopher Smith wrote:
[snip]>
Surely you are not comparing the relative worth to society of
ice-delivery and music?
Depends on where you earn your income, I guess. Nobody in this
discussion has brought up the spectre of eliminating music, certainly
a.org/symphony.htmlhttp://www.sierratel.com/mcf/nprc/mso.htm
Responding to Dennis' post of below;
references to other posters excised for clarity of my specific
rejoinder:
- Original Message -
From:
Dennis
Bathory-Kitsz
To: finale@shsu.edu
Sent: Sunday, January
Christopher Smith wrote:
[snip]>
Surely you are not comparing the relative worth to society of
ice-delivery and music?
Depends on where you earn your income, I guess. Nobody in this
discussion has brought up the spectre of eliminating music, certainly I
hope not me.
We have been speaking of t
On 30 Jan 2005, at 12:05 PM, Aaron Sherber wrote:
Personally, as I've said before, I find the labor issue the least
convincing of these three.
Why? When corporations act in their own economic interests by cutting
jobs, people refer to "market forces," as if this was some immutable
force of natu
At 11:22 AM 01/30/2005, Christopher Smith wrote:
>I agree with your point, but what is lost to society when we need fewer
>welders, as opposed to what is lost when musicians are forced out of
>the business?
I was in the middle of responding to a different post when this one from
Christopher arrive
dhbailey / 05.1.30 / 07:45 AM wrote:
>For many people, notation is how we learned to represent music on paper,
>so it is second nature for us to create compositions and then have a
>program like Finale perform them for us,
With all due respect, and hope I am not offending anyone,
My goal of not
Thanks to everyone for this conversation. It's very revealing and helpful.
At 01:57 AM 1/30/05 -0800, Lon Price wrote:
[referring to my post]
>This is the attitude of the modern composer, who feels that the players
>are incapable of ever getting his/her composition right.
I didn't say 'ever' --
On Jan 30, 2005, at 2:05 AM, [EMAIL PROTECTED] wrote:
Where the difference is, is that computers have not put engravers out
of work (except in the very lowest echelons of publication) to the
same extent that sequencers have cut into musicians' jobs. There is
not enough work to go around to all t
On Jan 30, 2005, at 7:19 AM, dhbailey wrote:
Christopher Smith wrote:
Where the difference is, is that computers have not put engravers out
of work (except in the very lowest echelons of publication) to the
same extent that sequencers have cut into musicians' jobs. There is
not enough work to g
That's called "layoffs" and every industry (including engraving) has
undergone them when a new labor-saving technology reaches critical mass
and every business has to adopt it or die.
Just as musicians are needed to program those sequencers and play those
sounds for the samplers and other music
On 30 Jan 2005, at 7:31 AM, dhbailey wrote:
Darcy James Argue wrote:
Aaron,
If musicians won't fight for our own interests, who will?
Maybe the Virtual Orchestra Machine will put us all out of business
one day. Who knows? That doesn't mean we have to take it lying
down.
Indeed! Boycott those s
Lon Price wrote:
[snip]>
I'm surprised at the attitudes taken by some people who have responded
to this thread. Virtually all of the music that I do on my computer is
directly related to getting a group of real live human beings to play
primarily acoustic instruments. I don't really know why s
Darcy James Argue wrote:
Aaron,
If musicians won't fight for our own interests, who will?
Maybe the Virtual Orchestra Machine will put us all out of business one
day. Who knows? That doesn't mean we have to take it lying down.
Indeed! Boycott those shows who use computer-controlled lighting si
Christopher Smith wrote:
On Jan 29, 2005, at 2:23 PM, Aaron Sherber wrote:
At 02:11 PM 01/29/2005, Carl Dershem wrote:
>Aaron Sherber wrote:
>
> > Devil's advocate, for a moment: Why couldn't the musicians left
without
>> a gig sharpen *their* computer skills, and use their advanced
>> musiciansh
Carl Dershem wrote:
Aaron Sherber wrote:
> Devil's advocate, for a moment: Why couldn't the musicians left without
a gig sharpen *their* computer skills, and use their advanced
musicianship to help make sampled or sequenced performances better?
Oh, yeah - that pays so well, pays *off* so well (i
Aaron Sherber wrote:
[snip of compelling points]
Again, please keep in mind that I'm not arguing in favor of technology
over live musicians. But the issue is a complex one, as other posts have
also made clear, and for me the arguments based on employment are among
the least compelling.
Made even
Just a few comments regarding this thread.
Someone suggested that the players being put out of work by samplers
should develop other skills. I'm one of those players who, I suppose,
saw the writing on the wall with the advent of MIDI, and learned how to
use a computer as a tool for making music
Where the difference is, is that computers have not put engravers
out of work (except in the very lowest echelons of publication) to
the same extent that sequencers have cut into musicians' jobs. There
is not enough work to go around to all the displaced musicians,
unlike former hand-copyists a
[EMAIL PROTECTED] / 05.1.29 / 04:53 PM wrote:
>Sorry, Hiro - that's bullshit. The show producers had planned for the strike
>by being ready to install the virtual orchestra to replace the striking
>musicians but they hadn't planned on the stagehands and Equity members to
>walk, too.
>The Virtua
At 7:47 PM -0500 1/29/05, Christopher Smith wrote:
On Jan 29, 2005, at 6:48 PM, Aaron Sherber wrote:
Adequate according to whom? The musicians who played presumably felt
adequately compensated, or they wouldn't have done the job.
According to the Italian musicians guild, and the French musicians
On Jan 29, 2005, at 5:10 PM, David W. Fenton wrote:
On 29 Jan 2005 at 13:12, Dennis Bathory-Kitsz wrote:
I'm one of those who prefers to listen to recordings or watch films.
But were it not for repeated live performances before audiences, it
would not be possible to get recorded preformances t
On 29 Jan 2005 at 13:12, Dennis Bathory-Kitsz wrote:
> I'm one of those who prefers to listen to recordings or watch films.
But were it not for repeated live performances before audiences, it
would not be possible to get recorded preformances that hold up under
repeated listening. It's the regu
At 07:47 PM 01/29/2005, Christopher Smith wrote:
>You don't accept the right of a group who stands to get screwed royally
>(musicians) by a large company to collectively negotiate fair wages and
>working conditions??!!
No, that's not what I said. I'm not questioning the principle of
unionization.
On 29 Jan 2005 at 14:23, Aaron Sherber wrote:
> At 02:11 PM 01/29/2005, Carl Dershem wrote:
> >Aaron Sherber wrote:
> >
> > > Devil's advocate, for a moment: Why couldn't the musicians left
> without >> a gig sharpen *their* computer skills, and use their
> advanced >> musicianship to help m
On Jan 29, 2005, at 6:48 PM, Aaron Sherber wrote:
>> Adequate according to whom? The musicians who played presumably felt
>> adequately compensated, or they wouldn't have done the job.
>>
>
>According to the Italian musicians guild, and the French musicians
>guild, and the AFM.
Okay, but I'm not su
At 4:53 PM -0500 1/29/05, [EMAIL PROTECTED] wrote:
In a message dated 1/29/05 2:23:18 PM, [EMAIL PROTECTED] writes:
What irony was that our work saved shows when musicians went on strike.
Sorry, Hiro - that's bullshit. The show producers had planned for
the strike by being ready to install the vi
At 07:10 PM 01/29/2005, Darcy James Argue wrote:
>If musicians won't fight for our own interests, who will?
>
>Maybe the Virtual Orchestra Machine will put us all out of business one
>day. Who knows?
This is true. And maybe short-term use of the Sinfonia will make it
possible for more opera compa
Aaron,
If musicians won't fight for our own interests, who will?
Maybe the Virtual Orchestra Machine will put us all out of business one
day. Who knows? That doesn't mean we have to take it lying down.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 29 Jan 2005, at 6:52 PM, Aaron Sherber wrote:
At 04:39 PM 01/29/2005, Christopher Smith wrote:
>Where the difference is, is that computers have not put engravers out
>of work (except in the very lowest echelons of publication) to the same
>extent that sequencers have cut into musicians' jobs. There is not
>enough work to go around to all the d
At 04:35 PM 01/29/2005, Christopher Smith wrote:
>> Ah, that's a tricky one. I can't speak to the finances of that
>> particular show, and since you call it a mega-hit, it's entirely
>> possible that what I'm about to say doesn't apply there at all.
>
>In this case, your last phrase was correct.
Ye
In a message dated 1/29/05 2:23:18 PM, [EMAIL PROTECTED] writes:
What irony was that our work saved shows when musicians went on strike.
Sorry, Hiro - that's bullshit. The show producers had planned for the strike by being ready to install the virtual orchestra to replace the striking musici
On Jan 29, 2005, at 2:23 PM, Aaron Sherber wrote:
At 02:11 PM 01/29/2005, Carl Dershem wrote:
>Aaron Sherber wrote:
>
> > Devil's advocate, for a moment: Why couldn't the musicians left
without
>> a gig sharpen *their* computer skills, and use their advanced
>> musicianship to help make sampled o
On Jan 29, 2005, at 1:44 PM, Aaron Sherber wrote:
At 12:56 PM 01/29/2005, Christopher Smith wrote:
>Another
>of the points was one of fraud, as NO mention was made of pre-recorded
>tracks in any of the pre-show publicity,
I think fraud is a strong word here. If the show had advertised live
music a
Dennis Bathory-Kitsz wrote:
I'm one of those who prefers to listen to recordings or watch films. To me,
live performances are the rehearsals for the recordings (as long as the
recordings aren't flattened by so many takes as to remove the musical
interest). There are good moments now & then in live
Dennis Bathory-Kitsz / 05.1.29 / 01:12 PM wrote:
>I'm one of those who prefers to listen to recordings
I am so sorry you feel this way.
In my life, I have three live concerts which my tears couldn't stop
coming out during the show. One was when trombone section of Count Basie
Orchestra (un-amp
At 02:11 PM 01/29/2005, Carl Dershem wrote:
>Aaron Sherber wrote:
>
> > Devil's advocate, for a moment: Why couldn't the musicians left without
>> a gig sharpen *their* computer skills, and use their advanced
>> musicianship to help make sampled or sequenced performances better?
>
>Oh, yeah - that
Aaron Sherber wrote:
> Devil's advocate, for a moment: Why couldn't the musicians left without
a gig sharpen *their* computer skills, and use their advanced
musicianship to help make sampled or sequenced performances better?
Oh, yeah - that pays so well, pays *off* so well (in terms of
performan
Hi all,
I wanted to weigh in with a few thoughts on this issue. It's a very complex
one, with compelling arguments on both sides. To forestall a huge flame
war, I'd like to start by pointing out that as a conductor, I come down
strongly in favor of live performance and live performers, no questi
nd Conductor, The Mariposa Symphony OrchestraMusic and Mariposa?
Ah, Paradise!!!
http://arts-mariposa.org/symphony.htmlhttp://www.sierratel.com/mcf/nprc/mso.htm
- Original Message -
From:
Dennis
Bathory-Kitsz
To: finale@shsu.edu
Sent: Saturday, January 29, 2005 10:12
AM
<>
I agree! I see the line that should not be crossed as: Improved technology
should be created and used to help us, not replace us. Samplers (virtual
orchestra machines) take a level of "live" away from "live performance". With
new
technology, artists in the pit are replaced, next artists sin
At 12:56 PM 1/29/05 -0500, Christopher Smith wrote:
>When it comes down to it, why should ANYONE go to a live show?
Ain't that the truth. :)
I'm one of those who prefers to listen to recordings or watch films. To me,
live performances are the rehearsals for the recordings (as long as the
recordin
Lon's point was NOT to be anti-technology, but anti-unfair-to-musicians
and pro-artists. Any of those original engravers were free to pick up
the skills to operate a computer, and put their superior knowledge and
professional competencies to excellent use. Not so musicians who are
put out of wo
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