Many thanks for this Monica: I don't think it's 'going round in
circles'; it's more to do with prescision and ensuring accuracy and
clarity of views
Few comments on yr last:
- In the guitar intabulations I'd query Le Cocq's interpretation of the
* as having the same function as the 'slash' since the guitar
tablature also uses the slash sign (as well as the previously mentioned
beaming sign).
- I think placing all reliance on Le Cocq's views in the earlier Lute
article, which I thought at the time was an important contribution, is
rather begging the question since as you have also said Moulinie
himself does not explain the interpretation of his signs. The
suggestion that the * might be a thumb stroke comes from notation in,
naturally, later French tablatures which have a special sign for the
thumb stroke.
- Where do I query what you said in the Bartolotti paper 'about
Francois Martin's book being the first in French tablature in which
the note values are placed on the stave with the tails down or up to
indicate the direction of the strummed strokes.' ? What in fact I did
query was that you said in the Barolotti paper that the Martin (1663)
was the first French guitar book (in 17thC) to use tablature and then
I mentioned the Moulinie (1629).
As already mentioned, your latest generally excellent paper on alfabeto
accompaniments is most welcome but as I've already said ' I had in
mind the thought that a contemporary (pre-Corbetta) French source (such
as the Moulinie) might be able to provide some evidence of
performance practice which the contemporary Italian sources
(documented in your excellent paper) were less than clear about. In
this case the precise courses incorporated into a downwards
strum/stroke and an upwards one. I still don't think it should be
discarded as having no relevance whatsoever to the question of Italian
practice - especially when the guitar songs (with one exception) are
all to Italian or Spanish texts!
In this context, also see my postscript which points out that the
exceptional French guitar set text is actually a 'foreign'
(specifically Spanish) influenced work and thus not such an exception
at all......
In short, what I suggest is that Moulinie may in fact have some
relevance to performance practice of the day not only in pre-Corbetta
France but also the practice in Italy (and Spain) imported into
France - whereas I believe you think it has none.
regards
Martyn
--- On Fri, 19/3/10, Monica Hall <mjlh...@tiscali.co.uk> wrote:
From: Monica Hall <mjlh...@tiscali.co.uk>
Subject: Re: [VIHUELA] Re: Guitar strumming indications up to 1620s
To: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Date: Friday, 19 March, 2010, 19:00
I think we are going round in circles and not really understanding one
another.
Some time ago Timo Peedu did an edition of the Moulinie songs which is
on
the Earlyguitar.ning site. We discussed the notation at the
time but I'm not sure whether this was in private or on the list.
There is an article in Lute 1999 by Jonathan Le Cocq in which he
explains
Moulinie's notation in some detail as it relates primarily to the lute
parts
but the signs and symbols presumably (if I may use that word) have the
same
meaning when used in the guitar parts.
The star means that you should hold the note. Le Cocq says "The star
functions as a slash does in conventional tablatures - it indicates
that a
note should be sustained."
"Unlike the slash it gives no guidance as to the duration of the held
note...but has the advantage that it can be attached to inner notes of
a
chord."
According to Le Cocq the slurs are to co-ordinate the accompaniment
with
the voice part. Notes included in a slur or slash are played against
a
single sustained note/syllable in the voice part. (Presumably) this is
how
they are used in the lute tablature as well as the guitar.
For the rest of it - I am not paraphrasing anything you saying. I
said "I
wouldn't assume (not anyone else) that in 1629 that alfabeto notation
or
the strummed
style were unknown in France."
Apart from that you queried what I have said in the Bartolotti about
Francois Martin's book being the first in French tablature in which
the
note values are placed on the stave with the tails down or up to
indicate
the direction of the strummed strokes. Moulinie does not put the note
values on the stave with the tails down and up so it is not relevant to
mention him at all in that context.
My comment 'What you see isn't what you are supposed to do!' refers to
the
5-part chords. There is no indication in Moulinie that these are to
be
strummed - but I have said at least once in this correspondence that
that is
surely how they are meant to be played. It's just my way of saying
things.
As far as the alfabeto songs are concerned this is a huge and complex
topic.
All I have tried to do in that section is to draw attention to the few
sources that give any indication as to how the accompaniments should be
played - specifically to Sanseverino's written out accompaniments which
nobody else seems to have mentioned and Fasolo's system of indicating
how
many time each chord should be played. And a few of the other
multitude of
problems.
I don't think Moulinie is relevant in this context. But if and when I
ever
get as far as writing about how French guitar notation evolved I
promise you
he will have pride of place.
As ever
Monica
.
.
----- Original Message -----
From: "Martyn Hodgson" <[1]hodgsonmar...@yahoo.co.uk>
To: "Monica Hall" <[2]mjlh...@tiscali.co.uk>
Cc: "Vihuelalist" <[3]vihu...@cs.dartmouth.edu>
Sent: Friday, March 19, 2010 2:10 PM
Subject: [VIHUELA] Re: Guitar strumming indications up to 1620s
>
>
> Many thanks for this Monica.
>
> Sorry to be pedantic but what you're now saying I wrote is
> largely contrary to what I actually did write! Clarfication:
>
> 1. As I already said, the marketing possibilities would have
largely
> dictated the use of the more common French tablature (as you now
say).
> I wrote 'Presumably these relatively new symbols were little known
in
> France at the time so that full intabulation was an obvious method
to
> use for marketing the publication'.
>
> 2. I was very careful NOT to say ('assume' as you put it) 'that in
1629
> that alfabeto notation or the strummed style were unknown in
> France' as you paraphrase what I wrote. In fact I said 'Presumably
> these relatively new symbols were little known in France at the
time'
> and also said that 'surely an indication that the foreign
(strummed)
> style was not unknown in France (even if the special guitar symbols
> were largely so). '
> '
> 3. As I pointed out, the dot indicates an upwards strum/rake.
> Conversely the absence of a particular sign to indicate a downwards
> strum does not mean a strum wasn't used (equally it doesn't prove
the
> converse). Are you suggesting that these guitar pieces did not
employ a
> downward strum? I thought you agreed with me that this was the most
> likely explantion for the full five repeated chords.
>
> 4. I suggested that the beam/tie could be a (crude) way of
attempting
> to indicate strumming in the absence of any other signs being
widely
> available and recognised in France at the time. It could be that
it
> might also serve the usage you suggest (The tie under the chords
> indicates that they are played against a single sustained
note/syllable
> in the voice part not the chords are strummed as I understand it.),
> However this is not consistently supported by examples such as on
the
> fu- of 'fuga' in Non speri pieta where, if I understand aright,
your
> suggestion would require a beam which is not, in fact, present in
the
> part (and other examples such as on lieto in the next piece, etc).
As
> with all these, more work required......
>
> 5 When I suggested that 'I think it prudent not to impose our own
> retrospective judgements on such evidence.' , I had in mind the
> thought that a contemporary (pre-Corbetta) French source (such as
the
> Moulinie) might be able to provide some evidence of performance
> practice which the contemporary Italian sources (documented in your
> excellent paper) were less than clear about. In this case the
precise
> courses incorporated into a downwards strum/stroke and an upwards
one.
> I still don't think it should be discarded as having no relevance
> whatsoever to the question of Italian practice - especially when
the
> guitar songs (with one exception) are all to Italian or Spanish
texts!
>
> I'm still puzzled by 'What you see isn't what you are supposed to
do!'
> which might suggest retrospective judgement....................
>
> Again,many thanks for the recent paper.
>
> Martyn
>
>
>
>
>
>
>
> /3/10, Monica Hall <[4]mjlh...@tiscali.co.uk> wrote:
>
> From: Monica Hall <[5]mjlh...@tiscali.co.uk>
> Subject: [VIHUELA] Re: Guitar strumming indications up to 1620s
> To: "Martyn Hodgson" <[6]hodgsonmar...@yahoo.co.uk>
> Cc: "Vihuelalist" <[7]vihu...@cs.dartmouth.edu>
> Date: Friday, 19 March, 2010, 12:49
>
> Well - I don't want to get too bogged down in this at this stage
but
> there
> are few points which I think are worth considering.
> These songs are included in a volume (which is part of a series) of
> Airs de
> Cour, all the rest of which have lute accompaniment.
> When notating the guitar accompaniment, Moulinie has used the same
> system as
> he has for the lute parts. When printing and marketing the music
you
> wouldn't chose to notate a few of the songs in a completely
different
> way
> which would probably involve using a different printing process.
> I wouldn't assume that in 1629 that alfabeto notation or the
strummed
> style
> were unknown in France. Apart from anything else Castilian
ciphers
> used by
> Brizeno would have been known as his book was printed in 1626 and
> apparently
> there was an influx of Spaniards and a fashion for things Spanish
in
> the
> wake of the marriage of Louis XIII to Anne of Austria in 1615.
> The dot under the three part chords does indicate that these should
be
> raked
> with the first finger as on the lute but there is no indication
that
> the
> 5-part chords
> should be strummed.
> I am not sure what you mean by beaming chords. The tie under the
> chords
> indicates that they are played against a single sustained
note/syllable
> in
> the voice part not the chords are strummed as I understand it.
> But there are very few sources in French tablature for the 5-course
> guitar
> either printed or in clearly dated manuscripts. Amongst these
Moulinie
> is
> the only one that writes out the chords in full and doesn't clearly
> indicate
> that 5-part chords are to be strummed.
> I hope I am not imposing my own retrospective judgment on anything!
> Monica
> ----- Original Message -----
> From: "Martyn Hodgson" <[1][8]hodgsonmar...@yahoo.co.uk>
> To: "Monica Hall" <[2][9]mjlh...@tiscali.co.uk>
> Cc: "Vihuelalist" <[3][10]vihu...@cs.dartmouth.edu>
> Sent: Friday, March 19, 2010 7:55 AM
> Subject: [VIHUELA] Re: Guitar strumming indications up to 1620s
> >
> >
> > Well, I'm not so sure.
> >
> > Without the knowledge or general use of alfabeto and strum
> direction
> > signs (but note the index finger upstroke sign he uses),
Moulinie's
> > tablature looks a suitable way of indicating strumming (beaming
> chords;
> > using dot for index finger up strum/rake, consistent use of
chords
> > using all five courses) without employing such symbols.
> > Presumably these relatively new symbols were little known in
France
> at
> > the time so that full intabulation was an obvious method to use
for
> > marketing the publication.
> >
> > I think it prudent not to impose our own retrospective
judgements
> on
> > such evidence. Hence why I thought it might be useful to look
at
> this
> > source for guitar accompanied songs ('AIR DE COURT / AVEC LA
> TABLATURE
> > DE LUTH ET DE GUITARRE' ) at the same time as the Italian
strummed
> > (alfabeto) song accompaniments (ie pre- Corbetta) you discussed
in
> your
> > latest excellent paper.
> >
> > It is also surely of relevance that the lute song settings are
to
> > French texts (with one exception - the dialogue 'Soufrez beaux
> yeux' )
> > whereas the guitar accompaniments are all to Italian and
Spanish
> texts
> > - surely an indication that the foreign (strummed) style was
not
> unkown
> > in France (even if the special guitar symbols were largely so).
.
> >
> > Incidentally I don't understand your comment that 'What you see
> isn't
> > what you are supposed to do!' - what are you expected to do
that
> can't
> > be seen?
> >
> > regards
> >
> > Martyn
> > --- On Thu, 18/3/10, Monica Hall <[4][11]mjlh...@tiscali.co.uk>
wrote:
> >
> > From: Monica Hall <[5][12]mjlh...@tiscali.co.uk>
> > Subject: [VIHUELA] Re: Guitar strumming indications up to
1620s
> > To: "Martyn Hodgson" <[6][13]hodgsonmar...@yahoo.co.uk>
> > Cc: "Vihuelalist" <[7][14]vihu...@cs.dartmouth.edu>
> > Date: Thursday, 18 March, 2010, 13:25
> >
> > Yes - I understand the point you are making.
> > What I said is that Francois Martin's book is the first in
French
> > tablature
> > in which the note values are placed on the stave with the tails
> down or
> > up
> > to indicate the direction of the strummed strokes.
> > Moulinie doesn't do this. There are two things about this
source.
> > 1. He doesn't give any indication that the chords are meant
to be
> > strummed.
> > 2. He clearly indicates when open courses are to be included
in
> the
> > chords
> > by including the "a"s.
> > The reason for this is that the songs are included in a volume
of
> Airs
> > de
> > Cour - most of which have a lute accompaniment - volume 3 of a
> series
> > of
> > lute songs and the guitar accompaniment is notated and printed
in
> the
> > same
> > way as the lute accompaniment. It is not typical of later
French
> > sources.
> > I think most people would accept that the accompaniment is
intended
> to
> > be
> > strummed - it wouldn't make much sense to play it in any other
way.
> > So it is an example of - What you see isn't what you are
supposed
> to
> > do!
> > Moulinie may not have been a guitarist.
> > Martin doesn't indicate which open courses are to be included.
> > Hope that clarifies matters.
> > Monica
> > ----- Original Message -----
> > From: "Martyn Hodgson" <[1][8][15]hodgsonmar...@yahoo.co.uk>
> > To: "Monica Hall" <[2][9][16]mjlh...@tiscali.co.uk>; "Vihuela
Dmth"
> > <[3][10][17]vihu...@cs.dartmouth.edu>
> > Sent: Thursday, March 18, 2010 11:41 AM
> > Subject: [VIHUELA] Re: Guitar strumming indications up to 1620s
> > >
> > >
> > > The Moulinie (1629) I mentioned earlier is well before
Martin
> > (1663)
> > > which I think you say in your Bartolotti paper is the first
> French
> > > guitar book in tablature.
> > >
> > > M
> > > --- On Wed, 17/3/10, Monica Hall
<[4][11][18]mjlh...@tiscali.co.uk>
> wrote:
> > >
> > > From: Monica Hall <[5][12][19]mjlh...@tiscali.co.uk>
> > > Subject: Re: Guitar strumming indications up to 1620s
> > > To: "Martyn Hodgson"
<[6][13][20]hodgsonmar...@yahoo.co.uk>
> > > Cc: "Vihuelalist" <[7][14][21]vihu...@cs.dartmouth.edu>
> > > Date: Wednesday, 17 March, 2010, 20:50
> > >
> > > Well - it's a bit late at night and I have been away all
day
> > helping to
> > > look after my sister who is very ill so I am not my
brightest
> and
> > > best.. My plan was to do Corbetta's Italian prefaces and
then
> go
> > back
> > > to the beginning to try to trace how French tab developed
> before
> > > Corbetta and La guitarre royale..
> > >
> > > These are a few random thoughts which may not be to the
point.
> > >
> > > I have only got a few French sources dating from before
> Francois
> > Martin
> > > lined up at present. There doesn't seem to be a great deal
but
> > there
> > > may be things I am not aware of.
> > >
> > > Apart from anything else I think the French - and everybody
> > including
> > > the English - didn't need printed books specifically
designed
> for
> > them
> > > at first because they would have been able to obtain
Italian
> > > publications easily. Mersenne had copies of Millioni and
> Colonna.
> > > Music publishing is and was an international undertaking.
I
> think
> > the
> > > reason why they don't use alfabeto has as much to do with
what
> the
> > > printers were able and willing to do as anything else.
> > >
> > > In manuscript sources - at lest in the Gallot ms. alfabeto
is
> > combined
> > > with French tab. And there are manuscript fragments with
> Italian
> > > stroke marks.
> > >
> > > I did actually ask Gerard Rebours whether there are sources
> which
> > put
> > > the note values on the stave earlier than Martin and he
> couldn't
> > think
> > > of any. It is actually Carbonchi who first put the stroke
> marks
> > on
> > > the stave.
> > >
> > > But why did the French invent French tablature in the first
> place -
> > an
> > > interesting question? It has always seemed less logical
than
> > Italian
> > > to me.
> > >
> > > That will have to do for tonight but it is an interesting
> subject
> > and
> > > perhaps some of the others will have some thoughts.
> > >
> > > Cheers
> > >
> > > Monica
> > >
> > > ----- Original Message -----
> > >
> > > From: [1]Martyn Hodgson
> > >
> > > To: [2]Monica Hall
> > >
> > > Sent: Wednesday, March 17, 2010 8:29 AM
> > >
> > > Subject: Guitar strumming indications up to 1620s
> > >
> > >
> > > I don't expect the impossible - even from you Monica! But
my
> > > mentioning the early French connection was the link to
> > intabulations in
> > > France around the same dates as the Italian sources you
listed
> ie
> > up to
> > > the 1620s. In short, the pre-Corbetta days. The
unfamiliarity
> of
> > the
> > > strummed style in this period surely led, with true gallic
> > > systemisation, to the perceived need to intabulate
precisely
> (or as
> > > precisely as they cld manage) the manner of strumming.
Whereas
> it
> > seems
> > > to me that with local familiarity of the instrument in
Italy
> (and a
> > > more relaxed, rather than procrustean, Italian approach)
there
> was
> > not
> > > such a need for precise intabulations. Speculative of
course,
> but
> > hence
> > > my remark even at this stage......
> > >
> > > Martyn
> > > --- On Tue, 16/3/10, Monica Hall
<[8][15][22]mjlh...@tiscali.co.uk>
> wrote:
> > >
> > > From: Monica Hall <[9][16][23]mjlh...@tiscali.co.uk>
> > > Subject: Re: [VIHUELA] Web pages
> > > To: "Martyn Hodgson"
<[10][17][24]hodgsonmar...@yahoo.co.uk>
> > > Cc: "Vihuelalist" <[11][18][25]vihu...@cs.dartmouth.edu>
> > > Date: Tuesday, 16 March, 2010, 9:17
> > >
> > > Yes - but that is still to come...
> > >
> > > I am planning to move on to Corbetta next and that leads
into
> > French
> > > tablature and French sources.
> > >
> > > But it all takes time......
> > >
> > > Monica
> > >
> > > ----- Original Message -----
> > >
> > > From: [3]Martyn Hodgson
> > >
> > > To: [4]Monica Hall ; [5]Vihuela Dmth
> > >
> > > Sent: Tuesday, March 16, 2010 8:04 AM
> > >
> > > Subject: Re: [VIHUELA] Web pages
> > >
> > > Dear Monica,
> > >
> > > As ever all very good stuff thank you. The precise
> translations
> > (and
> > > uncertainties) are particularly helpful and I especially
> welcome
> > the
> > > inclusion of songs with guitar - a popular contemporary
form
> which,
> > it
> > > seems to me, is much neglected nowadays. Perhaps, to show a
> fuller
> > and
> > > trans-national picture, it might also be useful to include
the
> (if
> > > rather pedestrian) settings by French composers (eg
Moulinie,
> > Pierre
> > > Ballard 1629) which are more specific about strums (in
terms of
> > which
> > > courses to sound etc) and could support our interpretation
of
> the
> > > Italian alfabeto settings.
> > >
> > > regards
> > >
> > > Martyn
> > >
> > > --- On Mon, 15/3/10, Monica Hall
> <[12][19][26]mjlh...@tiscali.co.uk> wrote:
> > >
> > > From: Monica Hall <[13][20][27]mjlh...@tiscali.co.uk>
> > > Subject: [VIHUELA] Web pages
> > > To: "Vihuelalist" <[14][21][28]vihu...@cs.dartmouth.edu>
> > > Date: Monday, 15 March, 2010, 21:03
> > >
> > > I have now added a big chunk of new stuff on my web page
-
> > > [1]www.monicahall.co.uk
> > > It all forms part of my project with the title "The
baroque
> > guitar
> > > made
> > > simple" and it consists of translations of the
instructions
> to
> > the
> > > player from the guitar books of Montesardo, Colonna,
> > Sanseverino
> > > and
> > > Millioni with comments and musical examples and a
separate
> > section
> > > on
> > > alfabeto songs.
> > > There is a general introduction and then the pages about
> > Foscarini
> > > and
> > > Bartolotti follow on.
> > > Any comments and corrections will be gratefully
received.
> > > I hope someone will find it as interesting as I do. The
> books
> > do
> > > throw
> > > up quite a lot of interesting background details. For
> example
> > > Colonna
> > > and Sanseverino both dedicated books to the Milanese
> nobleman
> > Conde
> > > Iulio Borromeo who was related to Saint Charles
Borromeo
> and
> > > Colonna
> > > says he was living in Iulio Cesare's household when he
> composed
> > his
> > > pieces.
> > > There is more to these books than meets the eye.
> > > cheers
> > > Monica
> > > --
> > > References
> > > 1. [6][15][22][29]http://www.monicahall.co.uk/
> > > To get on or off this list see list information at
> > > [7][16][23][30]http://www.cs.dartmouth.edu/~wbc/lute-admin/
index.ht
> ml
> > >
> > > --
> > >
> > > References
> > >
> > > 1.
> > >
> > [17][24][31]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgso
nmartyn@
> yahoo.co
> > .uk
> > > 2.
> > [18][25][32]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlhal
l...@tiscal
> i.co.uk
> > > 3.
> > >
> > [19][26][33]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgso
nmartyn@
> yahoo.co
> > .uk
> > > 4.
> > [20][27][34]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlhal
l...@tiscal
> i.co.uk
> > > 5.
> > [21][28][35]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihuel
a...@cs.dar
> tmouth.e
> > du
> > > 6. [22][29][36]http://www.monicahall.co.uk/
> > > 7.
> [23][30][37]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> > >
> >
> > --
> >
> > References
> >
> > 1.
> >
> [31][38]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@
yahoo.co
> .uk
> > 2.
> [32][39]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 3.
> [33][40]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmouth.e
> du
> > 4.
> [34][41]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 5.
> [35][42]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 6.
> >
> [36][43]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@
yahoo.co
> .uk
> > 7.
> [37][44]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmouth.e
> du
> > 8.
> [38][45]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 9.
> [39][46]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 10.
> >
> [40][47]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@
yahoo.co
> .uk
> > 11.
> [41][48]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmouth.e
> du
> > 12.
> [42][49]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 13.
> [43][50]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 14.
> [44][51]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmouth.e
> du
> > 15. [45][52]http://www.monicahall.co.uk/
> > 16.
[46][53]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> > 17.
> >
> [47][54]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@
yahoo.co
> .uk
> > 18.
> [48][55]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 19.
> >
> [49][56]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@
yahoo.co
> .uk
> > 20.
> [50][57]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
i.co.uk
> > 21.
> [51][58]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
tmouth.e
> du
> > 22. [52][59]http://www.monicahall.co.uk/
> > 23.
[53][60]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
>
> --
>
> References
>
> 1.
>
[61]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 2.
[62]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 3.
[63]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
du
> 4.
[64]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 5.
[65]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 6.
>
[66]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 7.
[67]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
du
> 8.
>
[68]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 9.
[69]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 10.
[70]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
du
> 11.
[71]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 12.
[72]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 13.
>
[73]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 14.
[74]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
du
> 15.
[75]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 16.
[76]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 17.
>
[77]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 18.
[78]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
du
> 19.
[79]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 20.
[80]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 21.
[81]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
du
> 22. [82]http://www.monicahall.co.uk/
> 23. [83]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 24.
[84]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
> 25.
[85]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 26.
[86]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
> 27.
[87]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 28.
[88]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
> 29. [89]http://www.monicahall.co.uk/
> 30. [90]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 31.
>
[91]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 32.
[92]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 33.
[93]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
du
> 34.
[94]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 35.
[95]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 36.
>
[96]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 37.
[97]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
du
> 38.
[98]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 39.
[99]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 40.
>
[100]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.c
o.uk
> 41.
[101]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.
edu
> 42.
[102]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 43.
[103]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 44.
[104]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.
edu
> 45. [105]http://www.monicahall.co.uk/
> 46. [106]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 47.
>
[107]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.c
o.uk
> 48.
[108]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 49.
>
[109]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.c
o.uk
> 50.
[110]http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
> 51.
[111]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.
edu
> 52. [112]http://www.monicahall.co.uk/
> 53. [113]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
--
References
1. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
2. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
3. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
4. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
5. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
6. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
7. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
8. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
9. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
10. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
11. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
12. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
13. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
14. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
15. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
16. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
17. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
18. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
19. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
20. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
21. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
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27. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
28. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
29. http://www.monicahall.co.uk/
30. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.ht
31. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@
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33. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmartyn@
34. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscal
35. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dar
36. http://www.monicahall.co.uk/
37. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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39. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
40. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
41. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
42. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
43. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
44. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
45. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
46. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
47. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
48. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
49. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
50. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
51. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
52. http://www.monicahall.co.uk/
53. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
54. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
55. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
56. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
57. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
58. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
59. http://www.monicahall.co.uk/
60. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
61. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
62. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
63. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
64. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
65. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
66. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
67. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
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82. http://www.monicahall.co.uk/
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84. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
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86. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
87. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
88. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.e
89. http://www.monicahall.co.uk/
90. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
91. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
92. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
93. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
94. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
95. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
96. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
97. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
98. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
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100. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
101. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
102. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
103. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
104. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
105. http://www.monicahall.co.uk/
106. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
107. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
108. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
109. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
110. http://uk.mc263.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk
111. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
112. http://www.monicahall.co.uk/
113. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
