Being uniformed on this thread I'll say I don't know no MO. I have some
knowledge of piracy, but only on the high seas. Is it so important (and it
might be for the personal income of the individuals involved) that this list
be dedicated to the finding of rights for publication. If that is the case
Never fail. You are almost predicable. I was thinking it should be
quite easy to compile a list of buzz words which would generate
automatically these knee jerk responses. Now let see:
I say: Koshkin will never write for the lute
you say:__
This is just in, from the horse's
Dear Stephen,
It is, of course, possible to add a note here or there to fast,
jolly Irish tunes, such as those in O'Neill's collection, but by and
large I don't think those tunes lend themselves very well to
divisions. Improvising around a tune (altering notes here and there,
but staying largely
Dear Jon,
I don't understand why you are writing to me. Piracy and Pirate are a
proper terms used by bibliographers to refer to a publisher who puts out works
previously published by others. (Much piracy is prevented these days by the
copyright laws.)
The most notorious musical pirate of
Dear Eugene,
No one would quarrel with the fact that the guitar enjoyed considerable
popularity in Vienna in Beethoven's time. Schubert used the instrument a few
times, including in a birthday cantata for his father. I know of no
documentary evidence that Schubert played guitar. If he did
Yes, the Mandora/Gallichon tunings are, indeed, distinctive - the commonest
has the 6th course a tone below the 5th. The last (?) of the German lutenists,
Scheidler. also played guitar and in his two early 6 course (string?) guitar
sonates of c. 1800 writes for a guitar with just this
I've examined a few and worked on one (Stautinger). Barring is late 'baroque'
lute type with bars tapered along the length (again like some b lutes) and not
deeply salloped like ren lutes and 'fan' barring (like late Schelle) below the
bridge.
Bridges are also b lute type. Neck length
Stewart McCoy wrote:
It has often been observed that the addition of extra notes by
musicians, or extra steps by dancers, has the effect of slowing
music down over the years. The saraband started life as a fast,
lively dance, and ended up as a very slow one.
Wouldn't the reverse be just as
- Original Message -
From: Arthur Ness [EMAIL PROTECTED]
Date: Saturday, August 13, 2005 10:46 am
Subject: Re: OT: Mozart for guitar
It is just that some guitarists wish unnecessarily to
enhance their instrument by repeating myths that have no basis in
fact.
This seems central to
At 06:18 PM 8/12/2005, Roman Turovsky [EMAIL PROTECTED] wrote:
IOW, you are assuming that a simple discussion of plagiarism, on
which there is no question, would necessarily deteriorate in this
forum into personal insults and name calling. You are right, and
Roman Turovsky did not waste
At 11:14 PM 8/12/2005, Roman Turovsky [EMAIL PROTECTED] wrote:
Never fail. You are almost predicable. I was thinking it should be
quite easy to compile a list of buzz words which would generate
automatically these knee jerk responses. Now let see:
I say: Koshkin will never write for the
As to sarabands: Are there other factors in deciding whether a given
piece is meant to be fast or slow?
I know of one saraband which I was taught as fast, but which I only
had known as slow (simple historical error?) if at all: the saraband
in Matthew Locke's Five-part Thinges for the Cornetts
At 11:33 PM 8/12/2005, Roman Turovsky [EMAIL PROTECTED] wrote:
I am listening. Intently.
To yourself.
Once again, you are exactly right. There is no chance in tarnation
that Arthur Ness will ever respond to the challenge, and for two
simple reasons:
1. he hasn't a clue of where he got
At 11:55 PM 8/12/2005, Roman Turovsky [EMAIL PROTECTED] wrote:
To present this as your recent find, when you knew damn well that I
published this piece in paper format in 1984, and when it ran out of
print, I posted it on line in 1997, at which time you chose to
criticize it on RMCG, in
At 07:11 AM 8/13/2005, Roman Turovsky [EMAIL PROTECTED] wrote:
Never fail. You are almost predicable. I was thinking it should be
quite easy to compile a list of buzz words which would generate
automatically these knee jerk responses. Now let see:
I say: Koshkin will never write for the
That is the painting that Howard mentioned. Pierre Jelyotte (or Jeliotte) was
a singer at the Paris opera (d.1782). The painting done in 1766 depicts the
ten-year-old Mozart at the harpsichord with Jelyotte tuning a large guitar.
We just don't have any record of Mozart having written for
Webster's under Pirate
quoteTo reproduce without authorization, esp. in infringement of
copyright.unquote
There was copyright of sorts in the 16th century, when composers or publishers
were given exclusive rights from the ruler (king, dodge, duke) for a period of
time, usually just
Arthur Ness wrote:
That is the painting that Howard mentioned. Pierre Jelyotte (or
Jeliotte) was a singer at the Paris opera (d.1782).
No, the one I'm thinking of had Leopold holding a lute-like instrument.
But again, it may be a product of my deranged imagination.
H
To get on or off
Arthur,
Copyright laws were first passed in England in 1712. The previous laws
consisted of publisher's privileges, which essentially meant that the
authors did not get any share in the profit of the sales. Hence the
necessity for them to have dedicatees and patrons willing to finance
their
In a message dated 8/13/05 10:14:04 AM, [EMAIL PROTECTED] writes:
No, the one I'm thinking of had Leopold holding a lute-like instrument.
=A0 But again, it may be a product of my deranged imagination.
H
Howard the one with the guitar is Mozart, but there is also one of Haydn
You mean the one that Leopold looks like the guy with the pitch fork in
American Gothic. Nannerl and Wolfgang are at the keyboard,there is a painting
on the wall of the departed mother, and Leopold is leaning his violin on the
top of the keyboard instrument. The bow is on the top with his left
I am certain that Phalese's customers were grateful to him for rounding up all
that music.It wouldhave been very expensive for an individual to buy all those
books. And I think stationers may also have been in the business of
providing handwritten music to order. Scribes came quite cheaply
Dear Stewart,
Thank you for response. Your postings are always insightful and valuable.
I wholeheartedly agree that Irish jigs and reels do not lend themselves to
divisions. But there are a number of slow airs in O'Neill's work for which I
have enjoyed trying to write divisions (or perhaps
WELCOME to the forum of the WW LUTE heavy boxing Championships.
All bets are welcome, at www.lutebash.com
For todays odds, pls. see www.todaysodds.lute.com
Newest arivals:
Mathanya - Turovsky (Odds: 0, to 1)
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The galliard is a difficult dance to slow down, given that you are in the
air for a portion of each sequence of steps. A slow galliard actually
requires more strength and skill than a fast one, since the dancer needs to
be a very good jumper to remain in the air long enough to stay on the beat.
At 01:23 PM 8/13/2005, Arthur wrote:
To catch modern day pirates Ophee changes a few notes in his
editions of public domain music, so that when someone else publishes
the same pieces with his alterations he can charge them with
copyright infringement. Of course one can go back to the
Herbert Ward [EMAIL PROTECTED] said:
After thinking all night, I believe/guess that deadness
in strings is primarily caused by dirt
if that were true it would be corected by cleaning the string, perhaps
using an ultrasound bath rather than risk the core by boiling or
whathaveyou.
Note,
[EMAIL PROTECTED] said:
Violins usually lack frets. guitars and lutes usually both have
frets. Frets bend stopped strings significantly and cause wear you can
easily see on both wound strings and non-wound ones.
--
Dana Emery
To get on or off this list see list information at
Dear Howard,
Thank you for your reply. In theory, it is, I suppose, as possible
for music to speed up over the years, as to slow down. However, the
fact is that the tempo of musical genres in the 16th, 17th, and 18th
centuries tended to slow down. I gave the saraband and galliard as
examples. The
At 11:18 PM 8/12/2005, you wrote:
Arthur wrote:
I'll stand on my F naturals, which both MO and ES turn to F sharps.
My original printed edition did have the F naturals, and that was the
point on which Erik criticized it. Eventually, in our discussions on
RMCG, you were the one who told me
I have noticed, when removing strings for replacement, that the areas
between the nut and the bridge seem limp while the portions that went around
the tuning pegs were still resilient. My conclusion is that the portions of
the string between the nut and bridge lose flexibility or resilience and
On Sat, 13 Aug 2005 07:47:31 -0700 Arthur Ness wrote:
No one would quarrel with the fact that the guitar enjoyed considerable
popularity in Vienna in Beethoven's time. Schubert used the instrument a few
times, including in a birthday cantata for his father. I know of no
documentary evidence
- Original Message -
From: gary digman [EMAIL PROTECTED]
To: lutelist lute@cs.dartmouth.edu
Sent: Saturday, August 13, 2005 6:54 AM
Subject: Re: [LUTE] Belated Thanks
Stewart McCoy wrote:
.
It has often been observed that the addition of extra notes by
musicians, or extra
Stewart McCoy wrote:
In theory, it is, I suppose, as possible
for music to speed up over the years, as to slow down.
It's certainly possible, though I don't think anyone here has suggested
that this happened much.
However, the
fact is that the tempo of musical genres in the 16th, 17th, and
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