Re: [Finale] mozart
On Jan 12, 2007, at 5:38 PM, John Howell wrote: Opera was entertainment, and can only be compared with musical theater today I think a better comparison is with film today. Especially if you're talking about 19th century opera. It's no coincidence that there's so many connections between opera composers and film composers around the 1930s. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: attachments to list [was: beam]
On Jan 11, 2007, at 9:06 AM, Johannes Gebauer wrote: Actually, I never had a problem with any attachment folders. I do have a prooblem with accumulating attachments. But that's a minor problem compared to download problems through analogue modem connections in a hotel room, when a huge email clogs up everything. Happened more than once to me. Back when I was still on dialup -- less than two years ago, I think -- I had a little shareware utility that I could run, separate from my regular email program. It would show a list of all the emails waiting on my server, with info on size, sender, etc. I could delete the large messages directly from that, without spending the 20 minutes or so for a bunch of fat binaries to load through my regular email program. Of course that doesn't help when you actually want the binary, but that was rarely the case. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On Jan 12, 2007, at 5:38 PM, John Howell wrote: Opera was entertainment, and can only be compared with musical theater today This is a claim that is made again and again, but on any close inspection will fall apart. It's clear that Viennese Opera was a form of entertainment for upper classes, but the entire function of entertainment is difficult to map one-to-one to mass entertainment today. Opera was understood as a vehicle for the virtuoso demonstration of a body of music and cultural conventions and patterns, for technical innovation within the context of those convention, and also as a civic and moral instance. The coherence of Opera as a genre depended less on the coherence of a single opera as a work of music or literature or theatre than its coherence within a tradition whose conventions and patterns would be understood by a small audience who returned night after night, over many years, and who would have recognized the same conventions and patterns in an elevated literary tradition in which they read, in sophisticated sacred and secular concerted music they heard, and in the civic and courtly lives that they led. One might argue that the _Singspiel_ , with a wider audience, was particularly close to the musical, but despite its connections to the /Prater/, the very best examples of Singspiel (/Die Zauberflöte, Die Entführung aus dem Serail/) clearly have their own moral ambitions. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. Mozart piano concerto (movement) discovered.
On 12.01.2007 Andrew Stiller wrote: On Jan 11, 2007, at 12:36 PM, Johannes Gebauer wrote: the main reason imo is that the change from Baroque to Viennese Classical was more radical than any other up to that time. Now just a pea-pickin' minute here! Surely you're not claiming this change was greater than that from Renaissance to Baroque (1600) or Ars Subtilior to Burgundian (1450) or Ars Antiqua to Ars Nova (1300)--are you?? Certainly more radical than from Rennaissance to baroque (how radical was that?) As for the others I don't want to take an opinion, but I actually don't think this to be relevant. The changes from Baroque to Classical are superficially minor, but if you examine them closer, they are extreme. The main thing is that things happened quickly, and in the whole of Europe more or less at once. What comes out of that is imo the most complex, intellectual, yet generally comprehensible and universal musical style up to that date (if not for the whole of music history). Such had never happened before. If so, please allow me quietly to demur. Sure. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT (and kind of depressing): Piano selections for a funeral?
On 13.01.2007 [EMAIL PROTECTED] wrote: Richter was invited to play at Stalin's funeral, and he played only Bach, since he knew how much Stalin hated Bach. After enduring as much of this as he could, one of Stalin's henchmen said, in a voice loud enough for Richter to hear, Who wrote this shit? The funniest thing about this particular gig is this: the pedal of the piano was squeaking, so Richter went down to take a look only to scare the shit out of all the security men, who thought he was planting a bomb under the piano... He tells this story in the interview film Richter, the Enigma, a worthwhile watch for anyone. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT (and kind of depressing): Piano selections for afuneral?
At 3:42 PM -0500 1/12/07, Michael L. Meyer wrote: ... I've been asked to play for the service... At 6:49 PM -0500 1/12/07, Kim Patrick Clow wrote in reply: Handel: I Know My Redeemer Liveth (from Messiah). Yes. Bach: Sheep May Safely Graze. Darn! That was going to be my suggestion. I'd also work The Old Rugged Cross and Amazing Grace back in before the end of the service. (Perhaps as the finale pieces, and in that order.) The Old Rugged Cross could provide a thematic transition from the more (bland), you know, light classical, to more spiritual music. Amazing Grace may seem cliche to some, but its simple melody and progression make it one of the most spiritual (and comforting) songs of all to many. Best wishes, and my condolences on your family's loss, -=-Dennis . ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
Daniel Wolf wrote: On Jan 12, 2007, at 5:38 PM, John Howell wrote: Opera was entertainment, and can only be compared with musical theater today This is a claim that is made again and again, but on any close inspection will fall apart. It's clear that Viennese Opera was a form of entertainment for upper classes, but the entire function of entertainment is difficult to map one-to-one to mass entertainment today. Opera was understood as a vehicle for the virtuoso demonstration of a body of music and cultural conventions and patterns, for technical innovation within the context of those convention, and also as a civic and moral instance. The coherence of Opera as a genre depended less on the coherence of a single opera as a work of music or literature or theatre than its coherence within a tradition whose conventions and patterns would be understood by a small audience who returned night after night, over many years, and who would have recognized the same conventions and patterns in an elevated literary tradition in which they read, in sophisticated sacred and secular concerted music they heard, and in the civic and courtly lives that they led. One might argue that the _Singspiel_ , with a wider audience, was particularly close to the musical, but despite its connections to the /Prater/, the very best examples of Singspiel (/Die Zauberflöte, Die Entführung aus dem Serail/) clearly have their own moral ambitions. This view of opera as the purview of an elite audience, at least in Italy in the 19th century, goes counter to what I've read where the public at large awaited the latest operas, every village had its opera house, the public at large learned and sang (probably as poorly as a coworker today singing some Nirvana hit or an old Beatles tune) and revered much of the music from the opera house. When Verdi died he was worshipped as a god, his funeral was a huge state procession. That doesn't happen to people who only catered to the wealthy. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
dhbailey wrote: This view of opera as the purview of an elite audience, at least in Italy in the 19th century, goes counter to what I've read where the public at large awaited the latest operas, every village had its opera house, the public at large learned and sang (probably as poorly as a coworker today singing some Nirvana hit or an old Beatles tune) and revered much of the music from the opera house. When Verdi died he was worshipped as a god, his funeral was a huge state procession. That doesn't happen to people who only catered to the wealthy. Italian Opera, and especially that of the mid to late 19th century was quite a different animal to that of late 18th century Vienna. But even then, while, most substantial cities and towns had opera houses, villages did not. The question of to whom a composer catered is inevitably connected to the increasingly commercial nature of the Opera, a factor of significantly less importance in imperial Vienna. But it is not simply a matter of catering to an audience other than the wealthy, as the mechanisms through which music extracted from operatic repertoire becomes widely known, and how or if a composer is compensated are rather subtle. The popularity of Verdi, in particular, also has a political component -- nationalism -- that is not directly paralleled in classical Vienna. Daniel Wolf ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT Mac OSX
I want to ask an OT question to my Mac friends on the List. How do I get my old OS9 Mozilla bookmarks into my new OSX Firefox? Firefox looks for IE favorites only. I am hoping that I will not have to re-build my bookmarks manually! Thanks. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Mac OSX
File Import... should give you the option you need. On 13 Jan 2007, at 14:57, Lawrence David Eden wrote: I want to ask an OT question to my Mac friends on the List. How do I get my old OS9 Mozilla bookmarks into my new OSX Firefox? Firefox looks for IE favorites only. I am hoping that I will not have to re-build my bookmarks manually! Thanks. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Piano selections for a funeral?
Debussy Preludes (Danseuses, Voiles, Des pas), Reverie, Clair de Lune Ravel Pavane (maybe not for sightreading) Copious works from the Baroque keyboard literature (Bach Suites, Couperin, Balbastre) Mozart and Haydn slow movements Beethoven Moonlight Sonata 1st movement Chopin slow mazurkas, Raindrop Prelude, A major prelude Schumann Traumerei Tschaikovsky from The Seasons (March, October) Guy Hayden, Organist and Choir Master St. Stephen's Episcopal Church 372 Hiden Boulevard Newport News, VA USA 23606 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Chord definition
John Howell / 2007/01/12 / 01:16 PM wrote: I think I understand Hiro's reasoning, about implying a scale, but since I'm not a jazzer I do not grok the fullness. The important of the derived chord scale is for improvising as well as voicing for people comping. If the code is marked augmented, chord instrument will voice natural 9th since it calls for whole tone scale. On the other hand, if it were spelled b13th instead, the voicing might be b13th on the bottom and 5th on top to distinct the b13 chord. A simple example, V7 of d minor key, A7, or better yet, say V7/vi in F major, if it were Mixolydian, the 9th of A Mixo is B, which doesn't agree with the key. The 13th of A Mixo is F#, which also doesn't agree with the key. So, you lower them, b9th and b13th. Now you have Mixolydian b9th, b13th scale. If you said A aug 7, which derives a whole tone scale, and altered 9th cannot be used. 5th is the last note of the order which you alter tensions in a tonal harmony, i.e., as soon as you lower the 5th, it becomes Altered Mixo, and calls for b9, #9, b13 together. On the other hand, #11 chord which derives Lydian b7th scale, calls for natural 9th and natural 13th. The order of altered tensions: b13th first as in V/ii, Then altered 9th besides b13th as in V/vi, Then b5th besides altered 9th and b13th as in V/iii and V/vii. Altered tension is only available to dominant chord, which tri-tone is stronger than dissonance created by altered tensions, and that dissonance even help the forward motion of tri-tone. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Forewards and how to generate musicial quotes/incipits
Hi all: In my forewards* to my editions, I want to have a bar or two musical example. If I do a screen capture of the screen, that's not good because 1. I get the colors. I need black and white. 2. It's only a bitmap image, it's not vector, so I can not resize it. My editor uses WORD for his forwards, but I prefer to create my typography based work in Illustrator (because of the benefits of vector format). So how do I generate such an incipit? Any advice appreciated greatly. Thanks -- Kim Patrick Clow There's really only two types of music: good and bad. ~ Rossini *--look ma! No acorns ;) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On 13 Jan 2007 at 7:06, dhbailey wrote: Johannes Gebauer wrote: On 13.01.2007 dhbailey wrote: When Verdi died he was worshipped as a god, his funeral was a huge state procession. Same with Beethoven and he wasn't exactly a very prolific opera composer. Which certainly decries the notion that these composers were only for the wealthy -- they really spoke to the common person as well. Tia DeNora would disagree with you on that: Beethoven and the Construction of Genius http://www.ucpress.edu/books/pages/6537.html DeNora's most innovative interpretation is that Beethoven's music became increasingly individual and idiosyncratic and difficult as his patrons saw supporting him as a way of enhancing their own status. It was the very strangeness of his music that made their support of him something worthy of note -- it was the very fact that he *wasn't* catering to public taste that cemented his relationship with those patrons. So, however widespread the admiration of Beethoven at his death, it was likely not based on the music he wrote in his last 10 years. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: attachments to list [was: beam]
On 13 Jan 2007 at 1:05, Mark D. Lew wrote: Back when I was still on dialup -- less than two years ago, I think -- I had a little shareware utility that I could run, separate from my regular email program. It would show a list of all the emails waiting on my server, with info on size, sender, etc. I could delete the large messages directly from that, without spending the 20 minutes or so for a bunch of fat binaries to load through my regular email program. Pegasus Mail has this feature built in, as do any number of other email programs (Outlook, for instance). -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
On 13 Jan 2007 at 12:59, Kim Patrick Clow wrote: In my forewards* to my editions, I want to have a bar or two musical example. If I do a screen capture of the screen, that's not good because 1. I get the colors. I need black and white. 2. It's only a bitmap image, it's not vector, so I can not resize it. My editor uses WORD for his forwards, but I prefer to create my typography based work in Illustrator (because of the benefits of vector format). So how do I generate such an incipit? Any advice appreciated greatly. Use the Graphics Tool, export as TIFF. Word can import TIFFs directly, or you can save it as a GIF and import that (which will bloat the file less). -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
Kim Patrick Clow wrote: Hi all: In my forewards* to my editions, I want to have a bar or two musical example. If I do a screen capture of the screen, that's not good because 1. I get the colors. I need black and white. 2. It's only a bitmap image, it's not vector, so I can not resize it. Check out the open source Graphics package The GIMP, which is natively capable of a screen capture, and which can save as any of a number of vector formats. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
on 1/13/07, dc [EMAIL PROTECTED] wrote: I also suggest you change the subject line before Andrew wakes up ;-). Hehe too late, I'm afraid. Thanks though! Kim ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T.: Speaking of music editions online, PaulWranitzky editions
The market too small for 'minor composers'? Who do you think keeps Finale in business? Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T.: Speaking of music editions online, PaulWranitzky editions
On 1/13/07, Aaron Rabushka [EMAIL PROTECTED] wrote: I think Dennis Collins meant composers from the baroque or classical periods. Not modern ones. I'm trying to be an optimist about this project. Sure there are bad free editions out there, but maybe this will be different. If open source works for Linux, or Wikipedia, maybe there is a possibility for something similiar for classical music editions: people sharing their Finale files for others to correct or make editorial additions. (I don't know exactly what file types the Wranitzky project will make available for downloads btw). Thanks, Kim Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On Jan 12, 2007, at 6:44 PM, dhbailey wrote: The ratio of historical music to contemporary music is hugely in favor of historical music in opera houses and in orchestral concert halls. How does that compare to the programming of Mozart's time? In Mozart's--and all earlier--times, music, indeed any work of art, went out of fashion in about 50 years, then was never heard from again regardless of quality. In the 19th c., the idea was introduced that an artistic work of quality was of permanent value and thus worthy of being experienced indefinitely into the future. I have a great deal of difficulty in seeing any downside whatsoever to this idea. Anyway, under such a regime, the amount of new work in active circulation at any given time should ideally be proportional to the amount of work in the canon from any other time period *of the same duration.* Thus, ideally, the amount of classical music heard this year that was composed betw. 1957 and 2007 should be the same as the amount that was composed between 1850 and 1900. It isn't, but that has nothing to do with performance conditions in Mozart's time, as can readily be seen if you compare the 1957-2007 figures with those for 1350-1400. The performance situation for brand-new classical music is in fact much, much better now than it was even 10 years ago, so that one can now say that, although the situation remains less than ideal, it certainly falls within the acceptable range. I don't see why my comment is a Straw Man. Well, what you said was: The band world learned this lesson and continues to support composers writing today for today's audiences. Why can't the orchestral, choral and keyboard worlds learn the same lessons? --which says that the orchl., choral, and keybd. worlds do not, in fact, continue to support composers writing today for today's audiences. This is manifestly untrue, so you've created a straw man. Worse, your self-congratulatory reference to the band world is more than a little disingenuous since the modern band (massed clarinets, lots of brass) has only *one* established classic predating the 20th century (the Berlioz _Symphonie funebre et triomphale_) and therefore could not overemphasize old music even if it wanted to. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On Jan 13, 2007, at 4:23 AM, Daniel Wolf wrote: On Jan 12, 2007, at 5:38 PM, John Howell wrote: Opera was entertainment, and can only be compared with musical theater today This is a claim that is made again and again, but on any close inspection will fall apart. I'm glad someone else said this, and documented it so nicely, so that I don't have to. I would only add that in the English-speaking world (and in a number of other traditions), opera was never mass entertainment because it was almost invariably performed in a foreign language. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. Mozart piano concerto (movement) discovered.
On Jan 13, 2007, at 4:54 AM, Johannes Gebauer wrote: from Rennaissance to baroque (how radical was that?) Immensely: polarization of the voices, especially. As late as ca. 1690 a diarist (sorry, I forget who) complained that he couldn't make head or tail of a new piece because it had no tenor. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT- NORTHWOODS JAZZ CAMP
Dear List members, I know this is way OT, but a few of you might be interested, especially those in the USA Midwest. This is to announce that the Northwoods Jazz Camp/Jazz Party will again be taking place this year. This will be the third annual, and we believe it will be better than ever. The dates are Wednesday evening, May 16, to Saturday night, May 19, 2007. Notice the slightly different times than before. We will start with a camp meeting (faculty/students), and a faculty concert on WEDNESDAY night (we've started everything in previous years on Thursday morning). The event will end with the Saturday night concert (not Sunday, as before). This takes place at Holiday Acres Resort, Rhinelander, Wisconsin. Please consider joining us. It will be a lot of fun to play together and learn more about improvising, tunes, etc. We again are having an all-star faculty. I cannot attach the flyer, to show you the details, because of the restrictions of the List. But please check out the website. Also, please contact me personally if you have any questions, and contact Gladys at Holiday Acres Resort to enroll. I hope you can be with us. All the best, KIM Richmond The website for the Northwoods Jazz Camp/Jazz Party is: http://www.kimrichmond.com/JazzCamp/JazzCamp.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On Jan 13, 2007, at 1:09 PM, David W. Fenton wrote: DeNora's most innovative interpretation is that Beethoven's music became increasingly individual and idiosyncratic and difficult as his patrons saw supporting him as a way of enhancing their own status. It was the very strangeness of his music that made their support of him something worthy of note -- it was the very fact that he *wasn't* catering to public taste that cemented his relationship with those patrons. One thing that's been missing so far in this thread is the distinction to be made between an artwork's patrons and its audience. These can be (IMO usually are) very, very different things. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
At 1:09 PM -0500 1/13/07, David W. Fenton wrote: So, however widespread the admiration of Beethoven at his death, it was likely not based on the music he wrote in his last 10 years. I was prepared to argue with this, but as I think about it, you're probably right. While we may consider those words--the late quartets, the 9th, and the incomparable Missa--his masterworks (and he did so consider the Missa), his musical contemporaries may well have questioned his sanity! John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT- NORTHWOODS JAZZ CAMP
Wow another person on the list that has the first name of Kim; and is a guy! I'm flabberghasted! We have several Dennises, one is the infamous other Dennis. I'd never thought there would be more than one guy with name of Kim, but I'm certainly glad there is! :) Good luck with your Jazz Party! Thanks, (the other) Kim On 1/13/07, Kim Richmond [EMAIL PROTECTED] wrote: Dear List members, I know this is way OT, but a few of you might be interested, especially those in the USA Midwest. This is to announce that the Northwoods Jazz Camp/Jazz Party will again be taking place this year. This will be the third annual, and we believe it will be better than ever. The dates are Wednesday evening, May 16, to Saturday night, May 19, 2007. Notice the slightly different times than before. We will start with a camp meeting (faculty/students), and a faculty concert on WEDNESDAY night (we've started everything in previous years on Thursday morning). The event will end with the Saturday night concert (not Sunday, as before). This takes place at Holiday Acres Resort, Rhinelander, Wisconsin. Please consider joining us. It will be a lot of fun to play together and learn more about improvising, tunes, etc. We again are having an all-star faculty. I cannot attach the flyer, to show you the details, because of the restrictions of the List. But please check out the website. Also, please contact me personally if you have any questions, and contact Gladys at Holiday Acres Resort to enroll. I hope you can be with us. All the best, KIM Richmond The website for the Northwoods Jazz Camp/Jazz Party is: http://www.kimrichmond.com/JazzCamp/JazzCamp.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Kim Patrick Clow There's really only two types of music: good and bad. ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T.: Speaking of music editions online, PaulWranitzky editions
Kim Patrick Clow wrote: If open source works for Linux, or Wikipedia, maybe there is a possibility for something similiar for classical music editions: people sharing their Finale files for others to correct or make editorial additions. But perhaps this is too narrow a definition of open source. How about the Music Memory Project of the Library of Congress, from which one can select to download from a large number of public domain, 19th century works. Further, one academic library has a policy on some public domain editions, of disbinding certain old music books, and scanning the contents to digital image formats. It seems to me that making image files (by which term I include various audio formats) available for free while not distributing Finale data files may be a good solution to the problem of protecting my particular set of tools, skills, and knowledge, while making the results publicly available. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
On 1/13/07, David W. Fenton [EMAIL PROTECTED] wrote: Use the Graphics Tool, export as TIFF. Word can import TIFFs directly, or you can save it as a GIF and import that (which will bloat the file less). My Tiff has a very mezzotint type look to it, when you zoom into it, there are rough edges around everything. I attempted to export at a very high resolution, 1200 DPI, that didn't change anything. Any suggestions? Thanks! Kim Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T.: Speaking of music editions online, Paul Wranitzky editions
At 9:32 AM +0100 1/13/07, dc wrote: Andrew Stiller écrit: Big mistake. People don't value what they can get for free. Even a nominal fee would generate a much stronger response. I'm sure any business school would say the same, but in some cases they would be wrong. The cases I'm thinking of is when what you do to pay the bills is one thing, and what you do for the enjoyment of it is another. A hobby, in other words. And yes, there are people for whom editing, arranging, or even composing music is a hobby, they don't need to live off it, and they may indeed offer it for free. And for many of us music can be a profession, a business, and a hobby all at once. I earned my living performing for about 20 years, now earn it teaching what I learned over that time, and am very active in volunteer community music as a hobby. Agreed. And people are sometimes right. When you have a close look at music that you can get for free, a lot of it is crap: very bad editions, poorly engraved, often lifted off someone else's work without even a mention, with very numerous mistakes added (I'm talking about public domain music). The implication here is that proper published music is all beautiful, all expertly edited and all exquisitely engraved. (Lifted off someone else's work and public domain are mutually exclusive, in any case.) There is generally no quality control whatsoever such as one could hope to find with a traditional publisher. Tell that to the good folks on the OrchestraList who have to deal with quality control that involves innumerable errors, lists of corrections, and just as wide a variety of engraving practices. Especially French editions, it seems. And the flip side of such quality control is Permanently Out Of Print! That's a business decision, too. This also contributes to the devaluation of any good work one could do for free. Oh? I believe I can still do good work even if there are others who don't. Why should I think otherwise? And then, there is another drawback: that means no publisher in his right mind will ever bring out this music on paper, so it will never make it into libraries, etc. And, if the edition turns out to be unsatisfactory, for whatever reason, there probably will never be a good one to replace it. Well, if the free stuff is as bad as you say, the people who want better will be willing to pay for it. You can't have it both ways! The market is just too small for minor composers. The market is too small for classical music in general, or hasn't anyone noticed?! Although Kalmus and Luck's aren't going broke, and Dover seems to be doing well. He wasn't even talking about classical music, of course, but wasn't it Sol Hurok who said, If the music business was a business it couldn't stay in business!? But we keep plugging along. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
At 12:50 AM -0800 1/13/07, Mark D. Lew wrote: On Jan 12, 2007, at 5:38 PM, John Howell wrote: Opera was entertainment, and can only be compared with musical theater today I think a better comparison is with film today. Especially if you're talking about 19th century opera. It's no coincidence that there's so many connections between opera composers and film composers around the 1930s. Touchée! I wasn't even thinking in those terms, but of course you're right. Musical theater had its heyday before WW II, but movies have taken over the field of large-scale popular entertainment without the limitations of a small stage and a proscenium, bringing the patrons into the action. And of course appealing to popular taste, which actually didn't exist much before the 20th century, while still creating artistic masterpieces in some cases. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
On 13 Jan 2007 at 21:04, Kim Patrick Clow wrote: On 1/13/07, David W. Fenton [EMAIL PROTECTED] wrote: Use the Graphics Tool, export as TIFF. Word can import TIFFs directly, or you can save it as a GIF and import that (which will bloat the file less). My Tiff has a very mezzotint type look to it, when you zoom into it, there are rough edges around everything. I attempted to export at a very high resolution, 1200 DPI, that didn't change anything. Finale creates a 2-bit TIFF, that is, with only 2 colors (black and white). What you need to do is bump up the color depth. I usually bump up to 16 million colors, then resize for output and then gray scale it. The graphics I put up for the Dotted Slurs discussion were made in precisely that way. I wish the color depth of the Finale TIFFs were something you could set, as it would make life *much* easier when exporting them. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T.: Speaking of music editions online, PaulWranitzky editions
I frequently tell people that classical music exists in the epsilons of the economic formulas, that is, that which economics cannot explain. Unfortunately it took me a long time to learn that if I compose for someone free my work gets thrown in the trash without a second thought. If I charge even a menial amount I'll hear it at least once. Sad, but true. Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
At 10:23 AM +0100 1/13/07, Daniel Wolf wrote: On Jan 12, 2007, at 5:38 PM, John Howell wrote: Opera was entertainment, and can only be compared with musical theater today This is a claim that is made again and again, but on any close inspection will fall apart. It's clear that Viennese Opera was a form of entertainment for upper classes, but the entire function of entertainment is difficult to map one-to-one to mass entertainment today. Absolutely true, for the simple reason that prior to the 20th century popular taste could not exist in the stratified, class-conscious societies of Europe and, yes, America, with its pre-melting-pot amalgam of ethnic enclaves and rigid class distinctions in the Eastern seacoast cities, where the upper classes paid for the construction of concert halls and opera houses. Many deride the rise of popular music in the 20th century and its dominant position today, but it is the first true music of the people ever to exist. Opera was understood as a vehicle for the virtuoso demonstration of a body of music and cultural conventions and patterns, for technical innovation within the context of those convention, and also as a civic and moral instance. The coherence of Opera as a genre depended less on the coherence of a single opera as a work of music or literature or theatre than its coherence within a tradition whose conventions and patterns would be understood by a small audience who returned night after night, over many years, and who would have recognized the same conventions and patterns in an elevated literary tradition in which they read, in sophisticated sacred and secular concerted music they heard, and in the civic and courtly lives that they led. Oh, well put!!! And goes a long way toward explaining why Greek mythology, which was part of a classical education, was so popular in early Italian opera and English masques alike. One might argue that the _Singspiel_ , with a wider audience, was particularly close to the musical, but despite its connections to the /Prater/, the very best examples of Singspiel (/Die Zauberflöte, Die Entführung aus dem Serail/) clearly have their own moral ambitions. It's interesting that the English theaters of Shakespeare's time deliberately appealed to both the connoisseurs and the groundlings, and did so quite successfully, while opera in ANY country through the 18th century seems not to have done so. Certainly Singspiel and Zarzuela had broader popular appeal than Opera Seria, but we're still basically talking about court entertainments. The first public opera house in Venice opened in 1637, but I wonder whether the public was not mostly aristocrats and middle-class wannabe aristocrats who could afford the subscriptions. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
David: You also suggested using the export option of a EPS file. After struggling with the installation of the PS drivers, I can print a EPS file that captures all the music, but the instrument names and the text headers above the first system are not being embedded properly. I've tinkered with every possible setting when I click on the print set up button. Any possible suggestions? I'd love to have a vector format of the music for the incipit creation. I've seen a lot of talk about bugs about printing and post script. If it helps any: this is on a XP box and using Finale 2006. Thank you, Kim Patrick Clow On 1/13/07, David W. Fenton [EMAIL PROTECTED] wrote: On 13 Jan 2007 at 21:04, Kim Patrick Clow wrote: On 1/13/07, David W. Fenton [EMAIL PROTECTED] wrote: Use the Graphics Tool, export as TIFF. Word can import TIFFs directly, or you can save it as a GIF and import that (which will bloat the file less). My Tiff has a very mezzotint type look to it, when you zoom into it, there are rough edges around everything. I attempted to export at a very high resolution, 1200 DPI, that didn't change anything. Finale creates a 2-bit TIFF, that is, with only 2 colors (black and white). What you need to do is bump up the color depth. I usually bump up to 16 million colors, then resize for output and then gray scale it. The graphics I put up for the Dotted Slurs discussion were made in precisely that way. I wish the color depth of the Finale TIFFs were something you could set, as it would make life *much* easier when exporting them. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Kim Patrick Clow There's really only two types of music: good and bad. ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T.: Speaking of music editions online, Paul Wranitzky editions
On 13 Jan 2007 at 21:18, John Howell wrote: Although Kalmus and Luck's aren't going broke, and Dover seems to be doing well. Kalmus has been doing its own engraving these last few years, and some of them are really quite beautifully done, quit in contrast to some of the old photographic reprints, many of which looked like 6th- generation photocopies! -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
P.S. The font that I am using that's NOT being output in the .EPS file is Adobe Jenson, in the OpenType format (which works on both Windows and Macs). Would this be a factor in my woes? On 1/13/07, Kim Patrick Clow [EMAIL PROTECTED] wrote: David: You also suggested using the export option of a EPS file. After struggling with the installation of the PS drivers, I can print a EPS file that captures all the music, but the instrument names and the text headers above the first system are not being embedded properly. I've tinkered with every possible setting when I click on the print set up button. Any possible suggestions? I'd love to have a vector format of the music for the incipit creation. I've seen a lot of talk about bugs about printing and post script. If it helps any: this is on a XP box and using Finale 2006. Thank you, Kim Patrick Clow On 1/13/07, David W. Fenton [EMAIL PROTECTED] wrote: On 13 Jan 2007 at 21:04, Kim Patrick Clow wrote: On 1/13/07, David W. Fenton [EMAIL PROTECTED] wrote: Use the Graphics Tool, export as TIFF. Word can import TIFFs directly, or you can save it as a GIF and import that (which will bloat the file less). My Tiff has a very mezzotint type look to it, when you zoom into it, there are rough edges around everything. I attempted to export at a very high resolution, 1200 DPI, that didn't change anything. Finale creates a 2-bit TIFF, that is, with only 2 colors (black and white). What you need to do is bump up the color depth. I usually bump up to 16 million colors, then resize for output and then gray scale it. The graphics I put up for the Dotted Slurs discussion were made in precisely that way. I wish the color depth of the Finale TIFFs were something you could set, as it would make life *much* easier when exporting them. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Kim Patrick Clow There's really only two types of music: good and bad. ~ Rossini -- Kim Patrick Clow There's really only two types of music: good and bad. ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
It was interesting to hear Claudio Abbado in the 1970's talk about workingmen's matinees at La Scala that were new at the time, so that Teatro alla Scala was [then] for everybody. Better late than never, I guess. Then again, how many people can afford Broadway extravaganzas nowadays? Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Brecker passed away
Michael Brecker passed away today. Sad. http://www.newsday.com/news/local/wire/ny-bc-ny--obit- brecker0113jan13,0,4833721.story?coll=sns-ap-nation-headlines -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Brecker passed away
A-NO-NE Music wrote: Michael Brecker passed away today. Sad. Very much so. I can still remember the first time I heard the Brecker Brothers - it was almost as intimidating as the first time I tried to play Some Skunk Funk. cd -- http://www.livejournal.com/users/dershem/# http://members.cox.net/dershem ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Brecker passed away
On Jan 13, 2007, at 10:21 PM, A-NO-NE Music wrote: Michael Brecker passed away today. Sad. http://www.newsday.com/news/local/wire/ny-bc-ny--obit- brecker0113jan13,0,4833721.story?coll=sns-ap-nation-headlines Thanks for the news, Hiro. He came to my school when I was a student and I have a recording of him playing on one of my pieces. He was a monster musician, and a really nice guy to boot. I'll put on his album Don't Try This At Home and have a scotch in his honour. Sigh. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
On 1/13/07, David W. Fenton [EMAIL PROTECTED] wrote: I usually bump up to 16 million colors, then resize for output and then gray scale it. The graphics I put up for the Dotted Slurs discussion were made in precisely that way. When you say bump up the file, is this done WITHIN Finale, or in a graphics program such as Photoshop, or Ilustrator? I've looked at the options for Finale 2006; and not found a dialogue box that allows an adjustment. Thanks, Kim ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT ... commissions
I've just been offered a commission to write a choral piece. Though I've done a lot of composing, this is the first time for me in the world of commissions. If there is such a thing, what might be the going rate for an SATB piece for a church choir of 20 singers, lasting about 3 minutes? I told the person wanting the work that I honestly didn't know what to ask, but that I'd look around ... hence, this message. She supposed that something between $500 and a grand might be a reasonable range ... what say ye? Dean Dean M. Estabrook [EMAIL PROTECTED] http://home.comcast.net/~d.esta/ Power embraces greed and abjurs justice ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T.: Speaking of music editions online, Paul Wranitzky editions
On Jan 13, 2007, at 9:18 PM, John Howell wrote: At 9:32 AM +0100 1/13/07, dc wrote: Andrew Stiller écrit: Big mistake. People don't value what they can get for free. Even a nominal fee would generate a much stronger response. I'm sure any business school would say the same, but in some cases they would be wrong. The cases I'm thinking of is when what you do to pay the bills is one thing, and what you do for the enjoyment of it is another. A hobby, in other words. I was not speaking of the income of the producer, but of the (esthetic and intellectual) value placed on the work by its intended audience. It is an unfortunate but inescapable fact of human nature that if you are offered something for nothing, you tend to assume that it is of little intrinsic value or importance, and will pay little attention to it. The big foundations understand this and will usually refuse to subsidize any musical group for more than one year if they do not charge admission to their concerts. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On Jan 13, 2007, at 9:43 PM, John Howell wrote: prior to the 20th century popular taste could not exist in the stratified, class-conscious societies of Europe and, yes, America, with its pre-melting-pot amalgam of ethnic enclaves and rigid class distinctions in the Eastern seacoast cities, where the upper classes paid for the construction of concert halls and opera houses. This is conventional wisdom, but it's simply untrue. Any culture, at any time, that has an identifiable classical music must also have a popular music lying outside those boundaries. Certainly in 19th c. America there were quite distinct classical and popular song styles that can be very easily distinguished even within the work of single composers (classical: virtuosic solo singer w. piano accompaniment; pop: non-virtuosic solo stanzas alternating with 4-part chorus refrain, with piano or guitar accompanying). I could cite examples from both A.P. Heinrich (a classical composer who dabbled in pop) and Henry Clay Work (a pop composer who dabbled in classics). Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On Jan 13, 2007, at 9:03 PM, Aaron Rabushka wrote: Perhaps I should know better than to debate what is or isn't an established classic, but how 'bout Korsakov's Concerto for Trombone and Band (which the Russian in me dearly loves no matter how many others find it a waste), and Tchaikovsky's March in B-Flat? I'm perfectly willing to concede both--but it changes my point not one whit. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On 1/13/07, Andrew Stiller [EMAIL PROTECTED] wrote: This is conventional wisdom, but it's simply untrue. Any culture, at any time, that has an identifiable classical music must also have a popular music lying outside those boundaries. I agree. Renaissance dance music could be based on popular songs. I believe Martin Luther used dance tunes as the basis for some of his hymn settings. Telemann loved the folk music he encountered in Poland; and it influenced quite a bit of his compositions. You could argue that this folk/popular music, would revitalize the art music of any given period. Kim Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Forewards and how to generate musicial quotes/incipits
On Jan 13, 2007, at 9:59 AM, Kim Patrick Clow wrote: 1. I get the colors. I need black and white. I'm using a version which is very old now, so I don't know if this still applies But when I make PDFs by way of Finale's Compile Postscript Listing I also get colors. My solution is simply to go to the option where I can turn off display colors. Then when it's black and white on screen I can make a bw PS file, and then I switch the display colors back on while it's done. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
Not to mention how much Mozart dance hall music (to return to the source of this thread) is now called classical! Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On Jan 13, 2007, at 3:39 AM, Daniel Wolf wrote: Italian Opera, and especially that of the mid to late 19th century was quite a different animal to that of late 18th century Vienna. But even then, while, most substantial cities and towns had opera houses, villages did not. The question of to whom a composer catered is inevitably connected to the increasingly commercial nature of the Opera, a factor of significantly less importance in imperial Vienna. But it is not simply a matter of catering to an audience other than the wealthy, as the mechanisms through which music extracted from operatic repertoire becomes widely known, and how or if a composer is compensated are rather subtle. The popularity of Verdi, in particular, also has a political component -- nationalism -- that is not directly paralleled in classical Vienna. I think you'll find this political component is closely connected to the class component. Several strands of this thread have bumped into the fact that discussing for whom it was written one can't treat opera as a uniform whole. As has been observed here, there are distinct differences in what role opera played in different eras and in different national cultures. It is also true that different trends in opera are closely associated with the different economic classes who were their audiences. This is most pronounced in 19th century Paris where two distinct mainstream classes of opera existed side-by- side -- the aristocratic grand opera and the bourgeois opera comique -- along with at least one thriving demimonde genre (the operetta of Offenbach and those like him). Notice also that significant changes in the history of French opera coincide almost exactly with the major political transformations in Paris (1830, 1871). Although Verdi's popularity overflowed somewhat into all classes, Verdi's opera was inextricably linked with the Italian middle class, whose career it paralleled exactly. Italian nationalism was born from this middle class, and so does Verdi's work reflect that. Traditional opera today is an antique art, at least in America. The typical opera fan wants to see and hear opera as it was (or so they think; in reality, operatic tradition is tied more directly to the Met of the 1940s and 1950s than to the eras in which the works were written). Contemporary opera is practically a separate genre, which until recently was dominated by orchestral-minded composers whose primary experience is not in theater nor even with voice. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
Mark D. Lew wrote: Traditional opera today is an antique art, at least in America. The typical opera fan wants to see and hear opera as it was (or so they think; in reality, operatic tradition is tied more directly to the Met of the 1940s and 1950s than to the eras in which the works were written). Contemporary opera is practically a separate genre, which until recently was dominated by orchestral-minded composers whose primary experience is not in theater nor even with voice. In many minds (the general public - the people who watch TV and occasionally go to movies, not the people who go to the opera), Opera is something big and grand and expensive that the 'hoity-toity' upper classes go to, or something the Marx Brothers might spoof, but real knowledge of opera is very limited. Even fairly well educated people can rarely name a half-dozen operas. And opera as it was is little like what is played today. Advances/changes in instruments, halls, and voice training (not to mention amplification) have changed the art so much that Mozart and Verdi and the like would be astonished by it. Contemporary opera, such as it is, is informed by its cultural roots, which include musicals, rock and roll, and American Idol, among other things. Nothing is monolithic. cd -- http://www.livejournal.com/users/dershem/# http://members.cox.net/dershem ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Quickeys can slow down Mac big time!
FinMac 2007a, Mac OS 10.4.8, PowerBook G4, GPO Studio, Quickeys 3.1.1 After working in Finale for a few hours, I notice that the whole system starts slowing down and the fans on my computer stay on. I assumed this was due to Finale and a large GPO setup. I discovered to my horror that Quickeys 3.1.1 was actually the culprit. The Quickeys background application was using up 45 to 70% of my CPU! Quitting Quickeys just gave me the spinning beach ball and only logging out and back in cured the problem. Temporarily. I thought I would throw this out to the list to see if there were any solutions and to give a warning. I would hate to give up Quickeys, because it is so much a part of the way I do Finale. But I also don't like restarting all the time. -Randolph Peters ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT ... commissions
--- Dean M. Estabrook [EMAIL PROTECTED] wrote: I've just been offered a commission to write a choral piece. Though I've done a lot of composing, this is the first time for me in the world of commissions. If there is such a thing, what might be the going rate for an SATB piece for a church choir of 20 singers, lasting about 3 minutes? I told the person wanting the work that I honestly didn't know what to ask, but that I'd look around ... hence, this message. She supposed that something between $500 and a grand might be a reasonable range ... what say ye? In Canada the rate would be $425 per minute: http://www.clc-lcc.ca/commissioning-rates.php -- Io la Musica son, ch'ai dolci accenti So far tranquillo ogni turbato core, Et or di nobil ira et or d'amore Poss'infiammar le più gelate menti. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] mozart
On 14.01.2007 Aaron Rabushka wrote: Perhaps I should know better than to debate what is or isn't an established classic, but how 'bout Korsakov's Concerto for Trombone and Band I tell you my personal anecdote: When I was in school I had a deal with a pianist/trombonist, that we would play two pieces together, one violin sonata where he played the piano, and the Rimsky-Korsakov Trombone concerto with me at the piano. It ended being the only time I ever played the piano publically. It was a complete disaster for me, who had never played a piano reduction before, and whose piano skills were simply not good enough. Well, the trombonist ended up being a singer and is doing pretty well... Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. Mozart piano concerto (movement) discovered.
On 14.01.2007 Andrew Stiller wrote: On Jan 13, 2007, at 4:54 AM, Johannes Gebauer wrote: from Rennaissance to baroque (how radical was that?) Immensely: polarization of the voices, especially. As late as ca. 1690 a diarist (sorry, I forget who) complained that he couldn't make head or tail of a new piece because it had no tenor. Well, I must admit I see that as a rather minor change as far as compositional principles are concerned. Many people also complained about Bach's chorales being to adventurous, yet they are by no means the result of radical changes. The change from immitation to confrontation as a musical idea is in my opinion much more radical than going from Rennaissance ideas to baroque ideas. In fact I see the early baroque as a kind of result of the Rennaissance idea - the search for the antique singing and drama was answered by the recitative and the early opera. Comparing a Telemann overture with an early Haydn string quartet I can see a formal straight jacket and a form which potentially can do anything. A Mozart Opera Finale using Baroque form? Completely impossible. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
