Re: [Finale] Authentication schemes
Dennis W. Manasco wrote: [snip] So what happens if a principal makes a decision that causes loss of income for a litigating class? i.e.: What if the principal was one of those who made the decision to institute a tethered copy-protection scheme that, during the implosion of the business, caused numerous customers to lose a significant portion of their livelihood? I'd really like to see a good liability lawyer analyze this scenario, perhaps with the help of an experienced class-action attorney The license you agree to when you use the software (even the pre-tethered versions) states pretty clearly that the company is NOT responsible for any loss of income, nor is the product guaranteed to work at all for any purpose. I put my hands on the version 3 license really easily, and I am pretty certain these sections haven't changed much over the different versions: [quote]Neither CODA nor anyone else involved in the creation, production, licensing or delivery of the SOFTWARE and documentation materials shall be liable for any indirect, incidental, consequential, or special damages (including damages for lost profits or the like) resulting from breach of warranty or any type of claim arising from the use or inability to use the SOFTWARE, even if CODA has been advised of the possibility of such damages. In any event, CODA's responsibility for direct damages is never more than the purchase price and license fee you paid for the FINALE package. [endquote] [statement about how some states don't limit such damages.] [quote in bold capitals:] except as expressly provided above, Coda Music Technology makes no warranties regarding the software, documentation materials, or media, either express or implied, included but not limited to warranties of merchantability and fitness for a particular purpose.[endquote] These clauses are in practically every license I have ever seen for any software applications I have ever purchased in almost 20 years of using a computer. By using the software you have agreed that the publisher can't be held liable for any loss of income due to an inability to use their program. It would be a very high-powered, very expensive lawyer who might try to crack that license agreement which you have agreed to since you began using Finale. It would be worth a try, but unfortunately my pockets don't go deep enough to start the ball rolling. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Best Works of the 1920s
On Mar 11, 2005, at 3:46 AM, Michael Cook wrote: At 12:20 -0800 10/03/2005, Mark D Lew wrote: It has been my observation that Wozzeck is most highly praised by people who are very into orchestral music but have little interest in opera. That is, the sort of people who like Wozzeck usually don't much care for Verdi and Puccini, and vice versa. Not my experience. I get as many kicks from Wozzeck as I do from Traviata or Tosca, and in the opera theatre where I work (where we do just about all the big Wagner, Verdi and Puccini stuff) I find many people who feel the same. Wozzeck works on many levels: of course it's great orchestral music, but it's also great theatre and wonderfully written for the singers. And there are passages in Wozzeck that are just as romantic and sexy as anything by Puccini. Michael Cook A complete aside: The chamber orchestration by John Rea of Wozzeck, which I mentioned previously as having a killer trombone part, was played in British Colombia a while ago, and the trombone part prompted the B.C. player to write an article about how to practice for the gig. This would only be of interest to trombonists, but I know there are some here on the list. http://www.musicforbrass.com/articles.php?artnum=182 Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Best Works of the 1920s
Very interesting. I forwarded it to Trombone-L Raymond Horton Bass Trombonist, Louisville Orchestra Christopher Smith wrote: ... A complete aside: The chamber orchestration by John Rea of Wozzeck, which I mentioned previously as having a killer trombone part, was played in British Colombia a while ago, and the trombone part prompted the B.C. player to write an article about how to practice for the gig. This would only be of interest to trombonists, but I know there are some here on the list. http://www.musicforbrass.com/articles.php?artnum=182 Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
I don't think I'm being dishonest. I never qualified eventually. The whole point about forever is that it is, well, forever. If your software doesn't quit working in 15 years, then it will quit during the next 15 years, and if not then, then in the next, or the next, or the next, or the next. 4 billion years is just a facetious way of bringing home the point. It WILL happen. I think our basic disagreement is over how long MS will continue to provide backward compatibility. Backward compatibility is a weasel concept anyway. Binary executables have a life-span like everything else in this world. Some work longer than others. For any given OS, each new OS version causes some old programs to quit working until gradually there is near-complete turnover. It is undeniable that in general the lifespan for Windows programs has been longer than Mac OS. (The whole tenor of this conversation seems to be a Mac-bashing one--a topic that utterly bores me.) But you yourself admitted that some Windows programs (e.g., WordPerfect) have fallen by the wayside. By contrast, I still have a few MacOS binaries I purchased in the 1980s that still work just fine in Panther OSX. In particular MS Word 5.1 and MS Works 3. Personally, I believe that there will be a change in the Windows environment over the next 5 years that will rival the magnitude of the transition from DOS. I think a large number of older programs could be killed by it. Microsoft has a great deal of selfish incentive to kill off their pre-authenticated versions of Office, and if they do it, they will take a lot of other programs with them. But only time will tell. I will say that, except for games, which probably have the shortest lifespan of any program, the older 1980s versions seem to have the longest lifespans on either platform. They had simple installation procedures, did not generally depend on complex middleware libraries, and used vanilla OS-level API calls. A great example is MS Works for MacOS. Works 3 still works on Panther, but Works 4 (a later version) died years ago. This is because Works 4 depended on a discontinued OLE library for MacOS that quit working (I believe) in OS9. So, I think my little DOS utility collection, written in the 1980s, will probably continue to work long after the stuff I'm writing this year has ceased to function. (The stuff I'm writing this year depends on the .NET framework and the vagaries of ASP.NET and IE 6, and it could plausibly die with Longhorn.) I think we agree on one thing, and that is that copy protection is abusive. One of the reasons that it is abusive is that it shortens the lifespan of binaries. I doubt very many if any copy-protected binaries from the 1980s still work, on either platform. In many such cases, the sole reason they don't work is that the copy-protection scheme no longer works. My personal attitude, though, is that I have acquiesced to it as a battle not worth fighting, since even non copy-protected versions eventually die. David W. Fenton wrote: This is twice now that you've attempted to completely change the terms of discussion. I expect more honest debate from someone like you, Robert. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
On 11 Mar 2005 at 10:20, Robert Patterson wrote: I don't think I'm being dishonest. I never qualified eventually. The whole point about forever is that it is, well, forever. If your software doesn't quit working in 15 years, then it will quit during the next 15 years, and if not then, then in the next, or the next, or the next, or the next. 4 billion years is just a facetious way of bringing home the point. It WILL happen. But we aren't talking about the end of the universe. We aren't talking about forever. We're talking about the interval of a few years after the failure of MakeMusic, when Finale users would need some capability to use their files. During that interval, with a key escrow setup, they'd have a choice to take their time moving away from Finale, but would not be interrupted in their work (and that applies only to people in the position of needing to install on a new computer, thus requiring an authentication key). Assuming that Coda continues to release a new version of Finale every year, and that Microsoft (why we're limiting this discussion to MS, I don't know) continues to release a new version of Windows every 3-5 years, these things would be true: 1a. the last 3 or 4 versions of Finale are likely to run just fine on the most recent version of Windows. 1b. Earlier versions may have a few features that don't work exactly perfectly, but most likely (if history is any guide), editing and printing will remain usable. My bet is that WinFin versions back to 3.x will still run just fine on WinXP (that's about 10 years ago, right?). 2. Microsoft tends to release a new major version of Windows every 3- 5 years or so, versions that change major parts of the underpinnings of Windows (Windows 1, 1987, Win3, 1990 (while Win3.1 was a huge big deal in terms of usability because of the introduction of TrueType fonts, it was otherwise pretty much exactly the same as 3.0), Win95, 1995, and on the NT side, NT3.1 (i.e., version 1), 1991, NT 4, 1996, Win2K, 1999 (WinXP is an upgrade to Win2K, not a major rewriting of Windows)). But in none of those major upgrades was backwards compatibility broken. Sure, a few apps had problems, but there were virtually no apps that won't run at all or whose main functions are disabled or fundamentally broken. If one assumes that MakeMusic goes under, it will happen when most Finale users are: 1. using the latest version or one of the last 2 or 3 versions, AND 2. those on Windows will be using the last two *minor* versions of Windows, with a handful still on the previous *major* version of Windows (translated: today, it's roughly something like 50% WinXP, 40% Win2K and the remainder using mostly Win98 or NT 4; Win2K would be higher if it had been marketed properly, rather than just to businesses), but the exact mix depends on when MM fails in relation to the Windows release cycle. Should MM fail just before the release of Longhorn, the last version of Finale will be more likely to have very minor problems than if it were designed after the release of the next major version of Windows. Nonetheless, IF HISTORY IS ANY GUIDE, even in the case of a pre- Longhorn version of Finale, the software is likely to still be perfectly usable on Longhorn for basic editing and printing, though there may be certain cosmetic and non-essential elements that don't work 100%. Now, that could change if Longhorn included major changes to these subsystems: 1. printing and rendering 2. MIDI 3. file system while also purposely yanking support for legacy behavior in regard to these major subsystems. In the case of Win16 programs (which was different in all of these aspects), Microsoft has included full support to this day (they carefully designed the Win32 APIs and the altered subsystems to make it work), even though there are now no longer any significant 16-bit applications out there anywhere. And DOS doesn't exist any more, but the command prompt is DOS compatible (highly compatible, in fact) and runs a large number of DOS programs from the beginning of DOS, even going so far as to providing substantial control of parameters that can be tweaked to allow misbehaving legacy DOS programs to run (check out the properties for a DOS prompt to see how much can be adjusted). Now, so far, the only areas of those three that Longhorn is changing is the screen rendering (Avalon) and the file system (WinFS, delayed until after the original release of Longhorn), and both are scheduled to be ported to other versions of Windows, which suggests neither is going to break legacy apps. The last time Microsoft changed the file system (long file names), they implemented some very clever hacks to allow older apps to still work. Yes, you end up seeing ugly file names, but you can still use the files (i.e., the problem was purely cosmetic, rather than functional). So far as I know they've not made major changes to the rendering subsystem.
Re: [Finale] Authentication schemes
On 11 Mar 2005 at 11:31, Andrew Stiller wrote: On Mar 10, 2005, at 3:20 PM, David W. Fenton wrote: Couperin and Charpentier Lessons of Tenebre That would be: Lessons for Tenebrae. You know, I've always had a block on that -- I spelled it right at first, but then rememebered the French on the Charpentier MS (Leçons des tenebres) and lost my nerve. Of course, now that I look at the MS again, I see that my memory it was incorrect, as it is only singular. Chalk it up to never having formally studying either French or Latin. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
On 11 Mar 2005 at 20:37, d. collins wrote: David W. Fenton écrit: You know, I've always had a block on that -- I spelled it right at first, but then remembered the French on the Charpentier MS (Leçons des tenebres) and lost my nerve. Of course, now that I look at the MS again, I see that my memory it was incorrect, as it is only singular. Actually, it's plural (Leçons de ténèbres), but without the article (which, contracted with the preposition, becomes des). The singular ténèbre is not used. I googled on it and found all sorts of variations, clearly by people who, like me, don't know their French. The Charpentier MS doesn't have the cedilla on the c or any accents on the e's, either. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Best Works of the 1920s
I have often heard comments akin to I like opera, except for the voices, and not only from Jazz lovers. But I also have the impression that many Jazz instrumentalists have an ambiguous relationship to /Jazz/ vocal music: not so much actively disliking it, but rather giving the obligatory nod of appreciation to some great singers from the past and then just not cultivating any relationship with contemporary jazz vocal musicians. This is only an impression from a musicians who has virtually nothing to do with Jazz, so I'd love to be corrected, but I suspect that I am tracing a general pattern here that has something more to do with American music culture in general than with a division between opera and Jazz partisans. As an American, I grew up with the mistaken impression that Opera (and art song, for that matter) was at the periphery of classical music-making and musical culture. I've now been in Europe long enough to understand that, in the European countries with strong operatic traditions, this is definitely not the case. Here in Budapest, for example, the opera house is the center of musical life and the recital or orchestral concert is a satellite activity. The Budapest opera is a very traditional house, playing standard repertoire (from Mozart through Count Bluebeard's Castle and Turandot) in mostly traditional productions with repertoire singers drawn overwhelmingly from the Hungary. These singers become important local figures praised, critiqued, gossiped about, and treasured by a public that crosses class lines. Instrumental music doesn't carry much of this social cache, it is rather more of an elite activity. In the US, pop music is essentially a vocal genre. Instrumental pop successes are novelty or niche items (what instrumentals have made the top ten in the past fifty years? Herb Alpert, disco-fied Beethoven, and---?) . But American popular song has roots in both European and African-American Art musics, often via the theatre. But why the present divorce between serious instrumental music (whether Jazz or classical) and popular song? I have lots of small ideas (for example, the musicians' union strike from recording during WWII) but no grand ideas to explain this. Daniel Wolf ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
David W. Fenton wrote: Yes, you may have to recompile your runtime under the most recent .NET version, Recompiling is not an option in this context. What I am saying is that my old DOS utilities continue to run *without* recompile since the last time I build them in the mid-1980s. Meantime, I think there is every chance that my ASP.NET apps of today will require being recompiled to run under some not-very-distant OS version only a few years hence. I also disagree that the Windows backwards-compatibility picture is as rosy as you suggest, but ymmv. It certainly has a better track record over 25 years than does MacOS. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Best Works of the 1920s
On Mar 11, 2005, at 11:40 AM, Daniel Wolf wrote: In the US, pop music is essentially a vocal genre. Instrumental pop successes are novelty or niche items (what instrumentals have made the top ten in the past fifty years? Herb Alpert, disco-fied Beethoven, and---?) . But American popular song has roots in both European and African-American Art musics, often via the theatre. But why the present divorce between serious instrumental music (whether Jazz or classical) and popular song? I have lots of small ideas (for example, the musicians' union strike from recording during WWII) but no grand ideas to explain this. When did this divorce take place? Was it not at roughly the same time the microphone was introduced? If so, it's probably not a coincidence. Most serious singers are accustomed to singing in a way that they could be heard in a reasonably large hall (very large, in some cases) even without a microphone. The microphone opened up the possibility of a different style of singing which would barely be audible at all without it. The two types of singing have different requirements in terms of how they are performed, what orchestration can go with them, etc., and different styles of music have evolved around them. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] American Styles (was Best Works of the 1920s)
At 8:40 PM +0100 3/11/05, Daniel Wolf wrote: In the US, pop music is essentially a vocal genre. Instrumental pop successes are novelty or niche items (what instrumentals have made the top ten in the past fifty years? Herb Alpert, disco-fied Beethoven, and---?) . The French guy--Love is Bleu; Glen Campbell and another guitarist--Mason Williams?; Charlie Daniels Band and other Bluegrass bands; but yes, especially the top 40 is almost exclusively vocal-oriented. But American popular song has roots in both European and African-American Art musics, often via the theatre. Here I would beg to differ, with respect, and with reference to specific historical developmental periods. The thesis I present in my music history class is that American Popular Song did not grow up in the large, East-Coast seaport cities, which maintained close ties to Europe and European culture from the late 18th century on, but in the North American heartland where successive waves of pioneers settled, each bringing its own ethnic background and culture. That culture included folksongs and hymns from many traditions, and songwriters kept writing new songs about current events in the older styles. Those styles were very much based on easy-to-learn-and-remember melodies (often incorporating repetition), vocal ranges limited enough to be sung by anyone, and simple chordal accompaniment rather than complex polyphony. Essentially this formed the background, in the first half of the 19th century, for the brand new music of the people which emerged in the second half, having been essentially protected from the influence of European art music during that gestation period. Yes, the sentimental ballads and minstrel songs of Stephen Foster can be compared with Schubert's art songs, but I wonder how much of that music Stephen Foster or James Bland actually knew well. And similarly, the many hymns of Lowell Mason and William Bradbury compare favorably with those of European hymnists, but I wonder whether they were conscious imitations. And as strong as African-American influence has been in American Popular Music (especially in the development of Jazz), that influence came rather later and formed one of the three important branches of American Popular Music, and one could argue whether the term African-American Art music is even valid in the context of its origins and North American developments. The third branch, American Musical Theater, had its own indigenous predecessors as well, which included the Minstrel Show, Vaudeville, and Burlesque (not unknown in Europe, to be sure, as witness the Follies Bergeres), but with a distinctly North American Flavor. European operetta did not come to North America until the 1890s or later, and once again was known in the East-Coast seaports but not so much in the interior heartland, where Ballad Opera was considered high art! The key, for me, is differentiating between developments in the seaports (and later on the riverports, to be sure) and developments in the interior of a continent that is vast beyond the experience of most Europeans (give or take Russians!). But why the present divorce between serious instrumental music (whether Jazz or classical) and popular song? I'm not sure that's a valid dichotomy, but I would have to think about it. What's not to be serious about popular song? I have lots of small ideas (for example, the musicians' union strike from recording during WWII) but no grand ideas to explain this. Hmmm. I was a bit too young to belong to the union during WW II, although I was forced to join at the age of 15 in the early '50s, but I don't remember a strike against the recording industry. In fact, new recordings by popular singers and big bands were considered extremely important for morale during the war, and that I DO remember. What I do recall is the strike by ASCAP against the broadcast industry, which ASCAP did win but which broke the stranglehold that Tin Pan Alley had enjoyed on American Popular Music and opened up the broadcast industry to the many small-time and ethnic musics that subsequently became powerful forces in the industry. (I can never remember whether that came before or after WW II, but I doubt that it happened during the war itself. Too many ASCAP celebrities like Irving Berlin considered themselves an important part of the war effort--which they were!) Thanks for your very interesting comparison of European and North American musical cultures! 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] American Styles (was Best Works of the 1920s)
John Howell wrote: Hmmm. I was a bit too young to belong to the union during WW II, although I was forced to join at the age of 15 in the early '50s, but I don't remember a strike against the recording industry. In fact, new recordings by popular singers and big bands were considered extremely important for morale during the war, and that I DO remember. What I do recall is the strike by ASCAP against the broadcast industry, which ASCAP did win but which broke the stranglehold that Tin Pan Alley had enjoyed on American Popular Music and opened up the broadcast industry to the many small-time and ethnic musics that subsequently became powerful forces in the industry. (I can never remember whether that came before or after WW II, but I doubt that it happened during the war itself. Too many ASCAP celebrities like Irving Berlin considered themselves an important part of the war effort--which they were!) The James Petrillo-led AFM strike against recordings was in 1942, and is often cited as a factor in the decline of the big band era -- many well-known bands lost their momentum in the recording business. (See, for example: http://www.swingmusic.net/Big_Band_Era_Recording_Ban_Of_1942.html ) (Interestingly, vocalists were not in the same union and all-vocal recordings were made (this was the golden age for groups like the Golden Gate Quartet and there is an interesting -- and not always mediocre as my reference above claims-- repertoire of all-vocal War Songs from that time; e.g. Stalin wasn't Stallin')). In part due to the FDR administration's arguments about the lack of patriotism of a strike during wartime, the strike ended but not without seriously damaging the position of instrumentalists due to loss of sales and market position. I believe that the effect of ASCAP-BMI conflict was an important background event to the AFM strike, although I have a different take on the net effect. Tin Pan Alley composers did suffer from lack of continuous exposure to the public, but ASCAP itself survived just fine. Prior to the ASCAP ban, many of the larger recording firms had subsidiary race labels for local and minority musics. After the agreement, and no longer bound not to compete directly with BMI, ASCAP expanded its membership franchise into any recorded genre. But it is not difficult ot recognize that as relationships between ASCAP and broadcasters renormalized and renegotiated blanket contracts, radio networks began to program more uniformly and many labels dropped their minority catalogues. Simultaneously, smaller, independent, labels were largely driven out of both the record sales and broadcast markets by the change to electrical recordings, lps, and vinyl, for which production techniques were monopolized. Daniel Wolf ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] American Styles (was Best Works of the 1920s)
On Mar 11, 2005, at 12:53 PM, John Howell wrote: European operetta did not come to North America until the 1890s or later [...] Not even in New Orleans? I know there was an awful lot of French opera comique there throughout the 19th century. I'm surprised if that didn't include operetta as well. Admittedly, French New Orleans was somewhat isolated from the larger musical culture in the United States. Even for the rest of the country, I think you're off by a decade or two. In 1879, D'Oyly Carte presented Pinafore in New York, and later that year Pirates of Penzance opened simultaneously in New York and England. The decision to produce in America was partly in response to small-scale pirated productions already happening in America. According to Kobbé, Strauss's Fledermaus also premiered in New York in 1879, and Zigeunerbaron in 1886. The Levy sheet music collection, catalogued online http://levysheetmusic.mse.jhu.edu/, shows several songs from Offenbach operettas published in America in the 1860s. The same collection shows a few more excerpts from operettas by Lecocq, Waldteufel, etc., published in the 1870s. It seems odd -- though not impossible -- that such songs would be published locally if there weren't at least some performance of the pieces. If you read the notes on the songs, you'll see the arrangement is sometimes credited to the musical director of some named theater company, which strongly suggests to me that said musical director had a copy of the score and adapted it for American performance. Even if the operettas themselves weren't being performed, you can hardly argue that European operetta wasn't influencing America if American publishers were selling the sheet music to operetta songs. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Way OT, just thought it might resonate... my Dad crossed the bar a couple of weeks ago
The Visit The hopeless stench of geriatric warehousing The uncomprehending stares shrouding a lifetime of inaccessible memories and nostalgia The sudden, shocking ululation, judged as insane, or worse, conventional ... ergo, unheeded The loose, gray, contused, flesh, still warm to the touch ... the question remains on the lips, not wanting an answer The stark lesson of immortality, a mirror for ones self-regression to helpless infancy The covenant with recovery now abandoned, one needs only to listen for the whisper of the scythe, praying to be in its salvific swath The green Exit signs, belying the truth of the maze Dean M. Estabrook - March, 2005 There are some people, I suspect, who would feel obscurely cheated if, when they finally arrived in heaven, they found everybody else there as well. Heaven would not be heaven unless those who reached it could peer over the celestial parapets and watch other unfortunates roasting below. Karen Armstrong Dean M. Estabrook Retired Church Musician Composer, Arranger Adjudicator Amateur Golfer ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] American Styles (was Best Works of the 1920s)
Thanks for the info. I had heard of that strike but not as completely as you write. Wasn't there also heavy taxing of larger bands in clubs after the war that also helped the rise of small combos? Perhaps that was just in NYC? RBH Daniel Wolf wrote: The James Petrillo-led AFM strike against recordings was in 1942, and is often cited as a factor in the decline of the big band era -- many well-known bands lost their momentum in the recording business. (See, for example: http://www.swingmusic.net/Big_Band_Era_Recording_Ban_Of_1942.html ) (Interestingly, vocalists were not in the same union and all-vocal recordings were made (this was the golden age for groups like the Golden Gate Quartet and there is an interesting -- and not always mediocre as my reference above claims-- repertoire of all-vocal War Songs from that time; e.g. Stalin wasn't Stallin')). In part due to the FDR administration's arguments about the lack of patriotism of a strike during wartime, the strike ended but not without seriously damaging the position of instrumentalists due to loss of sales and market position. I believe that the effect of ASCAP-BMI conflict was an important background event to the AFM strike, although I have a different take on the net effect. Tin Pan Alley composers did suffer from lack of continuous exposure to the public, but ASCAP itself survived just fine. Prior to the ASCAP ban, many of the larger recording firms had subsidiary race labels for local and minority musics. After the agreement, and no longer bound not to compete directly with BMI, ASCAP expanded its membership franchise into any recorded genre. But it is not difficult ot recognize that as relationships between ASCAP and broadcasters renormalized and renegotiated blanket contracts, radio networks began to program more uniformly and many labels dropped their minority catalogues. Simultaneously, smaller, independent, labels were largely driven out of both the record sales and broadcast markets by the change to electrical recordings, lps, and vinyl, for which production techniques were monopolized. Daniel Wolf ___ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
On 11 Mar 2005 at 14:04, Robert Patterson wrote: David W. Fenton wrote: Yes, you may have to recompile your runtime under the most recent .NET version, Recompiling is not an option in this context. What I am saying is that my old DOS utilities continue to run *without* recompile since the last time I build them in the mid-1980s. Meantime, I think there is every chance that my ASP.NET apps of today will require being recompiled to run under some not-very-distant OS version only a few years hence. Well, ASP.NET is server-side, not client-side, so it's a very different situation. The upgrade from PHP 3.x to PHP 4.x on one of my clients' web hosts caused an application to break (it wouldn't have corrupted the data as well if MySQL were not a toy database, though, lacking referential integrity enforcement at the engine-level with its native table format). Server applications are simply a completely different kettle of fish, especially when you're running your application on top of another application (ASP is run on top of IIS, which is a component shipped with the server OS, but not part of the OS kernel). I would guess that if the future version of Windows can run the version of IIS for which your ASP.NET application was written, your app will run fine (assuming no depencies outside ASP.NET), but I doubt that will be allowed (just as with IE, I believe you can't downgrade IIS below the version that shipped with the OS). But overall, my bet is that Microsoft has a much poorer backward compatibility track record on server software than they do on desktop software. And in all the cases described where something broke (including my own), each example was an application written in an interpreted language running on top of various layers of support between the application and the OS. That kind of thing is wholly irrelevant to the discussion at hand, which is about Finale, which is a desktop application compiled in native code, not interpreted code. So, I would say your examples of apps that break are very ill-chosen for the topic of discussion. I also disagree that the Windows backwards-compatibility picture is as rosy as you suggest, but ymmv. It certainly has a better track record over 25 years than does MacOS. I don't have a single client who has been forced to upgrade a piece of software only because the older version would not run on a new version of Windows. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
On 11 Mar 2005 at 21:04, d. collins wrote: David W. Fenton écrit: The Charpentier MS doesn't have the cedilla on the c or any accents on the e's, either. The Couperin original print has only one accent, and it's wrong (by modern standards): tenébres. I accompanied all three today, by the way, while you were discussing authentication ;-). One of my favorite works from 1714. Our concert includes the three Couperin, two of the Charpentier Lessons (Wednesday and Thursday) and a Couperin Magnificat. We're performing them Sunday, March 20th at St. Joseph's in the Village and Wednesday, March 23rd at a church on the Upper West Side whose name I forget. Marvelous music, indeed, but boy, do I need to practice, especially the obligato lines in the first two Couperin Lessons! -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
In a response to Robert Patterson, where David W. Fenton wrote, in part: We're talking about the interval of a few years after the failure of MakeMusic, when Finale users would need some capability to use their files. During that interval, with a key escrow setup, they'd have a choice to take their time moving away from Finale, but would not be interrupted in their work (and that applies only to people in the position of needing to install on a new computer, thus requiring an authentication key). I would note there is an unacknowledged assumption that the end of MakeMusic! and the end of authentication will necessarily be simultaneous. I know of no reason to believe this would be the case, and indeed, given the favorable treatement of users in other areas--unlimited free tech support, and publishing file formats, to name two specific examples, I am persuaded that it is unlikely, in the event MM! failed, that they would let the end users hang at that point. I am further persuaded that it is far more likely, that in the event of MM!s failure, some other entity whether established by personnel from MakeMusic!, or an outside entity which picks up kep technical people from the current existing company will acquire the copyrights, and continue to support the software. I would be much more concerned about my ability to continue to use Finale, and obtain new authentication codes if MakeMusic! were three guys operating with all contact through the internet, post-office boxes, and wireless phones. I will note that as a workflow issue, I do most of my work in 2k, a working custom I started using in the Autumn of 2k, when I discovered that the new library I had created in 2k1 was unusable in 2k (Perception problem on my part; I knew there was no backwards compatibility of data files, I just didn't consider a library to be a data file at the time). Thereafter, almost all work I do, (certainly all shapes I design, and all libraries and templates I create, are done initially in 2k, and imported as needed into a later version when I need a feature first available there. I would also suggest that the question of the continued accessibility of software is merely part of a larger issue relating to copyright, and I would note that as I write that, it occurs to me that there is a copyright issue in an escrow code, too. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Best Works of the 1920s
Daniel Wolf wrote: I have often heard comments akin to I like opera, except for the voices, and not only from Jazz lovers. But I also have the impression that many Jazz instrumentalists have an ambiguous relationship to /Jazz/ vocal music: not so much actively disliking it, but rather giving the obligatory nod of appreciation to some great singers from the past and then just not cultivating any relationship with contemporary jazz vocal musicians. This is only an impression from a musicians who has virtually nothing to do with Jazz, so I'd love to be corrected, but I suspect that I am tracing a general pattern here that has something more to do with American music culture in general than with a division between opera and Jazz partisans. For me, it's too many years of having poor (or worse) wannabe singers think they're as good as the people in the band who have put in decades of work perfercting their art after the singer has spent a couple of hours thinking about maybe learning a song or two. There are SO many bad singers that it tends to put many of us off anybody who sings. That said, I've worked with some fine singers, not only in jazz, but in rock, musicals, and other genres (have any of you ever heard Lydia Pense? GREAT voice, and very musical). It's just that Sturgeon's Law [1] definitely applies here. cd [1] 90% of everything (applied to creative ventures) is crud. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
