Re: [Finale] Authentication schemes
At 8:30 AM -0500 3/11/05, dhbailey wrote: (In reply to my thesis that a corporate principal might be found liable for actions taken that deprive a litigating class of their source of income:) 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. Please carefully re-read my original message. I did not posit _corporate_ liability resulting from the users' inability to make use of the software should the _corporation_ declare bankruptcy. The user-license may (or may not) absolve the corporation from liability for lost income. The strictures encoded in bankruptcy law would almost certainly do so. My thesis was that corporate officers, or other principals with corporate authority, might be found __personally__ liable for the lost income of an affected class which suffered due to their decisions. This thesis is by no means far-fetched and is the reason why any marginally sane corporate officer carries a personal rider. These riders are usually sufficient to cover liability decisions (however unwarranted) from minor claims. But: Being on the board of a corporation that owns a grocery store and breathing easy over a __personal__ lawsuit from a customer who fell down because an employee forgot to put out the piso mojado sign is a lot different from being sued by an entire class of affected users suffering lost income. -=-Dennis . ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
Robert Patterson schrieb: 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. And to take this point one step further, these programs are likely to keep functioning as long as Apple keeps the Classic Environment as part of OS X (which I don't believe will be forever, but it is likely to stay in there for the next two major OS X upgrades). The reason being that the Classic environment will not be changed as far as the actual OS 9 System is concerned. The same is true for old Finale versions, if they work now they will work for some time. No guarantees, but a pretty likely scenario. -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Authentication schemes
Dennis W. Manasco wrote: At 8:30 AM -0500 3/11/05, dhbailey wrote: (In reply to my thesis that a corporate principal might be found liable for actions taken that deprive a litigating class of their source of income:) 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. Please carefully re-read my original message. I did not posit _corporate_ liability resulting from the users' inability to make use of the software should the _corporation_ declare bankruptcy. The user-license may (or may not) absolve the corporation from liability for lost income. The strictures encoded in bankruptcy law would almost certainly do so. My thesis was that corporate officers, or other principals with corporate authority, might be found __personally__ liable for the lost income of an affected class which suffered due to their decisions. This thesis is by no means far-fetched and is the reason why any marginally sane corporate officer carries a personal rider. These riders are usually sufficient to cover liability decisions (however unwarranted) from minor claims. But: Being on the board of a corporation that owns a grocery store and breathing easy over a __personal__ lawsuit from a customer who fell down because an employee forgot to put out the piso mojado sign is a lot different from being sued by an entire class of affected users suffering lost income. Somewhere in that license are several phrases which include words such as anybody associated with Coda -- that would include the board members, I would think. So the license which every end user agrees to has already absolved not only the company but individuals associated with the company. Your suggested lawsuit would be a very interesting test of the end-user license agreements we have all made. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] lyrics underline
I have recently purchased a new computer and installed Finale 2004. It will not allow me to type an underline in the lyrics. I do not need to underline a word, I just need to be able to type the underline. Has anyone encountered this problem before? Sandra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] American Styles (was Best Works of the 1920s)
At 2:57 PM -0800 3/11/05, Mark D Lew wrote: On Mar 11, 2005, at 12:53 PM, John Howell wrote: European operetta did not come to North America until the 1890s or later [...] Entirely my fault for not being clear in my statement. I was not thinking so much of imported European operetta, which as you point out very convincingly took place almost simultaneously with it's popularity in Europe, as I was of operettas written IN North America BY North Americans (or transplanted Europeans, like Victor Herbert, who settled here). And my larger point that European music was largely known in seaport cities (and I'm happy to add New Orleans to the mix) and not in the heartland is actually reinforced by what you cite. Certainly the New York publishers did see a market for that music, whether their publications were legal or not, and that is no surprise, either. But I do tend to generalize--the result of teaching a Survey of Music course with no time to discuss details and exceptions--and I do love it when someone can point out some of those details to me, and I can pass them on to my class next time around! John 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 -- 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] lyrics underline
Yes, apparently the underscore (along with the space and hyphen) is a reserved character telling Finale to move to the next syllable. You would have to find a similar character, mapped to a different keystroke in the font, to force the underscore to appear by itself. I don't know what font you are using, so I couldn't venture a guess. At the worst, you could change font to one that HAD the character, just for one syllable. Or, if the underscore is by itself on the beat, you could enter an m-dash (on Mac it's opt hyphen, I don't know the alt number on PC) and drag it down manually so that it is in the correct position. If you don't mind me asking, what are you trying to do here? Pardon the possibly insulting question, but if you are trying to create a word extension, Finale has those built-in. If you are trying to put in an elision (two syllables from different words sung on the same note) there is an elision character (like a curved underscore) in a commonly-available font mapped to a diffferent character. I have misplaced my note about it, as it has been a couple of years since I had to do this, but Mark D. Lew here on the list told me about it; perhaps he will chime in. Christopher On Mar 12, 2005, at 10:18 AM, [EMAIL PROTECTED] wrote: I have recently purchased a new computer and installed Finale 2004. It will not allow me to type an underline in the lyrics. I do not need to underline a word, I just need to be able to type the underline. Has anyone encountered this problem before? Sandra ___ 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] American Styles (was Best Works of the 1920s)
At 7:56 PM -0500 3/11/05, Raymond Horton wrote: 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? There was a national entertainment tax during the war that applied across the board. I believe it was based on the cost of admissions. My father was in the music education business at the time, and he and many others changed from a fixed admissions price for high school concerts to a suggested donation very specifically to get around that tax. And of course like all taxes, it hung around for years after the war was over. I don't know of any other tax that might have penalized the big bands, but there might have been something along that line. 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] lyrics underline
In a message dated 3/12/2005 10:34:48 AM Central Standard Time, [EMAIL PROTECTED] writes: Yes, apparently the underscore (along with the space and hyphen) is a reserved character telling Finale to move to the next syllable. You would have to find a similar character, mapped to a different keystroke in the font, to force the underscore to appear by itself. I don't know what font you are using, so I couldn't venture a guess. At the worst, you could change font to one that HAD the character, just for one syllable.Or, if the underscore is by itself on the beat, you could enter an m-dash (on Mac it's opt hyphen, I don't know the alt number on PC) and drag it down manually so that it is in the correct position.If you don't mind me asking, what are you trying to do here? Pardon the possibly insulting question, but if you are trying to create a word extension, Finale has those built-in. If you are trying to put in an elision (two syllables from different words sung on the same note) there is an elision character (like a curved underscore) in a commonly-available font mapped to a diffferent character. I have misplaced my note about it, as it has been a couple of years since I had to do this, but Mark D. Lew here on the list told me about it; perhaps he will chime in.Christopher Thank you, Christopher, for your help. I do not feel insulted by your question. I am aware of the word extension and elision. I input music for a church hymnal. Their standard practice is to use an underscore (and move it up) when there are two notes and only one syllable/word in a stanza while the other stanza/stanzas will have two words or syllables on the two notes. I use Ariel font for the lyrics. It is really bad that Finale does nothave this option as it did in all other versions. Sandra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics underline
In a message dated 3/12/2005 11:15:50 AM Central Standard Time, [EMAIL PROTECTED] writes: Christopher Smith écrit:I have misplaced my note about it, as it has been a couple of years since I had to do this, but Mark D. Lew here on the list told me about it; perhaps he will chime in.Capital I in Engraver font.Dennis Thank you so much, Dennis! Sandra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics underline
Sandra wrote: I have recently purchased a new computer and installed Finale 2004. It will not allow me to type an underline in the lyrics. I do not need to underline a word, I just need to be able to type the underline. Has anyone encountered this problem before? I haven't, but here's how I'd solve it if I did. I'd type X twice for the syllable, and in between the two X characters, type however many non-breaking spaces you require. Repeat this for each note to which you want to attach an underline. Now, go to the edit lyrics dialog box, and select the syllable, or in the case of a melisma, the first and last syllables, you want to underline by dragging the cursor. When you have selected the text, select the font menu, and under effects, select underline; click OK as needed to return to the score. You can then use type into score to remove the X characters you inserted as placeholders. ns ___ 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 3:53 PM, John Howell wrote: 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. This argument confuses folk music (largely anonymous and non-professional) with popular music (professional, with identifiable composers). The association of the latter with cities is clear at every step--and, I might add, in every culture. The earliest American *popular* songs were written and published in NYC, Philadelphia, etc. Through most of the nineteenth century (from ~1830), these songs were created in the context of minstrel shows, which did indeed tour widely, but had their economic and cultural foundations in the cities. Stephen Foster was from Pittsburgh. Henry Clay Work was from Chicago, and lived in Boston, Phila., NYC. They are not exceptions. To make a living from their works, popular composers from the pre-recording era had to go where the money, the pianos, and the parlors were. Guess where that was. 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. All popular music, from anywhere, at any time, is *by definition* music of the people (that's what popular means). You cannot seriously assert that there was no American popular music before ~1850, and therefore a music of the people cannot have emerged *ab ovo* after that time. As for a supposed insulation from European art music (as opposed, I guess, to American art music or European popular music), see Ch. 4 of Charles Hamm's _Yesterdays_ for the great popularity of Italian opera in the US in the early 19th c. Hamm's book is the basic text on early American popular music, and it contradicts your highly romanticized interpretation at every turn. 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] lyrics underline
In a message dated 3/12/2005 10:34:48 AM Central Standard Time, [EMAIL PROTECTED] writes: Yes, apparently the underscore (along with the space and hyphen) is a reserved character telling Finale to move to the next syllable. You would have to find a similar character, mapped to a different keystroke in the font, to force the underscore to appear by itself. I don't know what font you are using, so I couldn't venture a guess. At the worst, you could change font to one that HAD the character, just for one syllable. Or, if the underscore is by itself on the beat, you could enter an m-dash (on Mac it's opt hyphen, I don't know the alt number on PC) and drag it down manually so that it is in the correct position. If you don't mind me asking, what are you trying to do here? Pardon the possibly insulting question, but if you are trying to create a word extension, Finale has those built-in. If you are trying to put in an elision (two syllables from different words sung on the same note) there is an elision character (like a curved underscore) in a commonly-available font mapped to a diffferent character. I have misplaced my note about it, as it has been a couple of years since I had to do this, but Mark D. Lew here on the list told me about it; perhaps he will chime in. Christopher Thank you, Christopher, for your help. I do not feel insulted by your question. I am aware of the word extension and elision. I input music for a church hymnal. Their standard practice is to use an underscore (and move it up) when there are two notes and only one syllable/word in a stanza while the other stanza/stanzas will have two words or syllables on the two notes. I use Ariel font for the lyrics. It is really bad that Finale does not have this option as it did in all other versions. Sandra Here's another message from an AOL address that I couldn't reply to in Mail (mac OSX)! I wish they would fix that! I suppose you are using an underscore because an n-dash or an m-dash are too long? I understand in that case. There should be a way to have a non-breaking hyphen that IS the same character. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics underline
On Mar 12, 2005, at 8:33 AM, Christopher Smith wrote: Yes, apparently the underscore (along with the space and hyphen) is a reserved character telling Finale to move to the next syllable. If so, this must be something new. There's never been any problem with the underscore character up through Fin 2k2. Perhaps it has to do with the new smart word extensions? Has anyone confirmed whether it's a problem with the actual character, or just the keystroke in type-in-score mode? Or, if the underscore is by itself on the beat, you could enter an m-dash (on Mac it's opt hyphen, I don't know the alt number on PC) and drag it down manually so that it is in the correct position. Opt-hyphen is an en-dash. Em-dash is shift-opt-hyphen. -- On Mar 12, 2005, at 9:18 AM, [EMAIL PROTECTED] wrote: I input music for a church hymnal. Their standard practice is to use an underscore (and move it up) when there are two notes and only one syllable/word in a stanza while the other stanza/stanzas will have two words or syllables on the two notes. I use Ariel font for the lyrics. It is really bad that Finale does not have this option as it did in all other versions. It sounds to me like an unadjusted em-dash is exactly what you want, and the dragged underscore was a kludge to achieve the same effect. If the 2k4 update of Finale really has reserved the underscore character so that it's no longer available for lyrics, I agree that that's really bad. I rarely need the underscore, but I really hate that the hyphen character is reserved. It's a real pain in French, where you sometimes need a hyphen within a syllable. All characters should be available for lyrics. It's idiotic that some of them will be reserved to serve a command function. If they're going to interpret data as code they should at least have escape characters available. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics underline
And if you do want to use the underscore instead of the capital I in Engraver, just turn off Smart Word Extensions in Finale 2004. It's at Options - Document Options - Lyrics - Word Extensions (button at the bottom of the Lyrics box) - Use Smart Word Extensions. Best regards, Michael Good Recordare LLC www.recordare.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics underline
On Mar 12, 2005, at 1:57 PM, d. collins wrote: Mark D Lew écrit: If so, this must be something new. There's never been any problem with the underscore character up through Fin 2k2. Perhaps it has to do with the new smart word extensions? Has anyone confirmed whether it's a problem with the actual character, or just the keystroke in type-in-score mode? I just opened I file in 2004 which I recall had underscores in the lyrics, and there are no problems. I can also type them directly into the score in 2004, so I can't really understand what the problem is. Are we all speaking of ALT 95? Dennis In FinMac2005 I can't type shift hyphen (which is underscore on the Mac keyboard.) It doesn't appear, and the cursor shifts to the next note. What is alt 95, in Mac-speak? Type one in your reply, and I can copy it and find out. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] American Styles (was Best Works of the 1920s)
At 7:56 PM -0500 3/11/05, Raymond Horton wrote: 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? John Howell wrote: There was a national entertainment tax during the war that applied across the board. I believe it was based on the cost of admissions. My father was in the music education business at the time, and he and many others changed from a fixed admissions price for high school concerts to a suggested donation very specifically to get around that tax. And of course like all taxes, it hung around for years after the war was over. I don't know of any other tax that might have penalized the big bands, but there might have been something along that line. John There was something mentioned in the Ken Burns-PBS Jazz series as one reason for the rise of Bebop and the decline of big bands. I remember it as being a tax on larger bands in clubs, but the memory does not always serve. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics underline
In a message dated 3/12/2005 1:46:47 PM Central Standard Time, [EMAIL PROTECTED] writes: According to Michael's message, you have to turn off the smart word extensions to use the underscore.Dennis I turned off the smart word extensions and still cannot use theunderscore.NS recommended a work around entering a character such as "x".Then I entered two non-breaking spaces and another "x", underlined it and removed the two x's andit works great for me. Thanks a million for everyone's help. I sure hope they are able to fix this "bug". Sandra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] American Styles (was Best Works of the 1920s)
At 12:59 PM -0500 3/12/05, Andrew Stiller wrote: This argument confuses folk music (largely anonymous and non-professional) with popular music (professional, with identifiable composers). On the contrary, my thesis is that it was the music that each separate group of settlers brought with it, which one can refer to as folk music for convenience but which in fact comprises the musical portion of that particular ethnic/language/social/religious group's portable culture, which in the melting pot generated the popular music as you define it. (I have ordered the Hamm book, and another of his, and look forward to seeing what he has to say.) That music often included story songs with moral teachings, story ballads from within each culture, lullabies, play songs, dance tunes, hymns and gospel songs, a very broad expansion of the term folk music but a usable one. But this was music made up to fit within the culture, not consciously written to make money from sales of sheet music. To make a living from their works, popular composers from the pre-recording era had to go where the money, the pianos, and the parlors were. Guess where that was. Of course, but again you are speaking of the latter developments, not the precursors. And no one in the U.S. could count on making a living from their works until U.S. copyright law was changed (in about 1831) for include, for the first time, copyright protection for music. Stephen Foster belonged to the first generation to be able to take advantage of this new law, although he was not a good enough businessman to make it pay off. All popular music, from anywhere, at any time, is *by definition* music of the people (that's what popular means). You cannot seriously assert that there was no American popular music before ~1850, and therefore a music of the people cannot have emerged *ab ovo* after that time. I do not assert it, but I have read serious speculation that popular music in the sense of music of the people (and I agree with you completely on this meaning) COULD NOT have existed in class-divided and class-conscious Europe, and therefore, as a musical art form that cut across all societal classes, was indeed a new and essentially North American phenomenon. As for a supposed insulation from European art music (as opposed, I guess, to American art music or European popular music), see Ch. 4 of Charles Hamm's _Yesterdays_ for the great popularity of Italian opera in the US in the early 19th c. I look forward to seeing it, but remain for the time being convinced that this would have been in the seaport cities that maintained close connections to Europe, and not in the interior heartland. The riverport and lakeport cities would have been the next to pick up imported culture, and undoubtedly did. That still leaves vast areas that were virtually cut off from the influence of European culture for most of the century. Hamm's book is the basic text on early American popular music, and it contradicts your highly romanticized interpretation at every turn. Sure, it's romanticized and highly simplified and suited primarily for an added lecture in a music history course with a textbook that almost ignores popular music entirely. And when I learn something new, I incorporate it. Thanks for the constructive criticism. (Oh, and while I was on the Amazon website I realized why I had not ordered another book that you recommended. With a list price of $175 and no discounted copies available, it's just a little too rich for my blood!) 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] lyrics underline
On Mar 12, 2005, at 1:05 PM, [EMAIL PROTECTED] wrote: Thanks a million for everyone's help. I sure hope they are able to fix this bug. Given that others on Fin Mac 2k4 aren't having the same problem, I'd guess it isn't really a bug. We just need to figure out what is different about your setup that makes yours behave differently. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] lyrics underline
On Mar 12, 2005, at 10:03 AM, Christopher Smith wrote: Here's another message from an AOL address that I couldn't reply to in Mail (mac OSX)! I wish they would fix that! Cmd-[ will change the message to non-HTML, and then reply should work. That's what I do. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
