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,
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
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
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.
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
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
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
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
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
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
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;
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
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
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
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
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
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
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
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
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