From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #3770 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Wednesday, March 18 2020 Volume 14 : Number 3770 Today's Subjects: ----------------- Simple and cheapest digital organizing system ["**Flash Drive**" Subject: Simple and cheapest digital organizing system Simple and cheapest digital organizing system http://heatpad.co/ihbPCCpdINyHY1uGlthiCBYZjFo49irydUCyExbUZJH2DLAF http://heatpad.co/TVhJcwccE4iSqCWFFUYaULOyJYnEy2Xjyva2oa9wUVhFVv4v Musicology (from Greek '???????' (mousik?) for 'music' and '?????' (logos) for 'domain of study') is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although music research is often more scientific in focus (psychological, sociological, acoustical, neurological, computational). A scholar who participates in musical research is a musicologist. Musicology traditionally is divided in three main branches: historical musicology, systematic musicology and ethnomusicology. Historical musicologists mostly study the history of the so-called Western classical tradition, though the study of music history need not be limited to that. Ethnomusicologists draw from anthropology (particularly field research) to understand how and why people make music. Systematic musicology includes music theory, aesthetics, pedagogy, musical acoustics, the science and technology of musical instruments, and the musical implications of physiology, psychology, sociology, philosophy and computing. Cognitive musicology is the set of phenomena surrounding the cognitive modeling of music. When musicologists carry out research using computers, their research often falls under the field of computational musicology. Music therapy is a specialized form of applied musicology which is sometimes considered more closely affiliated with health fields, and other times regarded as part of musicology proper. ------------------------------ Date: Wed, 18 Mar 2020 04:37:25 -0400 From: "**Trump 2020 Stiletto**" <**Trump2020Stiletto**@ketocarr.buzz> Subject: 2 Knives From Our CEO 2 Knives From Our CEO http://ketocarr.buzz/Wic1OBfWPiVV8GUpWVkB4jVJV-Q72N7pD_52k-JpFTIg3k0v http://ketocarr.buzz/ojlSp76w8--u1DFk5Thw7yXX71y9E87JHES9lksllOze1nJn Academy students perform regularly in the Academy's concert venues, and also nationally and internationally under conductors such as the late Sir Colin Davis, Yan Pascal Tortelier, Christoph von DohnC!nyi, the late Sir Charles Mackerras and Trevor Pinnock. In summer 2012, John Adams conducted an orchestra which combined students from the Academy and New York's Juilliard School at the Proms and at New York's Lincoln Center. Conductors who have recently worked with the orchestras include Semyon Bychkov, Daniel Barenboim, Sir Simon Rattle, Pierre-Laurent Aimard and Christian Thielemann. Famous people who have conducted the Academy's orchestra also include Carl Maria Von Weber in 1826 and Richard Strauss in 1926. For many years, the Academy celebrated the work of a living composer with a festival in the presence of the composer. Previous composer festivals at the Academy have been devoted to the work of Witold Lutos?awski, Michael Tippett, Krzysztof Penderecki, Olivier Messiaen, Hans Werner Henze, Luciano Berio, Elliott Carter, as well as Academy graduates, Alfred Schnittke, GyC6rgy Ligeti, Franco Donatoni, Galina Ustvolskaya, Arvo PC$rt, GyC6rgy KurtC!g and Mauricio Kagel. In FebruarybMarch 2006, an Academy festival celebrated the violin virtuoso NiccolC2 Paganini, who first visited London 175 years earlier in 1831. The festival included a recital by Academy professor Maxim Vengerov, who performed on Il Cannone Guarnerius, Paganini's favourite violin. Academy instrumentalists and musical theatre students have also performed in a series of concerts with the Academy alumnus Sir Elton John. The students and ensembles of the Royal Academy of Music perform in other venues around London including Kings Place, St Marylebone Parish Church and the South Bank Centre. ------------------------------ Date: Wed, 18 Mar 2020 03:39:08 -0400 From: "Your Russian Woman" Subject: Want to Date a Russian Woman? Want to Date a Russian Woman? http://ketocarr.buzz/wXPlcZ7GdBKhKCxA5LAgqKkKVB6b-Ngb-wDStDu93CQWN5i5 http://ketocarr.buzz/hbP60asE006GtcmdT6puIx9RN8aCHMALvhRmMOntLjcbZYMY The Academy was founded by John Fane, 11th Earl of Westmorland in 1822 with the help and ideas of the French harpist and composer Nicolas Bochsa. The Academy was granted a Royal Charter by King George IV in 1830. The founding of the Academy was greatly supported by Arthur Wellesley, 1st Duke of Wellington. He was a keen violinist himself and was determined to make the Academy a success. The Academy faced closure in 1866; this was part of the reason for the founding of the Royal College of Music in neighbouring South Kensington. The Academy's history took a turn for the better when its recently appointed Principal (and former pupil) William Sterndale Bennett took on the chairmanship of the Academy's Board of directors and established its finances and reputation on a new footing. The Academy's first building was in Tenterden Street, Hanover Square and in 1911 the institution moved to the current premises, designed by Sir Ernest George (which include the 450-seat Duke's Hall), built at a cost of B#51,000 on the site of an orphanage. In 1976 the Academy acquired the houses situated on the north side and built between them a new opera theatre donated by the philanthropist Sir Jack Lyons and named after him and two new recital spaces, a recording studio, an electronic music studio, several practice rooms and office space. The Academy again expanded its facilities in the late 1990s, with the addition of 1-5 York Gate, designed by John Nash in 1822, to house the new museum, a musical theatre studio and several teaching and practice rooms. To link the main building and 1-5 York Gate a new underground passage and the underground barrel-vaulted 150-seat David Josefowitz recital hall were built on the courtyard between the mentioned structures ------------------------------ Date: Wed, 18 Mar 2020 05:40:45 -0400 From: "Breathing Mask" Subject: CORONAVIRUS ALERT: FREE Breathing Masks For USA CORONAVIRUS ALERT: FREE Breathing Masks For USA http://hotground.buzz/IpHMcNAnueT94j9f6-6h0pX8TAWsLZXypg71hPr3oKyZ6b-u http://hotground.buzz/4ndHfvRV9WV1s7COUuTSnsuHDsbfs-ElDfYsdkI5D6g9m5I Music history or historical musicology is concerned with the composition, performance, reception and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e.g., baroque concertos, the social function of music for a particular group of people, e.g., court music, or modes of performance at a particular place and time, e.g., Johann Sebastian Bach's choir in Leipzig. Like the comparable field of art history, different branches and schools of historical musicology emphasize different types of musical works and approaches to music. There are also national differences in various definitions of historical musicology. In theory, "music history" could refer to the study of the history of any type or genre of music, e.g., the history of Indian music or the history of rock. In practice, these research topics are more often considered within ethnomusicology (see below) and "historical musicology" is typically assumed to imply Western Art music of the European tradition. The methods of historical musicology include source studies (especially manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis (analysis of music to find "inner coherence") and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. Music historians create a number of written products, ranging from journal articles describing their current research, new editions of musical works, biographies of composers and other musicians, book-length studies or university textbook chapters or entire textbooks. Music historians may examine issues in a close focus, as in the case of scholars who examine the relationship between words and music for a given composer's art songs. On the other hand, some scholars take a broader view, and assess the place of a given type of music, such as the symphony in society using techniques drawn from other fields, such as economics, sociology or philosophy. ------------------------------ Date: Wed, 18 Mar 2020 03:42:07 -0400 From: "Hot Russion online" Subject: Russian Date - It's Free to Review Your Matches Russian Date - It's Free to Review Your Matches http://heatpad.co/rr4qCfZs5Lma-fByGA5usJLhqsL-um9Ya_sdSn5oWNy0O5qV http://heatpad.co/ptpzlqxdqmQoeiOFLGooaoQaYUdEXc0gg-Xe_c7bhjZ70tSD The Academy's library contains over 160,000 items, including significant collections of early printed and manuscript materials and audio facilities. The library also houses archives dedicated to Sir Arthur Sullivan and Sir Henry Wood. Among the Library's most valuable possessions are the manuscripts of Purcell's The Fairy-Queen, Sullivan's The Mikado, Vaughan Williams' Fantasia on a Theme by Thomas Tallis and Serenade to Music, and the newly discovered Handel Gloria. A grant from the National Heritage Memorial Fund has assisted in the purchase of the Robert Spencer Collectionba set of Early English Song and Lute music, as well as a fine collection of lutes and guitars. The Academy's museum displays many of these items. The Orchestral Library has approximately 4,500 sets of orchestral parts. Other collections include the libraries of Sir Henry Wood and Otto Klemperer. Soon after violinist Yehudi Menuhin's death, the Royal Academy of Music acquired his personal archive, which includes sheet music marked up for performance, correspondence, news articles and photographs relating to Menuhin, autograph musical manuscripts, and several portraits of Paganini. Harriet Cohen bequeathed a large collection of paintings, some photographs and her gold bracelet to the Academy, with a request that the room in which the paintings were to be housed was named the "Arnold Bax Room". Noted for her performances of Bach and modern English music, she was a friend and advocate of Arnold Bax and also premiC(red Vaughan Williams' Piano Concertoba work dedicated to herbin 1933. In 1886, Franz Liszt performed at the Academy to celebrate the creation of the Franz Liszt Scholarship and in 1843 Mendelssohn was made an honorary member of the Academy. ------------------------------ Date: Mon, 16 Mar 2020 09:17:27 -0400 From: "**Drain Stik**" <**DrainStik**@drainwood.bid> Subject: Avoid embarrassing smells and nasty water buildup in sinks and showers with just one Sani Stick per month Avoid embarrassing smells and nasty water buildup in sinks and showers with just one Sani Stick per month http://drainwood.bid/zTbuVxaXVXjUFMbUHzD_YIGEGFy1cSU85yMqNE1PMpmGUFM http://drainwood.bid/G-cpRbsTYRttEZPZrIM_xod5lpgv7WJ0E3xmFWbFTKtYrwNP I think the President does Mr. Barber an injustice when he speaks of "a certain cumbersomeness of mind and inability to do the speediest modern work, as shown by these delays," here. The making of the models for these coins was given to Saint Gaudens, who was a sculptor and had no experience with coinage designs. When the models were received, the Bureau [of the Mint] was notified that the dies made from them would not work in the coining press ... the models were returned to Saint Gaudens, at his request and a modified set furnished after some time. The Bureau was informed that even these would not make dies satisfactory for coinage, but the dies were made and it was found they could not be used in the coining press. How are we going to strike coins from these for the President? In late August, Augusta Saint-Gaudens sent new models for the eagle to Acting Director Preston. When Barber examined them, he noted, "dies made from these models would be a great improvement over those already made" and stated that with these models, the Mint could have the eagle in full production within a month. Homer Saint-Gaudens, the sculptor's son, wrote to Preston, "Mr. Hering has finally finished the eagle at a relief slightly lower than that on the French coin by Chaplin, [sic, actually Chaplain] which is the lowest relief that Mr. Hering knew my father would abide by, and which I understand Mr. Barber can mint." In the meantime, Cortelyou ordered 500 pieces struck on the Mint's high-pressure medal press from the dies the Mint had from Saint-Gaudens's earlier efforts, thus complying with the letter of the President's August 7 order. Preston sent a note to Norris, warning that the President would likely order 100 pieces and suggesting that he have the coins available "so you can furnish them without a moment's delay". According to numismatic historian Roger Burdette, "these were an 'insurance policy', put in place by Cortelyou against additional presidential rage". The President viewed sample eagle coins on August 31, and expressed his satisfaction with them and his desire to see more struck. As Saint-Gaudens's design did not include a rim (the raised surface which surrounds each side of a coin), excess metal was forming a "fin" or extrusion from the coin. The fin was easily broken off, and there was a threat that the eagles would quickly become underweight, diminishing their usefulness as a trade coin. Barber engraved a rim onto the die, eliminating the problem. About five hundred pieces had been struck from Saint-Gauden's original dies; these were struck on the medal press and were for the most part distributed to government officials. They are referred to as "wire rim" pieces, denoting the sharp angle at which the field of the coin meets the edge without the intermediary of a rim. They remained available for purchase from the Mint for face value at least until 1912. One sold at auction in January 2011 for $230,000. A total of 32,000 eagles were struck using the Barber-modified Saint-Gaudens dies, for the most part using ordinary coinage presses. These are kno ------------------------------ End of alt.music.moxy-fruvous digest V14 #3770 **********************************************