Newsgroups: rec.music.early
From: dgreig@sv.span.com (Donald Greig)
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Subject: rec.music.early (long)
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The following is a first (and rough) draft of a short article for the
journal *Early Music*. Given what I say in the text I felt that
everyone on rec.music.early should have the chance to see it at this
stage and comment upon it. I suspect that copyright will mean that I
cannot upload the final thing onto the Net, but I will look into that.
I would be grateful for any comments, either directly to me or to
rec.music.early, whichever fits. Don't bother to correct my poor
spelling/grammar/style: I should be able to tighten that up myself.
"Should I subscribe to Early Music?" It's a good question.
But who would you ask? A musicologist would respond in one way, a
performer another. A lover of early music (I hesitate to use the word
fan) might answer quite differently. Yet if there was somewhere where
you could pose the question and then get a response from any or, better,
all of them, then one might be on to something. Equally, "Where can I
get a particular early music instrument?" or "Where can I get hold of
chant suitable for use with a mass by Morales?" are questions which one
might arise but which one would not necessarily know where to go to ask
and, even if one did, one might well hesitate to ask for fear of
bothering somebody. Such questions, amongst many others, are regularly
posed on rec.music.early, a newsgroup found on the Internet (and
available to all who have access to the net). Basically, the newsgroup
is an unending (and therefore, at times, repetitive), sequence of
mailings and notes sent to a central point and accessible to all. There
is no censorship, no controller, no subscription fee and no
qualification needed. People who subscribe simply read through the two
hhudred or so postings each week, delete that which does not interest
them (topics are all given a subject heading so it is easy to skip areas
that do not immediately interest you) and peruse, at their leisure, the
remainder. So what are the kinds of discussions that take place and is
it worth while investing one's time? That, of course, will depend
entirely on your level of interest. There is a surprising range of
subscribers, from eminent musicologists to complete novices, from
professional and amateur performers to Public relations divisions of
record companies and many more who 'lurk' and whose presence is
therefore secret. Recent discussions have ranged from the effect of
soprano recorders on household pets to a discussion of the recent
exchange of letters in the pages of Gramophone between Roger Bowers and
Christopher Page, by way of Latin pronunciations, tuning systems and
much discussion of Purcell. The nature of the medium, and the fact that
one cannot format e-mail but is reduced to plain text (no pretty italics
and underlinings here) leads to a very informal feel with much humour
and a certain amount of anger. It is a space where ignorance is often a
virtue and where no-one will criticise you for not knowing something.
For that ignorance will always produce new knowledge and may initiate
further dissemination of information. In addition to discussions there
are many gobbets of information which find their way into the group:
listings of forthcoming concerts in various parts of the world, informal
reviews of concerts given and TV programmes viewed, personal opinions of
the "best" recordings of a specific work - you can even get a list of
the contents of this edition of early Music which OUP have recently
taken to uploading. As an informal space the clearest analogy might well
be that of a bar in which discussions are taking place a different
tables. As a reader, you circulate amongst the tables, hesitating and
deliberately overhearing comments, passing by when you are not
interested, wondering whether to join in, sometimes voicing an opinion,
sometimes just wandering around. There is no bar, sadly (you have to go
to one of the many discussion areas which cater to Beer and Wine for
that) but the prevailing mood is of kicking back and relaxing. When you
return to your own table, no drink in hand, the discussion may now have
changed, moved off in a different direction, spiralled into something
more esoteric or more humorous. No one person guides the debate (as a
seminar leader might do in a teaching situation); no editor deletes any
contribution. This democracy has obvious merit, not just because of some
appeal to one's political utopianism based upon equal access and freedom
of information (with which the Internet and computers, rightly or
wrongly, have historically been associated), but also because
musicological and performance-based territorialism is so easily exposed.
The authenticity conferred upon the written word once published is here
always vitiated by the open invitation to commentary within the same
forum (which is at least one of the reasons why I posted a first draft
of this report onto rec.music.early itself). There is no delay of a
month while the next issue is published in which one's response might
finally be heard but, instead, the possibility of almost instant
argument. The discourse of the newsgroup falls, then, somewhere between
speech (fluid, forever qualifying itself, forever misunderstood - always
in the present tense) and writing (authorial, marked by style,
structured - the past tense). There is a secondary democratic appeal, a
further level of utopianism which one should bring to the attention of
musicologists and performers in particular. And that is the different
components of the fuel of the discussion group. If the main part of the
fuel is enthusiasm for the subject (Early Music) then the necessary
additive is undoubtedly altruism. It is therefore to be hoped that more
rather than less people join in the discussion and that questions to
which one knows the answer, or to which one can usefully contribute,
might prompt individuals to share their knowledge and thereby break down
some of the real and imagined barriers between the various groups of
people which have a vested interest in Early Music; performers,
musicologists, publishers, instrument makers, record companies,
aficionados.
=---------------------------------=
all the best
Don
(can you spell dgreig?)
=---------------------------------=
dgreig@sv.span.com
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From: velde@riffle.Stanford.EDU (Francois Velde)
Newsgroups: rec.music.early
Subject: Re: Mozarabic Chant
Date: 10 Feb 1995 14:07:16 GMT
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hmusa@netcom.com (Harmonia Mundi USA) writes:
>A.T. Fear (cla04@cc.keele.ac.uk) wrote:
>: Does anyonw know of any commercial recordings of Mozarabic Chant?
>
> I don't know who the UK distributor is for Jade, but they do have a
>disc entitled "Chant Mozarabe" with the Schola Antiqua de Espana under
>Father Laurentino Saenz de Buruaga O.S.B.. The number is JAD C 122, and
>the CD is 60'55" long. It was released in the US in November.
Ensemble Organum was singing some Mozarabic chant in concert last year.
My guess would be that there is a recording in the pipeline. Maybe
Clarke can holler down said pipeline and ask...
--
Francois Velde
Johns Hopkins University
velde@jhu.edu
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From: "Aaron Nelson"
Newsgroups: rec.music.early
Subject: Bach cantata BWV 112 Der Herrist mein getreuer hirt
Date: Tue, 24 Jan 95 10:52:09 PST
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Can anyone reccomend a recording of Cantata 112? I'm singing the tenor
solo next month and would love to find a good recording.
thanks in advance :^)
A A R O N ******* **
Veni, dilecte mi, ******* * *
egrediamur in agrum, ******* * *
etvideamus si flores fructus parturierunt ******* * *
si floruerunt mala Punica. ******** *
Ibi dabo tibi ubera mea. ******* *
Allleluia. *********
******* * * * * *
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From: Caroline Usher
Newsgroups: rec.music.early
Subject: Re: Children's songs as Early Music?
Date: 25 Jan 1995 14:27:47 GMT
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In article David Van Zandt, dvz@eskimo.com writes:
> Are there any reference sources, or other information here, where
>I might learn about the history of common children's songs?
You might check the works of Iona and Peter Opie. They edited one
or two Oxford Press volumes on children's games and rhymes and
traditional holidays. They looked at children's culture as
anthropologists,
and demonstrated that children have an oral tradition by which
counting, hopscotch, skipping rope and other rhymes and games are
handed down. They tried to trace the games they observed as far
back as possible in written records to show the length of the
tradition.
Caroline Usher