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Frequently Asked Questions (FAQS);faqs.390 L17 A list of chamber music: 1. Purcell: Trio Sonatas 2. Telemann: Trio Sonatas 3. Mozart Divertimento, K.563 4. Mozart: String Quartets #8-13, #17 (K.387,421,428,458, 464,465,590) 5. Mozart: Clarinet Quintet, K.581 6. Mozart String Quintets (K.515, 516, 593, 614) 7. Haydn: String Quartet, Op. 76 #3 8. Beethoven: String Quartets #8, #14 9. Beethoven: Piano Quintet 10. Schubert: String Quartet #14 "Death & the Maiden" 11. Schubert: Piano Quintet "Trout" 12. Mendelssohn: String Octet 13. Schumann: Piano Quintet 14. Dvorak: String Quartets #10, #14 15. Dvorak: Piano Trio #4 16. Borodin: String Quartet #2 17. Brahms: Piano Trio #1 18. Bartok: 6 quartets L18 A list of modern chamber music: 1. Schoenberg: 4 quartets, Op.. 7,10 (w/soprano),30, 37 2. Berg: Lyric Suite 3. Webern: Quartet for Sax, Clarinet, Cello, and Piano. 4. Debussy: Quartet, sonata for flute, viola, harp. 5. Ravel: Quartet, duo for violin and cello 6. Shostakovich: Quartets, No. 8, 13-15. 7. Janacek: Mladi, Intimate Letters Quartet 8. Stravinsky: Octet 9. Babbitt: 2nd quartet 10. Carter: 3rd uartet 11. Quartets by Scelsi and Schnittke. L19 A list of viola and cello concerti 1. Haydn: Cello concerto in D op.101 2. Boccherini: Cello concerto in B flat 3. Schumann: Cello concerto 3. Dvorak: Cello concerto op.104 4. Tchaikovsky: Variations on a rococo theme 5. Saint Saens: Cello Concerto #1 6. Lalo: Cello Concerto 7. Walton: Viola Concerto, Cello Concerto 8. Bartok: Viola Concerto 9. Elgar: Cello Concerto op.85 10. Hindemith: Viola Concerto 11. Barber: Cello Concerto 12. Shostakovitch: Cello Concerto #1 13. Khachaturian: Cello Concerto 14. Moeran: Cello Concerto 15. Delius: Cello Concerto 16. Bloch: Schelomo 17. Penderecki: Cello Concerto #2 L20 A list of violin and piano music 1. Mozart: Sonata K.454 2. Beethoven: Sonata #5 op.24 "Spring" 3. Schumann: Sonatas op.105 & 121 3. Brahms: Sonata #3 4. Franck: Sonata in A 5. Faure: Sonata #1 6. Lekeu: Sonata in G 7. Strauss: Sonata in E flat 8. Respighi: Sonata in B minor 9. Saint-Saens: Sonata op.75 10. Lalo: Sonata 11. Grieg: Sonata #3 12. Pierne: Sonata 13. Debussy: Sonata 14. Elgar: Sonata 15. Janacek: Sonata 16. Walton: Sonata 17. Bartok: Sonata #2 ----- Q3. I heard this melody on the radio. How do I figure out what it is? First option: Call the radio station and ask. They're usually quite helpful about this sort of thing. We are presuming you know a little something about musical notation or at the very least, musical note names. Your local music library will have a number of dictionaries of musical themes that will help you identify the theme. See below in the reference books section. If after researching you still cannot find the theme, then post to the net with the theme represented as note-names. Q4. I heard this great piece on the radio, but when I went to the record store to buy a copy, I found dozens of versions. Which is the right one to get? This question is one that often confronts even the most seasoned record collectors. The decision of which version of a piece to buy on record is entirely a matter of taste. Experienced listeners often know the style of each conductor and can judge on that basis. If you are unfamiliar with a piece or with the versions available to you, you might want to start off by looking in the Penguin Guide (see "Reference Books" below). Though not always 100% on the mark, this guide will describe the differences between multiple recordings of a given work, and may enable you to choose the recording that is right for you. There are also magazines such as Fanfare, Grammophone, Stereo Review, Audio, and some of the high-end audio journals that review new recordings on a regular basis. Q5. How do I find out if [insert piece] has ever been recorded? *EVER* been recorded is tough. To check if there is a current release of your piece of choice, look in Opus, a publication put out by Schwann that lists all works currently available. Most record stores will either sell you a copy, or have a desk copy that you can use. If you're looking for an old vinyl recording, you'll have to check with a rare record dealer. Many maintain very extensive back issues of the Schwann catalog and can help you locate that rare gem. Q6. What is that music in [insert TV show/movie here] ? We have a little joke in the newsgroup that no matter what movie or TV show, it's probably either Pachelbel's Canon or Carmina Burana. Anyway, here is a list of some movies and TV shows and the music they contain. 2001, A Space Odyssey Also sprach Zarathustra R. Strauss 2001, A Space Odyssey Blue Danube Waltz J. Strauss 2001, A Space Odyssey Lux Eterna Ligeti All That Jazz Spring from The Four Seasons Vivaldi Apocalypse Now Die Walkure Wagner Babette's Feast Don Giovanni Mozart Breaking Away Barber of Seville Rossini A Clockwork Orange Symphony #9 Beethoven A Clockwork Orange William Tell Overture Rossini A Clockwork Orange Barber of Seville overture Rossini A Clockwork Orange La Gazza Ladra overture Rossini Dark Eyes Barber of Seville Rossini Death in Venice Symphony #5 Mahler Die Hard Symphony #9 Beethoven Diva La Wally Catalani Elvira Madigan Piano Cto. #21 Mozart Excalibur Carmina Burana Carl Orff Fatal Attraction Madama Butterfly Puccini Foul Play The Mikado Sullivan Forbidden Games Romance Yepes Gallipoli Les Pecheurs de Perles Bizet Glory Original music James Horner Grey Fox Martha Flotow Heaven Help Us Hallelujah Chorus (Messiah) Handel Hannah and Her Sisters Manon Lescaut Puccini Huntley/Brinkley Report Symphony #9 Beethoven Hopscotch Barber of Seville Rossini Hopscotch Eine kleine Nachtmusik Mozart Jean de Florette Forza del Destino Verdi Kramer vs. Kramer Concerto for 2 Mandolins Vivaldi Lone Ranger theme William Tell Overture finale Rossini Masterpiece Theater theme Symphonie de Fanfare Mouret Moderns Marriage of Figaro Mozart Moonstruck La Boheme Puccini My Brilliant Career "Of Foreign Land and Peoples" from Kinderszenen Schumann Ordinary people/GE lightbulb Canon in D Pachelbel Platoon Adagio for Strings Barber Pretty Woman La Traviata Verdi Prizzi's Honor L'Elisir d'Amore Donizetti Prizzi's Honor Barber of Seville Rossini Raging Bull Cavalleria Rusticana Mascagni Room with a View Gianni Schicchi Puccini Room with a View La Rondine Puccini Sammy and Rosie Der Erlkonig Schubert The Shining Music for Strings Bartok Slam Dance Samson et Delilah Saint-Saens Someone To Watch Over Me Lakme Delibes Someone To Watch Over Me Gloria Vivaldi Somewhere in Time Rhapsody on a theme by Paganini Rachmaninoff The Four Seasons The Four Seasons Vivaldi Trading Places The Marriage of Figaro Mozart Untouchables Pagliacci Leoncavallo Wall Street Rigoletto Verdi Witches of Eastwick Turandot Puccini Year of Living Dangerously Four Last Songs Strauss, R. Many of opera cuts can be found on one of the following recordings by Angel: Opera Goes to the Movies Son of Opera Goes to the Movies Q7. What are the best reference works on music in general? The supreme musical references is probably the New Grove Dictionary of Music and Musicians. This is a multi-volume set, about as large as your average encyclopedia, so you'll probably have to trek to your local library to find a copy. A more obtainable book is the New Harvard Dictionary of Music, and the paperback version, the Concise Harvard Dictionary of Music. These are invaluable for all musicians and music enthusiasts. David Mason Greene: Greene's Biographical Encyclopedia of Composers (David Mason Greene) is a good choice for interested amateurs and general listeners (those needing less than Grove's, in other words), Greene is a great source because it's compact and includes a huge number of composers (2400). His information could be refined in a number of places, but there are few other source that fill the same need. There are composer biographies, almost all of them excellent, published by Norton/Grove. These are the dictionary articles, with worklist, bibliography, and index, and slightly updated. Some volumes cover several composers, e.g., Bach Family, Northern European Baroque Masters. Grove also has multi-volume special dictionaries for opera, American music, and musical instruments. When picking recorded performances with which you are unfamiliar, you might wish to consult the Penguin Guide. This book provides a good starting point, and while it doesn't get everything right, it does have some excellent reviews, and can do a lot to help you identify the differences between the myriad versions of any particular piece. Be warned, though. The Penguin folks have been known to have what some consider an unfair bias against some early-instrument recordings. So read some of the reviews with a grain of salt. There are also the "Opus" catalogs put out by Schwamm, the musical version of "Books in Print." Many people also swear by magazines like Fanfare, Grammophone, etc. for reviews. If you don't have time to read all those magazines, you might want to check out Stevenson's Guide to classical recordings. This publication synthesizes the reviews of about 30 different magazines. Thus you aren't getting only one opinion, but an overview of what all the various critics thought about a given disc. The Guide also contains a CD Guide Honor Roll, which lists the performances that have received a three-plus (+++) rating from at least four critics, with no negative reviews given from any other critic. In other words, if you buy based on this honor roll list, you're pretty much assured of getting a decent recording. This very useful publication is available at some record stores, or else you can order it from Stevenson Classical Disk Guide, P.O. Box 53286, Indianapolis, IN 46253. Subscription price is $31 per year, four editions per year. When trying to identify that theme you have running around in your head, consult Barlow & Morgenstern's dictionaries. "A Dictionary of Musical Themes" and "A Dictionary of Opera and Song Themes" are essential references. A good all-around historical reference book is "A History of Western Music" by Donald Jay Grout and Claude V. Palisca. More than one grad student has curled up by the fireplace with this tome in preparation for qualifiers. Q8. What distinguishes classical music from popular music? Scholars go round and round on this one. Some say that classical music has more structure and "form" than popular music, but everyone knows that there is plenty of form in popular music. Others say that "classical music is an art, and popular music is entertainment." While that may in part be true, to make that assertion is perhaps to scoff at some of the artistry that exists in the popular venues. Today, classical music has an elite patronage, whereas popular music has more universal appeal. Also, classical music is generally considered to have a more unified and rigorous body of theory. Of course, these concepts did not exist at the time that most of the "classical" music was written. "Classical" music is repertoire music; when two artists play a piece, the results will be similar, the differences subtle. Compare different jazz versions or different pop versions of a song. One is likely to find much more difference there. Q9. What is the difference between an opera and a musical? Generally, a musical has dialogue with interspersed songs. Opera is generally sung through, the dialogue portions being replaced with recitatives (music which is intoned in a way that resembles speech). There are notable exceptions to this rule, namely Carmen (Bizet) and The Magic Flute (Mozart), both of which have spoken dialogue. The German name for operas with spoken dialogue is singspiel (pronounced ZING-shpeel). German productions pre-Wagner were always singspiel Many musicals, such as Les Miserables, Chess, Joseph, etc. are sung through, and are, in the classical world, often referred to as "popular operas" to signify that they do bear some resemblance to "classical" opera. Another important difference is that in musicals, the principal singers also dance. In opera that never happens. Q10. What is the history behind Orff's Carmina Burana? "Carmina Burana" was originally a cycle of medieval songs. The text is rather risque poetry written by medieval students. Carl Orff adapted some of them into the best known arrangement, not surprisingly called "Carmina Burana," in the 1930s. Of the songs he adapted, some are in Latin and some are in Middle High German (much as Chaucer's "Canterbury Tales" is in Middle English). The best known of the songs he used is "Fortuna Imperatrix Mundi" (a.k.a. "O Fortuna"), which was heavily used in the film EXCALIBUR. Q11. What are the words to the first movement? Fortuna Imperatrix Mundi Fortune, Empress of the World 1. O Fortuna 1. O Fortune Coro Chorus O fortuna, O fortune, velut Luna like the moon statu variabilis, you are changeable, semper crescis, ever waxing aut decrescis and waning; vita detesabilis hateful life nunc obdurat first oppresses et tunc curat and then soothes ludo mentis aciem; as fancy takes it; egestatem, poverty potestatem and power dissolvit ut glaciem. it melts them like ice. Sors immanis Fate - monstrous et inanis. and empty. rota tu volubilis. you whirling wheel, status malus you are malevolent, vana salus well-being is in vain semper dissolubilis, and always fades to nothing. obumbrata shadowed et velata and veiled michi quoque niteris; you plague me too; nunc per ludum now through the game dorsum nudum I bring my bare back fero tui sceleris. to your villainy. Sors salutis Fate is against me et virtutis in health michi nunc contraria and virtue, est affectus driven on et defectus and weighted down, semper in angaria. always enslaved. Hac in hora So at this hour sine mora without delay cordum pulsum tangite; pluck the vibrating strings; quod per sortem since Fate sternit fortem, strikes down the strong man, mecum omnes plangite ! everyone weep with me ! Q12. How do you pronounce all those conductors', composers', and performers' names? We don't have schwas and umlauts in ASCII, so I'll do my best. A *k indicates that the guttural k sound (as in chutzpah or Bach) should be used. #k indicates a palatal "ch" sound as in "reich." *n is the french "n" as in "bon." *r is the French r. "zh" as in "vision" Claudio Abbado ah-BAH-do Earnest Ansermet ahn-sair-MAY Arleen Auger Au-ZHAY Daniel Barenboim BARE-'n-boim Berlioz Bair-lee-OHZ Leonard Bernstein BURN-stine Bizet Bi-ZAY Pierre Boulez Bu-LEZ Dietrich Buxtehude DEE-tri#k BOOKS-te-hoo-de Chailly Chi-YEE Chopin Sho-PA(*)N Couperin Cou-peh*r-A*N Debussy De-bu-SEE Antal Dorati Ahn-TAHL DOH-rah-tee Charles Dutoit Du-TWAH Dukas Du-KAH Dvorak D'VOR-zhack Faure Fo-*RAY Cesar Franck Say-ZAHR Frahnk Wilhelm Furtwangler VIL-helm FOORT-veng-ler Bernard Haitink BURN-ard HIGH-tink Haydn HIDE-in Herbert von Karajan HAIR-bairt Fawn KAHR-ay-ahn. Kodaly KO-dai Raymond Leppard LEP-pard James Levine Luh-VINE Liszt List Charles Mackerras Muh-KAHR-ass Neville Marriner NEH-vul MARR-in-er Kurt Masur Mah-ZOOR Zubin Mehta ZOO-bin MAY-tuh Monteverdi Mon-te-VARE-dee (not Mon-te-VUR-dee) Mozart MOH-tsart Johann Pachelbel YO-hahn Pa-*KEL-bel Poulenc poo-lenk Ravel Ruh-VEL Reiner RHINE-er Saint-Saens Sa*n-SOH*N Schubert SHOO-bert Shostakovitch shash-teh-KOH-vich Smetana SMET-nuh Georg Solti jorj SHOL-tee Tchaikovsky Chiy-KAHF-skee Verdi VARE-dee (not VUR-dee) Richard Wagner *RI#K-art VAHG-ner Bruno Walter VAHL-ter Weelkes Weelks Wilbye WILL-bee Q13. How are composers' works usually indexed? That depends on the composer. Many of the significant composers' works have been organized into thematic catalogs. For example, Mozart's works are generally catalogged according to the Koechel Verzeichnis ("Koechel Catalog"), and thus you will often see a work of Mozart referred to by its K (or KV) number (The Requiem, for example, is K.626). Bach's works are usually indexed with BWV (Bach Werke Verzeichnis) numbers. Similarly, Vivaldi's works are referred to with RV numbers, Buxtehude's with BuxWV numbers, etc. Other composers who published their works in collections have opus numbers. Thus, for instance, a Haydn string quartet might be Op. 77 #1. Some composers such as Handel have compositions referenced both by opus numbers and by a thematic catalog code (in the case of Handel, it's the HWV). Here is a list of the major thematic catalogs... B - Catalog of the works of Dvorak by Burghauser BeRI - Catalog of the works of Roman by Bengtsson BuxWV - "Buxtehude-Werke-Verzeichnis" Catalog of the works of Buxtehude by Karstadt BWV - "Bach-Werke-Verzeichnis" Catalog of the works of J.S. Bach by Schmeider (sometimes designated by "S.") D - Catalog of the works of Schubert by Deutsch D - Catalog of the violin concerti of Tartini by Dounias F - Catalog of the works of Vivaldi by Fanna F - Catalog of the works of W.F. Bach by Falck G - Catalog of the works of Boccherini by Gerard G - Catalog of the works of Torelli by Giegling G - Catalog of the violin concertos of Viotti by Giazotto H - Catalog of the works of Charpentier by Hitchcock Hob - Catalog of the works of F.J. Haydn by Hoboken HW - Catalog of the works of J.C.F. Bach HWV - "Handel-Werke-Verzeichnis" Catalog of the works of Handel by Baselt J - Catalog of the works C.M. von Weber by Jahns K - Catalog of the works of W.A. Mozart by Koechel K - Catalog of the works of Rosetti K - Catalog of the works of D. Scarlatti by Kirkpatrick L - Catalog of the works of D. Scarlatti by Longo L - Catalog of the works of Debussy by Lesure LWV - "Lully-Werke-Verzeichnis" Catalog of the works of Lully M - Catalog of the works of Vivaldi by Malipiero MS - Catalog of the works of Molter Op - Opus number, generally a chronological publication number that may have been assigned by either the publisher or composer or both P - Catalog of the works of J.M. Haydn by Perger P - Catalog of the works of Vivaldi by Pincherle R - Catalog of the works of Vivaldi by Malipiero as published by Ricordi RO - Catalog of the works of Gottschalk RV - Catalog of the works of Vivaldi by Ryom S - Catalog of the works of Liszt by Searle TWV - "Telemann-Werke-Verzeichnis" Catalog of the works of Telemann WoO - "Werk ohne Opuszahl" or "Work without opus number", typically unpublished works Wq - Catalog of the works of C.P.E. Bach by Wotquenne Z - Catalog of the works of Purcell by Zimmerman Q14. What's the point of having a conductor? Can't professional musicians keep time by themselves? Yes, professional musicians can keep time by themselves, but a conductor does significantly more than just beat time. A good conductor will add interpretation and shape to a piece of music by controlling the dynamics of the music and by indicating entrances and cutoffs with great precision. There are some orchestras that play without a conductor (the Orpheus Chamber Orchestra springs to mind), but even in that case, there is usually one instrumentalist who functions as the "leader" and who the other musicians look to for cues. Many pieces change tempo in mid-stride, and a single person making the choice of exactly when and how can make the transition occur with great precision. In a large symphony orchestra there is also the additional problem that very often the acoustics of the hall are such that the musicians on, for instance, the extreme right of the orchestra simply cannot hear what the musicians on the extreme left are doing, and thus it is necessary to have a common reference, namely, the conductor. While it is true that each musician can keep time, the accumulated error would eventually cause the rhythm to become murky. The conductor has yet another purpose, and that is to set the "tone" of a piece. Whether the conductor uses sudden, forceful movements or smooth and delicate strokes will in many ways affect the way the musicians interpret the music and subsequently, the eventual color of the work. Gabe Wiener - Columbia Univ. "This 'telephone' has too many shortcomings gmw1@cunixa.cc.columbia.edu to be seriously considered as a means of N2GPZ in ham radio circles communication. The device is inherently of 72355,1226 on CI$ no value to us." -Western Union memo, 1877 Xref: bloom-picayune.mit.edu rec.music.compose:1096 news.answers:4576 Path: bloom-picayune.mit.edu!enterpoop.mit.edu!hri.com!spool.mu.edu!uunet!munnari.oz.au!comp.vuw.ac.nz!kauri.vuw.ac.nz!gnat From: Nathan.Torkington@vuw.ac.nz (Nathan Torkington) Newsgroups: rec.music.compose,news.answers Subject: rec.music.compose FAQ Message-ID: <composition-FAQ_724330800@kauri.vuw.ac.nz> Date: 14 Dec 92 11:00:16 GMT Sender: news@comp.vuw.ac.nz (News Admin) Reply-To: compose-faq@vuw.ac.nz Followup-To: rec.music.compose Organization: Dept. of Comp. Sci., Victoria Uni. of Wellington, New Zealand. Lines: 500 Approved: news-answers-request@MIT.edu Supersedes: <composition-FAQ_723121201@kauri.vuw.ac.nz> Nntp-Posting-Host: kauri.vuw.ac.nz Originator: gnat@kauri.vuw.ac.nz Archive-name: music/composition-FAQ Archive-version: 0.9.1 Last-modified: 08Sep1992 Maintained-by: compose-faq@vuw.ac.nz (Nathan Torkington) ---------------------------------------- This is the list of frequently asked questions (and their answers) for the newsgroup rec.music.compose. There is information about notation software, composition software, inspirational sources, getting published, music and the network, some theory hints, some guides to orchestration, some recommendations of books, a brief discussion of ethno-musicology, and some mention of hardware for composing. Where possible, pointers to existing information (such as books, ftp sites, other newsgroups, and mailing lists) is included here, rather than rehashing that information again. This FAQ is currently posted on rec.music.compose. Hopefully it will later be posted to news.answers, where it will be archived. Then it will be possible to retrieve the latest copy via anonymous FTP from pit-manager.mit.edu:/pub/usenet/rec.music.compose/compose-FAQ. Those without FTP access should send e-mail to mail-server@rtfm.mit.edu with send usenet/news.answers/finding-sources in the body to find out how to get news.answers files by e-mail. This FAQ was mostly written by jpff@maths.bath.ac.uk, and I give him great thanks for his enormous contribution. Comments and indications of doubt are enclosed in []s in the text. Each section begins with forty -s on a line of their own, then the section number. This should make searching for a specific section easy. Contributions, comments and changes should be directed to compose-faq@vuw.ac.nz ---------------------------------------- Index 1 Notation software and its limitations 1.1 Finale 1.2 Music Construction Set 1.3 MusicTex, MuTeX 2. Composition Software 2.1 CSound 2.2 CMIX 3 Inspirational Sources 4 Getting published 4.1 Copyright 5 Networked Music 5.1 NetJam 5.2 ? 6 Theory 6.1 Parallel octaves, etc. 6.2 Compositional hints (a-la gems) 6.3 diablo in musica 6.4 Rhythm 6.5 Stochastic Music 7 Orchestration 8 Books 8.1 Harmony 8.2 Counterpoint 8.3 History 8.4 Composition 8.5 Orchestration 9 Ethono-musiclogy 10 Hardware Credits ---------------------------------------- 1: Notation Software and its limitations The programs examined here are "Finale", "Music Construction Set", "MusicTex" and "MuTex". ---------------------------------------- 1.1: Finale Finale is a Music Notation program for MAC, available from CODA Music Software. A demonstration system is available by anonymous FTP from a number of sites. [which sites] ---------------------------------------- 1.2: Music Construction Set [some information please] ---------------------------------------- 1.3: MusicTex MusicTex is a set of macros which extends TeX for the printing of music. It was written by Daniel TAUPIN of Physique des Solides, Centre Universitaire, F-91405 ORSAY, France. The full system is described in Cahiers GUT (1990). It is available complete by anonymous FTP from a number of sites. [which?] The following is from some of the documentation: "MusicTex is a set of TeX macros to typeset polyphonic, orchestral or polyphonic music. "Two sizes are available: 16pt and 20pt (standard) staff heights. For that purpose, it uses special fonts: musicn16, slurn16 beamn16 and musicn20 slurn20 beamn20 respectively. "It is to be emphasized that MusicTex is not intended to be a compiler which would translate into TeX some standard musical notations, nor to decide by itself about aesthetic problems in music typing. MusicTex only typesets staves, notes, chords, beams, slurs and ornaments as requested by the composer. Since it makes very few typesetting decisions, MusicTex appears to be a versatile and rather powerful tool. However, due to the important amount of informations to be provided to the typesetting process, coding MusicTex might appear to be awfully complicated, just as the real keyboard or orchestral music. It should be interfaced therefore by some pre-compiler in the case of the composer/typesetter wanting aesthetic decisions to be automatically made by somebody (or something) else." The notation is somewhat complex, but the output quality is very good. ---------------------------------------- 1.4: MuTeX MuTeX is a set of macros for TeX which provide a LaTeX-like language for music notation. It was written by Andrea Steinbach and Angelika Schofer, and some of the documentation is in German. While it is restricted to a single stave the quality is extremely high. It is available by anonymous ftp from a number of sites, including St Olaf's College (stolaf.edu), who have provided an English translation of the manual.