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C00002 00002	LYN  	VARIAN SETUP    AREA T,LYN. (RELEVANT FILES
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LYN  	VARIAN SETUP    AREA T,LYN. (RELEVANT FILES
ARE JEG.XGP, DBRG.XGP, CORE.XGP).
∂22-Jan-80  1123	PAT  	request for handbook    
Would it be possible to get a copy of your heaλλarmonic analysis book???

∂22-Jan-80  1701	JLS  	F40 
To:   LCS CC:   JLS   
Please remembre to Bring me the F40 dec Manual.
Also, could you point me to a F40 program That I could use
to try out the compiler??
Thanks, juan
∂23-Jan-80  1526	SLH at MIT-AI (Stephen L. Hain)    
Date: 23 JAN 1980 1827-EST
From: SLH at MIT-AI (Stephen L. Hain)
To: LCS at SU-AI (To Clem Smith:)
I heard that you have a 6502 emulator. I would like to know if it would be
possible for me to use it on MIT-AI for a version of LOGO I have written
for the APPLE ][ home computer. Thanks.		- Stephen L. Hain (SLH@MIT-AI)
∂26-Jan-80  1741	MUZ  	new DataMedia at CCRMA  
To:   music  
If you wish to use the new DataMedia at CCRMA (currently installed in
my office) you should include the command "FDMWAITS" after LOGIN in your
OPTION.TXT file.  If this is Greek to you then simply make a copy on your
area of OPTION.TXT[MIX,MUZ].   On operation of the terminal see Patte.
It is necessary to create the external login privilege from the SAIL system
itself (i.e, at Jacksall).  On how to do this, ask either JAM or a SAIL 
hacker.   . . . enjoy

∂31-Jan-80  0206	HYS  	more MS-management....  
I do strongly recommend putting in partial cresc. and dim. forks---- I see
myself having to have those quite often once I do my own things.
One other thing I foresee using in my pieces are tremolando figures
involving two notes at a time (like trills except with bigger intervals).
This Ives piece I'm doing now has a few PPPP at the end; your code 3
figures only goes as far as PPP.  How to get the extra P in?  Also, how
todo a SFFZ? You only have a SF and SFZ, and I sure could use a RFZ as
well (I do feel a difference between a SFZ and RFZ attack; the former
goes like "dah", and the latter goes like "wuh".  To me, the hairpin
cresc.-dim. (parallelogram figure) that Schumann likes to use so much
is synonymous with RFZ.  I even call for RFFZ at times.  There is also
a need for SFP and SFPP; those gets used all the time.  Having the
Brahmsian PF (Poco Forte) would also be nice. (Enesco even has a thing
called BF (Ben Forte), though I've nerver seen anyone else use it; I
would use "F assai" if I wanted that nuance.)

I concocted an arrowhead out of an accent-mark blown up to 1.5 size
factor.  This is in connection with getting pedal-marks.  I realize
that you have those cute pedal-pictures; I have yet to be sold on them.
In my pieces, to indicate fine-pedaling, I'm in the habit of interrupting
the pedal-line with wedges; I have yet to see if I can pull off the trick
with MS.  As I've said before, two symbols which I use often in the
song cycle is the line-through-circle damp for harp, and the regular
railway tracks.

Today (or rather yesterday...)I sent Kuhn a note saying that I would
accept Rob Harvey's position if offered; I also said that until a
definite offer is made I will be continuing my other job-searching
efforts.  Also included in my note was my October update of my
resume.  The XGP was flakey when I tried to run off a more recent
update a couple of days back.  Yung

∂02-Feb-80  0337	HYS  	PAGE
I've finished editing the score of this Ives song, and have run it through
PAGE's part extractor.  It's doing finny things, and you'd probably be
interested in what it does.

(That should read "funny things"...)

By using BDI40, I got something close when I needed a PPPP; just the same,
you should expand your Code 3 offerings.  One other thing I will use
alot in my piece is vertical brackets to indicate non-arpegiation
(for harp and strings). Is this possible with what you have in Code
4?

I have now reached the limit of my disk allotment, and will definitely
need some external storage at this time.  As soon as I finish editing the
parts to the Ives songs, I will be going full steam on my song cycle.
I foresee using four files per system, and so I will need space like
crazy (I hate to think how much space the parts to the thing will take...)

One major revision the song cycle will undergo is strengthening the
string section from solo quintet to 13-20 players...still a chamber
orchestra, though a fairly sizable one.  4-6 firsts, 3-5 seconds,
2-4 violas, 2-3 'celli, 1-2 basses.  I felt I really could use a
somewhat richer sound in many spots; also, it will balance better
with the rest of the orch., and alot of the held chords will be
easier.  Alot of Soli will still be used, so that the basic conception
still remains the same.  For what it's worth, I plan to dedicate this
work to the memory of N.B., in that the very first version of the
Shakespeare setting was indeed written while I was still with her.
The voice part and the basic harmonies are still the same, though
the orchestration has undergone several stages of refinement.
Yung

∂07-Feb-80  0126	HYS  	Bugs is MS    
If you want to see an interesting bug, read in TEMP.DAT[220,HYS].  I have
a feeling that MS has little feeling for the graces....anyway, it totally
bombs out when a grace-note is followed by a whole rest.  The input data
works if you change all the RW's to just plain R's, and edit back in
the "wholesomeness" later.  If you're wondering why would I ever want to
tie a note to a grace following afterwards, it's because I have loads
of ties which don't tie into another note, to indicate ringing
undamped notes.  I delete the graces afterwards.  I notice that your program
thinks ties into graces are slurs, and doesn't put ties on all the notes.
I think you should make provisions in score input mode for ties of this
sorts; it crops up all the time, and I'm sure I'm not the only person
who writes such ties.

I was also wondering if it is possible to have only part of closed
curves filled (e.g. take a circle, divide into two equal parts, and
fill just one side of it).  I use the figure described to indicate
medium-hard mallets.  I haven't yet begun to look at the DRAW program
(which looks formidable at this point ---- maybe you should conjure up
a little tutorial in the same fashion as that for the regular MS
program.  It almost seems that I could fashion most of the figures I
need with code 4, 9, and 12 stuff, except for the filling stuff.
The only thing you have in your regular stuff which fills are code 1 
noteheads.)

The VRN was down tonight ---- I keep getting "VRN OUTPUT ERROR".

I think I'm going to have to get some of my files on tape, and clear out
a big working area on my disk space, now that I'm doing my final project
for real.  You'll have to tell me where to get tape, and how to use it.
The song cycle will take at least 78 (seventy-eight-----when will they
fix this blasted "seven"???) pages of print, each page taking three
or four files ......Yung

∂08-Feb-80  1332	LES  
 ∂08-Feb-80  0616	Feigenbaum at SUMEX-AIM 	would you handle this please  
Date:  8 Feb 1980 0617-PST
From: Feigenbaum at SUMEX-AIM
Subject: would you handle this please
To:   les at SAIL

Mail from USC-ISI rcvd at 7-Feb-80 1712-PST
Date: 7 Feb 1980 1711-PST
Sender: ENGELMORE at USC-ISI
Subject: Request from Dave Stoutemyer
Subject: [STOUTE at MIT-MC (David Stoutemyer)]
From: ENGELMORE at USC-ISI
To: Feigenbaum at SUMEX-AIM
Message-ID: <[USC-ISI] 7-Feb-80 17:11:36.ENGELMORE>

Ed,
	Would you please tell Dave Stoutemeyer who to get in touch with and
how? (I would guess it's Leland Smith in the MUsic Dept., but I'm not sure.)
Thanks,
Bob
	
Begin forwarded message
Mail from SUMEX-AIM rcvd at 7-Feb-80 1017-PST
Mail from MIT-MC rcvd at 7-Feb-80 1013-PST
Date: 7 FEB 1980 1315-EST
From: STOUTE at MIT-MC (David Stoutemyer)
To: engelmore at SUMEX-AIM

Hi Bob,

A colleague of mine here is interested in Having Musical scores printed
 using computer formatting -- sort of TEX for music.  I recall reading
about something like that done at Stanford.  Do you know who to contact
and/oor a reference?

Thanks for any help you can give -- Dave Stoutemyer