Archive-Date: Tue, 01 Dec 1998 21:32:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 02 Dec 1998 00:35:26 -0500 (EST) From: Dawn Culbertson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford for lute To: EngDance list Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Lutenist Dawn Culbertson will give a concert of Renaissance music, much of it appropriate for the holiday season, this Sunday, December 6 (St. Nicholas Day) at St. Mark's Lutheran Church, 1900 St. Paul Street, Baltimore, MD, beginning at 2:00 p.m. The concert will include settings of Playford dances as well as dance music from France and Germany, anonymous tunes from Scotland, and works by Francesco da Milano and Anthony Holborne. Admission is free, but a freewill offering will be taken. For more information, use the phone number or e-mail address below. Dawn Culbertson dcculb-AT- peabody.jhu.edu 410-825-1379 ================================================================================ Archive-Date: Thu, 10 Dec 1998 11:39:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 10 Dec 1998 14:38:37 -0500 (EST) From: morganj-AT- iupui.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Wonderful Library of Congress online dance resource To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Take a look at http://memory.loc.gov/ammem/dihtml/dihome.html . This is a new Library of Congress resource - 200 dance manuals from 1490-1920. The texts are fully digitized and searchable, and a graphic version (.pdf files that require Adobe Acrobat) if you want to see the image of the original text. Jim Morgan morganj-AT- iupui.edu ================================================================================ Archive-Date: Mon, 14 Dec 1998 11:55:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 14 Dec 1998 13:55:18 -0600 (CST) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Christmas Ball in Urbana, IL 12/19 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199812141955.NAA01868-AT- staff1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT The Central Illinois English Country Dancers Present An E N G L I S H C O U N T R Y D A N C E C H R I S T M A S B A L L The Central Illinois English Country Dancers will be holding their fourth annual Christmas Ball on Saturday, December 19, 1998. The dance will be held at the Channing-Murray Foundation, 1209 W. Oregon, Urbana, IL, on the campus of the University of Illinois. There will be a review of the evening's dances from 7:00 to 8:00, followed by the Ball from 8:00 to 11:00 p.m. Fans and finery are encouraged. Bring fruit or a dessert to share. There will be a $5.00 suggested donation to help cover the cost of the Ball. All lovers of English Country dance and music are welcome. Dances Lead By: Jane Hobgood, John Ramsay and Jonathan Sivier Music Provided By: The Flatland Consort Dance Review: 7:00 p.m. Christmas Ball: 8:00 to 11:00 p.m. Date: Saturday, December 19, 1998 Location: Channing-Murray Foundation, 1209 W. Oregon, Urbana, IL Suggested Donation: $5.00 There will be refreshments and a mummers' play at the break and a dessert party following the dance. The dance is dedicated to Norm Peters, the mandolin player with The Flatland Consort, who passed away earlier this year. Here is the list of dances we are planning for the Ball: Dargason Draper's Gardens Dublin Bay Elizabeth The Fair Quaker of Deal The Geud Man of Ballangigh A Grand March Heartsease Hit and Miss Jenny Pluck Pears La Russe Portland Fancy Prince William Well Hall For further information contact Jonathan Sivier (j-sivier-AT- uiuc.edu) at 217/359-8225 or Jane Hobgood at 217/328-1708. You can check the Christmas Ball website at http://www.staff.uiuc.edu/~j-sivier/ciecd/xmas.html Thanks for the support of the Champaign Park District and the Urbana Country Dancers. For those who are interested, the Urbana Country Dancers will be holding a contra dance on Friday, December 18, from 8 to 11 p.m. at the Phillip's Recreation Center, 505 W. Stoughton, Urbana. Central Illinois English Country Dancers is a member of the Champaign County Cultural Consortium. ------------------------------------------------------------------------- | Jonathan Sivier |Q: How many angels can dance on the | | j-sivier-AT- uiuc.edu | head of a pin? | | Flight Simulation Lab |A: It depends on what dance you call. | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------------- | Home page URL: http://www.staff.uiuc.edu/~j-sivier | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Tue, 15 Dec 1998 11:35:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 15 Dec 1998 14:35:18 -0500 (EST) From: Dan Pearl Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Status of Recording Project To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199812151935.OAA16026-AT- alta.sw.stratus.com> Content-Transfer-Encoding: 7BIT The Boston Center ECD recording project that was discussed several months ago has been funded, for at least one round of recording. Although proposed as a "Barnes Companion", the scope still includes: 1. Classic dances for which no satisfactory recordings exist 2. Modern dances for which no satisfactory recordings exist 3. Classic dances for which satisfactory recordings are no longer in print 4. Other material (more obscure dances in Barnes, other popular dances not in Barnes) The purpose of this mail is to solicit ideas on favorite dances of yours that conform to the four catagories, above (concentrating on #1, #2 and #3). Please reply to me (pearl-AT- sw.stratus.com). I will tabulate responses and post the lists here when the responses die down. Remember: The purpose of the project is to provide recordings primarily for dancing. This means: * The introductions must be clear, and the endings clean. * The cuts are long enough (for longways dances). * The cuts run an appropriate number of times (for set dances). * Self-conscious arrangements, inappropriate/varying tempos, medleys, etc. are avoided. ================================================================================ Archive-Date: Wed, 16 Dec 1998 04:21:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 16 Dec 1998 07:14:34 -0500 From: Sharon A McKinley Reply-To: ECD-AT- playford.slac.stanford.edu Subject: New Year's Workshop and Dance -Reply To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT mary kay; hey, at least i KNOW most of these. it's different at the cecil sharp house, where i seem to recall i knew almost none of what they did (many years ago, actually, but even so...) moi >>> Philippe Callens 11/16/98 06:28am >>> AADS invites you all on the occasion of ten years of country dancing at Mortsel, Antwerp, Belgium for a NEW YEAR'S WORKSHOP and AFTERNOON DANCE ENGLISH COUNTRY DANCING "Playford" with The Little Tinkers and Philippe Callens Mortsel 3 January 1999 It was in the autumn of 1988 that the first series of Sunday afternoon country dances at Mortsel started. The aim was to build a dance series featuring accessible and interesting dances from the English and American country dance programme. This initiative seemed to work from the start on. Interested dancers from all parts of Flanders and also from the Netherlands showed up. And that interest is still well alive after ten years! So it was felt that this jubilee should be celebrated with a whole day of dancing, featuring a programme of English country dances for the occasion. The band The Little Tinkers will provide music all day long. During the morning workshop Philippe Callens will introduce you to some unhackneyed English dances and work on good dance technique. For the afternoon ball a choice will be made from this next selection of dances so that teaching time will be short: Barbarini's Tambourine Bellamira Dunham Oaks Freeford Gardens Handel with Care Kill him with Kindness Maiden Lane Maiden Moor Mr. Isaac's Maggot Newcastle Trip to Amsterdam Trip to Paris Wa'Is Me Walpole Cottage Wibsey Roundabout Winter Dreams Waltz Wood Duck Young Widow Although it is possible to attend only either workshop or afternoon dance, we invite you to participate all day long. Please register in advance. Venue: Den Wolschaerder, Liersesteenweg 314, 2640 Mortsel, Belgium. When: Sunday 3 January 1999, from 11 am to 1.15 pm and from 2.30 to 5.45 pm. PLease take care of your own lunch. Price morning workshop BEF 200 afternoon dance BEF 250 whole day BEF 400 Application - phone/fax + 32 9 372935 - e-mail mailto:aads-AT- club.innet.be ================================================================================ Archive-Date: Wed, 16 Dec 1998 04:21:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 16 Dec 1998 07:16:00 -0500 From: Sharon A McKinley Reply-To: ECD-AT- playford.slac.stanford.edu Subject: New Year's Workshop and Dance -Reply To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT philippe; ignore the other message. your program was forwarded to me by mary kay friday and i replied to you instead of to her. sounds like a nice program, but i haven't the airfare! sharon mckinley >>> Philippe Callens 11/16/98 06:28am >>> AADS invites you all on the occasion of ten years of country dancing at Mortsel, Antwerp, Belgium for a NEW YEAR'S WORKSHOP and AFTERNOON DANCE ENGLISH COUNTRY DANCING "Playford" with The Little Tinkers and Philippe Callens Mortsel 3 January 1999 It was in the autumn of 1988 that the first series of Sunday afternoon country dances at Mortsel started. The aim was to build a dance series featuring accessible and interesting dances from the English and American country dance programme. This initiative seemed to work from the start on. Interested dancers from all parts of Flanders and also from the Netherlands showed up. And that interest is still well alive after ten years! So it was felt that this jubilee should be celebrated with a whole day of dancing, featuring a programme of English country dances for the occasion. The band The Little Tinkers will provide music all day long. During the morning workshop Philippe Callens will introduce you to some unhackneyed English dances and work on good dance technique. For the afternoon ball a choice will be made from this next selection of dances so that teaching time will be short: Barbarini's Tambourine Bellamira Dunham Oaks Freeford Gardens Handel with Care Kill him with Kindness Maiden Lane Maiden Moor Mr. Isaac's Maggot Newcastle Trip to Amsterdam Trip to Paris Wa'Is Me Walpole Cottage Wibsey Roundabout Winter Dreams Waltz Wood Duck Young Widow Although it is possible to attend only either workshop or afternoon dance, we invite you to participate all day long. Please register in advance. Venue: Den Wolschaerder, Liersesteenweg 314, 2640 Mortsel, Belgium. When: Sunday 3 January 1999, from 11 am to 1.15 pm and from 2.30 to 5.45 pm. PLease take care of your own lunch. Price morning workshop BEF 200 afternoon dance BEF 250 whole day BEF 400 Application - phone/fax + 32 9 372935 - e-mail mailto:aads-AT- club.innet.be ================================================================================ Archive-Date: Wed, 16 Dec 1998 12:55:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 16 Dec 1998 12:55:36 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: More on the Library of Congress dance website [fwd from Rendance] To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01J5EMWQVFCI8WW463-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Forwarded without permission from From: Barbara Sparti who posted it to the Rendance mailing list. ==== Received from the AMS (American Musicology Society) news list: "AN AMERICAN BALLROOM COMPANION" WEB SITE GOES ON-LINE The complete release of a multimedia collection of dance materials covering more than 400 years is now on-line at the Library of Congress' American Memory Web site (http://memory.loc.gov/ammem/dihtml/dihome.html). "An American Ballroom Companion: Dance Instruction Manuals, ca. 1490 - 1920" was produced by the National Digital Library Program, in conjunction with the Music Division, and is the most recent performing arts collection to be released by the Library. The centerpiece of this site consists of more than 200 books relating to instruction of social dance during the 400 years that are represented in the collection. Complete page images are available for all books, and many are text converted (in SGML as well as HTML) to enable comprehensive searching. In addition to dance instruction itself, the books cover other related topics such as etiquette, dance history, anti-dance treatises, and notation. The newest feature of "An American Ballroom Companion" is the addition of 75 video demonstrations of many of these historic dances, enabling users to compare directly the written texts with the movements themselves. These short videos consist of excerpts from a performance in full costume, as well as close-up video "tutorials" of specific steps. The videos are linked extensively throughout the site, and are provided in four different formats to allow for variations in user equipment. This site is the first of the performing arts electronic collections to feature complete books on-line, along with video clips. This collection provides a way for scholars, dancers, and students of all levels to research and replicate the steps to historic dances from their nearest computer terminal. These materials represent a comprehensive look at the history of social dance within the context of specific eras, from the Renaissance pavane and galliard, to the group dances of the late 18th century, the popular 19th century waltz and the more adventurous dances (such as the Tango) of the ragtime era. Other features of this site include a narrative overview of the collection in a historical context, and a special section on "How to Use a Dance Manual". Both of these were written by noted dance historian and choreographer, Elizabeth Aldrich, who served as special consultant on this project. "An American Ballroom Companion" is an electronic collection only; the books themselves are located in several different Library divisions including Music and Rare Book, as well as the general collections. American Memory is a project of the National Digital Library Program, which, in collaboration with other major repositories, is making available on-line materials relating to American history by the year 2000, the bicentennial of the Library of Congress. More than 40 collections and 1 million items are now available in media ranging from photographs, manuscripts and maps to motion pictures, sound recordings and presidential papers. * * * * * Barbara Sparti =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Mon, 21 Dec 1998 06:45:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 21 Dec 1998 09:45:13 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Abbotts-Bromley horns To: ECD Mailing List Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Hi All, I'm wondering what's a good price for a pair of antlers suitable for the Abbotts-Bromley Horn Dance. Any information, such as what you paid if you acquired them, or what someone else paid that you know about, or what you _would_ pay if you had the opportunity, is solicited. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Mon, 21 Dec 1998 09:25:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 21 Dec 1998 11:23:18 -0600 (CST) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Abbotts-Bromley horns To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <981221112318.6bf-AT- GEORGE.BAKERU.EDU> Content-Transfer-Encoding: 7BIT Eric: We got our horns from Don Armstrong who, at the time, was living in Colorado. They had to thin-out the deer population each fall so there would be enough natural feed to get the remaining deer through the winter. Don did such a thorough job for us that we have a 'practice' set and a 'perfor- mance' set. There should be comparable wildlife management officials in Michigan. Respectfully, Forbes/Kansas ================================================================================ Archive-Date: Mon, 21 Dec 1998 21:34:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 00:08:47 -0500 From: catdancer-AT- juno.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Abbotts-Bromley horns To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19981222.002924.11622.0.catdancer-AT- juno.com> Content-Transfer-Encoding: 7BIT References: <981221112318.6bf-AT- george.bakeru.edu> Wait a second. You don't need to thin out the deer population to get a set of antlers. They shed them naturally each year!! (Which, by the way, is why they are antlers and not horns!!) Helen Tuzio On Mon, 21 Dec 1998 11:23:18 -0600 (CST) FORBES-AT- GEORGE.BAKERU.EDU writes: >Eric: > > We got our horns from Don Armstrong who, at the time, was living in > >Colorado. They had to thin-out the deer population each fall so there >would >be enough natural feed to get the remaining deer through the winter. >Don >did such a thorough job for us that we have a 'practice' set and a >'perfor- >mance' set. There should be comparable wildlife management officials >in >Michigan. > >Respectfully, > >Forbes/Kansas > ___________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866] ================================================================================ Archive-Date: Tue, 22 Dec 1998 08:43:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 11:44:15 -0500 From: Albert Blank Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Abbotts-Bromley horns To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <367FCC5F.536D7471-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <981221112318.6bf-AT- george.bakeru.edu> <19981222.002924.11622.0.catdancer-AT- juno.com> What a warm-hearted person is Helen Tuzio! Unfortunately, The Abbots Bromley horns come attached to a skull base, which almost automatically assures matched pairs. I've lived in woods where deer thrive and found their antlers there. Never have I found a pair! I guess they hardly ever shed both at the same time. Also, even if a pair were found, there would still be the problem of attaching them to a suitable base. John Forbes's solution may be O.K. Herds aren't thinned generally to get the antlers. Usually it's a problem of overpopulation. Albert Blank p.s. I'm not a hunter. We used to feed corn to the deer in lean seasons. catdancer-AT- juno.com wrote: > Wait a second. You don't need to thin out the deer population to get a > set of antlers. They shed them naturally each year!! (Which, by the > way, is why they are antlers and not horns!!) > > Helen Tuzio > ================================================================================ Archive-Date: Tue, 22 Dec 1998 09:23:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 11:19:29 -0600 From: Charlene Charette Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Abbotts-Bromley horns To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <367FD4A0.DE29E232-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <981221112318.6bf-AT- george.bakeru.edu> <19981222.002924.11622.0.catdancer-AT- juno.com> catdancer-AT- juno.com wrote: > Wait a second. You don't need to thin out the deer population to get a > set of antlers. They shed them naturally each year!! (Which, by the > way, is why they are antlers and not horns!!) > > Helen Tuzio It didn't sound as though they were thinning the herd to get the antlers, but rather that they were thinning the herd anyway and therefore used the antlers. --Charlene -- I like Christmas, but I'm not a Christian, in the same way that I like Halloween, but I'm not dead." -- Ed Chigliak, Northern Exposure ================================================================================ Archive-Date: Tue, 22 Dec 1998 09:40:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 12:40:11 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Abbotts-Bromley horns To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Tue, 22 Dec 1998, Charlene Charette wrote: > catdancer-AT- juno.com wrote: > > > Wait a second. You don't need to thin out the deer population to get a > > set of antlers. They shed them naturally each year!! (Which, by the > > way, is why they are antlers and not horns!!) > > > > Helen Tuzio > > It didn't sound as though they were thinning the herd to get the antlers, but > rather that they were thinning the herd anyway and therefore used the > antlers. Thanks to those of you who had suggestions for methods other than purchase of horns for the horn dance. I was thinking more of what seems like a reasonable price if one were to find suitable antlers at a garage sale, antique shop, second-hand shop, etc. I have seen such things from time to time when I didn't have an imagined use for them, and while I'm not part of a team or trying to form a team, it did occur to me that if I had my own pair, that might sometime contribute to the opportunity sometime to participate as a dancer rather than a spectator of the dance -- so my card could declare "have antlers -- will travel" or something like that... Eric ================================================================================ Archive-Date: Tue, 22 Dec 1998 10:14:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 10:09:49 -0800 (PST) From: Paul and Victoria Bestock Reply-To: ECD-AT- playford.slac.stanford.edu Subject: dubbing tapes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: cdss-AT- world.std.com Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hi Folks, This week I was asked to teach a workshop in English Country Dance at a folk dance festival. I'm going to have to turn it down ( it won't be fragrance-free enough for me) and I thereby turn over to a colleague the following ticklish issue: The festival sells a syllabus and tape of all the dances taught at the festival, which is a lovely service to those people who will plan to teach the dances in their local folk dance clubs, or even to those who will do the dances in their living rooms for weeks afterwards. Teaching staff for the festival are required to provide dance descriptions and tapes of the music for the dances they teach. It seems to me that despite the fact that the festival isn't profiting financially from the tapes (they sell them for $5.00, which is pretty close to cost) that this practice violates copywright laws, since selling the taped tapes prevents people from purchasing the originals from which the pirated recordings were made, and thereby screws the musicians, who are tragically unrecognised and underpaid anyway, out of the few pennies they make off the sale of each recording. I explained my reluctance to the festival organizer. She checked with a lawyer and was told that as long as they put a disclaimer on the tape to the effect that the tape was for educational purposes only and could not be duplicated or resold, that selling a tape of a tape was legal. I was really surprised. Any comments from those with experience of this? From CDSS board folks? What do the copywright laws say about this? Is it legal to tape one band off each of several records as long as you don't tape an entire record? (In printed matter, you can Xerox a few pages from a book, but not the whole book,) Is it OK to give away the tape, or sell it at cost, as long as you are not making a profit on it? If the tape does make a few cents, but the money goes to support the festival which is a non=-profit organization, is THAT OK? If it is illegal to sell it, would it be OK if the tape were free with registration at the festival? Or is any duplication of copywrighted material an infringement? I'm curious. Victoria Bestock ================================================================================ Archive-Date: Tue, 22 Dec 1998 11:10:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 19:10:49 +0000 (GMT) From: Paul Davis Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dubbing tapes To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: cdss-AT- world.std.com Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Any copying of tapes is a breach of copyright. In fact, any playing of tapes for commercial benefit is a breach of copyright - here in the UK all clubs should have a licence which allows them to use pre-recorded music for dancing. And commercial benefit does not mean profit - it means outside the scope of general personal use. In legal and moral terms the organisers are in the wrong - if they want musicians to play music, then they must expect to pay them in some way either in person or through sales of their recordings. Educational use does not wash. As an aside we have a blanket licence for recording TV programmes for educational use. It isn't free, and certain departments have to fill in forms every month detailing their usage of videos. That way the money at the other end gets distributed accordingly to the most popular artists. Paul Paul Davis Computer Teaching Officer Email: paul.davis-AT- oucs.ox.ac.uk Tel: 01865 283414 On Tue, 22 Dec 1998, Paul and Victoria Bestock wrote: > Hi Folks, > > This week I was asked to teach a workshop in English Country Dance at a > folk dance festival. I'm going to have to turn it down ( it won't be > fragrance-free enough for me) and I thereby turn over to a colleague the > following ticklish issue: > > The festival sells a syllabus and tape of all the dances taught at the > festival, which is a lovely service to those people who will plan to teach > the dances in their local folk dance clubs, or even to those who will do > the dances in their living rooms for weeks afterwards. Teaching staff for > the festival are required to provide dance descriptions and tapes of the > music for the dances they teach. > > It seems to me that despite the fact that the festival isn't profiting > financially from the tapes (they sell them for $5.00, which is pretty close > to cost) that this practice violates copywright laws, since selling the ....... ================================================================================ Archive-Date: Tue, 22 Dec 1998 11:11:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 14:10:53 -0500 (EST) From: Dan Pearl Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dubbing tapes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199812221910.OAA26274-AT- alta.sw.stratus.com> Content-Transfer-Encoding: 7BIT Victoria Bestock = VB VB>The festival sells a syllabus and tape ... Teaching staff for VB>the festival are required to provide dance descriptions and tapes of the VB>music for the dances they teach. VB> VB>It seems to me that despite the fact that the festival isn't profiting VB>financially from the tapes (they sell them for $5.00, which is pretty close VB>to cost) that this practice violates copywright laws, since selling the VB>taped tapes prevents people from purchasing the originals from which the VB>pirated recordings were made, and thereby screws the musicians, who are VB>tragically unrecognised and underpaid anyway, out of the few pennies they VB>make off the sale of each recording. VB> VB>I explained my reluctance to the festival organizer. She checked with a VB>lawyer and was told that as long as they put a disclaimer on the tape to VB>the effect that the tape was for educational purposes only and could not be VB>duplicated or resold, that selling a tape of a tape was legal. I was really VB>surprised. VB> VB>What do the copywright laws say about this? Is it legal to tape one band VB>off each of several records as long as you don't tape an entire record? VB>Is it OK to give away the tape, or sell it at cost, as long as VB>you are not making a profit on it? If the tape does make a few cents, VB>but the money goes to support the festival which is a non=-profit VB>organization, is THAT OK? If it is illegal to sell it, would it be OK if VB>the tape were free with registration at the festival? Or is any VB>duplication of copywrighted material an infringement? I'm curious. There are lots of copyright resources on the Internet. The festival organizer seems to be going after the "fair use" doctrine of the copyright law. Based on the text below, I would think that a claim of FAIR USE could not be supported, mainly due to the percentage of the work used. I was hired to lead dancing at a folk dance weekend which also required that syllabi and music be provided by the leader. Instead of violating copyright, I supplied discography for each dance that I presented. ftp://ftp.aimnet.com/pub/users/carroll/law/copyright/faq/part2 decribes fair use details thusly: "There are four factors used to decide whether a particular use of a copyrighted work is a fair use: (1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or value of the copyrighted work. 17 U.S.C. 107. The remainder of this answer discusses how each of these factors has been interpreted. (1) The purpose and character of the use: In considering the purpose and character of the use, courts have looked to two characteristics of the use: whether the use is commercial and, somewhat less frequently, whether the use is a "productive" one. If the copyrighted work is being used commercially, e.g., all or part of a copyrighted drawing being used in a commercially published book on drawing techniques, that's a strike against it being fair use. On the other hand, if the same drawing were used in a non-profit school to teach children to draw, then this factor would be in favor of finding a fair use. Most situations are somewhere in between. That is, a use might not be commercial, but it's not necessarily non-profit educational, either. Note, though, that the statute does not command this "commercial/non- profit educational" balance, and not all courts use it, at least not by itself. Commercial use might be forgiven if the use is characterized as a "productive" or "transformative" use, i.e., a use of the material that interprets or otherwise adds value to the material taken from the copyrighted work. See Consumers Union v. General Signal Corp., 724 F.2d 1044, 1047 (2nd Cir. 1983) (noting that the use of one of Consumer Report magazine's reviews of a vacuum cleaner in an advertisement was a fair use, in part because the purpose and character of the advertisement was in part to educate consumers). The Supreme Court has noted that the distinction between "productive" and "unproductive" uses is not wholly determinative, but is helpful in balancing the interests. Sony Corp. v. Universal City Studios, 464 U.S. 417, 451 n.40 (1983). (2) The nature of the copyrighted work: If the work being used is one that is factual or functional in nature, then that's a point in favor of use of that work being a fair use. That's because copyright isn't available for facts themselves, and the courts recognize that it's kind of dumb to force someone with a newspaper clipping to completely rewrite it to avoid infringement (besides, a paraphrase is still an infringement, because it qualifies as creating a derivative work, even if it's not a direct copy). If the work is a fictional or artistic one, though, taking the work is taking much more than any underlying facts. A fictional or artistic work is more expressive than a factual one, so the copyright (which is designed to protect expression) is stronger. Even in factual works, however, where the portion used includes subjective descriptions whose power lies in the author's individualized expression, this factor might go against a finding of fair use, if the use exceeds that necessary to disseminate the facts. See Harper and Row v. Nation Enterprises, 471 U.S. 539 (1985) (finding no fair use for infringement of former U.S. President Ford's memoirs despite its factual content). Another point that's often examined in looking at the nature of the copyrighted work is whether the work has been published. Courts will generally consider a use of an unpublished work as more likely to infringe than a similar use of a published work. Harper and Row v. Nation Enterprises, 471 U.S. 539, 564 (1985). This is for two reasons. First, the first publication is often the most valuable to the copyright holder. Second, it affects the copyright holder's ability to choose not to publish the work at all. See Salinger v. Random House, 811 F.2d 90, 97 (2nd Cir. 1987). As with the first factor, while the "fact/fiction" balance and "published/unpublished" balance are two of the most common, they are not commanded by the statute, which only requires considering the "nature of the copyrighted work." For example, in Sega v. Accolade, 977 F.2d 1510, 1525 (9th Cir., 1993), the Court of Appeals noted that the nature of most computer programs distributed in object code is that the functional (and therefore unprotected) elements cannot be discerned without disassembly. This supported the court's opinion that, in certain limited instances, disassembling of a competitor's product to find interface information that cannot be obtained in any other way is a fair use of the work, despite the fact that code disassembly necessarily involves making a copy of the copyrighted program. (3) The amount and substantiality of the portion used in relation to the copyrighted work as a whole: This appears simpler than it really is. On the face of it, it means that if you incorporate 95% of a copyrighted work into another work, it's a lot less likely to be a fair use than if you take only a small portion, say, 5%. And that's true. However, assessing this factor is a bit more complex than that simple statement. Even if only a small portion of the work is used, if that portion is "qualitatively substantial," e.g., if the portion used is essentially the heart of the work, that use will be deemed to have been "substantial," and could go against a finding of fair use. See Harper and Row v. Nation Enterprises, 471 U.S. 539 (1985) (finding no fair use for infringement of former U.S. President Ford's memoirs, where the portion used (which described Ford's decision to pardon former President Nixon) included "the most interesting and moving parts of the entire manuscript"), and Roy Export Co. v. Columbia Broadcasting System, 503 F.Supp. 1137 (S.D.N.Y. 1980) (taking of 55 seconds out of 89-minute film deemed "qualitatively substantial"). To confuse matters further, some courts have (probably erroneously) interpreted this factor by looking at what percentage of the work _using_ the material is composed of material from the copyrighted work, rather than what percentage of the copyrighted work was used. See, e.g., Association of American Medical Colleges v. Mikaelian, 571 F.Supp. 144 (E.D. Pa, 1983), aff'd 734 F.2d 3 (3rd Cir., 1984), aff'd 734 F.2d 6 (3rd Cir., 1984). While this interpretation is probably erroneous, it's worth bearing in mind that, at least in one judge's courtroom in the Eastern District of Pennsylvania, that's how the statute will be interpreted. (4) The effect of the use upon the potential market for or value of the copyrighted work: The U.S. Supreme Court has stated that this factor is "undoubtedly the single most important element of fair use." Harper and Row v. Nation Enterprises, 471 U.S. 539 (1985). The late Professor Melville Nimmer, in his treatise on copyright law, paraphrased it, "Fair use, when properly applied, is limited to copying by others which does not materially impair the marketability of the work which is copied." Nimmer on Copyright, section 1.10[D]. If the use impacts the market for the work, the use is less likely to be held to be a fair use. Note also that the weighing is of the impact on the potential market, not on the actual market. For example, although Playboy magazine does not distribute its pictures in machine-readable form, it may choose to do so in the future. One might argue that digitizing a picture and posting it on the net does not impact the current market for the magazine originals. However, it impacts the potential (but currently non-existent) market for machine-readable copies. Because there is an impact on the potential market, an analysis of this factor in such a situation would not support a finding of fair use. If all this sounds like hopeless confusion, you're not too far off. Often, whether a use is a fair use is a very subjective conclusion. In the Harper and Row case cited above, for example, the Supreme Court was split 6-3. In the famous "Betamax case," Sony v. Universal City Studios, 464 U.S. 417 (1984) (in which the Supreme Court found that off-air non- archival videotaping of broadcast television was a fair use), the split was 5-4. In both of these cases, the District Court ruled one way (no fair use in Harper and Row, fair use in Sony) and was reversed by the Court of Appeals, which was then itself reversed by the Supreme Court. This goes to show that even well-educated jurists are capable of disagreeing on the application of this doctrine. ================================================================================ Archive-Date: Tue, 22 Dec 1998 11:22:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 19:21:36 +0000 From: Thomas Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dubbing tapes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199812221922.TAA10874-AT- andromeda.hosts.netdirect.net.uk> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Hi Paul, >In fact, any playing of >tapes for commercial benefit is a breach of copyright - here in the UK all >clubs should have a licence which allows them to use pre-recorded music >for dancing How would I get such a licence - any ideas? It so happens that my band has decided to take a rest and next season we'll be using pre-recorded tapes for a while. Hope you don't ind the follow-up - I realise you don't want to set up as an information service, but it woyld be very handy to get some info. Cheers and thanks in advance Thomas Thomas Green Preferred postal address: 27 Allerton Park | http://www.ndirect.co.uk/~thomas.green/ Leeds LS7 4ND, UK | also at: fax +44 (0) 113 226 2751 | Computer-Based Learning Unit tel +44 (0) 113 226 6687 | University of Leeds ================================================================================ Archive-Date: Tue, 22 Dec 1998 15:33:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 18:29:52 -0500 From: Colin Hume <100116.165-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Errors in translation To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <199812221832_MC2-646C-FFDF-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT I discovered that AltaVista provides a feature where you can specify a web page and get it (or part of it) translated into German, French, Portuguese, Italian or Spanish. So I took my "Advice to American Callers" and translated it to French, then back into English. Here's something to keep you busy over the holiday period - see if you can work out what the first few paragraphs mean! If you want to see the original, look at www.efdss.org and clink on "Links" and then "Advice for Americans". Colin Hume The Council with the visitors ----------------------------- Yes, we dance the American places and countered them in England - often the same dances that you would call in the states - and a good number of people will be sharp to dance with a true American visitor. But you must realize of some of the differences... The dancers will not align automatically in in length of positionings; they await you to announce the format. They will be more attentive than an American crowd: you will have only to say the " hands four of catch " once, and they will listen to the instructions! We say " those and two " rather than of " active and inactive " (the " active ones " really does not mean much in countered modern in any event). We say the " reel of four rather " than " he ", although the majority of the people include/understand " he ". we rather say usually " ladies " than of the " women " (but of the people in England are the politer thus they will not go up to you and statement you whom they do not love something you said). We use has hand-with through star (except probably inside of the places); we do not whirl at all; we give right hands in a right and left beam. If you say the " active ones moulded in addition to " you will probably not obtain any interaction with neighbors - you will have to say " the helped cast iron " - and to equalize some men then will be little laid out to put their arms around another handbook I suggest that you do not call a dance where the two men balance themselves. Please not carry out the dance as a long time as you in the states. In England, 7 times are through the standard - probably because many clubs count on the recorded music. I usually leave has against to carry out 9 times through, unless it is a complex dance and I smell myself that they finally relishing obtaining it right. They will obtain reamed; they will think "CORRECT, made us this dance - pass to other thing ". And them tapes in England do not pile up on the excitation the way which they make in the states. ================================================================================ Archive-Date: Tue, 22 Dec 1998 15:40:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 18:40:37 -0500 (EST) From: Will Linden Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Errors in translation To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: Blind.Copy.Receiver-AT- compuserve.com Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Tue, 22 Dec 1998, Colin Hume wrote: > I discovered that AltaVista provides a feature where you can specify a web page > and get it (or part of it) translated into German, French, Portuguese, Italian > or Spanish. So I took my "Advice to American Callers" and translated it to > French, then back into English. Here's something to keep you busy over the > holiday period - see if you can work out what the first few paragraphs mean! Mark Twain did this with the French edition of "The Celebrated Jumping Frog of Calaveras County"... complaining bitterly all the way, eh bien? ================================================================================ Archive-Date: Tue, 22 Dec 1998 15:47:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 19:50:10 +0600 From: Christine Robb Subject: Dance directions needed To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199812222347.SAA16069-AT- smtp.interlog.com> Content-Transfer-Encoding: 7BIT Could anyone give me the directions to Waters of Holland, Scotch Morris, and Irish Lamentation? I've tried all my books, all the on-line sources I could find, and can't get to the primary sources of SM & IL. I'd also like to find out what the primary source of WoH is. Any help is much appreciated. Thanks, Christine cedar-AT- interlog.com For information on English Country and vintage dance in Toronto: http://www.interlog.com/~cedar ================================================================================ Archive-Date: Tue, 22 Dec 1998 16:12:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 22 Dec 1998 16:12:37 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: Dance directions needed To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01J5N7HVFWQW8WW463-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Christine wrote: Could anyone give me the directions to Waters of Holland, Scotch Morris, and Irish Lamentation? I've tried all my books, all the on-line sources I could find, and can't get to the primary sources of SM & IL. I'd also like to find out what the primary source of WoH is. I only index secondary sources, myself. Scotch Morris is in Tom Cook's "Come, Let's Be Merry"; Irish Lamentation in "Again, Let's Be Merry", and "Waters of Holland" is in "New Wine in Old Bottles", which is the primary source since it's full of dances Pat Shaw composed to old Dutch tunes. These should all be available through CDSS, www.cdss.org/sales -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Tue, 22 Dec 1998 23:03:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 23 Dec 1998 02:03:07 -0500 (EST) From: Dawn Culbertson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: dubbing tapes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: cdss-AT- world.std.com Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Tue, 22 Dec 1998, Paul and Victoria Bestock wrote: > The festival sells a syllabus and tape of all the dances taught at the > festival, which is a lovely service to those people who will plan to teach > the dances in their local folk dance clubs, or even to those who will do > the dances in their living rooms for weeks afterwards. Teaching staff for > the festival are required to provide dance descriptions and tapes of the > music for the dances they teach. > > It seems to me that despite the fact that the festival isn't profiting > financially from the tapes (they sell them for $5.00, which is pretty close > to cost) that this practice violates copywright laws, since selling the > taped tapes prevents people from purchasing the originals from which the > pirated recordings were made, and thereby screws the musicians, who are > tragically unrecognised and underpaid anyway, out of the few pennies they > make off the sale of each recording. > > I explained my reluctance to the festival organizer. She checked with a > lawyer and was told that as long as they put a disclaimer on the tape to > the effect that the tape was for educational purposes only and could not be > duplicated or resold, that selling a tape of a tape was legal. I was really > surprised. I'm surprised too. I don't know all the ins & outs of copyright laws and don't pretend to be an expert on them, but in my experience have learned that selling tapes of pre-recorded material is generally illegal. It's okay to make a tape of pre-recorded material for your own personal use, but not to duplicate or sell. Also, as you pointed out, it doesn't help the musicians any, and nowadays musicians need all the help they can get. I think a much better solution, mentioned in another posting, is to provide a discography of the selections used and have interested parties buy the recordings for themselves. Dawn Culbertson dcculb-AT- peabody.jhu.edu ================================================================================ Archive-Date: Wed, 23 Dec 1998 07:43:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 23 Dec 1998 10:43:33 -0500 (EST) From: Eric Arnold Subject: Playford hypothesis (was: Errors in translation) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Tue, 22 Dec 1998, Colin Hume wrote: > I discovered that AltaVista provides a feature where you can specify a web page > and get it (or part of it) translated into German, French, Portuguese, Italian > or Spanish. So I took my "Advice to American Callers" and translated it to > French, then back into English. Here's something to keep you busy over the > holiday period - see if you can work out what the first few paragraphs mean! Hmmm... maybe that explains some of the interpretation problems in Playford's publications -- perhaps what they did was to take French directions for doing ECD and translate them into English -- we know they did a lot of copying without giving credit... Eric ================================================================================ Archive-Date: Wed, 23 Dec 1998 09:02:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 23 Dec 1998 11:00:36 -0600 (CST) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Abbotts-Bromley horns To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <981223110036.292-AT- GEORGE.BAKERU.EDU> Content-Transfer-Encoding: 7BIT Eric: Once more, into the breech. Like rare books, I assume that antlers are priced on the basis of three Cs: Condition, Condition, and Condition. Since garage sales are used to get rid of items as well as to make money, $20 would be a top price out Kansas way. Best wishes and Seasons Greetings to all. Will see some of you at Berea-- my 27th consecutive year, my 26th on the staff Forbes (and the Old Castle Morris and Garland Team) ================================================================================ Archive-Date: Wed, 23 Dec 1998 10:14:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 23 Dec 1998 13:06:32 -0500 From: Colin Hume <100116.165-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: GUSTO seminar To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <199812231314_MC2-6499-8949-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT The first GUSTO seminar and National Gathering took place on Saturday December 19th. In the seminar, Alan Davies presented a provocative paper on the past, present and future of English Country Dancing along the lines of Charles Dickens's "A Christmas Carol". If you weren't able to hear it, I've put up the text on the GUSTO web site just for you. Point your browser at www.efdss.org/gusto.htm and click the "Christmas Carol" button in the "Introduction" section. Bah! Humbug! Colin Hume ================================================================================ Archive-Date: Sun, 27 Dec 1998 17:59:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 27 Dec 1998 20:30:17 -0500 From: solweber-AT- juno.com (sol weber) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Digest V1 #456 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19981227.204914.-76681.1.solweber-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT For whatever reason, couldn't get the Gusto web site "Christmas Carol". Is it practicable to include it in the ECD list? >Today's Topics: > A > GUSTO seminar > > ================================================================================ Archive-Date: Tue, 29 Dec 1998 09:58:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 29 Dec 1998 12:55:49 -0500 From: Arthur Ferguson <71470.3625-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Boston Playford Ball Announcement To: ECD List Message-ID: <199812291258_MC2-64EE-1F66-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT The Country Dance Society, Boston Centre, Presents The Nineteenth Annual BOSTON PLAYFORD BALL Saturday, March 6, 1999 * 8:00 PM to Midnight at Monument Hall, Concord, Massachusetts Helene Cornelius, Mistress of Ceremonies Music by Bare Necessities Afternoon Workshop: Leaders: Brad Foster Monument Hall Rich Jackson 2:00-5:00 PM Musicians: Vince O'Donnell Roberta Sutter PROGRAM Amarillis * Anna Maria * Astoria Lass * Bare Necessities * Bellamira * Bonny Cuckoo * Broom, the Bonny Bonny Broom * Bury Fair * Cadgers' Caper * Dunant House Waltz * Green Willow * Jacob Hall's Jig * Mage on a Cree * May Fair * Mr. Beveridge's Maggot * Rural Sports * Sarah * Sellenger's Round * Spring Garden * Wa' is Me * Wakefield Hunt COST PER PERSON $23.00 for registrations postmarked on or before January 15, 1999 $27.00 for registrations postmarked after January 15, 1999 MAKE A WEEKEND OF IT! Come to the First Friday English Dance for Experienced Dancers on Friday, March 5, 8:15-11:00 PM, at the Church of Our Saviour, Carlton and Monmouth Streets in Brookline, MA Brad Foster, Leader; Jacqueline Schwab, Musician For more information on the Ball or First Friday Dance please contact Arthur Ferguson, 71470.3625-AT- compuserve.com, Telephone: 508-875-0382 or Lyrl Ahern, lyrl-AT- yahoo.com, Telephone: 978-263-4778 ************************************************************************** REGISTRATION FORM Names(s) (for nametags) __________________________________________________ __________________________________________________ Address __________________________________________________________________ City __________________________ State ______ ZIP ______________________ Phone (day) ________________________ (evening) __________________________ ____ (number) -AT- $23.00/person or $27.00/person = __________ Total Enclosed Please make checks payable to Country Dance Society, Boston Centre and mail with your registration to Lyrl Ahern, 298 Central Street, Acton, MA 01720 ================================================================================ Archive-Date: Wed, 30 Dec 1998 04:44:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 30 Dec 1998 07:37:02 -0500 (EST) From: Eric Praetzel Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Errors in translation To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199812301237.HAA29102-AT- sca.uwaterloo.ca> MIME-Version: 1.0 Content-Type: text/PLAIN Content-Transfer-Encoding: 7BIT > AltaVista provides a feature where you can specify a web page > and get it (or part of it) translated into German, French, Portuguese, ... Companies that depend upon such translation software write to the software. ie they avoid the use of the passive mode and a bunch of other things. They'll run their documents thru pre-processors to flag that sort of stuff. They'll have staff that build up dictionaries of technical terms and "standardize" how things are described (look and feel?). Then there are particular issues for various languages. ie Anything with "ing" is avoided because the translation to Japanese is quite bad. - Eric http://sca.uwaterloo.ca ================================================================================ Archive-Date: Wed, 30 Dec 1998 08:00:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 30 Dec 1998 10:59:59 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Errors in translation To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Wed, 30 Dec 1998, Eric Praetzel wrote: > > > AltaVista provides a feature where you can specify a web page > > and get it (or part of it) translated into German, French, Portuguese, ... > > Companies that depend upon such translation software write to the software. > ie they avoid the use of the passive mode and a bunch of other things. > They'll run their documents thru pre-processors to flag that sort of stuff. > They'll have staff that build up dictionaries of technical terms and > "standardize" how things are described (look and feel?). Ahhh... Now I'm beginning to understand... so the commercial language of the future is to be designed to be interpretable, not by the Lowest Common Denominator (LCD) among human readers, but the LCD of computer interpreters... Alan Davies' conclusion to his GUSTO Christmas Carol was not that far off! No wonder that I'm finding that commercio-speak has increasingly less to say to me. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Wed, 30 Dec 1998 11:15:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 30 Dec 1998 14:15:08 -0500 From: Graham Christian Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Fenterlarick? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19981230191542776.AAA391.314-AT- gchristian.hds.harvard.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT I wonder if there are any who know the meaning of this word "Fenterlarick." The tune, we know, is "Nancy's Fancy"; the dance figures are reasonably well known--but what of the dance's name or title? As I look at the word it continues to "feel," to me, like a place-name--but gazetteers have failed to turn it up, as have keyword web-searches. The name of a secret mystical fraternity? Initials of a rather large family? Gratefully yours in the expectation of any light that might be cast, Graham Christian ================================================================================ Archive-Date: Wed, 30 Dec 1998 11:28:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 30 Dec 1998 14:28:49 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Fenterlarick? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Wed, 30 Dec 1998, Graham Christian wrote: > I wonder if there are any who know the meaning of this word "Fenterlarick." I seem to recall this discussion having taken place before, several years ago -- not on this list, perhaps on the newsgroup rec.folk-dancing. The dance was published in CDSS News several years ago, and there might be some information there. Joyce Walker gets credit for the composition of the dance in my cards. Perhaps someone on the list knows how to contact her. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Wed, 30 Dec 1998 12:31:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 30 Dec 1998 15:32:53 -0005 From: Arthur Munisteri Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Fenterlarick? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19981230203034.DCUM314-AT- newmicronpc> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT I don't have my OED to hand, but I think I recall that some one looked it up and it turned out to be a very old word meaning something like a well or spring in a dale or meadow or something along those lines. Arthur A. Munisteri 123 West 93rd Street, Apt. 1F New York, NY 10025 tel.: 212-726-0010 (day); 212-666-7728 (eve.) I wonder if there are any who know the meaning of this word "Fenterlarick." The tune, we know, is "Nancy's Fancy"; the dance figures are reasonably well known--but what of the dance's name or title? As I look at the word it continues to "feel," to me, like a place-name--but gazetteers have failed to turn it up, as have keyword web-searches. The name of a secret mystical fraternity? Initials of a rather large family? Gratefully yours in the expectation of any light that might be cast, Graham Christian ================================================================================ Archive-Date: Wed, 30 Dec 1998 19:32:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 30 Dec 1998 20:05:58 -0500 From: Mary Traynham Subject: Re: Errors in translation To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <368ACDF6.239F-AT- freewwweb.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <199812301237.HAA29102-AT- sca.uwaterloo.ca> Eric Praetzel wrote: > > > > AltaVista provides a feature where you can specify a web page > > and get it (or part of it) translated into German, French, Portuguese, ... > > Companies that depend upon such translation software write to the software. > ie they avoid the use of the passive mode and a bunch of other things. > They'll run their documents thru pre-processors to flag that sort of stuff. > They'll have staff that build up dictionaries of technical terms and > "standardize" how things are described (look and feel?). > Then there are particular issues for various languages. ie Anything with > "ing" is avoided because the translation to Japanese is quite bad. > > - Eric http://sca.uwaterloo.ca Please REMOVE. Mary ================================================================================ Archive-Date: Wed, 30 Dec 1998 19:32:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 30 Dec 1998 17:25:00 -0500 From: Anne Marie Edden Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Before Playford: Dancing at The Innes of Court To: ecd-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Country Dance New York presents two special Tuesday evenings of English court and country dancing on January 5 and 12, 1999. This two-part program is called "Before Playford: Dancing at The Innes of Court," with Dr. Dorothy Olsson teaching dances, stepping and deportment popular in 17th Century England. Dr. Olsson will teach from 7:00 to 8:00PM, followed by Gene Murrow teaching English country dances until 10:15. An early-music ensemble which includes Rosamund Morley of The Waverly Consort and Wayne Hankin of The Ensemble For Early Music, will perform. All dances will be taught, and the program is open to newcomers. The Innes of Court were a combination law school and finishing school for sons of (mostly) rural nobility, which taught the young scions proper deportment and courtly, not country, dances, such as the almain and pavan. Dr. Olsson has taught and choreographed historical and Renaissance dance from the twelfth through seventeenth centuries at New York University, Mannes College of Music, Manhattan School of Music and the Amherst Early Music Festival, among others. Gene Murrow is president of the American Recorder Society, and has taught and performed at the Amherst Early Music Festival and at numerous music and dance weeks sponsored by the Country Dance and Song Society. Country Dance New York is located at Metropolitan Duane Hall, 201 West 13th Street at 7th Avenue in Manhattan. Admission is $7.00 for members and students, and $8.00 for all others. English country dance is taught and danced every Tuesday from September through early June at Metropolitan Duane Hall, starting at 7:00PM. American contra and square dances are held most Saturdays. For information and schedules, call 212-459-4080, or visit the website at http://www.panix.com/~cdny. ================================================================================ Archive-Date: Thu, 31 Dec 1998 04:48:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 31 Dec 1998 12:45 +0000 From: graham-AT- gcknight.demon.co.uk Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Fenterlarick? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT ----Original Message----- >From: Graham Christian >To: ECD-AT- SSRL04.SLAC.STANFORD.EDU >Subject: Fenterlarick? >Reply-To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU >Date: 30 December 1998 19:15 > >I wonder if there are any who know the meaning of this word "Fenterlarick." >The tune, we know, is "Nancy's Fancy"; the dance figures are reasonably >well known--but what of the dance's name or title? As I look at the word it >continues to "feel," to me, like a place-name--but gazetteers have failed >to turn it up, as have keyword web-searches. >The name of a secret mystical fraternity? Initials of a rather large family? >Gratefully yours in the expectation of any light that might be cast, >Graham Christian > A slight correction is in order. The tune is "Nancy's Delight" and not "Nancy's Fancy". It was composed by Fred Grimshaw in 1981. The dance was written by Joyce Walker in 1977. If I can find out more details about the name I will post it. Graham Knight ================================================================================ Archive-Date: Thu, 31 Dec 1998 06:07:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 31 Dec 1998 09:06:33 -0500 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Errors in translation To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <199812310907_MC2-6522-8E84-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT Message text written by Eric Arnold: >No wonder that I'm finding that commercio-speak has increasingly less to say to me.< Of course, Eric. It's a paradigm shift! Think out of the box. Let's get on the same page here. You've had a heads up on this. Get with the program. Set and turn single. Happy New Year to all! Gene Murrow EC Dancer, Musician, and purveyor of Caller-speak. ================================================================================ Archive-Date: Thu, 31 Dec 1998 08:11:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 31 Dec 1998 11:11:34 -0500 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Errors in translation To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT At 9:06 AM -0500 12/31/98, Gene Murrow wrote: >Message text written by Eric Arnold: >>No wonder that I'm finding that commercio-speak has increasingly less to >say to me.< > >Of course, Eric. It's a paradigm shift! Think out of the box. Let's get >on the same page here. You've had a heads up on this. Get with the >program. Set and turn single. Happy New Year to all! > >Gene Murrow >EC Dancer, Musician, and purveyor of Caller-speak. Anybody tape the jargon skit on PHC a few weeks ago? I'd love a copy! Emily L. Ferguson - Cape Cod, Massachusetts elf-AT- cape.com Photographer, English Country Dance leader There are two spiritual dangers in not owning a farm. One is the danger of supposing that breakfast comes from the grocery; and the other that heat comes from the furnace. Aldo Leopold ================================================================================ Archive-Date: Thu, 31 Dec 1998 08:18:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 31 Dec 1998 11:19:36 -0500 From: Albert Blank Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Fenterlarick? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <368BA417.1B569DCE-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <19981230203034.DCUM314-AT- newmicronpc> Arthur Munisteri wrote: > I don't have my OED to hand, but I think I recall that some one > looked it up and it turned out to be a very old word meaning > something like a well or spring in a dale or meadow or something > along those lines. > > Arthur A. Munisteri > 123 West 93rd Street, Apt. 1F > New York, NY 10025 > tel.: 212-726-0010 (day); 212-666-7728 (eve.) Surely you jest, Esq. Munisteri! There is a later edition of OED but the 1971 edition certainly doesn't have Fenterlarick in it. -- Albert A. Blank 102 Loring Avenue, Pelham, NY 10803-2014 Tel. 914 738-7678. e-mail: fandango-AT- sprintmail.com