the Jongleur
Newsletter of the Mills Music Library
University of Wisconsin-MadisonVolume 2, no. 2 (February 1996)
Editor: Steve Sundell; with lots of help from Geri Laudati, Ann Marie Rigler, Peg Brown, Tim Noonan, Steve Kurr
Published twice yearly in September and February
Mills Music Library 728 State Street Madison, Wisconsin 53706-1494 (608) 263-1884
The Director's Corner by Geri Laudati Happy New Year to you all! Despite--or perhaps due to--the climate of fiscal austerity, Mills' staff is actively involved in several interesting and, we hope, ultimately beneficial cooperative endeavors. Most immediately, we are working with the State Historical Society and University Archives to bring an audio consultant to campus to assess our archival holdings and make recommendations for preservation, access, and retention (see article, p. 4). With DoIt, the GLS microfilm/imaging department, and Eastman-Kodak, we have nearly completed an interactive hypermedia CD-ROM exhibit catalog of a small portion of the Tams-Witmark collection and learned a great deal about digital photography as a preservation medium (see article on p. 5). Finally, we are beginning a cooperative score collection development plan with the Music Libraries at the University of Minnesota and the University of Iowa. We hope to maximize our collection budgets by dividing responsibilities for collecting the works of more obscure composers and those materials that are peripheral to our program needs. Other staff activities for the spring include an exhibit entitled "Music at Madison, 1895-1995" on display in the Special Collections Department. The exhibit will feature materials from the Wisconsin Music Archives and the University Archives and will highlight campus musical activities over the past century. The Special Collections Department is located on the 9th floor of Memorial Library and is open 9:00 a.m.-5:00 p.m. Monday-Friday. The exhibit will run from February 5 through the end of May--please stop up to see it. For further information, see the article on page 2. Our ever-increasing involvement in a variety of special projects aside, each of us is committed to our primary goal, that of providing exemplary service to all library clientele. We hope we continue to meet your research and teaching needs and extend to you our wishes for a great 1996. New Look for the Electronic Library The Electronic Library is sporting a new look. Since mid-January, access points to all the library's electronic resources became available through the World Wide Web. The "web," as it is frequently known, can link you to thousands of electronic resources throughout the world with the click of a mouse, and it can provide equally simple access to local resources. All of the databases familiar to campus users are still available but with a new arrangement. Paper handouts explaining the new menu and offering guidelines for searching are widely available in campus libraries. Should you care to surf on over from home, the Electronic Library's URL is: http://www.library.wisc.edu Library Workshops of interest to musicians Music Databases Music Index, MUSE (includes RILM), Library of Congress Music Catalog Friday, January 26, 3:00 - 4:30 Mills Music Library Seminar Room B162G Memorial Library Musical Sound Recordings, Dance on Disc Monday, January 29, 10:30 - 11:30 Mills Music Library Seminar Room B162G Memorial Library Internet Music Resources Wednesday, February 21, 3:00 - 4:30 Thursday, February 29, 1:30 - 3:00 362 Memorial Library The General Library System offers many workshops throughout the semester at a variety of campus libraries. For example, workshops on ERIC, the education database, are frequently offered at the Instructional Materials Center. People interested in a general introduction to searching any database are encouraged to attend one of the sessions entitled "Introduction: Basic Skills and Search Strategies" presented at Memorial Library or College Library. Other workshops are offered on MadCat, the Arts and Humanities Citation Index, and even HTML, the mark-up language for the World Wide Web. A complete list of these workshops is available in the Music Library or electronically through the library's gopher. 100 Years Music at Madison. In recognition of the School of Music's 100th anniversary celebrations, an exhibit honoring the School and highlighting musical activities on campus over the past century will open in early February in the library's ninth floor exhibit gallery. The wide-ranging exhibit will feature such diverse activities as folk song collecting by faculty member Helene Stratman-Thomas and the all-male musical farces of the Haresfoot Club. "Pop" Gordon, the University's pioneering music educator, will share the spotlight with a century of faculty composers. The exhibit will look into the role of Music Hall and the Mills Music Library in the School's development. Distinguished musical visitors will be remembered, and a "Showcase of Performers" will round out the display. Sprinkled among the many objects will be historical photographs, programs, and recordings. We hope you will visit. LIBRARY HOURS SPRING 1996 January 22-May 5............................Spring Session REGULAR HOURS March 9-16..................................SPRING RECESS March 9-10.....................CLOSED March 11-15....................9:00 am-5:00 pm March 16.......................CLOSED March 17....................................RESUME REGULAR HOURS April 5.....................................Good Friday Holiday 8:00 am-11:30 am April 7.....................................Easter Sunday LIBRARY CLOSED May 6-May 16................................Exam Study Period EXTENDED HOURS May 17-June 16..............................INTERIM HOURS May 27......................................Memorial Day LIBRARY CLOSED -------------------------------------------------------- REGULAR HOURS Mon-Thu ....................................8:00 am-10:00 pm Fri.........................................8:00 am-5:00 pm Sat........................................12:00 pm-5:00 pm Sun.........................................1:00 pm-10:00 pm INTERIM HOURS Mon-Fri....................................12:00 pm-5:00 pm Sat-Sun.....................................CLOSED EXTENDED HOURS Mon-Thu.....................................8:00 am-10:00 pm Fri-Sat.....................................8:00 am-8:00 pm Sun........................................10:00 am-10:00 pm AUDIO FACILITY/RESERVES SPRING 1996 January 22-May 5............................Spring Session REGULAR HOURS March 9-16..................................SPRING RECESS March 9-10.....................CLOSED March 11-15..... ..............12:00 pm-5:00 pm March 16.......................CLOSED March 17....................................RESUME REGULAR HOURS April 5.....................................Good Friday Holiday 8:00 am-11:30 am April 7.....................................Easter Sunday LIBRARY CLOSED May 6-May 16................................Exam Study Period EXTENDED HOURS May 17......................................Last Day of Exams 8:00 am-4:45 pm May 18-June 16..............................INTERIM HOURS May 27......................................Memorial Day LIBRARY CLOSED -------------------------------------------------------- REGULAR HOURS Mon-Thu.......................................9:00 am-9:45 pm Fri...........................................9:00 am-4:45 pm Sat..........................................12:00 pm-4:45 pm Sun...........................................1:00pm-9:45pm INTERIM HOURS Mon-Fri......................................12:00 pm-4:45 pm Sat-Sun.......................................CLOSED EXTENDED HOURS Mon-Thu.......................................8:00 am-9:45 pm Fri-Sat.......................................8:00 am-7:45 pm Sun..........................................10:00 am-9:45 pm ù Spotlight on Collections ù Some Records Were Not Meant to be Broken Seth Winner, a New York based audio technician and expert in sound preservation, will visit the Mills Music Library in March. Mr. Winner will advise the library on how best to preserve its archival 78 rpm record collection including the rapidly disintegrating sixteen-inch recordings of the Pro Arte Quartet and other School of Music performing groups of the 1940s. The discs most at risk are the "instantaneous pressings," unique recordings made by WHA Radio directly to an acetate disc. The chemical composition of these discs is different from those made for commercial production and distribution. The base of an instantaneous pressing was usually made of aluminum (some were glass) coated with "nitrocellulose lacquer plasticized with castor oil." Over time, the castor oil dries coating the disc's surface as a white powder. Consequently, the record begins to shrink and becomes brittle causing an "irreversible loss of sound information." Because the aluminum or glass core does not shrink, the recorded surface ultimately cracks and peels entirely away. End of record. * The Music Library holds some 600 of the instantaneous pressings produced by WHA. About fifty of these discs were recorded by the Pro Arte Quartet for a nationally syndicated series over the Mutual Radio Network. An additional 100 discs feature other School of Music performers including Gunnar Johansen. Around 200 of the discs contain "Journeys in Musicland," the pioneering School of the Air program hosted by Edgar "Pop" Gordon, while another group contains Fannie Steve's program "Rhythm and Games." The Gordon and Steve series were aimed at Wisconsin elementary school students. There is general agreement that all or most of these discs need to be preserved. It is obvious that they will not last long in their present state. Among the remaining questions then are how best to preserve them and how to fund the preservation effort. Preliminary investigations into the cost of reformatting these discs have caused jaws to drop. Price estimates have ranged from $40.00 to $100.00 per side of recording! Numerous additional decisions must be made. Should the discs be transferred to digital or analog tape or compact disc? Should the original sonics be preserved "as is" or should some "declicking" of surface noise take place? Should the library attempt to reduce costs by purchasing the necessary equipment in order to reformat the discs inhouse? Each decision has its advantages and disadvantages, and each will influence the ultimate cost. At the moment no clear answers are apparent to this preservation dilemma. With the visit of Winner, the library will make the initial steps towards the preservation of these important musical and historical documents by developing a plan to ensure their long term viability. But funding remains the greatest concern. Can we get the necessary money in time? *For background on sound recordings and their preservation, see Gilles St. Laurent, "The Preservation of Recorded Sound Materials," ARSC Journal 23 (Fall 1992): 144-156. Bagatelles Brief News Reports from the Library Tams-Witmark/Wisconsin Collection The UW-Madison is in the forefront of making University resources available electronically across networks through the combined expertise of the General Library System and the Division of Information Technology. In 1995, the UW-Madison presented a proposal to the Eastman Kodak Company to integrate technology embedded in Kodak's Photo CD family of products with World Wide Web Internet access technology. The ultimate product of this partnership will be the development of Web servers capable of providing access to images using the Photo CD format from Web clients. A hypermedia exhibit catalogue of the Mills Music Library's Tams-Witmark collection was one of four proposals chosen as pilot projects for this partnership. The final product--an interactive CD-ROM catalogue--features text, images, and contemporaneous recordings of turn-of-the-century American musical productions contained in the collection. Various Kodak products, including digital cameras and slide scanner were used to capture the images and to import them into Director, an authoring software program. The catalogue will be available as a stand-alone package and also mounted as a link on Mills' Home Page. The production team assigned to the project included Bryan Ziegler, DOIT; Steven Dast and Sandra Paske, Microfilm Department; and Geri Laudati, Mills Music Library. AskMusic by Email Ever wake up in the middle of the night with one of those tantalizing questions that only a trip to the library will answer? But when you crawled out of bed in the morning the question has vanished? Happens all the time. To help overcome such problems, you can now send reference questions to library staff at any time of day or night by email, even when you are in an insomnious state. Email your request to us and we will respond to you as quickly as possible (but not at 3:00 am). Mills on the Web The Music Library is pleased to announce two new World Wide Web home pages. The Mills Music Library home page features images from the library's Tams-Witmark Collection and corresponding sound bytes from historical opera recordings. Links to significant music sites are provided as well. Its URL is: www.library.wisc.edu/libraries/Music/ A second home page has been developed for the Wisconsin Music Archives, one of the Music Library's special collections. This page offers a guide to the collection and inventories of manuscript holdings. Find this page at: www.library.wisc.edu/libraries/Music/wma/ Dance Journals in UnCover A new list of dance-related periodicals in UnCover, the online indexing source, has been compiled and is available through "Music Resources," one of the library's internet gateways. The file notes nearly forty periodicals and indicates which are located in Madison campus libraries. "Music Resources" can be accessed via the Electronic Library, through WiscInfo or through the Mills Music Library home page. Reference Book Reviews Encyclopedia of Keyboard Instruments. Vol. 1: The Piano. Edited by Robert Palmieri and Margaret W. Palmieri. (Garland Reference Library of the Humanities, 1131.) New York: Garland Publishing, 1994. [xiii, 531 p. ISBN 0-8240-5685-X. $95.00.] "The piano-forte," wrote George Bernard Shaw in the 1890s, "is the most important of all musical instruments. Its invention was to music what the invention of the printing press was to poetry." Yet, little over half a century earlier, in 1826, the year before his death, Ludwig van Beethoven (as reported here in the article on that composer by scholar and forte-pianist Seth Carlin) had complained that the piano "is and remains an imperfect instrument." The story of the attempt, throughout its now almost three-hundred year history, to perfect that most important of musical instruments is the subject of The Piano, the first volume of a three-volume encyclopedia, published by Garland, and devoted to keyboard instruments. (Volume 2 is devoted to the organ, and volume 3, the clavichord and harpsichord.) That the development of the piano is seen largely in terms of evolution from "primitive antecedents," through ingenious experiments, insights, and innovations, through quaint and curious back roads and blind alleys, to the "perfection" of the modern piano is not an unusual approach to the history of this musically quintessential product of the industrial revolution. Given the pre-eminent, almost mystical status enjoyed by the piano throughout its history in Western music, and despite the increasingly voluminous published literature on the subject, it is surprising that no single-volume reference work has been heretofore devoted to it. Perhaps because the topic is so far reaching that a truly exhaustive one-volume treatment would be impossible, the present volume proves to be directed essentially to a general rather than scholarly audience. Its purpose, as stated in the preface by editor Robert Palmieri, Professor Emeritus at Kent State University and author of Piano Information Guide: An Aid to Research (New York: Garland, 1989, a useful bibliography that neatly complements this book), is "to highlight the piano's long evolution up to the year 1992." Arranged alphabetically, all articles are signed by a contributing author, and they range in length from brief definitions to several pages of text. The claim made in the introduction, however, that for "many subjects that are explored in depth ... the resulting articles approach comprehensive monographs," is, perhaps, an exaggeration. Professor Palmieri, nevertheless, has assembled a large and international panel of contributors possessing an impressive array of interests and expertise, among them such well-known authorities as Eva Badura-Skoda ("Johann Sebastian Bach," "Domenico Scarlatti," "Joseph Haydn"), Guy Marco ("Periodicals"), Howard Schott ("Transition from the Harpsichord to the Piano"), Seth Carlin ("Ludwig van Beethoven"), Mary Louise Boehm, and Arthur W.J.G. Ord-Hume. Some of the articles are translations and, as with any such anthology, there are inevitable differences in style and scholarship. Short bibliographies accompany each article, but their quality also varies. (One wonders, for example, about the usefulness of certain bibliographies consisting entirely of German language sources in a work, in English, seemingly aimed at a general, non-academic readership.) Cross-references are provided at the end of many articles, and other articles whose titles appear in the text are usually (though not consistently) highlighted. Included in the back of the book is a list of the contributors' names with their academic affiliation or place of residence, followed by the entries for which they are responsible. An extensive, sixty-page index includes article titles and principal page entries, indicated in boldface type, with brand names and particular instruments indicated in quotation marks. Sixty-two full-page illustrations are listed with the pages on which they are to be found. (Some additional small and unlisted drawings and diagrams are scattered throughout the text.) Apart from a few black and white photographs of instruments, most of the illustrations consist of line drawings, mostly elevation plans of various piano actions. Though neatly drawn, these, as so often, tend to be cluttered, difficult to read, and visually uninteresting. There are no exploded, cut-away, or perspective drawings, nor are there portraits or glossy color plates. The specific topics covered in the book reflect an emphasis on the piano as a musical instrument and especially as a mechanical device (rather than as a work of art or furniture or as an object of sociological, cultural, or intellectual history). The selection of entries for inclusion is also indicative of the audiences for which this work is intended. Thus, piano teachers and students will find entries on "Pedagogy," "Fingering," and "Performance Practice." Piano tuners and technicians will find articles on "Actions," "Acoustics," "Restoration," "Tuning and Temperaments," and definitions for a remarkable number of technical terms (becket, backcheck, balancier, bridle strap). Amateur or home musicians will find information on "The Piano in the Home," "Purchasing a Piano," and on "Care and Maintenance of the Piano." And those simply interested in the instrument and its history will find a profusion of people, places, and pianos. Names of specific piano manufacturing companies (Steinway & Sons, Mason & Hamlin) as well as individual builders (from Adlung to Zumpe) constitute a large percentage of the entries. Composers are included only to the extent that they are construed as having had a direct or indirect influence on the development of the piano, and these are typically the major Classic and Early Romantic composers: Haydn, Mozart, Beethoven, Schumann, and Chopin. (Bach and Scarlatti also undoubtedly owned, performed on, and composed for the piano, Eva Badura-Skoda confidently tells us in her articles on these composers.) Writers such as Charles Burney, who observed first-hand and reported on developments, are also included, as are some important historical figures whose connection to the piano is more tangential (Frederick the Great and Thomas Jefferson). Listed under countries ("England, Piano Industry in," for example) are relatively long articles on the origins and formation of the major national schools of piano building and the ensuing industrial and commercial development in each country. A surprising lacuna, it seems, given the book's emphasis on the history of the piano and especially its excellent and copious treatment of the early piano, is the lack of consideration given to historical instruments, either restored or replicated, as vehicles for performances today, an omission particularly curious in view of an ever growing popular interest attested to by the current proliferation of forte-piano recordings. Names neither of contemporary forte-piano builders nor performers are listed. An article on "Restoration" is included, but there is nothing to be found under reproduction. Moreover, here and in other articles, there appears an implicit and curious distrust both of the motivations and results of modern performances on early instruments. If the book seems myopic in its treatment of the forte-piano revival in the 20th century, the same can definitely not be said of its discussion of recent electronic developments. Indeed, modern computer applications to piano sound synthesis and reproduction are fully described, while at the same time, seen in the context of a long history of electronic (and pre-electronic) sound and recording technology applied to the piano. Entries, therefore, will be found for names such as Yamaha, Cassio, Kurzweil, and Moog, and for terms like "MIDI," "Synthesizer," and "Sampler." And, whereas throughout most of the book, geographical coverage is limited to Western Europe and the United States, as chronological coverage approaches the present, geographical coverage expands globally ("Japan, Piano industry in"). While no other reference book known to this reviewer duplicates exactly the scope of this work, there exist several recent musical instrument dictionaries and encyclopedias whose coverage The Piano complements. The Oxford Companion to Musical Instruments by Anthony Baines (London: Oxford University Press, 1992) of course, includes an article on the piano and on many related subjects. Only the three volume New Grove Dictionary of Musical Instruments, edited by Stanley Sadie (London: Macmillan, 1984), however, approaches and, in some respects surpasses this work in depth. The two excellent articles, "Piano-forte" and "Piano-forte Playing," together totaling thirty-seven pages, containing thirty-five illustrations and contributions by Edward Rippin, Philip Belt, Dereck Adlam, Robert Winter, and others, provide a scholarly and richly detailed yet clearly focused historical synthesis of the kind not to be found in The Piano. Similarly, for many, if not most of the entries in The Piano, much more exhaustive treatments may well be found in The New Grove or elsewhere. But it is for its abundance of arcane terms and obscure names that this book is to be especially commended. Were one searching for a definition of "Apythmolamprotrique" (a kind of upright piano without a back, c.1834), or a short biography of Americus Backers (fl. 1763-c.1781), The Piano would likely be an excellent source to consult. Despite a few typographical peculiarities, this book is attractively printed on 250-year acid-free paper, securely bound, and handsomely, though not lavishly, produced. This is not a coffee table book; nor is it an ostensibly scholarly work. Its limitations in scope and biases in viewpoint notwithstanding, it does, nevertheless, make conveniently available in a single volume a wealth of information not otherwise readily accessible on a wide variety of aspects of the piano past and present. Subsequent volumes in the EKI will be eagerly awaited. -- Reviewed by R. Mark Rosa (rosa@library.wisc.edu) World Music: The Rough Guide. Edited by Simon Broughton, Mark Ellingham, David Muddyman, Richard Trillo, and Kim Burton. London: Rough Guides, Ltd., 1994. [720 p. Includes index. ISBN 1-85828-017-6. $19.95.] Four years in the making, this informative and aesthetically pleasing work is certainly worth a look by those in the field of music as well as the adventurous music listener. While intended as a means of broadening the general reader's listening interests by giving background information on musics of various world regions and by providing limited discographies, the engaging articles include a vast amount of cultural and historical as well as musical information which help paint vivid pictures of the areas discussed and which could prove to be useful in the preliminary stages of research into aspects of world music. World Music: The Rough Guide (hereafter, WMTRG) addresses popular, folk, and art music of various world regions; specifically excluded are "western Classical music and Anglo-American rock and soul and rap and jazz and country--all of which are covered in depth elsewhere" (Introduction). Contributors number over 70 and represent a variety of professions: performers, anthropologists, writers/editors/critics, broadcasters, television producers, composers, and (noticeably few) music historians and musicologists. Thus the work is largely a product of those outside of the academic world, many of whom have a practical interest in the music with which they are involved. The end product clearly reflects the "personality" of these mainly non-academic contributors, specifically in its informal writing style and its striking, graphically-oriented design. The material is divided into thirteen chapters representing large geographic areas, "arranged according to regions that make broad musical sense" (Introduction). Each chapter begins with an introduction followed by a glossary of region-specific music genres, dances, instruments, and other related terms. Next are a number of articles (some of which appear as boxed-off insets) devoted to specific countries/areas, music genres, musical instruments, specific performers, and culture/history. Individual chapters are unique in terms of the number of articles provided and their topics. Major articles conclude with selective discographies, but unfortunately none provide bibliographical references; thus the reader is given no means of verifying or obtaining further information. The lack of bibliographical information is the most serious shortcoming of the work in terms of its potential usefulness as a reference source. A map at the beginning of the work reveals the overall geographic divisions and indicates page numbers for articles on more specific regions. A highly detailed index is also provided, as is a table of contents which gives the titles of articles within each chapter and provides the name(s) of the respective author(s) (note that the authors' names are not included with the articles themselves). Scanning these keys, the reader can see that this work is not comprehensive (for instance, there is little attention devoted to the Middle East) and is biased towards "popular" musics of these regions; however, given its intent (encouragement of the listening process through promotion of recorded music), this bias is not surprising. Presumably there is a relationship between the coverage given to areas/genres and the corresponding level of recording activity for that area/genre. WMTRG presents its information in an eye-catching layout, featuring attractive fonts, boldface for key words, inset articles and tables, ample photographs and illustrations, and shaded boxes featuring quotes or excerpts of song lyrics. Larger articles are sectionalized with subheadings. Thus, the information is neatly divided, magazine-style, into easily digestible units, allowing for efficient content scanning. A somewhat similar work, less extensive and more narrow in approach, preceded WMTRG by two years. Peter Spencer's World Beat: A Listener's Guide to Contemporary World Music on CD (1992, a cappella books, inc.) covers exclusively the folk and Anglo-influenced popular music of selected regions, with lengthy (but still not comprehensive) discographies of music available on compact disc. Unlike WMTRG, Spencer's work does provide limited bibliographies for each of the nine regions he addresses. However, no index is provided. World Beat's articles emphasize popular music recordings and current performers; little other information is provided (culture, history, etc.), and classical genres are not included. Thus WMTRG compares more favorably due to its greater scope and broader contextual information. Overall, WMTRG accomplishes its goal very nicely--that of engaging the reader's interest in new musics and making him/her want to hear the sounds discussed. As a reference tool it suffers from lack of bibliographical information and the selectivity of its content, but given that there is little else available which provides similar information its usefulness cannot be overlooked. The current reviewer recommends this book to any curious music-lover, whether within or outside of the domain of academic research. WMTRG is part of a series of "Rough Guides," most of which are still in development. The Rough Guide to Classical Music on CD has already been released, while volumes devoted to jazz, opera, and more are forthcoming. --Reviewed by Tracy Comer . Imprint . A Checklist of Recent Faculty and Student Publications and Recordings Compiled by Tim Noonan and Steve Sundell Books and Articles Dill, Charles. "Eighteenth-Century Models of French Recitative." Journal of the Royal Musical Association 120, no. 2 (1995): 232-250. Dunbar, Julie. "The Impact of Federal Education Policy in Rural Music Programs: Evidence from Wisconsin Farm Communities." Dialogue in Instrumental Music Education 19, no. 2 (Fall 1995): 46-59. Earp, Lawrence. Guillaume de Machaut: A Guide to Research. Garland Composer Resource Manuals, vol. 36; Garland Reference Library of the Humanities, vol. 996. New York: Garland, 1995. Hill, Douglas. "Jazz and Horn and More." Horn Call 26, no. 1 (November 1995): 17-21. Koza, Julia Eklund. "Aesthetic Music Education Revisited: Discourses of Exclusion and Oppression." Philosophy of Music Education Review, 2, no. 2 (Fall 1994): 75-91. ______. "Rap Music: The Cultural Politics of Official Representation." Review of Education/Pedagogy/Cultural Studies, 16, no. 2 (Fall 1994): 171-196. McGee, Deron. "Developing Knowledge-based Simulations as a Method for Investigating Theoretical Positions." Computers in Music Research 5 (Spring 1995): 39-66. Pearsall, Ed. Review of Bright Air, Brilliant Fire, by Gerald Edelman, Computers in Music Research 5 (Spring 1995): 119-132. Rigler, Ann Marie. Review of The Organist as Scholar: Essays in Memory of Russell Saunders, ed. by Kerala J. Snyder. Notes 52, no. 2 (December 1995): 492-493. Schaffer, John Wm. "A Computer-Aided Approach to Better Student Comprehension of Tonal Melodic Hierarchies." Musicus: Computer Applications in Music Education 2, nos. 1-2 (June-December 1990): 39-50. Score Thimmig, Les. Bluefire Crown III for oboe, bass clarinet, violin & Marimba, 1986-87. Newton Centre, MA: Margun Music, 1990. Recordings Davis, Richard. Live at Sweet Basil. Evidence Music compact disc ECD 22103. ______. Now's the Time: Recorded Live at Jazz City. Muse Records compact disc MCD 6005. Pro Arte Quartet. String Quintet in C, op.163, by Franz Schubert, and String Sextet no. 1 in B-Flat, op. 18, by Johannes Brahms. Biddulph Recordings compact disc LAB 093. This is a reissue of recordings made in 1935 by performers Alphonse Onnou, Laurent Halleux, Germain Pr‚vost, and Robert Maas, with guests Alfred Charles Hobday and Anthony Pini. Read, Gardner. Chamber Music. Howard Karp and others. Northeastern compact disc NR 253-CD.