> On Mar 20, 2015, at 2:50 PM, Chris Nogy <[log in to unmask]> wrote: > > Stefan > > I make a whole lot of different instruments, and I can get good notes on almost all of them (it's why I don't do a lot of double reeds, I can't play them well enough to set them up and thus need to work around my 'expert's' schedules). Why is a double reed instrument more difficult to play than a single reed instrument? Are both more difficult than a non-reed instrument, such as a recorder? Or is just that it requires a different type of “blowing”? > > I play a reasonable amount of them passably enough to be able to teach a bit about them in lectures and to make sure they work well, and I play a few of them pretty well indeed. But I am more skilled as a builder than a performer. > > I am writing, as I build, small page or two informational articles about the instruments - history, construction, special features, a bit about playing, hopefully I will have it compiled into a digital reference compendium on these instruments that is good enough to be interesting and to teach and short enough to actually be read. Ooh. I’d love to add this to the Florilegium and give it a bigger audience. > I post these little things about once a month onto our local Grimfells mailing list, and they are being collected by a few folks. Unfortunately, it is those local mailing lists that I’m unlikely to see. I’m not even on all the kingdom mail lists, although traffic on all lists seems to be shrinking. At the same time, it is those bits of useful SCA and medieval knowledge that folks aren’t likely to see that I’d like to make more available. > I don't care who collects them as long as they don't try to take credit for my mistakes - I use what I write sometimes as pseudo-copyright on my designs and techniques, and that might have business benefits one day. An author has the copyright without the piece having any notice, but I use them because I think it reinforces the idea that you shouldn’t just copy and use the author’s work without, at least, crediting them. I also like to include at least the author’s email address so that folks can easily contact the author for questions or to get permission. > I don't mind when it gets done sending you a copy of it, but it will be less in the performing arts category as in the technical arts, music subcategory. That’s fine. Right now, the Florilegium PERFORMANCE ARTS section contains articles and files on the history of various instruments as well as recommendations on how to buy them. It also includes articles on singing, period songs and bardic work. > And I have my www.nogy.net <http://www.nogy.net/> site where I present many of my insturment projects in a teaching mann! er. Thank you. I’ll take a look. I won’t publish anything without permission of the author. I’m also happy to add a link back to an authors site where folks can find more work by that author. > It is not academic research, but useful nonetheless to the collection of hobbyist and tinkerers here in the SCA. You are welcome to any and all of it you can make sense of, and once it is truly organized, you are welcome to collect and present that as well. The work in the Florilegium ranges everywhere from casual conversations on things like the SCA-Cooks list, to a Master’s Thesis, TI articles (both before and after publication there), and at least one Compleat Anachronist. Okay, I’ll take that as your permission. If, at any time, you don’t like the way I’m handling something, just let me know and I’ll see what I can do to fix that. Stefan (And all this applies to other authors as well. hint. hint.) > > Kaz > -------- THLord Stefan li Rous Barony of Bryn Gwlad Kingdom of Ansteorra Mark S. Harris Austin, Texas [log in to unmask] http://www.linkedin.com/in/marksharris **** See Stefan's Florilegium files at: http://www.florilegium.org **** -- Manage your subscription at http://listserv.unl.edu. listserv.unl.edu lists do not accept incoming email from Yahoo.com, AOL.com or Dropbox.com due to their DMARC policies.