Obviously, Paul,
you are not familiar with the music of Josquin Des Pres.
Although there are some untexted works atributed to him, they are quite rare,
and
there are no intabulations for Key or Fret board that are considered to be his
work.
In other words, he was exclusively a vocal composer. One of the greatest
composers of all time, in fact. For the entire rennaisance and the first part
of the baroque, he was generally held in the same regard as the 19th century
held Beethoven: as the greastest composer of all time.

I tend to agree, but then, I live for counterpoint, and singing.

About this thread:
Please, not a flame, but....
I hope people do not stick to  the limits of keyboards in designing control
software for software synthesis? Who cares what compromises a pianist has to go
through to perform a work? Not I...
charlieb

Paul Barton-Davis wrote:

> In message <379E40BD.5C388E0C@ccrma.stanford.edu>you write:
> >
> >> About FIFO versus LIFO, I believe you are correct. I did several of these
> >> things FIFO but I never did use them much.
> >
> >Actually, none of them is correct. Take this Josquin example,
> >for instance (imagine treble clef):
>
>      [ nice ascii art ]
>
> >the a4 at (A) needs to be turned off in a stack-like (LIFO) manner,
> >whereas the f4 at (B) requires a FIFO interpretation of incoming
> >note-offs.
>
> i take it that this piece was not intended to be playable on a single
> keyboard ? because ....
>
> >Of course, since most controllers don't allow you to play a new
> >attack before the note is released (like grand pianos do),
>
> not strictly true. you can't play a new attack on a piano without
> changing the sustain of the previous note generated by the same
> key. even though you may not fully release the key, semantically
> you've done something close to a noteOff before the next noteOn.
>
> in this specific example, its hard to imagine how you could get a
> piano to generate the intended acoustic effect. or perhaps i am just
> forgetting something about pianos :)
>
> --p

>Obviously, Paul, you are not familiar with the music of Josquin Des
>Pres.

all too obviously :)

>About this thread: Please, not a flame, but....  I hope people do not
>stick to the limits of keyboards in designing control software for
>software synthesis? Who cares what compromises a pianist has to g o
>through to perform a work? Not I...

well, i hope not too, but one has to start somewhere. since control
software has tended to be fairly unpleasant to use without dedicated
hardware, one of the places to start has been the keyboard, which were
electrified/monitorable a long time ago. but we have lots of other
examples too (theremins, tap boards, and nowadays all kinds of
controllers that regretably end up using MIDI :)

the folks at STEIM in the netherlands have done some neat work on
controllers that can be MIDI or not (you stick a generic sensor->MIDI
box in between the controller and some MIDI gear).

all that said, its far from clear that you could *sing* the Josquin
segment Tobias presented either - unless you can do it with that
distinctly non-european harmonic/overtone technique used by the Gyoto
monks, David Hykes and others. it appears to be a piece for two voices
(at least), which makes the LIFO/FIFO thing still resolve in favor of
FIFO, i think.