[geocentrism] Outlook Express

  • From: "Steven Jones" <midclyth@xxxxxxxxxxx>
  • To: geocentrism@xxxxxxxxxxxxx
  • Date: Thu, 20 Sep 2007 14:47:12 +0100

Hi Jack,

As much as I used to like Outlook Express I rarely use it now, I've tried Thunderbird recently and think it much more secure and upto date, did you try Thunderbird once? If so how did you like it? Outlook Express is a dead product now, it's been replaced with Windows Live Mail I believe which ships with Vista.

There are a few privacy concerns with it, but a few serious bugs too. None are too likely to occur, but the major one that I think of can be fixed without much work, it's called "Background file compaction" and if you continue to use Outlook Express and also have a lot of emails on your computer I would certianly reccommend turning it off. It has a known bug which can lead to file corruption. You can do that from "Options" on the "Tools" menu. With this off it will be very inefficiant with your storage space though.

Regarding opening the images, I think it not possible, once it decides there unsafe I've had trouble before trying to obtain them. I'll resend them in a zip file, that might work.

Best Wishes,


On Thu, 20 Sep 2007 09:20:34 +0100, Jack Lewis <jack.lewis@xxxxxxxxxxxx> wrote:

Dear Steven,
Outlook Express said it has removed your attachments as unsafe. How do I chancel that?


----- Original Message ----- From: "Steven Jones" <midclyth@xxxxxxxxxxx>
To: <geocentrism@xxxxxxxxxxxxx>
Sent: Thursday, September 20, 2007 12:37 AM
Subject: [geocentrism] Re: For Martin

Dear Jack,

I’ve read your question and tried to ascertain it’s meaning, but I’ve
concluded maybe it’s possible you have a different concept as to how
western music notation works.

Notes can be placed on or in-between the system lines and additional
musical symbols (such as a simple change of cleff) can be used to indicate
a different range when needed.

Agreed, five system lines as a standard is purely arbitrary, but it makes
a lot of sense because it simply feels good, I can’t really provide a
better answer than that! Most musicians haven’t complained. Five does
cover a sufficient range (an octave and a forth) from D to G in C Dorian
mode (try D to G on the white keys of a piano) and “ledger lines” can be
also be used when needed. An example of a ledger line is provided in
illustration 1. It is effectively a sixth system line, here representing
the tone “middle C” on the treble clef. Two many system lines all the time
would be cluttered.


2 is the note F
3 is the note G
4 is an example of “accidentals” both a sharp and a flat to represent
another note to the preceding examples 2 and 3. When keys are changed it
is through the means of these special symbols, but typically they will be
spelt out next to the clef one time only at the beginning of a score.
5 Is an example of D Dorian mode discussed earlier.

I hope this helps and that I haven’t confused the matter even more.

Kind Regards,


On Thu, 20 Sep 2007 00:02:50 +0100, Jack Lewis <jack.lewis@xxxxxxxxxxxx>

Dear Steven and Martin,
I have always been puzzled why music wasn't written on 6 staves since
there are 12 notes. Could it be that music has evolved from the simple
tones to the more complex? If 6 staves were used would it not make
playing different keys easier?

  ----- Original Message -----
  From: Martin G. Selbrede
  To: geocentrism@xxxxxxxxxxxxx
  Sent: Wednesday, September 19, 2007 9:28 PM
  Subject: [geocentrism] Re: For Martin

  Dear Steven,

  Well, I can say that my piano has drifted off of Western equal
temperament, so compositions for it that I wrote using Western tonality
have jumped the track into the world of microtonality.  I do plan,
however, to remedy this with a nice tuning. The biggest barrier to
moving toward, say, the 17-degree scale is I'm not sufficiently
motivated to learn Sanskrit.

  However (in the interest of full disclosure), my Opus 16 (which was,
in fact, performed publicly) did include a brief section that would have
made Penderecki proud. I was aware of his works, particularly Threnody
for the Victims of Hiroshima, and so in my composition the string
orchestra indulges in such non-Western dissonance for nearly a full
minute (this occurring in a piece that lasts about 38 minutes in concert
performance). And that's about it, folks.

  I could have sworn that I had mentioned to you the research conducted
by Ernest Ansermet about the geometry of the cochlear spiral in the
inner ear -- that its curvature is based on the log of 12.  Ansermet's
conclusion was that the human ear naturally divides an octave into
twelve parts.  Since the cochlear spirals of other mammals are curved
differently, such creatures may discern such music as alien gibberish.
If one were to truly test animals for musical aptitude, the scale should
be subdivided based on a specific animal's cochlear spiral geometry and
music then created within that customized tonal architecture.  If the
animal responds to that, and not to music based on other scale
divisions, we'd have some empirical support for Ansermet's theory that
would be nearly unassailable.


  On Sep 19, 2007, at 3:08 PM, Steven Jones wrote:

    Dear Martin,

    just wondering if you're interested in other tonalities besides
western and whether you've ever explored any of them in your own

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