Frances Bennion Archive - Revision history

Esfield at 22:47, 27 September 2023

2023-09-27T22:47:51Z

← Older revision		Revision as of 22:47, 27 September 2023
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	[[File:Fran2001.PNG\|200px\|thumb\|left\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.		[[File:Fran2001.PNG\|200px\|thumb\|left\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.

	Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (~~e.g.~~ Stages 1 and 2) from the archive may find these of particular value.		Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (locally called Stages 1 and 2) from the archive may find these of particular value.

	* [https://wiki.ccarh.org/wiki/MuseData_Encoding_Notes MuseData encoding notes]		* [https://wiki.ccarh.org/wiki/MuseData_Encoding_Notes MuseData encoding notes]

	* [https://wiki.ccarh.org/wiki/MuseData_File_Structure MuseData file structure]		* [https://wiki.ccarh.org/wiki/MuseData_File_Structure MuseData file structure]

Esfield at 22:18, 27 September 2023

2023-09-27T22:18:21Z

← Older revision		Revision as of 22:18, 27 September 2023
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	[[File:Fran2001.PNG\|200px\|thumb\|left\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.		[[File:Fran2001.PNG\|200px\|thumb\|left\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.

	Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's ~~detailed~~ notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.		Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.

	* [https://wiki.ccarh.org/wiki/MuseData_Encoding_Notes MuseData encoding notes]		* [https://wiki.ccarh.org/wiki/MuseData_Encoding_Notes MuseData encoding notes]

	* [https://wiki.ccarh.org/wiki/MuseData_File_Structure MuseData file structure]		* [https://wiki.ccarh.org/wiki/MuseData_File_Structure MuseData file structure]

Esfield at 22:17, 27 September 2023

2023-09-27T22:17:32Z

← Older revision		Revision as of 22:17, 27 September 2023
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	[[File:Fran2001.PNG\|~~300px~~\|thumb\|left\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.		[[File:Fran2001.PNG\|200px\|thumb\|left\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.

	Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.		Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.

Esfield at 22:16, 27 September 2023

2023-09-27T22:16:31Z

← Older revision		Revision as of 22:16, 27 September 2023
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	[[File:Fran2001.PNG\|300px\|thumb\|~~right~~\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.		[[File:Fran2001.PNG\|300px\|thumb\|left\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.

	Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.		Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.

Esfield at 22:15, 27 September 2023

2023-09-27T22:15:26Z

← Older revision		Revision as of 22:15, 27 September 2023
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	[[~~FileFran2001~~.PNG\|300px\|thumb\|right\|<small>Fran Bennion ~~at CCARH in~~ 2001</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.		[[File:Fran2001.PNG\|300px\|thumb\|right\|<small>Fran Bennion (2001)</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.

	Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.		Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.

Esfield at 22:14, 27 September 2023

2023-09-27T22:14:28Z

← Older revision		Revision as of 22:14, 27 September 2023
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	[[FileFran2001.PNG\|thumb\|right\|<small>Fran Bennion at CCARH in 2001</small>]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.		[[FileFran2001.PNG\|300px\|thumb\|right\|<small>Fran Bennion at CCARH in 2001</small>.]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.

	Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.		Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.

Esfield at 22:13, 27 September 2023

2023-09-27T22:13:23Z

← Older revision		Revision as of 22:13, 27 September 2023
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	Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.		[[FileFran2001.PNG\|thumb\|right\|<small>Fran Bennion at CCARH in 2001</small>]] Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.

	Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.		Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.

Esfield at 00:10, 31 May 2023

2023-05-31T00:10:20Z

← Older revision		Revision as of 00:10, 31 May 2023
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	Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.		Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.

	* MuseData encoding notes		* [https://wiki.ccarh.org/wiki/MuseData_Encoding_Notes MuseData encoding notes]

	* MuseData file structure		* [https://wiki.ccarh.org/wiki/MuseData_File_Structure MuseData file structure]

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2023-05-25T23:48:32Z

Created page with "Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 20..."

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Frances Lusk Bennion worked as a musical data specialist at CCARH (the Center for Computer Assisted Research in the Humanities) from 1985 until her retirement at the end of 2010. She was especially conversant with string and orchestral music. She played cello and piano, but the larger part of her musical background may have consisted of many years of accompanying her four gifted children to music lessons up and down the San Francisco peninsula.

Fran had an instictive desire to understand every detail of each task. The nature of the work was novel: Walter Hewlett was developing a comprehensive system of encoding classical music of suitable quality for use by professional groups. This system, known as MuseData, was constantly evolving. Fran trusted very little to memory and in consequence wrote copious notes. While CCARH retains a lot of top-down documentation, Fran's detailed notes capture elements of oral discussion that cannot be found in more formal sources. We are sharing the most fundamental of these with readers here. Those concerned with data from preliminary phases of encoding (e.g. Stages 1 and 2) from the archive may find these of particular value.

* MuseData encoding notes

* MuseData file structure