%
%  Let's have some fun
%
\input /mit/HTG/TeX/htg90

\chapter{Examples}

\entry{Bicycles, helmets}
You really, really want to have a helmet.  This paragraph should be
a little longer.

\entry{Bicycles, locks}
You really want to have one of these, too.  Here's why: Cambridge is
known for its bicycle thieves.  And they do steal a lot of bicycles.

In fact, they steal so many that they get a second paragraph.

\entry{Bicycles, quux}
This entry is going to test the warning.
\entry{California} This is a weird state.

\entry{Even more stuff}
Yes.  Just drop a line to the coordinator
with the starting and ending dates of your absense (if known, or you can
just send a second note when you're back).  The way I work it, you still
\flag{Is this really true?}
get all the mail sent to all helpers (toughies, interesting answers,
administrivia) so that you don't miss anything, but you don't get any
queries round-robined to you.

\entry{Another} This paragraph is short, but is followed by one that
is identical to the preceding one.

Yes.  Just drop a line to the coordinator
with the starting and ending dates of your absense (if known, or you can
just send a second note when you're back).  The way I work it, you still
get all the mail sent to all helpers (toughies, interesting answers,
administrivia) so that you don't miss anything, but you don't get any
queries round-robined to you.

\entry{Goodbye}  This is it!

\entry{Courses}
Here is a chart showing the correspondence between Course
numbers and names:

\table{|r|l|}
\hrule
Number & Name \\
\hrule
I & Civil Engineering \\
II & Mechanical Engineering \\
III & Material Science \\
IV & Architecture \\
V & Chemistry \\
VI & Electrical Engineering \\
& \ and Computer Science \\
VII & Biology \\
VIII & Physics \\
IX & Brain and Cognitive Sciences \\
X & Chemical Engineering \\
XI & Urban Science \\
\hrule
\endtable

\entry{Long stuff}
To attempt to depict scenes in music is an ancient tradition, not the
particular purview of the Romatic composers.  The ascent of opera and
of Romantic ideals of Nature in Art that occured in the nineteenth
century, however, made these depictions more common.   Wagner took
this approach to an extreme, in which the music not only set a scene, but
in which the music was the totality.  Many felt that Wagner, depending on
one's point of view, had culminated Western music, making further progress
impossible, or had destroyed Western music, again making further progress
impossible.

From these ashes arose works from a new breed of composers, among them
Claude-Achille Debussy.  His {\it Pr\'elude \`a l'apres-midi d'un
faune}, written in 1894, is one of the most familiar of these Ph\oe
nixes.  Instead of returning to the old styles, Debussy painted his
picture with new brushes, altering the familiar concepts of rhythm,
orchestration, and form to suit the needs of the post-Wagnerian
canvas.

The orchestra for {\it Faun} is not large by Wagnerian standards, and
the scoring is sparse in many places.  The Prelude begins with a flute
solo, and for most of the piece the second and third flutes are
silent.  Until the middle of the work, half of the instruments are
resting at any given time.  When they all enter at rehearsal number 5
(Kamien, page 1212), a momentary sense of fulfilment is acheived.
Debussy refuses to maintain this total participation for long, and
returns to the sparse, wandering orchestration that evokes a sense of
the vulnerable faun.  The sparseness refuses to establish a tonality
as firmly as a classical symphony might, but there is still a sense of
tonality which is not present in Wagner's stringing together of
leitmotives.

There are frequent changes in the key signature, which also contribute
to the absence of a strong tonal center.  These are not as
disorienting as one might expect; Debussy believed that ``music is
neither major nor minor.  Minor thirds and major thirds should be
combined, modulation thus becoming more flexible.... [With] incomplete
chords ... one can travel where one wishes and leave by any
door.''[[Weiss/Taruskin, Pages 417f.]]  Yet the modulations, such as
at rehearsal number 3 (Kamien, page 1208) are often noticable and
contribute to the affect of the piece.  This delicate balance between
seemingly aimless wandering between keys and modes and seemingly
deliberate transitions between illusory tonal centers is the most
distinctive feature of the Prelude.

\bye


