Jeff, I'm glad to see I'm not the only "fuddy-duddy" in the world.  I enjoy new music, but using a piano like this is like going fishing with a flute for a pole! Paul <table width=100%> <tr valign=top> <td width=40%>Jeff Tanner <jtanner@mozart.sc.edu> Sent by: caut-bounces@ptg.org 05/15/2007 02:10 PM <table border> <tr valign=top> <td bgcolor=white> <div align=center>Please respond to College and University Technicians <caut@ptg.org></div></table> <td width=59%> <table width=100%> <tr valign=top> <td> <div align=right>To</div> <td>College and University Technicians <caut@ptg.org> <tr valign=top> <td> <div align=right>cc</div> <td> <tr valign=top> <td> <div align=right>Subject</div> <td>Re: [CAUT] Agraffes and dampers</table> <table> <tr valign=top> <td> <td></table> </table> On May 15, 2007, at 8:55 AM, Joe Wiencek wrote: This is my first posting to the CAUT list.  I have two questions 1:  How do you keep dampers free from damage when modern music requires playing the strings with fingers and the performers paste the damper heads with colored stickers, then remove them and tearing felt, etc. This is at NYU, but my own experience in music school tells me it must be all over. You insist that if anyone is doing prepared piano music, they have to use the worn out L from a practice room. Somehow, someway, we must educate musicians that the people who wrote this stuff were not aware that it causes damage to pianos. Only problem here is, they know my aversion to the practice and do what they want to without telling anyone, tearing up the pianos in the process. Jeff Tanner, RPT University of South Carolina