| Contents |
Introduction: the task of the editor. -- Musicology and the practice of editing -- Musicological discourse about editing -- Philology and editing -- History and editorial method -- Work and text -- The semiotic nature of musical notation -- Editing and style -- The nature of the musical source. -- Sources and text -- Sources and history -- Collecting the data -- Locating sources -- Inspection and description -- Transcription -- Other types of sources -- Musical sources and stemmatic filiation. -- Shared error -- Filiation and the reconstruction of an authorial original -- Filiation and a living tradition -- Filiation and music -- Substantive alterations -- Conjectural emendation -- Contamination -- Supplementary evidence -- Technical matters: significative errors, archetypes and hyparchetypes -- Filiation based on textual evidence -- Example: J.S. Bach, Six Suites for Violoncello Solo BWV 1007-12 -- Example: Veri solis radius -- Example: Omnis curet homo -- Example: Ex Ade uitio -- Multipartite division and eliminatio codicum descriptorum -- Reconstruction of archetypes and hyparchetypes -- The results of the method and their application -- Errors, variants and editorial judgement: the establishment of the text. -- Editorial theory -- Sources that originated with the composer -- Sources not directly associated with the composer -- The application of stemmatic filiation -- Eclecticism -- Theoretical sources -- Editorial emendation -- Editing the literary text in vocal music -- Criticism and editing -- The presentation of the text. -- Facsimile editions -- Printed replicas of the original notation -- Interpretative editions -- Critical editions -- The musical text -- Notation -- The marking of editorial interventions in the text -- Early music -- Apparatus, commentary, appendices -- Performing materials -- Electronic format -- Conclusion: the posture of the editor -- Epilogue. -- An edition of the music copied in the hand of Adémar de Chabannes (989-1034) -- Wolfgang Amadeus Mozart, Symphony in C Major No. 36 K. 425 "Linz" -- Giuseppe Verdi, Don Carlos. |
| Abstract |
The preparation of editions for performance and study is one of the most important activities and contributions of the music scholar to cultural life. Through accessible editions, previously unknown music enters the repertory, while well-known works receive fresh interpretations. This is the first book to offer an introduction to the methods of textual criticism and their application to music editing, as well as provide a history of the field, and a discussion of the issues and problems encountered. In this volume, James Grier examines the central issues of music editing and develops a theoretical framework for a critical methodology, drawing examples from the early music repertory through contemporary works, including various genres from opera to the symphony. The author also examines the future of music editing and its application on CD-ROM and related electronic media. The book follows the activities inherent in music editing, including the tasks of the editor, the nature of musical sources, and transcription. Grier also discusses the difficult decisions faced by the editor such as sources not associated with the composer and necessary editorial judgement. |
