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Author: Theodor Dumitrescu
Publisher:
ISBN: 9782503551517
Category : Music
Languages : en
Pages : 0
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Book Description
Is editing music a fallacy? It may appear so when consulting the Oxford English Dictionary, which defines editing as to prepare an edition (of a literary work or works by an earlier author), or to prepare, set in order for publication (literary material which is wholly or in part the work of others). Of course, the parentheses readily allow the musicologist to construct a broadened definition of editing, tacitly declaring music to be akin to literature; but doing so causes a number of other discomforts, for music, while certainly not inimical to words, simply cannot be equated with literature tout court. Even so, the OED mercilessly insists on the origins of the term within the realm of literary text production. Furthermore, as if adding insult to injury, a secondary definition of editing offered by the OED-to prepare a film for the cinema or recordings for broadcasting, etc. (by eliminating unwanted material etc.) -brings music into play, but hardly in the sense it is construed in this volume, namely in its written instantiation as notation. Instead, catapulting the reader from the old-fashioned realm of ink and paper into the glittery domain of twentieth- and twenty-first century multi-media art forms and their post-Gutenbergian methods of production, storage and distribution, music editing is now made present as the cleaning-up procedure preceding the release of a new product rather than the painstaking preparation of a work or works by an earlier author for re-publication.
Author: Theodor Dumitrescu
Publisher:
ISBN: 9782503551517
Category : Music
Languages : en
Pages : 0
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Book Description
Is editing music a fallacy? It may appear so when consulting the Oxford English Dictionary, which defines editing as to prepare an edition (of a literary work or works by an earlier author), or to prepare, set in order for publication (literary material which is wholly or in part the work of others). Of course, the parentheses readily allow the musicologist to construct a broadened definition of editing, tacitly declaring music to be akin to literature; but doing so causes a number of other discomforts, for music, while certainly not inimical to words, simply cannot be equated with literature tout court. Even so, the OED mercilessly insists on the origins of the term within the realm of literary text production. Furthermore, as if adding insult to injury, a secondary definition of editing offered by the OED-to prepare a film for the cinema or recordings for broadcasting, etc. (by eliminating unwanted material etc.) -brings music into play, but hardly in the sense it is construed in this volume, namely in its written instantiation as notation. Instead, catapulting the reader from the old-fashioned realm of ink and paper into the glittery domain of twentieth- and twenty-first century multi-media art forms and their post-Gutenbergian methods of production, storage and distribution, music editing is now made present as the cleaning-up procedure preceding the release of a new product rather than the painstaking preparation of a work or works by an earlier author for re-publication.
Author: Alon Schab
Publisher: Oxford University Press
ISBN: 0197600654
Category : Arrangement (Music)
Languages : en
Pages : 289
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Book Description
Provides instruction on three important tasks that early music performers often undertake in order to make their work more noticeable and appealing to their audiences. First, the book provides instruction on using early sources - manuscripts, prints, and treatises - in score, parts, or tablature. It then illuminates priorities behind basic editorial decisions - determining what constitutes a 'version' of a musical piece, how to choose a version, and how to choose the source for that version. Lastly, the book offers advice about arranging both early and new music for early instruments, including how to consider instruments' ranges and various registers, how to exploit the unique characteristics of period instruments, and how to produce convincing textures of accompaniment.
Author: John Caldwell
Publisher: Oxford [England] ; Toronto : Clarendon Press
ISBN:
Category : Music
Languages : en
Pages : 152
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Book Description
Since its publication in 1985, Editing Early Music has been the guide to editorial procedures suitable for music written from the Middle Ages to about 1830. For this revised edition, Caldwell has made a number of corrections, brought the bibliography up to date, and added a Postscript onstemmatics and textual criticism.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
Author: James Grier
Publisher: Cambridge University Press
ISBN: 9780521558631
Category : Music
Languages : en
Pages : 288
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Book Description
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.
Author: Thurston Dart
Publisher: [Oxford] Novello [1963]
ISBN:
Category : Music
Languages : en
Pages : 24
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Book Description
Author: University of London Katharine Ellis Reader in Music Royal Holloway
Publisher: Oxford University Press, USA
ISBN: 0199710856
Category : Music
Languages : en
Pages : 322
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Book Description
This study of the French early music revival gives us a vivid sense of how music's cultural meanings were contested in the nineteenth century. It surveys the main patterns of revivalist activity while also providing in-depth studies of repertories stretching from Adam de la Halle to Rameau.
Author: SusanLewis Hammond
Publisher: Routledge
ISBN: 1351568841
Category : Music
Languages : en
Pages : 286
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Book Description
Editing Music in Early Modern Germany argues that editors played a critical role in the transmission and reception of Italian music outside Italy. Like their counterparts in the world of classical learning, Renaissance music editors translated texts and reworked settings from Venetian publications, adapting them to the needs of northern audiences. Their role is most evident in the emergence of the anthology as the primary vehicle for the distribution of madrigals outside Italy. As a publication type that depended upon the judicious selection and presentation of material, the anthology showcased editorial work. Anthologies offer a valuable case study for examining the impact of editorial decision-making on the cultivation of particular styles, genres, authors and audiences. The book suggests that music editors defined the appropriation of Italian music through the same processes of adaptation, transformation and domestication evident in the broader reception of Italy north of the Alps. Through these studies, Susan Lewis Hammond's work reassesses the importance of northern Europe in the history of the madrigal and its printing. This book will be the first comprehensive study of editors as a distinct group within the network of printers, publishers, musicians and composers that brought the madrigal to northern audiences. The field of Renaissance music printing has a long and venerable scholarly tradition among musicologists and music bibliographers. This study will contribute to recent efforts to infuse these studies with new approaches to print culture that address histories of reading and listening, patronage, marketing, transmission, reception, and their cultural and political consequences.
Author: Iain Fenlon
Publisher: Cambridge University Press
ISBN: 9780521104319
Category : Literary Criticism
Languages : en
Pages : 400
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Book Description
Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. It demands the highest standards of scholarship from its contributors, all of whom are leading academics in their fields. It gives preference to studies pursuing interdisciplinary approaches and to those developing novel methodological ideas. The scope is exceptionally broad and includes manuscript studies, textual criticism, iconography, studies of the relationship between words and music and the relationship between music and society. Articles in volume four include: Toledo, Rome and the legacy of Gaul; Classical tragedy in the history of early opera in Rome; and Reading and singing: on the genesis of occidental music-writing.
Author: Allen Scott
Publisher: Indiana University Press
ISBN: 0253014565
Category : Music
Languages : en
Pages : 518
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Book Description
Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.
