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"...the
concept of the critical edition does not transfer well from literature
to
music... The communication of a musical
text
depends on a much more complex two-dimensional graphic representation,
and
while a musician's response might not be affected by, say, substituting
round
for diamond-shaped noteheads, it is likely to be affected by beaming,
direction
of stems, transformation of note values, horizontal and vertical
spacing and
other aspects of layout... Some of that information may be
contained
in
calligraphic gestures, to which a performer may respond with analogous
musical gestures, for example a forward surge or sudden holding back.
To put it
in hi-tech terms: literary texts are encoded purely in digital format,
but in
musical texts there is both a digital and an analog component. The
latter
component tends to be distorted if not suppressed in modern
editions." (Alexander Silbiger, "In Defense of Facsimiles") |
