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Underscore - The AR Blog

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Protip: Titles

Wednesday, October 3, 2018 3:00:00 PM America/Chicago

By Shawn Marie Keener

The title of each piece in an edition should usually reflect that given in the source. If the source lacks titles, per se, they can be drawn from a table to contents, devised from text incipits, or based on descriptive attributes. The editorial method should indicate the source of the titles and what kind of alterations (if any) have been made. 

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Comments | Posted in Protips on Editing By A-R Editions

By Alexander Dean

Dr. Andrew Levin’s edition of a viola concerto by a certain Joseph Schubert presented a unique editorial challenge: how to identify and account for the various versions of the piece evident in the surviving performance parts, and how and whether to incorporate the overlapping manuscript markings, especially in the solo viola part. In this case, the additions to the solo part were probably made by the performer, and the performer may have been Schubert himself.

Resolving these questions meant delving into the heart of what makes a critical edition worthwhile. What are the responsibilities of the editor, and what are the opportunities afforded by a source situation such as this? How much can be notated in the score, and what should be relegated to the critical commentary? And for what is in the score, is there a clear way to set off different layers of notation without sacrificing clarity and readability?

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Comments | Posted in Editor's Workbench By A-R Editions

Beyond the Dowie Dens: The Songs of Hamish MacCunn (1868–1916)

Wednesday, August 15, 2018 3:00:00 PM America/Chicago

By Jennifer Oates

N069When I stumbled upon a CD of Hamish MacCunn’s music as a young graduate student, I was entranced by the excerpts from his opera Jeanie Deans, whose combination of folk-like music evoking the Scottish countryside, juxtaposed with the surprisingly modern sounding arias, suggested a composer with great range and depth. Most of what has been written about MacCunn and his music has focused on his Scottish artistic persona from 1887 through 1894 and on the Scottish-styled compositions that had cemented this persona and established his career. But while I enjoyed MacCunn’s overtly Scottish compositions, they did not have the range and emotional depth of the music from Jeanie Deans that I had heard on that recording long ago. Where, I wondered, was the dynamic musical style that had so vividly captured my attention? I found the MacCunn of Jeanie Deans in his works for solo instruments (particularly those piano, cello, and violin), partsongs—and especially in his songs.

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Comments | Posted in Featured Publications By A-R Editions

My Many Colored Pencils (Well, Not Really That Many)

Thursday, July 26, 2018 3:00:00 PM America/Chicago

By Esther Criscuola de Laix

Pencils and eraser

I’d like to talk a bit about pencils, those intriguing sticks of wood, metal, rubber, and a “pigment core” of graphite or something else. In this digital age, not much is done with pencils anymore, because not much is done with paper anymore. But when I sit down to copyedit the music portion of an author’s manuscript, the first thing I do is pull out my pencil pouch. The colored pencils it contains are among the most essential tools of my editorial trade, and each color is used for a specific purpose. Each editor’s individual markup practices vary, but there are three colors that we on the editorial staff at A-R Editions all use pretty much the same way: red, green, and blue.

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Comments | Posted in Editor's Workbench By A-R Editions

On the Braille Trail: In Search of the Organist-Composers of INJA

Tuesday, June 12, 2018 3:00:00 PM America/Chicago

Figure 1

By Harvey H. Miller

The Recueil de morceaux d’orgue à l’usage spécial des élèves de l’Institution impériale des jeunes aveugles de Paris (1863) is one of the earliest known publications of music in braille notation. Its fifty-four pieces were composed by four blind composers who attended and later taught at the Institution des Jeunes Aveugles, Paris’s school for the blind. With this edition (N071), which includes historical background on the composers, the institution, and braille notation, this music is available to sighted musicians for the first time. The following is the editor’s account of the genesis of this project, which took him upward of ten years to complete.

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Comments | Posted in Featured Publications By A-R Editions
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