LFU:online

The essential aspects of the subject matter of music editing will be elaborated upon with the aid of compositions from the 17^th and 18^th centuries: the fundamental editorial aspects – this knowledge is also relevant for musicological professions (e.g. publishing, editorial projects, etc.) – will be discussed as well as the various approaches to editorial issues from ca. 1700 to the present day.

General aspects, using examples of 17^th and 18^th century compositions:

*) From the manuscript to the printed score: general information, techniques of editing, approaches: What is the difference between scholarly editions and practical scores? Which requirements must be taken into account respectively? Are there similarities? What is the meaning of the term “Urtext”? Is there even only one “Urtext”? How has to be created a “scholarly and practical edition”?

*) The structure of a Critical Report: description of sources, editorial principles, special comments to the compositions included

*) Overview of the development of complete editions from the 19^th century to the present day: objectives, requirements, focuses, concepts

*) A look into the future of scholarly and practical editions: possibilities and problems of digitalization, music editing and new media  

Special aspects regarding music edition and compositions of the 17^th and 18^th centuries:

*) The importance of music printing and publishing till 1800: technical printing possibilities, commercial aspects, the composer as the publisher of his/her own works

*) Editing music as interpretation: to what extent is editorial influence desirable or even necessary? As the editor of Baroque compositions, how does one treat the customary style of the playing of that time which the composer has not noted in his/her score (e.g. ornaments and embellishments)?  How should one proceed with a basso continuo realization?

*) Music publications of the 17^th and 18^th centuries in the 19^th century: Carl Czerny, Louise Farrenc, Johannes Brahms, among others, as editors and their handling of historic music

*) Example – printed scores with music by Johann Sebastian Bach: early editions, editions from the first half of the 19^th century, the first complete edition, further history of editing up to the New Bach Edition.

*) Example – New Mozart Edition: conception, guidelines, structure, comparison with earlier editions of compositions by Mozart, New Mozart Edition Online

ectures, reading materials, joint and independent exercises (editing of short music works), short presentations, discussion

continuous assessment, exercises, short presentations, written exam

Will be discussed in the first lesson.