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Online Chopin Variorum Edition (OCVE) Funded by the Andrew W. Mellon Foundation Royal Holloway, University of London John Rink (Project Director), Julia.

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Presentation on theme: "Online Chopin Variorum Edition (OCVE) Funded by the Andrew W. Mellon Foundation Royal Holloway, University of London John Rink (Project Director), Julia."— Presentation transcript:

1 Online Chopin Variorum Edition (OCVE) Funded by the Andrew W. Mellon Foundation Royal Holloway, University of London John Rink (Project Director), Julia Craig-McFeely (Project Manager), Christophe Grabowski (Research Fellow) Centre for Computing in the Humanities, King’s College London Marilyn Deegan (Research Development), John Bradley, Paul Vetch and Gerhard Brey (Technical Development), Paul Spence (Web/XML)

2 Questions 1)How is the “work concept” challenged by the Chopin sources? 2)What is the best means of capturing in an edition the creative history implicit in the Chopin sources? 3)How might technology enhance and inform the musician’s and the musicologist’s understanding of individual sources, their interrelationships, and their significance as artistic and cultural artifacts within a rich history of publication, pedagogy, and perfor- mance?

3 Questions 1)How is the “work concept” challenged by the Chopin sources? 2)What is the best means of capturing in an edition the creative history implicit in the Chopin sources? 3)How might technology enhance and inform the musician’s and the musicologist’s understanding of individual sources, their interrelationships, and their significance as artistic and cultural artifacts within a rich history of publication, pedagogy, and perfor- mance?

4 Questions 1)How is the “work concept” challenged by the Chopin sources? 2)What is the best means of capturing in an edition the creative history implicit in the Chopin sources? 3)How might technology enhance and inform the musician’s and the musicologist’s understanding of individual sources, their interrelationships, and their significance as artistic and cultural artifacts within a rich history of publication, pedagogy, and perfor- mance?

5 Primary sources 1) sketches 2) rejected public manuscripts 3) Stichvorlagen (engraver’s manuscripts) 4) proofs 5) first editions – first and subsequent impressions –French –German/Austrian –English –other (Polish, Italian, etc.) 6) other autograph sources (e.g., presentation manuscripts, glosses) 7) other non-autograph sources (e.g., copies, glosses) 8) editions of pieces for which no other source material survives

6 Secondary sources: select collected editions Richault, Paris, 1860, ed. Tellefsen Schonenberger, Paris, 1860, with introduction by Fétis Kistner, Leipzig, 1879, ed. Mikuli Breitkopf & Härtel, Leipzig, 1879–80, ed. Liszt, Brahms et al. Durand, Paris, 1915–16, ed. Debussy Senard, Paris, 1915–39, ed. Cortot Oxford University Press, Oxford, 1932, ed. Ganche PWM, Cracow, 1949–61, ed. Paderewski, Bronarski and Turczyński PWM, Cracow, 1968–, ed. Ekier & Kamiński (Polish National Edition; “Urtext”) Henle, Munich, 1971–, ed. Zimmerman (“Urtext”) Universal Edition, Vienna, 1973– (“Urtext”) Peters, London, 2004–, ed. Rink, Samson, Eigeldinger et al. (The Complete Chopin; “Urtext”)

7 New resources The Complete Chopin – A New Critical Edition Peters Edition, London, 1996– (first volume published 2004) Annotated Catalogue of Chopin’s First Editions Cambridge University Press, forthcoming 2008 Leverhulme Trust, 1998–2001 Chopin’s First Editions Online (CFEO) Arts & Humanities Research Council, 2004–07 Online Chopin Variorum Edition (OCVE) Andrew W. Mellon Foundation, 2003–04, 2005–08

8 New resources The Complete Chopin – A New Critical Edition Peters Edition, London, 1996– (first volume published 2004) Annotated Catalogue of Chopin’s First Editions Cambridge University Press, forthcoming 2008 Leverhulme Trust, 1998–2001 Chopin’s First Editions Online (CFEO) Arts & Humanities Research Council, 2004–07 Online Chopin Variorum Edition (OCVE) Andrew W. Mellon Foundation, 2003–04, 2005–08

9 New resources The Complete Chopin – A New Critical Edition Peters Edition, London, 1996– (first volume published 2004) Annotated Catalogue of Chopin’s First Editions Cambridge University Press, forthcoming 2008 Leverhulme Trust, 1998–2001 Chopin’s First Editions Online (CFEO) Arts & Humanities Research Council, 2004–07 Online Chopin Variorum Edition (OCVE) Andrew W. Mellon Foundation, 2003–04, 2005–08

10 New resources The Complete Chopin – A New Critical Edition Peters Edition, London, 1996– (first volume published 2004) Annotated Catalogue of Chopin’s First Editions Cambridge University Press, forthcoming 2008 Leverhulme Trust, 1998–2001 Chopin’s First Editions Online (CFEO) Arts & Humanities Research Council, 2004–07 Online Chopin Variorum Edition (OCVE) Andrew W. Mellon Foundation, 2003–04, 2005–08

11 First impressions? French first edition (Paris: Catelin, 1839) F-Pn: Ac.p.2710 (1) French first edition (Paris: Catelin, 1839) GB-Lbl: h.471.k (also US-Cu: M22.C54P93 c.1)

12 First impressions? French first edition (Paris: Catelin, 1839) F-Pn: Ac.p.2710 (1) French first edition (Paris: Catelin, 1839) GB-Lbl: h.471.k (also US-Cu: M22.C54P93 c.1)

13 Annotated Catalogue – Rondo Op. 1 1–1-BRZPolish first edition. Publication date (PD): 2/6/ –1-SamGerman first edition. PD: –1a-SamCorrected reprint of 1–1-Sam with modified title page (TP). PD: early  1b-SamTitelauflage/lithographic transfer of 1  1a-Sam. PD: 1869  72. 1–1c-SamReprint of 1–1b-Sam. PD: after –1-WCorrected reprint of English first edition (of which no extant copy has been located). PD: 3/ –1a-WTitelauflage of 1–1-W. PD: 1840  42. 1–1b-A&PAshdown & Parry Titelauflage/lithographic transfer c of an unlocated Wessel impression from c  60. 1–1-SmFrench first edition. PD: 9/1836; available with this TP until c –1a-BRTitelauflage of 1–1-Sm, published by Brandus. PD: –1-HOSecond German edition. PD: 5/ –1a-HOReprint of 1–1-HO with modified TP. PD: after –1b-HOCorrected reprint of 1–1a-HO with modified TP. PD: unknown. 1–1c-HOCorrected reprint of 1–1b-HO. PD: unknown. 1–1d-HOReprint of 1–1c-HO. PD: c –2-HOSecond Hofmeister edition published with original plate number. PD: 4/ –1-SCSecond French edition. PD: early 1840.

14 Chopin’s First Editions Online (CFEO) Funded by the Arts & Humanities Research Council First impressions of Chopin’s first editions in virtual collection drawn from five partner libraries (4,400 images; 88%) and seventeen other institutions (600 images; 12%) Comparative text-analytical commentary Excerpts from Annotated Catalogue of Chopin’s First Editions Free of charge without subscription/password

15 Website

16 Questions 1)How is the “work concept” challenged by the Chopin sources? 2)What is the best means of capturing in an edition the creative history implicit in the Chopin sources? 3)How might technology enhance and inform the musician’s and the musicologist’s understanding of individual sources, their interrelationships, and their significance as artistic and cultural artifacts within a rich history of publication, pedagogy, and perfor- mance?

17 The Complete Chopin: A New Critical Edition No single “fixed” version: variants are integral. Combining passages from multiple sources to produce “ideal” version to be avoided. Editorial procedure: identify single principal source and prepare edition of that source. Important variants from other authorized sources reproduced next to main music text or in Critical Commentary, enabling comparison and facilitating choice in performance. Multiple versions of whole works when differences between sources extend beyond the category of variant.

18 The Complete Chopin: A New Critical Edition Ballades, ed. Jim Samson London: Peters Edition, 2006

19 The Complete Chopin: A New Critical Edition Waltzes, ed. Christophe Grabowski London: Peters Edition, 2006

20 Questions 1)How is the “work concept” challenged by the Chopin sources? 2)What is the best means of capturing in an edition the creative history implicit in the Chopin sources? 3)How might technology enhance and inform the musician’s and the musicologist’s understanding of individual sources, their interrelationships, and their significance as artistic and cultural artifacts within a rich history of publication, pedagogy, and perfor- mance?

21 Gunther Kress, “Reading Images” (2004) “Contemporary texts … ask the reader to perform different semiotic work, namely to design the order of the text for themselves… The reader interest determines where he or she wishes to enter the page. The same applies to the ‘reading path’ which the reader (now usually called a ‘visitor’) wishes to construct: it too is determined by the reader’s interest. […]

22 Gunther Kress, “Reading Images” (2004) “The designer [editor] of such ‘pages’/sites is no longer the ‘author’ of an authoritative text, but is a provider of material arranged in relation to the assumed character- istics of the imagined audience. The power of the designer [editor] is to assemble materials which can become ‘information’ for the visitor, in arrangements which might correspond to the interests of the visitor.”

23 Online Chopin Variorum Edition (OCVE) Pilot project: May 2003 to October 2004 Phase 2: November 2005 to April 2008 Successive phases?

24 Key aims To facilitate and enhance comparative analysis of disparate sources To encourage new understanding of musical work and its creative history To develop “dynamic musical edition” –Materials –Tools –Environments –(Responsive) outputs

25 Objectives Superimposition Juxtaposition Collation/interpolation

26 Website

27 Phase 2: content expansion Repertoire (2,280 new images) –Four Ballades –Four Scherzos –Fantasy Op. 49 and Polonaise-Fantasy Op. 61 –Twenty-Four Preludes Op. 28 and Prelude Op. 45 Secondary sources introduced for previous case- study pieces (120 new images)

28 Phase 2: deliverables Interlinked archive of digitized sources Various display formats Philological description Personal annotation tools Pick-lists of scores or works Interactive Critical Commentary

29 Phase 2: preview Extensive use of images and bar data Closer alignment with current HCI conventions Annotation process to be as seamless as possible Emphasis on user customization and persistence Tools designed for research and pedagogic usage

30 Page View, Zoom Mode CFEO tree view enhanced for quicker navigation and additional functionality Thumbnail preview of available witnesses User-configurable witness selection or “filtering” Full-size images delivered via Zoomify (for now)

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32 Page View, Bar Selection Mode Thumbnail images update to show current context Dynamic representation of bar mapping

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34 Critical Commentary, Interactive Mode Displays amalgamated Critical Commentary at the work level In interactive mode, user-submitted content available for viewing When logged in, user can submit comments on the commentary Nominated users will be able to edit the Critical Commentary Elements of Wiki and Blog interaction

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36 Bar View Drag-able individual representations of bar images (as in OCVE1) Interactive interface responds immediately to user input / customizations Configurable screen display allows quick access to tools and commentary

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39 Bar View, Adding an Annotation One-click / “just-in-time” annotation Name of annotation easily altered Annotations can be linked to one another or to flags / flag categories OCVE1 public / private distinction will be maintained

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41 Bar View, Flags Easy and quick mechanism for adding “post-it”-style flags to images Allows arbitrary groupings to be established

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43 Bar View, adding image to Lightbox Lightbox function allows grouping of images for comparison Drag-and-drop simplicity Functionality of lightbox to be determined

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45 Phase 2: preview Work in progress Still under consideration: –how flags, annotations, comments, and Critical Commentary concepts should interoperate –Lightbox functionality –Workspace concept (phase n?)

46 Phase n Collation/interpolation tool allowing performers and scholars to construct unique editions Incorporation of recorded materials to create “complete” source repository for each work Access arrangements and sustainability issues

47 Online Chopin Variorum Edition John Rink – Julia Craig-McFeely – Paul Vetch –


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