1. Eleanor Selfridge-Field CCARH, Stanford University www.ccarh.orgwww.ccarh.org; esfield-at-stanford.edu Digital Philology, or Editing vs. Encoding

2. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field2 Greetings 1. Goals: encoding vs. editing 2. Music encoding at CCARH [Center for Computer Assisted Research in the Humanities, Stanford University] 3. Digital philology: Possibilities and choices 4. Variants: A categorical view Coda: Realities of online distribution

3. 1. Goals: Editing vs. Encoding Digital Philology (Encoding vs Editing)

4. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field4 Purposes of (Analogue) Editing Music To create a specifically visual instantiation of a musical work (publishing) To provide suitable material for performance (general) To create an authoritative source for reference (musicology) Preservation/restoration of materials threatened with deterioration or extinction (librarianship)

5. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field5 Purposes of (Digitally) Encoding Music To create a specifically visual instantiation of a musical work For publishing For performance To create a virtual source for future editions (musicology) for musical analysis (music theory) for classroom use (music pedagogy) for data conversion (extensible uses of one data set)

6. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field6 Encoding vs Editing: Providers Digital editing Selection of sources Determination of purposes to be served Selection of encoding system Determination of distribution system(s) Manual editing Selection of editor(s) Selection of sources Determination of editorial principles Selection of publisher Selection of methods of production Determination of distribution system

7. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field7 Musical vs. textual encoding: Similarities Source appraisal Version management Error handling

8. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field8 Musical vs. textual encoding: Differences Text Concerned exclusively with written instantiations Sound instantiations not supported Monophonic in nature Mono-directional Music Concerned inclusively with written instantiations Sound instantiations supported (bilaterally) Polyphonic in nature Multidirectional

9. 3. Digital Philology: Possibilities and Choices Digital Philology (Editing vs. Encoding)

10. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field10 Possibilities in digital editing (data level) Comparison of details from multiple sources Restoration of details from an earlier source Virtual realizations [sound] of alternative readings Vivaldi Op. 3, No. 5 Violin Concerto A Minor Inputs: Le Cene edn. (strings) Dawson book (keyboard) Outputs: Dover edn. (score) MuseData (parts)

11. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field11 Comparison of presentation Patricia Hall in The Virtual Score (Computing in Musicology, 12; 2001)

12. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field12 Comparison of type-setting details Jeremy Smith in The Virtual Score (Computing in Musicology, 12; 2001)

13. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field13 Comparison of watermarks Dexter Edge in The Virtual Score (Computing in Musicology, 12; 2001)

14. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field14 Graphical restoration (augmented graphics) Alejandro Planchart in The Virtual Score (Computing in Musicology, 12; 2001)

15. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field15 Graphical restoration (DIAMM) A. Wathey, M. Bent, J. Craig-McFeely in The Virtual Score (Computing in Musicology, 12; 2001)

16. 4. Choices for Dealing with Variants Digital Philology (Encoding vs. Editing)

17. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field17 Musical variants: A General Typology More than one Urtext [philological differences] More than one medium [performance differences] More than one performance [interpretative differences] More than one way to indicate particular details [graphical differences] More than one conceptual idea of the “best” interpretation [intellectual differences]

18. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field18 Musical variants: A General Typology More than one Urtext [philological differences] More than one medium [performance differences] More than one performance [interpretative differences] More than one way to indicate particular details [graphical differences] More than one conceptual idea of the “best” interpretation [intellectual differences] Examples from Händel and from Vivaldi’s Concerti, Op. 8 All occur in print editions, but their handling changes in digital environment.

19. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field19 Categorical typologies in encoding music Composer-specific typologies - Legibility - “intentions” Publisher-specific typologies Renaming of work (composer) Transposition of key, reordering of movements (works) Modifications to basso continuo Medium-specific typologies (e.g. orchestral works vs. operas) Largely specific to music?

20. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field20 Publisher- (editor-) specific issues 1. Chrysander 2. Sadie 3. Burrows 4. Jensen

21. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field21 Composer- (medium-, style-) specific typologies Alessandro (1726): orchestraScipione (1726): keyboard Handel graphics from Donald Burrows

22. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field22 Medium-specific situations: Vivaldi, Concerto Op. 3, No. 5

23. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field23 Vivaldi, Concerto Op. 3, No. 5

24. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field24 Form/content-specific issues Note-level variants (single items) Note names, inflections (C/C#) Durational value Ornamentation Phrase-level variants (horizontal view) 8va readings Part-level variants (texture, performance) Violin and oboe vs Violin or oboe Harmonization variants (vertical view) discrepant continuo figuration Divergent readings of formal structure (tree-structure variants)

25. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field25 Händel: Messiah, Part Two “How beautiful are the feet….” 5 versions (A-E) varying by Key Instrumentation/voicing Structure

26. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field26 Händel: Messiah, Part Two “How beautiful are the feet….”

27. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field27 Händel: Messiah, Part Two “How beautiful are the feet….”

28. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field28 Vivaldi’s Concerti Op. 8 (1725): 3 Examples Op. 8, No. 7—tree-structure variants (two) of Movement 1 Fairly simple substitution Op. 8, No. 9—tree-structure variants (different solo instruments) Violin/oboe Op. 8, No. 11—complex group of variants (six?) producing movements of different length and difficulty for Movement 3

29. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field29 Vivaldi: Concerto Op. 8, No. 9 Violin version Oboe version

30. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field30 Vivaldi, Concerto Op. 8, No. 11, iii Autograph (multiple readings MS parts Multiple period prints 5 versions offering Different lengths Different challenges Start here End here …here …or here

31. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field31 In summary: Encoding vs Editing Purposes of encoding Application-neutral with possibilities for visual, audio, pedagogical, conceptual, and intellectual study Reasons for encoding Improvement of access to materials Enhancement of value of materials Purposes of editing Application-specific with emphasis on visual and intellectual content Reasons for editing Improvement of access to materials Enhancement of value of materials

32. Why should we care? Digital Philology (Encoding vs Editing)

33. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field33 New methods, new problems New ways of misunderstanding Reduced consciousness on the web of source- and edition- differences

34. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field34 Vivaldi Op. 10, No. 2, Fantasmi

35. 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field35 Vivaldi Op. 10, No. 2, Fantasmi (2 nd mvmt) Educate the musical public about editions and their differences digital (re)sources and their differences RV 439 (Le Cene print No. 544) in G Minor RV 439 (Le Cene print No. 544)RV 501 in Bb Major

36. New opportunities Online facsimilies DIAMM: http://www.diamm.ac.uk/publications.html#N11778 http://www.diamm.ac.uk/publications.html#N11778 British Library: http://www.bl.uk/onlinegallery/onlineex/musicmanu/http://www.bl.uk/onlinegallery/onlineex/musicmanu/ All-in-one collections of variants http://www.dimused.uni-tuebingen.de/tuebingen_phase2_e.php EDIrom: http://www.gridtalk.org/Documents/Grids-and-eHumanities.pdf Thematic-comparison sites http://www.lib.latrobe.edu.au/MMDB/Feasts/l14020200.htm Virtual-edition sites (CMME) http://cmme.org/?page=database&view=projects&num=4 http://cmme.org/?page=database&view=pieces&id=120# 2006 Paderborn; rev. 2010 Eleanor Selfridge-Field36