Digital directions for collected editions: keyboard music by British musicians before c.1700

在19世纪和20世纪，通过收集单个作曲家的所有作品或根据时间或地点创作一系列作品，合集版使音乐变得容易理解。每卷严谨的学术成果，提供可靠的音乐文本基于所有已知的，可用的来源。《大英音乐》、《珀塞尔协会版》和《早期英国教会音乐》的编辑委员会一直在讨论21世纪学术、批判性音乐编辑的未来。合集版本的设计考虑到了表演者和学者：在《大英音乐》的情况下，“虽然它的主要目的是对原始文本进行准确和学术的呈现，但它也旨在为实际表演提供基础”。如今，学者、学生和玩家都希望在网上找到研究和学习的材料，因此有时会牺牲对一个版本的质量和它所代表的学术工作的考虑，以方便和快速地访问。在一个“假新闻”的时代，重要的是要回到合集版的主要理由：提供可靠的，学术的，批判性的音乐文本版本。在数字时代，对于许多用户（如业余表演者）来说，合集版本仍然相对难以访问，因为它们仅限于大学图书馆的参考书架，因此有必要重新考虑、振兴和更新合集版本在当今的作用。这个项目汇集了专门从事音乐关键编辑的音乐学家，以及音乐技术和计算机科学方面的专家，以解决在线环境中收集版的未来。在建立新方法的同时，它还探讨了如何让下一代具备21世纪音乐编辑所需的技能。最近的研究项目已经取得了重大的技术进步，可以利用21世纪的数字平台来收集版本，其中先进的编辑专业知识与音乐文本编码开辟的可能性相结合。该项目将确定如何设计这样一个环境，使其能够被一系列用户轻松访问，从而实现学院以外的影响。该项目还将解决版权、未来融资模式和营销等相关问题。所有三个系列都包括键盘音乐，这是这个项目的重点。1700年以前的保留曲目的亲笔手稿的缺乏，使人们把重点放在了抄写员把音乐写进他们的手稿上，而来源之间的差异程度引发了围绕文本不稳定性及其与听觉传播和创造性参与音乐的关系的问题。这些曲目中的大部分可以追溯到围绕音乐记谱法的惯例处于过渡状态的时期。这种缺乏标准化，以及围绕音乐的视觉外观和演奏方式之间关系的争论，给编辑带来了比其他类型更大的挑战。因此，围绕早期键盘音乐的具体挑战的解决方案应该适用于其他时期的其他流派。该项目的目的之一是展示数字人文如何通过保留每个幸存的文本来改变收集版，增强使用音乐符号显示不同阅读信息的方式。每个变体文本的编码允许三维方法来编辑音乐，其中抄写员和手稿的用户可以与命名的作曲家一起放在项目的核心。更令人兴奋的是，可以使用机器学习来分析编码的变体文本，以解决作者身份问题，评估来源之间的系统关系（特别是在缺少链接的地方），并研究抄写对文本的干扰。

In the 19th and 20th centuries collected editions made music accessible by gathering all works by a single composer or by creating a series defined by time or place. Each volume resulted from rigorous scholarship, providing reliable musical texts based on all known, available sources. The editorial boards of Musica Britannica, the Purcell Society Edition and Early English Church Music have been deliberating over the future of scholarly, critical editing of music in the 21st century. Collected editions have been designed with the performer in mind as well as the scholar: in the case of Musica Britannica, 'although its chief purpose is an accurate and scholarly presentation of the original texts, it is also intended to provide a basis for practical performance'. Today, scholars, students and players expect to find material for research and study online, so sometimes sacrifice consideration of the quality of an edition and the scholarly work it represents in favour of ease and speed of access. In an era of 'fake news', it is important to return to the main rationale for the collected edition: the provision of reliable, scholarly, critical editions of musical texts. In the digital age, collected editions remain relatively difficult to access for many users, such as amateur performers, since they are restricted to the reference shelves of university libraries, so there is a need to reconsider, revitalise and renew the role of the collected edition for the present day. This project draws together musicologists specialising in the critical editing of music with experts in music technology and computer science to address the future of the collected edition within an online environment. As well as establishing new methodologies, it explores how the next generation can be equipped with the skillset needed by 21st-century editors of music. Recent research projects have resulted in significant technological advances that can be harnessed for a 21st- century digital platform for the collected edition in which advanced editorial expertise is combined with possibilities opened up by the encoding of musical texts. The project will determine how to design such an environment so that it can be accessed easily by a range of users, thus achieving impact beyond the academy. The project will also address related questions such as copyright, future funding models and marketing.All three series include keyboard music, the focus of this project. The paucity of autograph manuscripts of repertoire dating from before c.1700 throws the emphasis on the scribes who entered the music into their manuscripts, and the degree of variance between sources raises questions surrounding the instability of texts and their relation to aural transmission and creative engagement with the music. Much of this repertoire dates from a period when the conventions surrounding the notation of the music were in a state of transition. This lack of standardisation, and debates surrounding the relationships between visual appearance of the music and the ways in which it was performed, provide greater challenges to the editor than do other genres. Thus, the solutions to specific challenges surrounding early keyboard music should be adaptable to other genres at other periods. One of the aims of the project will be to show how the digital humanities can transform the collected edition by retaining each surviving text, enhancing the way in which information about variant readings can be displayed using music notation. The encoding of each variant text allows a three-dimensional approach to editing music, where the scribes and users of manuscripts can be placed at the heart of the project alongside named composers. Even more exciting, the encoded variant texts can be analysed using machine learning to address questions of authorship, to evaluate stemmatic relations between sources (especially where there are missing links), and to study scribal interference with texts.