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

在19世纪和20世纪，收集版本通过收集单个作曲家的所有作品或通过创建一个由时间或地点定义的系列来提供音乐。每一卷都是严格的学术研究成果，根据所有已知的、可用的来源提供可靠的音乐文本。《大英音乐》、《珀塞尔社会版》和《早期英国教会音乐》的编辑委员会一直在审议21世纪世纪音乐学术和批判性编辑的未来。收集版本的设计考虑到了演奏者和学者：在《大英音乐》的例子中，“虽然它的主要目的是准确和学术地介绍原文，但它也旨在为实际演奏提供基础”。今天，学者、学生和玩家希望在网上找到研究和学习的材料，因此有时会牺牲对版本质量和它所代表的学术工作的考虑，而倾向于方便和快速的访问。在一个“假新闻”的时代，重要的是要回到收集版本的主要理由：提供可靠的，学术的，音乐文本的批评版本。在数字时代，许多用户，如业余表演者，仍然相对难以获得收藏版，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，振兴和更新收藏版的作用。该项目汇集了专门从事音乐批判性编辑的音乐学家，以及音乐技术和计算机科学专家，以解决在线环境中收集版本的未来。除了建立新的方法论，它还探讨了下一代如何具备21世纪音乐编辑所需的技能。最近的研究项目取得了重大的技术进步，可以利用这些技术进步为21世纪的数字平台收集版本，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，使各种用户都能方便地使用，从而产生学院以外的影响。该项目还将解决相关问题，如版权，未来的资金模式和营销。所有三个系列包括键盘音乐，这个项目的重点。大约1700年以前的曲目手稿的缺乏，把重点放在了把音乐输入手稿的抄写员身上，不同来源之间的差异程度提出了围绕文本不稳定性及其与听觉传播和音乐创造性参与的关系的问题。这些曲目中的大部分可以追溯到一个时期，当时围绕音乐符号的惯例处于过渡状态。这种标准化的缺乏，以及围绕音乐视觉外观与表演方式之间关系的争论，给编辑带来了比其他流派更大的挑战。因此，围绕早期键盘音乐的特定挑战的解决方案应该适用于其他时期的其他流派。该项目的目标之一将是展示数字人文学科如何通过保留每一个幸存的文本来改变收集的版本，增强使用乐谱显示变体阅读信息的方式。每个变体文本的编码允许一种三维的方法来编辑音乐，其中手稿的抄写员和用户可以与命名的作曲家一起被放置在项目的核心。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，评估来源之间的词干关系（特别是在缺少链接的情况下），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.