Personally, I would probably dislike reading a score with unconventional stemming, although I can imagine some some compositional rationale for doing it (e.g. in an extremely complex rhythmic environment, this would aid in creating a notion that is proportional both in note value and spatial position).
Actually, in the early days of mensural notation (13th and 14th centuries) the placement of stems conveyed information about note durations that was absolutely essential. That started changing in the 15th century, although one of the stumbling blocks in 16th century notation (for a modern reader) is the continued use of the 2-note ligature "with opposite propriety" indicating two semibreve durations.
I would certainly agree that using notational conventions appropriate to the time and place is the best way to assure communication between the composer and the performers. For example, we are presently preparing the Saint-Saens A minor cello concerto, and the printed parts use a backwards 8th rest to indicate a quarter rest. I can accept that this was conventional for French printers during Saint-Saens lifetime (and I'm well aware that it goes back to Franco's original invention of signs for rest durations in the mid-13th century), but it is an impediment to fluent sightreading in the early 21st century.
John
-- John & Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
