On Tue, 19 Apr 2005 12:36:26 -0400, Andrew Stiller <[EMAIL PROTECTED]> wrote:

On Apr 18, 2005, at 2:42 PM, Darcy James Argue wrote:

if I find anything in the manuscript that is notationally unclear, or looks like a mistake, or represents nonstandard practice, I will ask about it.


That's precisely my point: you ask about it. You don't go off on your own and make a unilateral decision, because the composer's wishes are sovereign.



Andrew,

I disagree and agree with your statement of a composer's wish being soverign.

In as far as the elements of music for interpretation, true the composer is soverign, however, IMHO clefs have nothing to do with the composers intention. Darcy is correct in saying that he asks the composer about <<compositional questions>>, ie. crescendo, dynamics, positioning of elements, note questions.

However, when it comes to clefs, no matter what clef is used, it is only an element of reference and of convenience. It changes nothing of the compositional qualities. So at risk of sounding absolutely like a rabid radical, I feel it is the copist's/engraver's duty to render the music READABLE for what ever the instrument conventions are for that instrument, be it voice, guitar, harp, cello, percussion, etc. The purpose of written music is to give the references points to another person who frequently does not have access to the composer so that s/he can properly and easily interpret it respecting the the composer's wishes as much as possible with the given information. (The fact that we call those musicians interpreters already gives a huge clue as to their duties!! We don't call them <slaves>, although some interpret their roles as such, because once the composer is not there, they are free within the traditions of the day, OR their personal convictions as interpreter to do just that-interpret!)

I feel that we have become slaves to nonserving conventions when we feel that we have to maintain a treble clef, because it was easier for the composer to use that clef since perhaps the notes required many fewer leger lines. If I read a G4 be it in bass, tenor, alto or treble clef, the note remains a G4. The only thing that can change that note are those extra elements aimed at interpretation.

Gregory
(the anarchistic radical)



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