At 12:21 AM -0700 10/19/06, Mark D Lew wrote:
On Oct 18, 2006, at 7:18 PM, David W. Fenton wrote:
Convey to them the fun of being able to look critically at the
editor's choices, and teach them how much more rewarding it is to
make your own decisions. They'll be better musicians for it.
I've known many singers who take an interest in making their own
artistic decisions. I'm not sure that's quite the same as wanting
to know who the editor of a work is. You can look at three or four
editions of a song and decide which ones you like better without any
reference to who made the choices or how authentic they are.
Editors have reputations, just as composers do. It's those
reputations that give you valuable information before you even open
to the first page of music. THEN you can judge the editions first
hand.
The reputation thing may mean more for string music editions than for
vocal editions. A particular editor will very often be a famous
concert artist, and part of what you're buying is the bowings,
phrasing, and maybe even fingerings he or she uses. Now that I think
of it, very few string players are taught to make their own decisions
on phrasing, bowings and fingerings, although orchestra players make
them all the time on the fly.
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
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