Hi Kieren,
interesting: I think you are 100% right, yet I have to express
objections - as it's a matter of perspective. But now I think I should
have said "depending on the perspective original breaks *can be* part of
the content".
Am 30.10.2014 13:21, schrieb Kieren MacMillan:
Hi Urs,
original breaks *are* part of the content so that's not a mixture.
I disagree: original breaks are, in my opinion, part of the original
presentation (engraving) of the content. There are, of course, grey areas in
the “content versus presentation” discussion — e.g., are clefs content or
presentation? (lately I’m leaning towards “presentation”) — but I’m solidly of
the opinion that dimensional engraving choices like line and page breaks, which
were dictated almost entirely by the physical [hence presentational] properties
of the original engraving, are presentation.
When you're looking at a score with a scholarly edition in mind (and
that's what *I* usually do) you treat information like this as part of
the content you're editing. The fact that there's a break somewhere
gives you so much information to judge errors (e.g. issues of
half-missing slurs or wrong accidentals, clefs etc.) that it's vital to
process the information. Typically you'd mention in a critical remark
when an editorial decision has been influenced by a break. Sometimes you
can also find an explicit list of breaks, and in some types of edition
you'd see original breaks marked in the new edition (see
https://github.com/openlilylib/openlilylib/tree/master/editorial-tools/line-break-marks).
Current trends of (especially) digital music edition go into the
direction of considering the "edition" as being constituted of the
*encoding* of the content. In that concept the visual, audible or
textual *rendering* is a more or less arbitrary instantiation of the
edition. And these concepts tend to encode as much information as
possible from the "sources" (in the sense of the phyiscally existing
evidence of the composition) and treat it as part of the content. Line
breaks are among the more coarse aspects in that perspective. One tries
to preserve as much as possible for the reference of future scholars,
from paper color and watermarks over marks with different ink to
different and potentially conflicting pagination schemes of different
writers. I can tell you that nothing is finally neglectable, and the
most arbitrary informations can at some point trigger fundamental
questions in a later person looking at the case.
So to come back to the origin: In my perspective breaks are part of the
content of the edition, although not part of the composition.
For the record, that still doesn’t change my opinion about your functions: They
are worthy of existing, and could be a useful addition to the main distro.
That's a completely different story, and I'm currently not interested in
spending more energy on this ...
Best
Urs
Best,
Kieren.
_______________________
Kieren MacMillan, composer
www: <http://www.kierenmacmillan.info>
email: [email protected]
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