Benjamin Franklin, die frühen USA und der Bezug zu Max Weber (German Edition)

Diese Frage mag sich der Leser dieser Ausarbeitung stellen und die Antwort hierauf lautet: Weber besa, dies wird diese kurze Ausarbeitung aufzeigen, eine Affinitat zu den Vereinigten Staaten und nutze sie als Beispiel fur seine marktwirtschaftlichen Thesen. Read more Read less. Applicable only on ATM card, debit card or credit card orders.

Cashback will be credited as Amazon Pay balance within 10 days. Valid only on your first 2 online payments. Cashback will be credited as Amazon Pay balance within 10 days from purchase. Here's how terms and conditions apply. To get the free app, enter mobile phone number. Was it his liberal and democratic sense, his belief in science and in progress that made him ahead of his time?

Did his attributes shape the following generations and characterize the American Way even in nowadays? Is that the reason to say Benjamin Franklin is the first American? In his autobiography he describes his life in his own words and it is impressive how much attributes that are today considered to be American can be found autobiography and in some other writings of him. He was born as the son of a soap and candle maker and became one of the most famous Americans at his, and even still in our time. In his autobiography one can easily recognize that Franklin is always working hard, trying to educate himself as far as possible, and to outperform others.

He even started a Vegetable Diet in order to save money for books: He instantly agreed to it, and I presently found that I could save half what he paid me. This was an additional Fund for buying Books. Franklin did not only want to excel in his writing but also in his rhetoric. He was for instance very interested in the Socratic Method of dispute.

This quote shows how much Franklin was into improving himself, he adopted the Socratic method in an instant, and even improved it so that he was able to convince people even though they were superior or maybe right. And exactly this work ethic and attitude makes the difference, it characterizes Franklin, and it is also characteristic for the Americans. The concept of the musical work, in particular as a work of art, is problematic. This can be seen in the transmission of historic circumstances across editions. The problems are made clearer with reference to many collected works editions from the 20th century.

The growing use of computer-assisted media may contribute to the solution of editorial problems in the future. Probleme der Textedition bei J. When editing vocal music, especially lieder, the literary text has its own rights. The composer concedes this to the poet, as proven by some examples from Schubert's lieder, and the user should be informed of literary variants whenever they are relevant to the history of a song.

When such variants are important for the singer, as when they facilitate the understanding of a poem or correct errors made by the composer, they should be printed together with the music; in other cases they should be included in the critical apparatus. Der Text im musikalischen Werk. Editionsprobleme aus musikwissenschaftlicher und litteraturwissenschaftlicher Sicht.

Meaning of "Nadir" in the German dictionary

The texts set to music by Bach are still only available in philologically inadequate editions. Several editorial problems must be overcome; methodological issues are explored. Was die Handschriften sagen: Recently, editorial scholarship has been concerned with describing the genesis of texts, and with methods of editorial presentation that allow the reader to follow details of the writing process that took place in the creation of a work. The emphasis is not on the construction of a definitive text, but on portraying the process and the fluidity of its genesis.

Textual variants are not listed in connection with individual points of the edited text, but in the appropriate genetic context. The user can thus grasp the meaning of a text in an authentic manner and gain an understanding of the specific creative process involved. Der Liedkommentar als Problem komparatistischer Editorik: Zu Reichardts und Zelters Klassiker-Vertonungen , in: The increasing interest in the fundamental relationship between music and text is reflected in the tendency of modern lied editions to regard the literary and the musical texts as equally relevant.

A textual commentary that gives access to the composer's interpretation of his literary source will thus be an appropriate element in the critical apparatus of any modern musical edition. The settings of Schiller's poems by Reichardt and Zelter show how a composer's readings of a text will generate a level of variants out of which a comparative commentary on the transformational process and, in particular, on the composer's understanding of his literary source can come into being.

The editing of older texts should be regulated by a clear understanding of what authenticity means, and of how these texts can be edited authentically. In spite of growing support for the authenticity principle in German philology, however, there are still many editions that do not apply it. Some examples illustrate the consequences this policy can have. Zwischen Musiktheater und Sprechtheater: In the study of literature, opera librettos are still seen as literary exceptions inhabiting a no-man's-land between spoken and musical theater.

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Only in the last few years has there been a reawakening of interest in 17th- and 18th-c. The necessity of editing opera librettos as reprints is explained against the background of the present interest in textual form among literary scholars. The points discussed include the fact that opera dominated the dramatic forms of the Baroque period in particular, that the libretto was treated at length in contemporary works on poetics, and that opera had a central representational role for the nobility.

Worte im Zeichen von Musik , in: It was in writing that words and notes diverged from one another.

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Medieval stages of development still preserve elements of the unity between the two. In the final stage of separation, brought about by a primary interest in singing in harmony, not even the connection between syllables and notes is recognizable. From the 16th c. However, a combination of the two can cause mutual distortions that appear senseless or wrong when either of the forms are viewed separately.

The two usual solutions to editing--standardizing the words by reference to linguistic rules, and the opposite procedure of editing the words separately, but in the form in which they were set to music--can lead to misinterpretations and can obscure references to the composer's intentions. Der Dichter und der Komponist: Presents the problem of determining how Hoffmann, the leading poet among German composers, viewed the relationship between text and music, and what role the essay Der Dichter und der Komponist should play in answering this question.

A literary interpretion of the text is advocated. Die Inszenierung des Operntexts im Libretto , in: The text of an opera in the libretto is often different from that printed in the score. The composition can also cause corruptions, or the text undergoes changes to its structure e. Is it possible to present moments of musical structure in editions of librettos? Addresses the problem of editing music within the modern concept of critical editions for scholarly or practical purposes. Making a critical edition is a matter of methodology, and the fact that an edition is made suitable for performance, too, should not be understood as a compromise of critical standards.

A discussion of the bases on which an edition may be considered a critical edition is followed by a brief historical outline of scholarly and practical editions. Brahms-Philologie ohne die Briefe des Meisters? Eine Fallstudie , in: Brahms's correspondence comprises some 8, to 10, letters. Consultation of these letters led to a significant degree of confusion when trying to solve editorial problems during the publication of the old Brahms complete works edition.

Even so, in the context of the new Brahms edition, his correspondence and other authentic documents continue to be indispensable. Continuo v modernih kriticnih idajah barocne glasbe , in: To write it out or not: Continuo in modern critical editions of Baroque music] The use of improvised continuo died out for multiple reasons. In the first scholarly editions that began to appear in , three types of solutions emerged: The first and last solutions continue to be practiced but are applied with a greater knowledge of music theory and contemporary performing practices.

Modern editions of music with continuo must take into consideration four categories of users: The author also lists 14 editorial suggestions. Toffetti, Marina and Caraci Vela, Maria eds. Problemi e metodi della filologia musicale: The critical editing of music: Provides an introduction to music editing, including the history of the field, and the issues and problems encountered.

The preparation of accessible editions for performance permits previously unknown music to enter the repertoire and well-known works to receive fresh interpretations. Music editing is examined through a series of test cases from the early music repertoire to contemporary works, including a number of genres from opera to the symphony.

Irish musical studies , 5 Outlines the problems editors have when preparing editions of music and proposes four principles based on the influence of the classical study of philology: Sull'edizione del testo musicato e su altro ancora , in: Renaissance; music; text; editing; edition; media; criticism; methodology; source studies; sources Abstract Abstract: Computerized editions of Italian Renaissance repertoire would enable readers to select the type of edition or critical support being sought.

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The availability of this means would also aid in the preservation of the literary texts. Mensural signs in the early—17th-c. They should be considered in light tempo markings such as largo, adagio, presto, and allegro. Metodi per stabilire il grado di parentela tra i testimoni , in: La critica del testo musicale: Metodi e problemi della filologia musicale. Editing and performing musica speculativa , in: English choral practice c.

A memorial volume to Peter Le Huray. Musica speculativa may be described as music which is conceived and presented in an esoteric format for academic presentation. The Missa 'O quam suavis' by John Lloyd is the best known example of such music, but it is not unique. There are several other English Masses that are equally academic and learned. All but Missa 'O quam suavis' survive in performance arrangements, but only Lloyd's Mass survives in its original cryptic notation. Characteristics of this music and editorial difficulties are discussed.

Quello che ci narrano le fonti Un capitolo di filologia musicale , in: A study of some aspects of the source material for Schoenberg's Pierrot lunaire. An examination of the source material can shed light on the interpretation of the piece as a work of art. Caraci Vela, Maria ed: The "burden of proof": The surviving sources of English religious music from ca. The suspicion that surviving sources convey, at best, an imperfect picture and, at worst, a thoroughly misleading one is inescapable.

Areas of unease encompass not only the basics of music and text but also extend to compositional structure and performance practice. Hermeneutik und Philologie , in: Hermeneutik im musikwissenschaftlichen Kontext: Early Music , 22 Renaissance; analysis; work-concept; editing; criticism; music; work-concept Abstract Abstract: Authenticity is an aim in editing music. By imposing modern formats of time signature, score, and notation, a new, perhaps inauthentic, edition may be created.

La Face Bianconi, Giuseppina: An analysis of issues in editing Italian vocal music, from the standpoint of how poetic traditions and conventions influence text setting and performance. Three guidelines, not always easy to follow in editorial practice, are offered: Problemy redaktirovanija, restavracii i rekonstrukcii muzykal'nyh proizvedenij na materiale tvorcestva russkih kompozitorov XVII-XX vekov.

Summary of a dissertation. The ideas that inform traditional and academic editing are considered with reference to the restoration of compositions.

Synonyms and antonyms of Nadir in the German dictionary of synonyms

The status of the musical text, editing for performance, and free creative editing are discussed. The interpretation of music. The identity of music as sound performance versus score notation has long been an issue. Early Western history generally viewed the performance as the creative work, while recent views place more emphasis on notation. Translations and adaptations of operatic texts , in: The limits of notation in defining the musical text , in: Modern editions of medieval and Renaissance polyphony impose metrical and rhythmic groupings, select note values and mensural relationships, correct text underlay, and add accidentals.

We must read both their notation and ours with an awareness of the great conceptual differences between them.

Quattro tesi , in: The literary or musical philologist can use the libretto, uncertain and multivalent as it is, in at least four different ways: L'edizione di testi letterari nel contesto dell'edizione musicale , in: The attempt to communicate through a graphic layout is shared by literature and music. In a musical edition, three philological aspects must be taken into account: The editor must respect the composition in its graphic realization, taking into consideration the work's formal structure and the time in which it was written, as well as the correct relations between sound and graphics.

These issues are discussed in relation to Schubert's lieder. Criteria for choosing between stemmatically equivalent texts , in: L'edizione critica tra testo musicale e testo letterario. Many editions of the works of Renaissance composers, often using a particular MS as the best text, avoid choosing between different readings of different sources. There are some criteria that can be useful in deciding between alternate readings of stemmatically equivalent texts, such as relations with any pre-existing material or other appearances of the same music, or the way in which they accomodate verbal text or conform to musical syntax voice leading, dissonance treatment.

These issues are examined in relation to editions of Obrecht's Masses. Alte Musik--Konzert und Rezeption Riflessioni sulla critica testuale , in: Although the method of textual criticism developed by Karl Lachmann brought many advantages to the discipline, questions remain as to stemmata, the aims and limits of text reconstruction, the author's variants, and the value of computer applications.

Does textual criticism have a future? Stemmatic filiation and similar genealogical methods have become essential strategies of historical thinking. Reconstruction of the lost original from the evidence of the surviving secondary forms is the methodology for studies of texts, social phenomena, and compositional techniques. In this respect, the role of the modern editor in the history of texts is no different from that of earlier copyists.

In both cases, contamination of sources can occur as the material is reformulated, recombined, and conflated. La veste linguistica nelle edizioni critiche: An editor of an opera libretto has two options: Changes in the Italian language from the 16th to the 19th c. Companion to medieval and Renaissance music. Explores degrees of editorial control and suggests a return to original notation; discusses conformity vs.

The joining of bibliographic control of sources with computer technology places musicology at the brink of an explosion of newly edited texts, especially in early music theory. Three approaches to text criticism are recommended. First, in order to establish lines of influence, entire codices must be studied rather than the appearance of individual treatises in codices.

Second, manuscripts must be inspected physically, not on microfilm, to determine accurately the layers of emendation. Last, in the initial establishment of a text, sources that are translations of the original and sources in the original language must be weighed equally. Akademie der Wissenschaften und der Literatur, Mainz. Zum Begriff Urtext', in: First used in musical editing as a rallying cry against the so-called instructive edition, the term Urtext remains somewhat vague.

Like historical-critical editions, it is indeed oriented toward the idea of absolute authenticity, although it must also accommodate the exigencies of performance practice. Die modernen Musiker-Gesamtausgaben', in: The tendency of modern complete-works projects to aspire not only to scholarly and critical editions, but also to suitable texts for musical performance, leads to certain editorial problems and compromises.

There should continue to be, therefore, a separation between scholarly and practical editions. Bach edition was to adapt the original music to the technological and social circumstances of the 19th c. Schenker, by contrast, wanted to present the music itself. The basis of his approach was his Schopenhauerian belief that a masterwork does not reflect the composer's conscious intentions, but rather realizes itself through the composer, using him as a medium. The masterwork, then, is objective: Where a historical edition requires the utmost respect for the form of the transmitted text, a performing edition is supposed to offer technical assistance for execution, creating an unresolvable contradiction between the two.

The historical-critical edition attempts to mediate between these two extremes. Although scholarly editions are of great use in the realm of the standard repertoire e. Schubert, Wagner, Bruckner , a scrupulous text is still no guarantor of authentic reproduction of the sounds of early music. In this area, a collaboration with performance practice would be useful, wherein the distinction could be clearly drawn between purely philological detail and questions pertaining strictly to musical execution.

Tradition and its future in music. Music historians have traditionally sought to establish the authentic text of the music under investigation and include in their editions a critical commentary listing variants in the case of multiple sources. For medieval music this method has always posed problems, since choices must frequently be made between widely differing versions and it is difficult, if not impossible, to establish a clear relationship among the manuscripts.

Editors therefore adopted a solution of editing single sources, i. The ideal for the 13th-c. For that reason, editions of medieval music can be made on the basis of the common characteristics of style rather than looking into the repertoire of individual manuscripts. The current high level of scholarly editorial techniques requires thorough understanding on the part of performers, such that the study of editorial guidelines and critical reports would be desirable.

Complete editions should be made available in the form of performance material. The debate on authenticity and quality in German traditional song editions began with the reception of Arnim and Brentano's Des Knaben Wunderhorn Arnim manipulated his sources without acknowledging he had done so, in order to increase sales, and because his romanticized conception of his role gave him that liberty. There were editions that aspired to give authentic transcriptions of individual oral performances even before Wunderhorn. Slightly later, Ludwig Erk and others used the comparative methods of classical philology to reconstruct the 'best' text and melody--that thought to be closest to the original--from a plurality of sources.

Erk assisted in the publication of an edition of Wunderhorn ed. Crecelius, that provided the texts with which the editors had started--a case of documentation rather than reconstruction. Erk died before he could complete an edition based on his own transcriptions. Text, context, and the early music editor , in: Authenticity and early music. Music editing has been more concerned with how information is presented than with achieving a text. The way in which historical editions are made reveals the purposes of the editors. What is needed today is a 'clean' text with copious annotations, not the prescriptive texts of the past.

More important than the editor's relation to the user is the editor's relation to the sources. A good edition depends more on the skill of the editor than on the choice of method, whether conflation, best-text, or some compromise. Conventional editing has ignored the social context of the object of its attention and assumed that a definitive text is possible. Ein Kapitel Werk-Philologie , in: Festschrift Carl Dahlhaus zum Pomiedzy kompozytorem a wykonawca: Z problematiki wydawniczej muzyki wspol-czesnej.

The notion of an 'urtext' - like its offspring 'authentic' or 'as the author intended' - is misleading. The term bears mythic remnants of the idea of a definitively fixed, ahistorical work-embodied meaning. Recent philology has discarded this idea and developed instead an editing process that decentralizes the text it reproduces, documenting a development through several authorized versions.

Still, the contradiction of all philologic textual criticism cannot be totally resolved: The point of the 'archaeological' return to sources is to provide these sources with current value and aesthetic presence. On editing medieval songs , in: The methods and aims of musical philology are based on relationships that exist between music and language, tradition and understanding, and work and text. Musical philology is defined by its relationships to bibliography, antiquarian research and music history.

Sources, context, and competence serve as its fundamentals. Textual criticism starts from collecting the sources, continues with the collation of different versions and the evaluation of variant readings and culminates in the investigation of authenticity, chronology, and the work's history. Both hermeneutics and aesthetics are intrinsically connected with textual criticism. Textual interpretation leads to the study of performance practice. An interpretation and evaluation of the work itself may lead to a formal or historical analysis, hermeneutics in its narrower sense, or a sociological interpretation.

Some or all of these methods may be applied to eight types of scholarly editions. Thom, Eitelfriedrich and Siegmund-Schultze, Walther eds. Musical Times, Great Britain , The image of a 'positivistic' discipline, as defined in Joseph Kerman's Musicology RILM , is misplaced, arising from undue emphasis on musicological method. The essence of good scholarship lies in the critical interpretation of assembled evidence. A critical edition should, accordingly, embody good musical judgments, and editors who take an impartial standpoint may justifiably be called positivistic.

The need for musicologists to develop an acute critical sense is stressed. The study of opera is a special task principally because opera is an institution and a Gesamtkunstwerk for the theater. In addition to musical philology and analysis, therefore, opera research calls for consideration of literature libretto research , the history of the theater, and general cultural history.

A brief review of a century of opera research and a summary of current methods lead to the proposal for a new, interdisciplinary understanding of opera research that would be relevant to performance practice. Examines some of the problems encountered in the reconstruction of early music, with specific reference to various editions of early English church music.

Outlines several approaches to reconstruction, ranging from extremely cautious editing to audacious recomposition. Also gives an historical overview of scholarly attitudes toward the reconstruction of English church music from the 18th c. Versuch eines Uberblicks mit Bezug auf die Haydn-Gesamtausgabe. Musicological writings treat text-critical methods only from their basic starting point. In contrast, the methodological literature is ample in the fields of classical philology, medieval studies, and German studies.

The state of the sources for the editor of a scholarly musical edition sometimes approaches that of the classical philologist, who has no authoritative sources at his disposal, and sometimes that of the Germanist, who must evaluate the historical position of several authoritative versions of the same work. In clarifying the connections between sources, filiation has great significance, even though this does not invalidate the interpretation of the editor using criteria such as the usus scribendi or the lectio difficilior.

The research for historical editions has no absolute validity for works in the traditional repertoire that the research for Urtext editions cannot replace. Pasquale, Marco di ed: Quellenstudien zur Musik der Renaissance II: Sharply refutes those doubts about the validity and expedience of filiation methods, which argue that notated works of Renaissance music possess too little individuality to further the study of transmission. This is achieved from the point of view of contemporaneous theory and through a series of examples from the sources, which permit a comparison of antecedent exemplars with direct copies.

Verlagserfahrungen aus der Arbeit an kritisch-praktischen Ausgaben. Because of the differing levels of experience of the users of musical editions and the economic constraints imposed on publishers, there is a trend toward the compromise of a 'critical-practical' edition in place of Urtext editions and editions of collected works on the one hand and performing editions on the other. Six principles are formulated as regards such critical-practical editions.

The author discusses the use of diacritical markings and a tendency toward exaggerated philological elaboration and considers problems in realizing the continuo. The placement of instructions for performance of essential ornaments, rhythms, and variants in smaller notation either above the main systems or else in footnotes has been retained.

The display of historically authentic alternative realizations of ornamentation has proved to be a positive editorial procedure, albeit limited in the possibilities of its application. Tijdschrift van de vereniging voor Nederlandse muziekgeschiedenis , 32 Textual criticism of selected works published by Petrucci. Gardane and Moderne', in: Compares motets from the Motetti del Fiore printed by Moderne in Lyons with those reprinted by Gardane in Venice in as Fior di Mottetti tratti dalli Mottetti del Fiore, and again in as Flos Florum, and by Rampazetto in from Gardane's edition.

The comparison provides one of the rare instances in which we know the exact copy a printer used to set up his type. It shows Gardane taking an active part in altering the original, especially where it concerns text setting. Gardane does not conform to the rules stated by contemporary theorists but places the words where they seem to fit the music best. Modern editors should not hesitate to use their own musical sense in placing the text under the music.

In the wake of Riemann and up until today, new editions of 16th-c. These additions are especially questionable when they are not inferred from the single voice, but from the modern score. In the 16th c. Only with the turn of the century do the harmonically oriented closes with major or minor character become general. Realisation of sound is the basis of musical experience; it is the task of notation to preserve the intentions of the composer.

In contrast to oral tradition, as among both primitive peoples and in early Western music, the means of fixing music in writing in later Western music became ever more refined, up to the advent of contemporary modernism aleatory music again offers more flexibility to interpreters. The printed edition has set the limits of realisation in performance, yet the intentions of the composer remain, in spite of every precision of notation, at the mercy of the performer. The tension between the claims of the printed edition and the interpreter is what determines the way the music is presented and how it is experienced by listeners.

Different relationships between the printed version and the performer have existed in various and at various an essential factor in music reception. The related developments during the 19th c. The author suggests the advantages of the annotated Urtext edition, a type of edition more useful than earlier ones; such editions must be the responsibility of musicologists.

Special notice is taken of the important essay by K. Much important Classic and Romantic music is unavailable for study or performance. The author discusses the advantages and disadvantages of the engraved scholarly or the practical edition, the reproduction of the original print or manuscript in facsimile, and the production of score editions in camera-ready ink copy as ways of increasing the amount of accessible Classic and Romantic music. Die Praxis der 'gelenkten Improvisation' und der 'Urtext': A historical overview of the practice of controlled, as opposed to free, improvisation, as discussed in Caccini's foreword to his Nuove musiche and continuing up to the 19th c.

It is proposed that the solo cello, besides playing in the tutti, has in some tutti passages its own part separate from the orchestra basses. Such a performance, with a chamber orchestra, would be significant from a timbral standpoint. Bemerkungen zur Problematik praktischer Ausgaben , in: A practical edition has as its aim facilitating an adequate interpretation of a work, and must, therefore, take into account the historical dimension of a work as well as its present-day interpretative realization.

Thus the editor cannot rely solely upon the autograph or on original editions, but must attempt to translate musical tradition into the symbols of the present. Bemerkungen zum 'editorischen Konzept' der Neuen Schubert-Ausgabe , in: The aim of a critical edition - not only to make available an authentic musical text but also to interpret it, in order to guarantee a correct performance of the work - is beset with difficulties. In the final analysis the performer must already possess knowledge of performance techniques and conventions.

The question remains whether it makes sense to include in a critical edition rules for performance that are no longer in use and which can be introduced into present-day performance to a limited extent only. Musical times , Problems concerning the insertion or omission of ficta accidentals beset scholars editing midth-c. Manuscript concordances are rare and comparisons of their accidentals of limited value.

Verse music, which is regular and repetitive, should reveal any consistent rules about chromaticism followed by scribes. The presence of regularity could support either of the two current opposing views on chromaticism: English sacred verse settings in British Library Royal Appendix MSS the Lumley Books show only limited regularity in chromaticisms, the nature of which suggests that neither extreme view is exclusively correct. Fontes artis musicae , 25 Bemerkungen zur Theorie der Edition , in: Festschrift Georg von Dadelsen zum In a dispute with theses set forth by K.

Hilzinger in the article abstracted as RILM , criticizes demands on philology that were brought by scholars investigating the history of reception--demands that, in the final analysis, aim at a destruction of the concept of authenticity which serves as the underpinning for philological text revision. Vom Notenbild zur Interpretation: A discussion of musical notation in the 18th c. Urtextausgabe - Kritische Ausgabe. Considers the concept 'correct interpretation' and sets forth the prerequisite for correctness in Urtext and critical-practical editions.

In the publication of choral music, three terms - arrangement, transcription, and edition - are employed to denote the operations which may be performed on existing as opposed to newly composed music. However, considerable confusion is engendered by current usage, which confers upon each of these terms several different meanings.

The Choral Editing Standards Committee has sought to minimize confusion by restricting the ways in which these key terms may be used, but no consensus has been reached. Uber den Wert musikalischer Textkritik , in: Wolfgang Schmieder zum The enormous cost of musical text criticism in preparing editions is examined in relation to its productivity. The question may be asked of the Wohltemperirtes Clavier, for example, whether three to five years' work on an edition is justified if the final effect on this extended piece is to change a few notes.

The author recommends that all bear in mind the results that turn up incidentally, as byproducts, so to speak, of musical text criticism. The new chronology of Bach's works was such an unexpected by-product of critical work.

NADIR - Definition and synonyms of Nadir in the German dictionary

However, the warning is sounded that the method of critical commentary may be quickly repudiated through discussion of insignificant problems. A series of essays spanning six centuries. Each essay contains a manuscript facsimile, a performing edition of the work illustrated in the facsimile, and a discussion of editing problems.

Euphorion , 68 A discussion of editing techniques and methodological problems. All extant sources should be surveyed, and the edition should be based on one main manuscript. A critical apparatus should set forth important variants, errors, and obscure and questionable passages. A section of the author's Die geistlichen Lieder des Monchs von Salzburg is drawn upon to illustrate the main points. Musica disciplina , 26 Previous Polish experience in the editing of collected works was restricted to Chopin and certain early music.

Each musical source - be it an autograph, an authorized copy, or an edition contemporary with the composer - may be categorized according to its historical period and conventions of style and notation. A composer's intentions may thus be more or less precisely represented in a modern publication. Edition byzantinischer Musik , in: A survey of editorial techniques for Byzantine music-beginning with G. Doni's project and extending to the editions of Monumenta musicae byzantinae C. Wellesz -reveals various different approaches to Byzantine chant.

A philologically correct transcription of Byzantine symbols for vocal music may not suffice for a reconstruction of the actual musical content. The relationship between the Original Urtext and all kinds of 'arrangements' is examined as a sociological phenomenon. Changes in the practice of performance are related to changing listening habits as well as to the acoustic characteristics of the place in which music is performed.