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Reply-To: "David  Gray Porter" <portn...@earthlink.net>
From: "David  Gray Porter" <portn...@earthlink.net>
Newsgroups: rec.music.classical
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Subject: Re: Original/Old Scores
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Date: Tue, 23 May 2006 19:47:51 GMT
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You should have a conversation with Tom Brodhead about the programs he's 
writrten for Score to alter Schirmer's style choices.  (One of the first 
improvements he made regards the placing of beams along the staff lines.)

Another problem I came acros with publishers is their devotion to the 8-page 
gathering to a fault.  In Ives's Hanover Square piece, this resulted in the 
Horn ossia being an insert instead of an attached page.

-- 
http://depts.washington.edu/reecas/events/conf2002/papers02/Niekum.doc


"Dr Matt" <"matt\"DrMatt\"fields"@tds.net> wrote in message 
news:44719af8_3@newspeer2.tds.net...

>
> As one of the fringe benefits of the week I spent with the Minnesota
> Orchestra at the beginning of this month, I now have on my shelf
> Schirmer's stylebook, a gift to each of the composer participants
> from Susan Feder. I've read much of it in detail, and skimmed other
> portions devoted to the intricacies of building a set of
> Schirmer-specific templates in Score software (engraver-specific
> software which I used 1985-1987 but which I find unsuitable for
> composition).
>   Schirmer's style of notation is highly consistent with Schirmer--
> and very distinct not only in fonts but in placement rules and other
> details from Universal, Peters, and especially Durand (forget about
> Hal Leonard....) . Most interesting to me was their rules for the
> use of wiggly lines over trills: They only use the wiggly
> line when a trill is over a tied note, and then only extend the wiggle
> to slightly past the last tied notehead incorporated into the tie.
> For trills on a single notehead, even if it's a double-whole note, they
> only use the script mark "tr" (which they use on every trill in any
> case). Their philosophy on trill bars seems
> to be analogous to the way they use extension lines after syllables
> in vocal music to clarify melismas. They also insist that such vocal
> texts be broken into syllables per standard dictionaries, regardless
> of how singers break them in performance, and that they be capitalized
> and punctuated exactly as in the original publication.
>   An aside especially for PTD: Two places in the stylebook deal
> specifically with what they call "un-frenched" scores, that is,
> scores in which no staves are ever omitted and no systems are ever
> consolidated onto a page. In both places, the publishers make clear
> that this is a preliminary format of a work that they judge is likely
> to be revised. They emphasize that it is for the convenience of the
> publisher only, and  they state explicitly that it is inconvenient
> to conductors because it forces conductors to turn more pages.
> Final publications of scores are always artfully "frenched",
> according to them.
>
> -- 
>             Matthew H. Fields http://www.umich.edu/~fields
>                          Music: Splendor in Sound