<div dir="ltr"><div>Even if you might keep supplid/@reason to encode a taxonomy of editorial additions, I would still use @func="edit" on <accid> like Craig suggested.<br><br></div>About supplied v add:<br>
<div><div><br>"The <span class=""><add></span> and <span class=""><del></span> elements may be used to record where material has been added or deleted in the source
material." (i.e. not provided/removed by the editor)<br><a href="http://music-encoding.org/documentation/guidelines2013/editTrans#edittransAddDel">http://music-encoding.org/documentation/guidelines2013/editTrans#edittransAddDel</a><br>
<br>Supplied "Contains material supplied by the transcriber or editor in place of text which cannot
be read, either because of physical damage or loss in the original or because it is
illegible for any reason." <a href="http://music-encoding.org/documentation/guidelines2013/supplied">http://music-encoding.org/documentation/guidelines2013/supplied</a><br><br></div><div>Raffaele<br>
</div><div><br></div></div></div><div class="gmail_extra"><br><br><div class="gmail_quote">On Sat, Jun 22, 2013 at 2:45 PM, Micah Walter <span dir="ltr"><<a href="mailto:mwalter@haverford.edu" target="_blank">mwalter@haverford.edu</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="auto"><div>Thanks all for the suggestions!</div><div><br></div><div>I like the specificity provided by @place, and the clarification provided by @reason. While I'm fine with the loose usage of "ficta" in this case, it might be even more useful to provide a particular reason: "cadence" (raised tone at authentic cadence), "preparation" (lowered sixth degree in Phrygian lead-up to authentic cadence), "tritone" (to avoid struck dissonance), "imitation", etc.</div>
<div><br></div><div>I'd also be interested to hear reasons for preferring <supplied> over <add>, or vice versa.</div><span class="HOEnZb"><font color="#888888"><div><br></div><div>-Micah</div></font></span><div>
<div class="h5"><div><br></div><div><br>On Jun 21, 2013, at 17:52, Craig Sapp <<a href="mailto:craigsapp@gmail.com" target="_blank">craigsapp@gmail.com</a>> wrote:<br><br></div><blockquote type="cite"><div>Hi Raffaele,<div>
<br></div><div><div class="gmail_quote">On Fri, Jun 21, 2013 at 2:06 PM, Raffaele Viglianti <span dir="ltr"><<a href="mailto:raffaeleviglianti@gmail.com" target="_blank">raffaeleviglianti@gmail.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div><supplied reason="ficta"><br></div><div> <accid accid="s" place="above"/><br>
</div></supplied><span><font color="#888888"><br></font></span></blockquote></div><br>I wouldn't mind, but crazy purists would complain that if you use this to indicate an editorial B-flat, then it is semantically incorrect since B-flat is technically not a musica ficta note. So it is in general better to think of them as editorial accidentals used to chromatically inflect notes for performance, which usually happen to move the notes onto musica ficta pitches.</div>
<div><br></div><div><br></div><div>-=+Craig</div><div><br></div>
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