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Dear Urs,
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also new to the list myself and unexperienced in MEI practice...
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Do I get you right you suggest to have an interface from MEI into LaTEX for the display/printout instead of recreating an output stage to MEI ?
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Sorry for getting it perhaps wrong in oversimplifying, am I?
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best regards
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:-J
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<br />> Urs Liska <ul@openlilylib.org> hat am 3. Juli 2014 um 12:01 geschrieben:
<br />>
<br />>
<br />> Dear MEI users,
<br />>
<br />> with this post I would like to introduce myself and to open discussion
<br />> about some thoughts I have written down recently.
<br />>
<br />> I am a pianist, musicologist and, let's say: amateur, programmer,
<br />> strongly interested and involved in musical editing.
<br />>
<br />> As a pianist my most worthwile and characteristic achievement is the
<br />> (first) complete recording of Arnold Schoenberg's songs
<br />> (http://www.schoenberg-lieder.de and
<br />> https://www.youtube.com/user/schoenberglieder).
<br />> As a musicologist I'm hoping that my soon-to-be-finished dissertation on
<br />> multiple versions of Schubert songs will add some interesting aspects to
<br />> Schubert research and editing perspectives (in that I'm recently
<br />> exploring the inherent fragmentary character of not-so-few manuscripts).
<br />> Not a "project" but a finished task is a (printed) edition of the songs
<br />> of Oskar Fried (http://lilypondblog.org/category/fried-songs/). This is
<br />> not noteworthy because of the "BEST EDITION 2014" it was awarded but
<br />> because it was the trigger, framework and testbed for the development of
<br />> characteristic edition techniques (which starts leading to the actual
<br />> point of this message). Starting with this project I explore and promote
<br />> editorial workflows based on plain text, using (mainly) LilyPond, LaTeX
<br />> and Git (or any other version control system). Over this I have become a
<br />> central member of the LilyPond community and I think it is interesting
<br />> to know that nowadays there is someone who can interface
<br />> LilyPond(/LaTeX) from a user perspective and LilyPond(/LaTeX) from a
<br />> developer perspective with a serious musicological perspective. To learn
<br />> more about that part of my work you may browse our semi-official
<br />> LilyPond blog http://lilypondblog.org.
<br />>
<br />> So far I haven't had any concrete experience with MEI, but my
<br />> participation at the conference on "Digital music edition" which took
<br />> place in Berne last month was the - long-overdue - opportunity to
<br />> actively move into the direction of digital edition concepts. As a
<br />> follow-up of that conference I wrote a paper that you can download at
<br />> https://dl.dropboxusercontent.com/u/49478835/engraving-in-digital-edition.pdf
<br />> (this is a non-permanent link and may be removed at any time).
<br />> On the one hand it summarizes the two talks I gave, and on the other
<br />> hand it integrates my existing knowledge with the new perspectives on
<br />> concretely _digital_ edition concepts I got in Berne. I present it here
<br />> in order to get some feedback, start discussion, and potentially open up
<br />> some perspectives.
<br />>
<br />> As far as I can see (this is actually a preview abstract of the paper)
<br />> there still is some lacking awareness for the _quality_ of typesetting
<br />> and engraving in existing efforts towards digital edition. This is
<br />> completely understandable as there are so many complex issues to deal
<br />> with that it's natural to first concentrate on the aspect of _encoding_
<br />> and to treat the visualization as a mere necessity. However, I am
<br />> convinced that _professional_ engraving and typesetting should be an
<br />> integral part of digital edition concepts too. For example I see that
<br />> the Reger edition (not MEI, but Edirom based) does contain professional
<br />> engravings of the authoritative text - but these have been created with
<br />> an arbitrary notation program and are only available as PDF files in the
<br />> edition. This is of course against the idea of an "encoding-driven"
<br />> edition concept. On the other hand I am quite sure that developing
<br />> custom "rendering engines" can't reasonably be expected to lead to
<br />> professional results in the foreseeable future. However, plain text
<br />> based tools like LaTeX and LilyPond are conceptually the perfect match
<br />> for the challenge of automatic typesetting/engraving from encoded content.
<br />>
<br />> Therefore I'd argue that it would be better to invest time, energy and
<br />> money in _integrating_ existing professional tools in MEI/Edirom based
<br />> toolchains than in reinventing the wheel by creating "rendering engines"
<br />> from scratch. (Just to say one thing in advance: LilyPond can also be
<br />> made fruitful for interactive applications, as it can natively produce
<br />> scores as SVG files).
<br />>
<br />> I'd be happy about any feedback on my paper. Particularly I'm aware that
<br />> the "analysis" of the current state of digital edition (sections 3.1 and
<br />> 3.2) is the weakest part of the argumentation, simply due to my lack of
<br />> first-hand knowledge. I hope this doesn't affect my conclusions but I'd
<br />> be glad to improve the text in this regard.
<br />>
<br />> Best wishes
<br />> Urs Liska
<br />>
<br />> _______________________________________________
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