Notation and Editing
Run by School of Arts, Culture and Language
20.000 Credits or 10.000 ECTS Credits
Organiser: Dr John Cunningham
Overall aims and purpose
- to advance the student's knowledge and understanding historical systems used for the notation of music
- to provide the students with an understanding of different types of sources and the skill to judge their validity and reliability
- to understand the pragmatic and conceptual differences between original notation of different periods and functions and a modern performing score
- to enable them to effect a translation from one into the other
- to provide them with the practical skill of using music notation software to prepare such scores
Students taking the course will transcribe and edit a variety of music, some vocal and some instrumental from the 17th to the 19th centuries, from reproductions of original sources. Some sources will be in score and others in parts; some will be manuscript and some printed. Certain pieces of work will involve a single source; others will require the collation and appraisal of more than one source, with variant readings tabulated and conclusions drawn about the relationship of the sources.
The module is designed to give students a comprehensive introduction to the fundamental principles of editorial musicology. ‘Editing’ covers techniques and approaches of critical editing and philology, which will enable you to produce a scholarly edition with all the standard ingredients. Case studies for this part of the module are taken mainly from the so-called ‘common practice era’. The ‘notation’ aspect will cover aspects such as tablature and coloration. Additional tutorials in using Sibelius will be provided if required.
Please note: this module only deals with repertoire from after c.1600. It will cover instrumental and vocal music.
C- to C+
C- to C+ Work which displays fair knowledge of the subject, with some ability at conceptual thought (albeit inconsistent or otherwise flawed), and a general awareness of issues, with evidence of a generally intellectual approach, with good expression
Work which displays basic, restricted knowledge of the subject, with simple ability at conceptual thought, and a limited awareness of issues, but has some evidence of a generally intellectual approach, with fair expression
Work which displays a thorough grasp of the subject, with evidence of further study, deeper thought, originality of approach and excellent written skills.
The work should display a sound grasp of the subject, a good level of conceptual thought, awareness of the main issues, with evidence of intellectual acumen and good expression.
On successful completion of the module, students will be able to prepare a comprehensive critical commentary, editorial principles, source description and introduction appropriate to a modern scholarly edition
On successful completion of the module, students will be able to demonstrate through description a detailed understanding of the main different types of musical sources created between the 17th and mid-19th centuries
On successful completion of the module, students will be able to identify and apply appropriate editorial methodologies and their conventions to specific situations
On successful completion of the module, students will be able to identify errors and variants within a given piece of music and apply methodologies to resolve them
On successful completion of the module, students will be able to apply in advanced critical thinking and enquiry to solving unfamiliar editorial and philological challenges
|Written assignment, including essay||Main assignment||
Main assignment (due Monday of Week 13) Task 1: You will be asked to identify errors (typically 4 or 5) in a given extract (usually 10–20 bars) and suggest editorial interventions that would correct them. Task 2: You will be given at least two sources for a short piece or an extract from a longer work (approx. 20 bars).Your task will involve the following main components: (1) identify a copy-text; (2) provide an accurate transcription; (3) compare all sources for variants, which are then to be listed in a given format (Critical Commentary); (4) provide a brief description of the sources and comment on their relationships.
Coursework 1 (due Thursday of Week 5) 1. Transcription: You will be given a source for a short piece or one or more extracts from a longer work (approx. 20 bars). Your task will involve the following components: (1) provide an accurate transcription, modernising as appropriate; (2) outline your editorial conventions; (3) provide a brief but detailed description of the source(s), based on given criteria. 2. Proofreading: You will also be given a short transcription and the source from which it was transcribed: you will be asked to judge its accuracy.
Coursework 2 (due Thursday of Week 9) Task 1: You will be asked to identify errors (typically 4 or 5) in a given extract (usually 10–15 bars) and suggest editorial interventions that would correct them. Task 2: You will be given at least two sources for a short piece or an extract from a longer work (approx. 20 bars). Your task will involve the following main components: (1) identify a copy-text; (2) provide an accurate transcription; (3) compare all sources for variants, which are then to be listed in a given format (Critical Commentary); (4) provide a brief description of the sources and comment on their relationships.
Teaching and Learning Strategy
Two, one-hour seminars each week for eleven weeks.
One, two-hour lecture each week for eleven weeks.
Each week you will be given tasks to complete ahead of the seminars. There will also be reading preparation ahead of the lectures. It is essential to complete the unassessed tasks each week, as they are preparation for the assessed components.
- Literacy - Proficiency in reading and writing through a variety of media
- Numeracy - Proficiency in using numbers at appropriate levels of accuracy
- Computer Literacy - Proficiency in using a varied range of computer software
- Self-Management - Able to work unsupervised in an efficient, punctual and structured manner. To examine the outcomes of tasks and events, and judge levels of quality and importance
- Exploring - Able to investigate, research and consider alternatives
- Information retrieval - Able to access different and multiple sources of information
- Inter-personal - Able to question, actively listen, examine given answers and interact sensitevely with others
- Critical analysis & Problem Solving - Able to deconstruct and analyse problems or complex situations. To find solutions to problems through analyses and exploration of all possibilities using appropriate methods, rescources and creativity.
- Presentation - Able to clearly present information and explanations to an audience. Through the written or oral mode of communication accurately and concisely.
- Teamwork - Able to constructively cooperate with others on a common task, and/or be part of a day-to-day working team
- Argument - Able to put forward, debate and justify an opinion or a course of action, with an individual or in a wider group setting
- Self-awareness & Reflectivity - Having an awareness of your own strengths, weaknesses, aims and objectives. Able to regularly review, evaluate and reflect upon the performance of yourself and others
- Leadership - Able to lead and manage, develop action plans and objectives, offer guidance and direction to others, and cope with the related pressures such authority can result in
Subject specific skills
- Musicianship skills – recognition, classification, contextualisation, reconstruction, exploration
- Intellectual skills specific to Music – contextual knowledge, cultural awareness, critical understanding, repertoire knowledge, curiosity, analytical demonstration
- Technological skills – digital capture, digital expression, digital innovation
- Intellectual skills shared with other disciplines – research and exploration, reasoning and logic, understanding, critical judgement, assimilation and application
- Skills of communication and interaction – oral and written communication, public presentation, team-working and collaboration, awareness of professional protocols, sensitivity, ICT skills, etc.
- Skills of personal management – self-motivation, self-critical awareness, independence, entrepreneurship and employment skills, time management and reliability, organisation, etc.
- Enhanced powers of imagination and creativity (4.17)
Resource implications for students
None. A course textbook will be provided.
Talis Reading listhttp://readinglists.bangor.ac.uk/modules/wxm-3205.html
Pre- and Co-requisite Modules
Courses including this module
Optional in courses:
- W3P3: BA Astudiaethau'r Cyfr & Cherdd year 3 (BA/ACC)
- WW93: BA Creative Studies and Music year 3 (BA/CSTMUS)
- 32N6: BA English Literature and Music year 3 (BA/ELM)
- 32N7: BA English Literature & Music with International Experience year 3 (BA/ELMIE)
- VW23: BA Hanes Cymru a Cherddoriaeth year 3 (BA/HCAC)
- VW13: BA History and Music year 3 (BA/HMU)
- VW14: BA History and Music with International Experience year 3 (BA/HMUIE)
- WW39: BA Music and Creative Writing with International Experience year 3 (BA/MCWIE)
- W3H6: BA Music and Electronic Engineering year 3 (BA/MEE)
- WV33: Music & Hist & Welsh Hist (IE) year 4 (BA/MHIE)
- W303: BA Music (with International Experience) year 3 (BA/MIE)
- PW33: BA Media Studies and Music year 3 (BA/MSMUS)
- RW13: BA Music/French year 4 (BA/MUFR)
- WR32: BA Music/German year 4 (BA/MUGE)
- WR33: BA Music/Italian year 4 (BA/MUIT)
- W300: BA Music year 3 (BA/MUS)
- W30F: BA Music [with Foundation Year] year 3 (BA/MUSF)
- WW36: BA Music and Film Studies year 3 (BA/MUSFS)
- WR34: BA Music/Spanish year 4 (BA/MUSP)
- VVW3: BA Philosophy and Religion and Music year 3 (BA/PRM)
- VW2H: BA Welsh History and Music year (BA/WHMU)
- QW53: BA Cymraeg/Music year 3 (BA/WMU)
- W304: BMus Music (with International Experience) year 3 (BMUS/MIE)
- W302: BMUS Music year 3 (BMUS/MUS)
- W32F: BMus Music [with Foundation Year] year 3 (BMUS/MUSF)
- H6W3: BSc Electronic Engineering and Music year 3 (BSC/EEM)