A Handbook to Twentieth-Century Musical Sketches Edited by Patricia Hall and Friedemann Sallis Index More Information

Cambridge University Press 052180860X - A Handbook to Twentieth-Century Musical Sketches Edited by Patricia Hall and Friedemann Sallis Index More information

Index

abbozzo,47 backups, 78 access issues, 23, 31, 36, 40 Barron, Bebe, 189, 192, 193, 237–8 concerning computer-generated material, 187–8 Austin and, 211 acidity, 35, 37 and Cage’s Williams Mix, 193, 194, 207, 208, 210, Adorno, Theodor, 232 211, 237–8 Agawu, Koﬁ, 232 Barron, Louis, 189, 192, 193, 237–8 agogic indications, 134, 144, 145 and Cage’s Williams Mix, 193, 194, 207, 208, 210, alignment, 89 211, 237–8 ALN, see Archivio Luigi Nono Bartok,´ Bela,´ 55, 215 alterations, 11 compositional methods, 8, 23, 114–30 ambiguity, 177 handwriting, 116, 123–4 analysis, 133–4 lecture notes, 230 limits of, 4, 221 performances of works by other composers, 127 of pitch combinations, 8, 162–5, 168–9 sketchbooks, 114, 115–16, 126 of serial music, 146–60 use of piano for composing, 8, 114, 115, 116 sketches and, see under sketches Improvisations on Hungarian Peasant Songs, 117, 125, annotations, see verbal elements and annotations 126 under sketches The Miraculous Mandarin, 115, 122, 123, 125, 126, Aranyi,´ Jelly d’, 116–17, 130, 230 127, 230 archives and institutions housing musical sketches, 1, 59, Sonata for Violin and Piano No. 1 (1921), 115, 214–20 116–30, 230, 231 access issues, 31, 36 Sonata for Violin and Piano No. 2 (1922), 115, 122 application procedures, 36 Three Studies Op. 18, 125, 126, 231 behaviour in and proper handling of material, 37–9, 40 Bartok,´ Ditta, 229 contacting before visiting, 18 Bartok,´ Marta,´ 116–17, 127 counting of manuscript holdings, 69, 226 BBC Sound Effects Library, 211 estimating time needed at, 18–19 Beethoven, Ludwig van, 6, 54 inspections, 35 sketchbooks, 102, 106, 108, 228–9 preparation for visiting, 17–21, 23, 29–31, 36, 39–40, sketches, 54, 131 73 Symphony No. 10 (sketches), 16 reducing need to visit, 37 bella copia,51 responsibilities of archivists and researchers, 36–42, Benary, Peter, 224 71–2 Benjamin, Walter, 3, 6 working in, 31, 36 Berberian, Cathy, 27–9 see also digital archives and sources Berg, Alban, 214 Archivio Luigi Nono, 59–72, 215, 226 Carter compared to, 168 Artiﬁcial Life theory, 177 compositional methods, 6, 7, 8, 102 artwork(s), see work(s) of art explanatory notes, 7 Asaf’yev, Boris, 135 handwriting, 108–13 Austin, Larry paper used for sketches, 90 and Ives’s Universe Symphony, 211, 213 printed scores, 227 Williams [re]Mix[ed], 189, 191, 197, 199–213, 237; sketchbooks, 102–13 sounds recorded for, 202, 207–12 verbal instructions and footnotes in scores, 134 autograph, meaning of, 51–3, 185 Lulu,15 Babbitt, Milton, 164 Lyric Suite,7 Bach, Johann Sebastian, 54, 156 Wozzeck, 102, 103, 110–11, 112, 168

246

© Cambridge University Press www.cambridge.org Cambridge University Press 052180860X - A Handbook to Twentieth-Century Musical Sketches Edited by Patricia Hall and Friedemann Sallis Index More information

Index 247

Berio, Luciano, 18–23, 30, 223 sketches, 161–75 compositional methods, 23, 27 view of his place in music-theoretical research, 163–4 Folk Songs,27 Concerto for Orchestra, 163 Gesti,22 Double Concerto, 164 Rendering,16 Eight Etudes and a Fantasy, 168 Requies, 17, 18, 19–20, 21, 22, 23–9 A Mirror on Which to Dwell, 165–75, 235; ‘Anaphora’, Sequenza III,29 165–75 Sequenza V,22 String Quartet No. 1, 163, 164 BIS, 232 String Quartet No. 2, 164 Bishop, Elizabeth, 166 Casella, Alfredo, 217 Blacher, Boris, 220 catalogues and cataloguing, 20–1, 36, 37, 41, 59–73 books, sketches written in, 45, 69 of pitch combinations, 8, 162–5, 168–9 books and bound documents, proper handling, 37–9, 40 see also classification systems and inventories Borio, Gianmario, 55, 221 cellulose, 33 Boulez, Pierre, 8, 146, 147–56, 159–60, 192 Cerha,ˇ Friedrich, 15 Cage and, 147, 191, 192, 199, 212 Cernovitch, Nicola, 194 compositional methods, 23, 147–56 Cezanne,´ Paul, 5 definition of system, 160 Chadabe, Joel, 212, 213 sketches, 148–9 Charlip, Remi, 194 and Stravinsky, 151 chronology and dating, 9–10 Antiphonie, 148–9, 153–6, 235 composers’ own, 10, 45, 68, 91, 116, 178, 224 Le marteau sans maˆıtre, 148, 149–50, 151–3, 156, 160 computer files, 178–9 Piano Sonata No. 3, 148–9, 235 examples of investigation into, 27, 29–30, 45, 55, Première étude de musique concrète, 147 93–100, 116–30, 178–9, 224 Structures, 147, 150 external evidence and, 9, 69–70, 126, 178 Brahms, Johannes, 54 of literary texts, 53 Britten, Benjamin, 216 paper and, 9, 69–70, 91 brouillon,47 see also order Brown, Carroll, 194 classification systems, 36, 43, 59–73 Brown, Earle, 189, 193, 194, 201, 206, 237 see also catalogues and inventories Octet, 192, 199, 236, 237–8 Coda Finale (notation program), 177, 181 Bruckner, Anton collaboration, 15–16, 110, 193–4, 203, 224, 237–8 Symphony No. 9 (sketches), 15 colleagues, as source of information, 17 Busoni, Ferruccio, 216 colour identifying, 103 Cage, John, 8, 191–6, 208, 209, 212, 217, 218 of ink/ink flow, 124, 230 and Brown, 237–8 issues in reproduction, 30, 75, 78–9 and compositional methods, 194–6 of paper, 103 and computers, 202–3 complete editions, publication of sketches in, 10–11 and the I Ching, 191, 193, 194, 195–6, 202–3, 237 completeness/incompleteness, see under sketches Concerto for Prepared Piano and Chamber Orchestra, 193 completions of, and works based on, sketches, 15–16, Fontana Mix, 237 211, 213 HPSCHD, 203 see also Austin, Larry, Williams [re]Mix[ed] Imaginary Landscape No. 4, 193 complexity, 177 Imaginary Landscape No. 5, 193, 236–7 composer institute, 1, 214–20 Instances of Silence, 237 composers Music of Changes, 193, 203 attitudes to sketches, 9, 22–3 Newport Mix, 237 comments and explanatory notes on own work, 7 Rozart Mix, 194, 237 compositional technique/process, 6–9, 88, 131, String Quartet, 191, 193 132–3 Williams Mix, 191, 213; Cage on performance, 212; computer-assisted, see computer-assisted performance configuration, 206–7; sounds recorded composition/sketching for, 202, 207–12 individual/collective, 15–16, 133 Carter, Elliott, 161–5, 181 not notating self-evident aspects, 8–9, 45 compositional methods, 165–75 pre-compositional strategies, 6–8, 114, 162–5 Harmony Book and related research, 8, 162–5, 168–9 reconstructing/understanding, 114, 115, 127–30, 133, pre-compositional strategies, 162–5 142–5, 146–7, 162, 178, 181, 187

248 Index

computer-assisted composition/sketching, 176–7, Eberle, Josef, 103, 230 178–88, 202–3 Eco, Umberto, 55–6 see also Williams [re]Mix[er] editorial commentaries, 11–14, 87–8, 89, computers, 76, 187–8 113 storage systems, 80–1 Eisenstein, Sergei, 132, 232 testing databases, 83 Eisler, Hanns, 217 see also computer-assisted composition/sketching and electronic music, 189–213 digitisation Elgar, Edward confidentiality, 133, 162 Third Symphony (sketches), 16 conservation issues, 31, 32–5, 74, 187 empty staves, 89, 227 see also storage Entwurf,47 continuity drafts sketches, 47, 90, 115–16 eps files, 77 cooperation, see collaboration erasures, 11, 30, 139 copia, bella,51 see also deletions copies, see fair copies and working copies errors, 11–12, 152 copyists, 226 Cage on, 212 copyright, 23, 36, 40, 54, 132, 223 in classification, 39 corrections, 30 in published editions, 152, 234 cotton, 33 transcription and, 11–12, 226 creative (compositional) process, see compositional erste Niederschrift,47 technique/process esquisse,44 cross-reference signs, 91, 95, 227 ethics, 133 Cunningham, Merce, 194 see also privacy exercises, 162–5 Dahlhaus, Carl, 54, 57 experimentation, 133, 232 Dallapiccola, Luigi, 215 extroversive/introversive art, 232 databases, 59–73 of digital files, 81–4 facsimiles, 11, 12, 88 requirements for, 72–3 as adaptations, 85 testing, 83 transcriptions needed to complement, 89–90 dating, see chronology see also under publication of sketches and under Debussy, Claude, 216 publication of works Bartok´ and, 127 fair copies, 51–3, 88–9, 227 D’un Cahier d’Esquisse,5 relationships to sketches/drafts, 8, 23, 27, 44, 51, deletions, 30, 179, 236 135–6, 185 notations which may indicate, 100, 228 terms for in other languages, 51 see also erasures Falla, Manuel de, 215 Dessau, Paul, 220 Fanning, David, 102, 106, 229 dictionary of pitch structures, 8, 162–5, 168–9 Fassung letzter Hand,53 digital archives, 81–4 Feldman, Morton digitisation and digital scans, 17, 23, 29–30, 36–7, 74–81 Intersection, 199, 236 of analog tapes, 200–1 Ferneyhough, Brian, 176–88 and deciphering handwriting, 110, 113 compositional methods, 179–88 problems and benefits of, 74 poems, 236 technological aspects, 74–81 sketchbooks, 177, 178 terminology, 76 sketches, 176, 177–88 see also image manipulation and working copies Bone Alphabet, 177 diplomatic transcription, see transcription(s) Carceri d’Invenzione, 181 Dlugoschevsky, Lucille, 194 La Chute d’Icare, 181 dpi, 76 Etudes Transcendentales, 184 draft(s), 23 Lemma-Icon-Epigram, 181, 236 range of meaning, 20 String Trio, 176, 181, 185 relationship to sketches, 9, 44, 47–51, 114–16 Terrain, 179 terms for in other languages, 47 Trittico per Gertrude Stein, 179 Druckvorlage,53 Palimpsests (poem), 236 fibril, 33, 223 e-sketches, see computer-assisted composition/sketching files, digital, 76, 77–8 ébauche,47 formats, 77–8

Index 249

ﬁlms improvisation, 114, 115, 116, 184 conservation issues, 33 indexof pitch structures, 8, 162–5, 168–9 using in preference to original sources, 36–7 information, sources of, 17–23, 30–1, 224 Finale (notation program), 177, 181 Ingarden, Roman, 53 ﬂatbed scanners, 75 Institut de Recherche et de Coordination Fondazione Giorgio Cini, 217 Acoustique/Musique (IRCAM), 176, 181 Forte, Allen, 151, 164 institutions housing musical sketches, see archives fragments, 15–16, 133 instrumentation/orchestration, 135 frequency multiplication (multiplication sonore), 151–3, see also under Stravinsky 234 instruments, composing with/without, 8 function, 147, 151–2, 159, 233 see also piano Internet, 17, 37, 73, 83–4 gatherings, 103–6, 108 introversive/extroversive art, 232 Gillies, Malcolm, 231 inventories, 18, 19–20, 41, 224 gloves, 37, 39 process of making, and access issues, 36 graphic libraries, 82–3 see also catalogues Grier, James, 229 IRCAM (Institut de Recherche et de Coordination groups (in serialism), 150–1 Acoustique/Musique), 176, 181 gua charts, 205–6 isomorphism, 147, 148, 153, 159 Gulke,¨ Peter, 15, 16 Ives, Charles, 10, 222 Gurewitsch, Matthew, 221 Universe Symphony sketches, 211, 213

Haas, Georg Friedrich, 149, 234 Jahn, Otto, 54 Haba,´ Alo¨ıs, 164 Janaćek,ˇ Leoˇs, 218 Halm, August, 6, 55 Jenny, Laurent, 56 handling, 37–9 John Cage Trust, 197, 199, 200–1, 218 handwriting, 30, 108–13, 123–4, 142, 229 Johnson, Douglas, 4, 221 Hauer, Josef Matthias, 164 Johnston, Ben, 194 Henry, Pierre, 192 Jone, Hildegard, 227 Henze, Hans Werner jpeg files, 77 pagination of sketches and drafts, 223 Jung, Carl, Gustav, 232 Symphony No. 6, 9 hermeneutics, 7, 54 Kandinsky, Wassily, Carter compared to, 168 Hertzka, Emil, 95 Kaufmann, Harald, 220 hexads, 205–6 Kerman, Joseph, 45, 132 Hill, Richard, 164 Kobrin, Ed, 203 Hiller, Lejaren, 203 Kodaly,´ Zoltan,´ 218 Hilmar, Ernst, 102 Bartok´ and, 127 Hilmar, Rosemary, 102 Kostelanetz, Richard, 189 Hindemith, Paul, 219 Krenek, Ernst, 216, 228 compositional methods, 7, 8, 9, 15 Kuhn, Laura, 200 publication of sketches in complete Kurtag,´ Gyorgy,¨ 10, 44, 45, 56–7, 225 edition, 10–11 and open work concept, 45 sketches, 12–14 unfinished works, 56–7 Concerto for Woodwinds, Harp and Orchestra, Grabstein fur¨ Stephan, 56–7 12, 13 Hommage a` R. Sch., 56–7 Sonata for Four French Horns, 12–14 Kafka-Fragmente, ‘Leoparden’, 45, 46, 224 Sonata for piano, Op. 17, 15 Officium breve,10 Hobsbawm, Eric, 15 Sorok Sirokay Zsuzsinak,45 holograph, meaning of, 51–3 Kurth, Ernst, 6 humidity, 33–4 Hyde, Martha, 55 language, thought and, 85 languages and language competence, 3–4, 12–14, 25–7, I Ching, 237 30, 110 use in compositional processes, 191 terms for sketches etc. in other languages, 44, 47, 51, see also Williams [re]Mix[er] and under Cage 53, 224 image manipulation, 78, 80, 110, 113 Leibowitz, Rene,´ 164 imprecision, 177, 200 libraries, see archives

250 Index

Ligeti, Gyorgy,¨ 44, 45, 132 Mies, Paul, 6 compositional methods, 47–8, 51, 225 Milhaud, Darius, 216 Aventures,53 Minsky, Marvin, 177 Lux aeterna, 225 mise au net,51 Matraszentimrei´ dalok,53 Mosch, Ulrich, 9, 223, 234 Nouvelles Aventures,53 Mozart, Wolfgang Amadeus, 54, 230 Requiem, 45, 47, 51, 52, 225 multiplication sonore (frequency multiplication), 151–3, S´ıppal, dobbal nadiheged´ uvel¨ , ‘Tanc Dal’, 47, 48, 49, 51, 234 53 musical notation, 85–6, 134–5 Variations concertantes (unfinished), 47–51 and ambiguity/imprecision, 177 Ligeti, Veronika, 53 empty staves, 227 light spelling of pitches, 235 as conservation issue, 34, 35 see also agogic indications, staves/staff lines and issues concerning in photography/reproduction, 75, 79 typesetting Lindberg, Magnus, 132 musical sketches, see sketches linen, 33 musical work(s) Lisp (programming language), 181 concept of, 1, 6, 57–8, 133 lists concept of work in progress, 132 researchers’, 30 cooperative/collaborative, 15–16, 193–4, 203, 224 as sketches, 8 individualism and, 15–16, 54 see also catalogues parameters and primary/secondary aspects, 8–9, 45, literature and literary criticism, 1, 53, 56 131–2, 134–5 see also text concept programmes/content descriptions, 8 loans, 40 recycling, 10 Loetscher, Hugo, 22 relationship of score to, 53 Luening, Otto, 192 relationship of sketches to, see under sketches see also open work concept Machaut, Guillaume de music paper, see manuscript paper Kurtag´ and, 57 music-writing software, see computer-assisted Ligeti and, 225 composition/sketching Maderna, Bruno, 23 musique concrète, 64, 189–213 magnetic tape use of term, 191 conservation issues, 33 music for, 64, 189–213 Newbould, Brian, 15, 222 Mahler, Gustav, 216 Niederschrift, erste,47 Symphony No. 10 (sketches), 15 Nielson, Carl, 216 Malipiero, Gian Francesco, 217 Nietzsche, Friedrich, 6 manuscript paper, 103, 226, 230 Nono, Luigi, 215 homemade, 233 collaborative work, 71, 224 see also paper and staves/staff lines compositional methods, 55, 61, 64, 69, 70–1 manuscripts paper type providing information, 69–70 counting of sheets of paper/pages, 69, 226 sketchbooks, 65–7, 69 guide for cataloguing, 226 versions of works, 68 proper handling, 37–9 writing implements, 70 see also sketches and sources Da un diario italiano (unfinished), 65 Marston, Nicholas, 224 Diario polacco ’58,68 Martino, Donald, 164 La fabbrica illuminata, 61–3, 64, 65, 71 ◦ Martinu, Bohuslav, 215 Variazioni canoniche sulla serie dell’opus 41 di Arnold meaning, 7 Schoenberg, 61–3, 64–5 meditation, 162 see also Archivio Luigi Nono memory, 178, 181 Nono, Nuria Schoenberg, 226 Mendelssohn, Felix, 54 notation, see musical notation Messiaen, Olivier, 192 notepads, cataloguing, 65–7 Metzger, Heinz-Klaus, 220 Nottebohm, Gustav, 54–5 Meyer, Felix, 90, 227, 228 numbers microfilms, 17, 23, 29–30, 31 Berg and, 7 see also working copies see also I Ching and Random Funnel

Index 251

open work-concept and open forms, 5, 45, 55–6, 58, 132 pre-compositional strategies, see under compositional orchestration, see instrumentation technique/process order, 29–30, 39, 223 preconceptions, 31 see also chronology preservation see conservation issues; see also Orff, Carl, 219 completeness/incompleteness under sketches Osmond-Smith, David, 16, 30 preventive conservation, 32, 42, 223 ownership, 36, 40 see also conservation issues prima stesura,47 packaging, 35, 38, 224 printer’s copy, 88 paper, 30, 33 printing, 86–7 ageing process and conservation issues, 32–5, 37, 111 as adaptation, 85 colour, 103 see also publication of sketches, publication of works and dating, 9, 69–70, 91 and typesetting description of in cataloguing, 69–70 privacy, 133, 162 reuse, 22 Project for Music for Magnetic Tape, 189, 193–4, 236 size and format, 7, 90, 103 publication of sketches, 10–12 standards for packaging, 35, 224 in facsimile, 11, 12, 131, 231 variety used for sketching, 44–5, 69–70, 178, 224, 233 in transcription, 11–12, 88–9 see also manuscript paper as works, 232 particella, Particell, 48, 224 see also editorial commentaries see also short score publication of works, 53, 185–7 passive conservation, 223 computerisation and, 185–7 see also conservation issues empty staves, 227 pastings, 30 in facsimile, 53, 88–9, 185–7, 233 PatchWork, 176, 177, 178, 179, 181–5 impact of graphic aspects of scores, 227 Paul Sacher Foundation, 18, 23, 44, 56, 93, 131, 142, see also printing 219, 225 publishers, as source of information, 17–18, 31 and computer-generated material, 187 counting of manuscript holdings, 226 questionnaires, 41 home page, 18, 19 Pavese, Cesare, 63 Random Funnel, 179, 181, 183, 185 pc-sets, 151 see also PatchWork Pears, Peter, 216 Ravel, Maurice, Bartok´ and, 127 pens/pencils, see writing implements reconstruction(s), 15–16, 53, 233 performers/performance, 232 see also under compositional technique/process chance/variance, 177, 200 recorded sounds, 202, 207–12 impact of graphic aspects of scores, 227 backwards, 237–8 Perkins, David, 43 recordings, 31 Perle, George, 164 conservation issues, 33 Peterson, Peter, 102, 106, 229 recycling, 10 Petrassi, Goffredo, 217–18 Reger, Max, 7, 10, 133, 218 Pﬁtzner, Hans, 7, 8 Reinschrift, 51, 53 philology, 9–10, 53, 55, 56 reproductions, see digitisation, photography, photography and photographic reproductions (including transcription(s) and working copies photocopies), 17, 23, 29, 31, 75 research, 40–2 conservation issues, 33 cooperation in, 110 manipulation, 78, 80 deﬁning purpose of, 17, 39–40 as step to digitisation, 75, 76–7 estimating time needed for, 18–19 see also working copies music-theoretical see analysis piano, composing at, 8, 10, 114, 115, 116 see also sources piano score, 224 resolution, 76 pitch-class theory, 151 restoration, 32, 35 pitch combinations, cataloguing, 8, 162–5, 168–9 see also conservation issues Poe, Edgar Allen, 85 Reuß, Roland poietic perspective, 133 concept of text, 86, 226 Post-its, 45 on transcription, 89 postmodern perspectives, 5, 56, 57–8 Richards, Mary Caroline, 194

252 Index

Rimsky-Korsakov, Nikolai, 135 as a compositional principle/idea, 5 Rota, Nino, 217 computer-assisted, see computer-assisted Rouse, Mikel, 200 composition/sketching Sacher, Paul, see Paul Sacher Foundation documentation concerning, see catalogues and sampling, 76 inventories see also digitisation drafts and, 9, 20, 44, 47–51 Satie, Erik, 214 ethical problems concerning, see ethics scanning, 75, 76, 77–8 finished work required to understand, 14 see also digitisation history of study of, 1, 53–6 Scelsi, Giacinto, 132, 217 importance of location on page, 89 Schaeffer, Pierre, 191, 192 individuality, 90 schemata, 8 literary, 1 Schenker, Heinrich, 6, 55 meaningless or incomprehensible marks on, 10, 87 Schiff, David, 176 nature of notation/signs in, 4, 10, 85–7, 226 schizzo,44 as private documents, 10, 45, 224 Schleiermacher, Friedrich, 54, 225 publication of, see publication of sketches Schoenberg, Arnold, 10, 55, 215 purposes, 10, 114 Carter and, 164 quantity of, 56–7, 59 compositional methods, 6–7, 8 relationship to a work or work project, 5–7, 8–9, 11, paper used for sketches, 90 45, 54–5, 57–8, 133, 176 precision of notation, 134 terminology concerning, and definitional problems, printed scores, 227 see under terminology publication of sketches in complete edition, 10, 11 terms for in other languages, 44 on thought and notation, 101 typology of, 114–16, 128–9, 224 Ode on Napoleon Buonaparte, Op. 41, 61–4 unfinished, 15–16, 61, 65, 68, 133 Suite, Op. 25, 55 variety of material on which written, 44, 69, 177–8, Schreker, Franz, 219 224, 233 Schubert, Franz verbal elements and annotations, 7, 8, 12–14, 25–7, Symphony No. 10 (sketches), 15 29, 45, 48, 108–13, 134 Schumann, Robert, 54 in the visual arts, 1, 5, 37 secondary sources, see external evidence under see also chronology, sources and transcription(s) chronology sketching Second Viennese School, see Viennese School as an autonomous process, 5 serial music, 6–7, 8, 146–60 as a continuing activity, 44 broadening of conceptions, 159–60 preparation for performance as, 232 see also twelve-tone composition sketch studies, 10–11, 128, 142, 146–7 serial/row tables, 55, 147–50, 151–2, 156, 158–9 and analysis, 6–7, 55–6 short score, 23, 48, 136, 139, 145, 224 and different aspects of music, 131–2 Shreffler, Anne, 228 limitations, 122, 130, 161–2 Sibelius, Jean, 132, 232 Skizze,44 signs, 4, 85–7, 226 Somfai, Laszl´ o,´ 55 see also musical notation; see also verbal elements sources under sketches availability, 37 sketchbooks, 102 conservation issues, 32–5, 74, 187, 223 cataloguing, 65–7 continuing need to examine, 89–90 gatherings, 103–6, 108 incompleteness, 22–3 page numbering in, 107, 178 locating and finding information about, 17–23, 30–1, reconstructing, 102–8 36, 224 sketches see also archives, manuscripts and working copies; and analysis, 4, 133–4, 146–7, 161–5 see also external evidence under chronology aspects normally missing, 8–9, 45 speed of writing, effects, 124, 226 benefits of studying, 4, 51, 54–8, 225 staves/staff lines, 86–7, 144, 227, 233 and complete editions, 10–11 see also manuscript paper completeness/incompleteness, 9, 115, 145, 176, 187–8 Steiger, Rand, 179 completions and works based on by other composers, Stein, Erwin, 227 see completions Stein, Leonard, 217 composers’ attitudes to, 9 stemmata, 53, 55

Index 253

stesura, prima,47 time estimation, 18–19 Stockhausen, Karlheinz, 8, 23, 146, 150–1, 159–60, 220 titles, 67–8 compositional methods, 156–9 tone rows, 6–7, 169 sketches, 156–9, 235 Toop, Richard, 188 Gesang der Junglinge¨ , 156, 235 tracing, 75–6 Gruppen, 160 transcription(s), 11–12, 85, 86–90 Kontakte, 160 as adaptations, 85 Kreuzspiel, 156 commentaries on, see editorial commentaries Zeitmaße, 153, 156–9, 235 of computer-generated material, 187 storage, 35, 38, 224 of doubtful passages, 100, 113 see also archives and conservation issues facsimiles needed to complement, 89–90, 100 Strauss, Richard, 8, 219 handwritten, 88–9 Stravigor, 233 limitations, 89–90 Stravinsky, Igor, 131, 231 of multiple sketches, 98–100 agogic indications, 134, 136, 139, 144, 145 supplementary information on, 87–8, 93 Boulez and, 151 treatment of alterations, 11 compositional methods, 8, 23, 131, 132, 135–9 treatment of erasures, 11 on his own process, 131 treatment of errors, 11–12, 226 and instrumentation/orchestration, 134–42, 144, 145 see also handwriting music compared to ﬁlm, 132, 232 translation, 3–4 sketches, 133, 135–45 transcription and, 85 Taruskin and, 221 of verbal elements of sketches, 12–14 work by Wuorinen based on sketches by, 16 transliteration, 226 Berceuses du chat, 135 Tudor, David, 193, 217 L’histoire du soldat, 135, 139 and Austin, 211 Les noces, 135 and Cage, 189, 193, 194, 237 Pribaoutki, 132, 135, 136, 139–42 twelve-tone composition, 6–7, 169 Ragtime, 132, 135–45 typesetting, 134, 185–7 Le sacre du printemps, 151 see also Coda Finale Stravinsky, Vera, 16 Stuckenschmidt, Hans-Heinz, 220 Urtext,53 systems Ussachevsky, Vladimir, 192 Boulez and, 160 Ferneyhough on, 177 Valery,´ Paul, 56 Szekely,´ Zoltan,´ 127 verbal elements and annotations, see under sketches; see Szervanszky,´ Endre, 10 also handwriting Szymanowski, Karol, 218 Viennese School, 6–7, 134 Bartok´ and, 130, 231 see also individual composers visual arts, 1, 5, 37 tables, 8, 147, 151–2, 169 tape, see magnetic tape Walton, William, 217, 220 Taruskin, Richard, 221 watermarks, 9, 30 technology Watt, Jay, 194 for databases, 72–3 Weber, Max, 134 for digitisation, 74–81 Webern, Anton see also computers compositional methods, 6, 114 temperature, 33–5 cross-reference signs, 91, 95, 227 terminology, 51–3, 229 fair copies, 90, 227 concerning sketches, 20, 43–4, 45, 51, 114 Kurtag’s´ use of music by, 10 concerning technology, 76 notations which may indicate deletions, 100, 228 in other languages, 44, 47, 51, 53, 224 paper used for sketches, 90–1 text concept, 85–6, 226 precision of notation, 134 Thomas, Christiane, 223 published facsimiles of sketches, 90, 226 Thompson, Michael, 204, 205 row tables, 90 Thomson, Virgil, 191 Schoenberg and, 10 thought, language/notation and, 85, 101 sketchbooks, 91, 228 tiff ﬁles, 77 sketches, 90–101

254 Index

Webern, Anton (cont.) wood pulp, 33 Concerto, Op. 24, 227 working copies, 17, 23, 29–31, 36, 196–7, 223 Funf¨ Canons nach lateinischen Texten, Op. 16, 90–101, and conservation issues, 36–7 227, 228 problems and beneﬁts of, 30, 37 Kinderstuck¨ (M. 266), 90–101, 227, 228 see also digitisation Klavierstuck¨ (M. 277), 228 work(s) of art, concept of, 1, 6, 132–3 String Quartet, Op. 28, 227 see also musical work(s) Weill, Kurt, 218 writing implements Whittall, Arnold, 133–4 and dating, 9, 70, 123–4, 224 Widmungsexemplar,53 to produce staff lines, 233 Wightman, Alistair, 231 researchers’, 38 Williams, Paul, 189, 193 Wuorinen, Charles Williams [re]Mix[er], 191, 203, 204–6, 209–10 A Reliquary for Igor Stravinsky,16 Wolff, Christian For Magnetic Tape, 192, 236 Yun, Isang, 217