Editorial |
Music Terms

Editorial |

Dictionary categories
terms and concepts

Редакция (French redaction, from lat. redactus – put in order) – adding music to the musical notation. works of changes and additions, facilitating its practical. use, as well as the musical notation of the work itself with similar changes and additions. R. is usually carried out during the publication of muses. essays. Applied in R. changes and additions are decomp. character and can pursue decomp. goals; all of them, however, as a rule, preserve intact the music itself, the pitch and duration of each of its sounds. The most elementary of these changes are associated with the introduction of the musical notation of the product. in accordance with modern notation standards. Simultaneously R. may pursue the goal of facilitating the learning of production. a performer, especially a beginner (student) or an amateur musician. For this, the decoding of melismas is used, especially those that are little used in modern. music practice (produced directly in the musical text or on additional musical lines, sometimes in notes). Often, the editor introduces designations that help the performer to apply rational techniques. techniques for playing a particular passage. Among them are the designations of fingers and pedals in R. fp. prod., strings and fingers in prod. for stringed bowed instruments, etc. Often used in R. and complement. designations of dynamic and other shades of performance, to-rye outline the very interpretation of the product. performer. These last designations, as it were, make up for what could have been given by the author himself. Introducing them, the editor usually relies on the comparison of dec. manuscripts of one Op. (if there are several), to study the presentation of related places in the same or another production. given author. However, even in these cases, in such additions, the personal taste of the editor, his musical background, his belonging to a certain performing school, etc., inevitably affect. Thus, such R. to a certain extent approaches transcription.

Common and so-called. performing R., to-rye are usually carried out by major performers, in addition. notation imprinting property. interpretation of production and used for this technical. tricks. Such R. are of no small importance in educational and pedagogical. practice. As the conc. and pedagogical activities of an outstanding performer, as well as transcriptions belonging to him, in the case of combining the performer and composer in one person – and his own. op. for their instrument, R. contribute to the formation of a certain perform around it. schools. Performing radiographs make it possible, within certain limits, to objectively judge the performance of outstanding musicians of the past, whose activities took place before the invention of sound recording devices.

It is significant that not all editors write out additions. designations in such a way that they can be easily distinguished from the author’s ones (in small print, in square brackets, etc.). In many publications, author’s and editorial designations cannot be distinguished. In cases where editorial designations of this kind turn out to be arbitrary, associated with the subjective interpretation of the work, the performer finds himself in a difficult position – he follows these designations as the author’s, which leads to the reproduction of the editor’s interpretation and limits the performer’s own initiative. In this regard, a special kind of R. arose, which puts its core. the task of cleaning the author’s text from unjustified editorial layers.

The term “R.” applies to certain types of processing associated with changing creatures. sides of music Among them are the so-called. lightened R., which gives a simplified version of the musical text itself. R. is sometimes also called the processing of large wok.-instr. productions in which the instrumentation undergoes changes. Examples are the versions of M. P. Mussorgsky’s operas Boris Godunov and Khovanshchina, performed by N. A. Rimsky-Korsakov, as well as the new instrumentation of these operas, owned by D. D. Shostakovich.

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