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ij in musical texts

Source: notes file
Date: 2003-11-26
File name: tech/S4649
Keywords: music

This is a book of madrigals, with the words printed under the stave. Sometimes there are no words printed for what would be a bar or two, but instead of words "ij." or "ij. ij." For example, from image 3:

in mee, but as I am, I am, ij. so will I alwaies bee. ij.
ij. ij.

I don't know what the ijs mean, but I've assumed it's OK to capture as Tech did, as above.

PFS: neither do I; therefore so do I

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Hyphenated words in music

Source: notes file
Date: 2004-02-20
File name: tech/S25119
Keywords: music

Is there a policy on the capture of hyphenated words in music? I left them as they appeared. eg. peo- ple, rather than peo|ple

PFS: no, I didn't think to come up with one. What you did sounds ok.

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Vocal parts in music

Source: notes file
Date: 2005-01-06
File name: apex/Wb32
Keywords: music

All the comments below refer to the music on REFs 30-74:

DIVs: DIV1s were keyed correctly but not subdivided into DIV2s or DIV3s, which I put in. Most often, every pair of pages contains one DIV2 psalm or song that contains three DIV3 parts. The catches on REFs 56-59 contain a few DIV2 catches every pair of pages.

BASSUS: Occasionally, the BASSUS part has music that spans two pages, which in the case of this book I contained in two separate DIV3s to keep consistent the flow of text by page from top to bottom.

PFS: the alternatives--maybe preferable--would have been either to ignore the page break between left and right pages altogether, and treat the BASSUS part as an unbreakable object, or to treat the part as we do notes, and include it all on the page on which it started.

The recto pages that have the part name BASSUS printed with no music underneath, I treated as printers marks and removed.

HEADs for the DIV2s and DIV3s were almost entirely uncaptured, which would have been appropriate for running heads in part books with the part book name in the head (CANTUS, etc.). Despite appearing in the same place page after page, the heads in this book refer specifically to the music immediately underneath them. I put uncaptured psalm number information into DIV2 HEADs. I put uncaptured part information into DIV3 HEADs.

OPENERs: I put tune name and voice number information into DIV2 or DIV3 OPENERs.

BYLINEs: I moved keyed composer and author information for musical pieces from where captured in Ps to BYLINEs at beginning or ending of DIV2s. I only include this once per DIV2, even if this information repeats on the image.

PFS: this last item refers to author/composer information that is typically inserted between the musical staffs one or two lines down, and if recorded in strictly visual order, would have to be recorded after the beginning of the music, and therefore not in BYLINE tags. But I think A. was quite right to move these up to BYLINE position--and indeed to be more free in general with the location of elements on a page of music than we would be on a page of prose: the conventions of musical layout are so different, we need to be a little creative in adapting them to the more tone-deaf expectations of the TEI tag set.

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Musical part book

Source: notes file
Date: 2005-01-28
File name: tech/S25583
Keywords: music

TECH had taken the number at the head of each song to be the page number, and had treated the heading CANTVS/ BASSVS etc. as a running header, so instead of:

<DIV1 TYPE="song" N="18"><PB REF="3">

they had

<PB N="xviii" REF="3">

I put in DIV1 for each song by hand, then used TextPad to move the N attribute of the PB to the HEAD. Jonathan worked out how to turn them to upper case.

PFS: in T.P., replace N="\([ivxlc]+\)" with N="\U\1\E" (you missed a couple when the song spread across two pages.)

I then added CANTVS/ BASSVS/ ALTVS to the HEAD where appropriate.

PFS: ok, I've consulted on this and think that all of these decisions are right and good. I would add, however, that:

(1) this is a pretty standard 'part book', so the big division, which you've captured aptly with GROUP/TEXT is the one between the parts: ALTUS BASSUS CANTUS. The books were meant to be used unbound (or separately bound, I suppose). In this case, there are only two books, one for CANTUS and one for either ALTUS or BASSUS, since all the pieces are duets, with the first part always CANTUS and the second part either ALTUS or BASSUS.

(2) There's a secondary division reflected on the title page: the songs are said to fall into three groups: duets between dissimilar voices (i.e. CANTUS+BASSUS); duets between similar voices (i.e. CANTUS+ALTUS); and canons. Though these are marked only implicitly in the text, it would be a nice extra to insert a DIV level marking that division.

(3) The ALTUS/CANTUS/BASSUS labels really are running heads of a sort, and could be omitted if the upper-level divs were explicit enough. But it's not wrong to include them in the head of each piece either; and in this case they're needed in the canons of the second part book, which jumble together ALTUS and BASSUS parts.

(4) There's a little puzzlement as to what to do with the canons, since they are squeezed in two to a page, and the roman-numeral heading in fact covers two songs, not one e.g. <HEAD>XLII., XLIII</HEAD>, and the actual heads of each piece are written out: "The 3. Canon." "The 4. Canon.". These last had been left tagged as NOTEs. Some fiddling about seems called for to ensure that the individual canons get their own DIV and HEAD. Ended up cheating a little and doing this: <DIV3 TYPE="song" N="49"><HEAD>XLIX. The 12. Canon. BASSVS.</HEAD>

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