Index by title

CMO Pitch System for Early Hampartsum Manuscripts

 

In addition to providing a scientific edition critique, one of the aims of the CMO project is, of course, to bring the transcribed musical pieces to life through performance. In addition to the pieces that were not even known to exist until today, different versions of many pieces that exist in the repertoire come to light for the first time with these editions. However, in some of the CMO editions, especially in the transcriptions of the early Hampartsum notebooks, it is noticeable to the reader that we use the accidentals differently from their equivalents in the AEU (Arel-Ezgi-Uzdilek) system. In Turkey, where the AEU system is widely adopted, the use of

and
, especially for the Segâh and Irâk pitches, may naturally raise questions in the minds of scholars and musicians. The purpose of this explanation is to explain the reasons for our preference in the pitch system as CMO editors, with both practical and scientific justifications, and thus to enlighten the user.

As it is known, the AEU system, which in theory divides an octave into 24 unequal intervals, is the most widely used in Turkey today. The AEU system includes accidentals with values of 1, 4, 5 and 8 commas and has been adopted and used by its users. However, we had to create a new pitch system table as a result of the requirements arising for the edition of the early Hampartsum notebooks. We found it appropriate to do this by assigning different intervallic values to the same accidentals (with the addition of

) corresponding to the fixed comma values in the AEU system. The main reason for this endeavour is that some of the tertiary pitches between the main and secondary pitches are also represented in some early Hampartsum notebooks. In particular, in three notebooks (TR-Iüne 203-1, TR-Iütae 110, TR-Iboa TRT.MD.d.405), which are thought to be Hampartsum autographs, the pitch alteration sign (namely kisver), which is normally positioned above the pitch sign to make that pitch sharper, is sometimes positioned below to indicate a less sharper value (see Table 1). The reason for making a terminological distinction between secondary and tertiary for pitches not of the main scale is essentially related to the semantic representation of these pitches in Hampartsum notation. For example, it is usually not clearly indicated in the notation whether the
signifies modern theory’s Nîm hisâr or Hisâr pitch, or whether the
signifies Nîm hicâz or Hicâz pitch. It is up to the performer to decide which of these pitches is signalled according to the context of the makâm. However, in some early Hampartsum notebooks, the kisver is placed below the pitch sign, semantically indicating that the pitch to be played is relatively less sharp (see Table 1).

Table 1. Tertiary degrees in Early Hampartsum Manuscripts.

The fact that these tertiary degrees appear only in certain pieces in the aforementioned manuscripts suggests that these degrees are due to transpositions of makâm patterns rather than intonational differences related to melodic direction. In his unpublished treatise written in 1890, which provides brief information on both usûl and Hampartsum notation, Asdik Ağa also transposed the main scale containing the seven main pitches from Yegâh to Nevâ onto each tone of the scale, thus confirming the need for these pitches (see Figure 1).

Figure 1. Asdik Ağa’s Transposition Table at TR-Iboa TRT.MD.d.490, p. 41.

Accordingly, for example, when Asdik Aga transposes the tanîni interval between Yegâh and Aşirân onto the Aşirân pitch, he reaches the pitch between Irâk and Geveşt, which he calls Müberkâ (see Table 2). This gives us information about the approx. position of this pitch. However, our goal is not to determine the frequencies of these pitches by mathematical calculations, but to make scholarly transcriptions of the Hampartsum notebooks in which these pitches appear. As can be understood, it is not possible to reflect the pitch between Irâk and Geveşt and the pitch between Segâh and Bûselik in the transcription with the AEU system. In addition, although it is assumed that there is a distance of one comma between the mentioned pairs of pitches according to the AEU system, the fact that there are many examples that this distance was wider in the historical context strengthens the idea that the Segâh and Irâk pitches may have been located in a flatter position, whereas Bûselik and Geveşt may have been located in a sharper position than their current theoritical values in the AEU system.

For example, in his edvar dated to the second half of the 18th century, Kemânî Hızır Ağa (d. ca 1790) mentioned the existence of an extra pitch between Segâh and Buselîk’. When defining the makâm sazkâr, he used the definition ‘Segâh ile Nîm bûselik beynindeki nîm’ (‘the nîm between Segâh and the Nîm buselîk’) for that particular pitch.[1] When defining makâm segâh mâye, this time we see that he used the definition of ‘nîm-i nîm’ (half of the half) for that pitch.[2]

Kantemiroğlu's (1673-1723) descriptions of the secondary pitches, the positions of which change according to the melodic direction, under the title 'İcra-yı hükmı perdeha' ('Realisation of the command of the pitches') in his book 'Kitâbu İlmi'l Mûsıkî alâ vechi'l-Hurûfât' dated to early 18th century, also suggest that the distance between these pairs of pitches was greater than the current theory assumes:

‘Eğer Irâk perdesinden yarım perde yukarıya basarsan adsız bir agaze icra etmiş olursun. Rast perdesinden yarım perde aşağıya basarsan Yeni Rehâvi perdesi icra etmiş olursun…Segâh’dan yukarı çıkarsan Eski Rehâvi perdesini bulursun. Çargâh’dan yarım perde aşağı inersen Bûselik perdesine düşersin. Eğer Çargâh’dan değil de Uzzâl perdesinden gelirsen Bûselik perdesinin yerini Nişâbûr perdesi alır (Tura, 2001, p. 9).[3]

Eng.: 'If you press half a fret up from the Irâk pitch, you will perform an unnamed tune. If you step down half a fret from the Rast pitch, you will have played the New Rehâvi pitch...If you go up from Segâh, you will find the Old Rehâvi pitch. If you go down half a fret from Çargâh, you will fall to the Bûselik pitch. If you come from the Uzzâl pitch instead of Çargâh, the Bûselik pitch will be replaced by the Nişâbûr pitch (Tura, 2001, p. 9).

However, in the section where Kantemiroğlu gives the names and symbols of the frets on the tambur (Tura, 2001, pp. 2-3), he seems to imply that only the names of the secondary pitches vary according to the melodic movement, and that they are located at the same fret on this instrument (just like c sharp and d flat in western system). On the other hand, elsewhere, when talking about secondary degrees, he mentions that they are different pitches by saying ‘tizden nerme varır ise gayr ve nermden tize varır ise gayr sada ve gayr nağme ider’ (‘when going from treble to lower it sounds different and when going from lower to treble it sounds different’ (Tura, 2001, p. 7). As mentioned by Judetz (2002, p. 141), the nîms [secondary degrees] intonated in ascending-descending succession may hold microtonal differences that are perceivable to the performer’s ear but not always accurately expressed in terminology without the aid of mathematics.[4] It should also be noted that the seemingly contradictory part of Kantemiroğlu's statement is likely to be related to the different nature of fretted and fretless instruments..

However, if we reconsider Kantemiroğlu's statements quoted above, the distance between Segâh and Bûselik should have still been larger than one comma. Moreover, the fact that Segâh-Bûselik and Irak-Geveşt pitch pairs appear in succession in many Hampartsum notebooks supports this idea. The first information on the names of tertiary pitches in the context of Hampartsum notation was given by Asdik Ağa. In his treatise, each of these tertiary pitches is given different names (see Table 2).

Table 2. List of all pitches by Asdik Ağa at TR-Iboa TRT.MD.d.490, p. 14.

In his dictionary published in 1893, Muallim Kazım Uz also included almost all the same names that Asdik Ağa used for these pitches. For example, he defined Hisârek as a pitch between Hüseynî and Nevâ (p. 22), Mâvera as a pitch between Dügâh and Segâh, Murâsâ as a pitch between Irâk and Geveşt, and Müberkâ as a pitch between Hüseyni aşirân and Acem aşirân (Uz, 1893, pp. 47-48). For the pitch that Asdik Ağa referred to as Soltor, Uz used the name ‘sol ton’ and made the following explanation (p. 37): ‘It is the pitch called Mâye, which is a flatter Bûselik.’  This shows us that there was an endeavour to represent these tertiary pitches in theory as well as in practice. As mentioned, it is understood from the use of an extra pitch between Segâh and Bûselik, which is called ‘sol ton’ (soltor in Asdik Ağa) and is probably the equivalent of ‘b natural’ in the western pitch system, that the Bûselik pitch actually might had a comparatively sharper pitch value. We see that the term ‘sol ton’ was also used by Hâşim Bey (1815-1868), to define the makâm scales similar to G major scale in western context. The fact that he stated with the expression ‘bu makâm alafrangada isti’mâl olunmaz’ (‘this makâm does not have an equivalent in Western music’) that the makâms that usually contain the Bûselik pitch in their scales do not have equivalents in western music supports that the Bûselik pitch may have been positioned higher than the ‘b’ pitch in Western music. However, we preferred to transcribe the Bûselik pitch as b natural in our editions for practical reasons, as it is a very frequently used pitch.

As a result, the pitch system table given at the top was developed both with the concern of reflecting tertiary degrees in the transcriptions and considering that the distance between some pitches in the 19th century sound system was different from today's theory. Considering that assigning intervalic values to the accidentals is also compatible with the performance practice of Turkish makam music, the editions of TR-Iüne 203-1, TR-Iüne 214-12, TR-Iüne 215-13, TR-Iüne 217-15 and TR-Iam EY_1537 were made according to this system, and the editions of TR-Iütae 110 and TR-Iboa TRT.MD.d.405 are still in progress according to this system.

[1] See p. 159 in Tekin, A. (2015). Türk Mûsikîsinde Nağmeler ve Makamlar. İstanbul: Büyüyenay.

[2] Ibid, p. 165.

[3] Tura, Y. (2001). Kantemiroğlu Edvârı, c. I-II. İstanbul: Yapı Kredi Yayınları.

[4] Popescu-Judetz, E. (2002). Tanburî Küçük Artin, A Musical Treatise of the Eighteenth Century. İstanbul: Pan Yayıncılık.

Bibliographic records for secondary sources pertaining to Ottoman music are also included in the CMO Source Catalogue. These bibliographic records are saved in the Source Catalogue as a "cmo_mods" entity and are automatically assigned a number once saved.

Adding bibliographic sources to the source catalog can be done by choosing 'Bibliography' from the CMO Content Generator page. To access the CMO Content Generator page, click on the 'Editor' tab on the left side of the CMO homepage, and choose 'Create new catalogue entry'.  Once you have selected 'Bibliography' from the CMO Content Generator, a new page will open where all metadata for the bibliographic record can be entered.

The primary metadata fields for bibliographic records are as follows:

Additional metadata fields can be added to designate the publication series, and information pertaining to the work in which the bibliographic source appears in the case of a book chapter, volume, or article in an edited work.

More information will follow soon.

Concordances play a vital role in preparing critical editions, providing valuable insights, and aiding in the reconstruction of musical or textual works. These resources help editors identify and analyse variant readings, compare different versions of a piece, and ensure accuracy and completeness in the final edition. In vocal editions, collections of songs and anthologies inevitably become part of the concordances. These resources may include musical sources, textual songbooks, and anthologies, offering invaluable information, such as forgotten or missing texts, historical performance practices, and notation details.

Workflow for Establishing Concordance(s)

Identify Concordances:

Begin by finding concordances to be consulted during the transcription process, focusing primarily on sources in Hampartsum notation, but also considering sources in staff notation and relevant publications. 

Use the CMO Source Catalogue to locate these sources.

Go to the CMO Website and click on CMO Editions and Source Catalogue or directly click here. 

Enter relevant information such as makâm, usûl, composer name or any relevant information in the search box on the upper right corner. Be aware that a piece might be recorded under different names.

Search Additional Sources:

Since not all source are available online, check other available sources using indices found on servers or resource catalogues such as

_-_TRT Music Department Archive (https://katalog.devletarsivleri.gov.tr/ )

- Collection of Cüneyd Kosal ( http://ktp.isam.org.tr/ )

- IBB Atatürk Library (https://ataturkkitapligi.ibb.gov.tr/tr/Kitaplik/Koleksiyonlar ) etc.

Documenting Concordances:

Note down the page and PDF numbers for easy reference during the transcription process.

Record any additional useful information such as different composer attributions, makâm/usûl variations, etc.

Create a separate file for each piece with a folder named ‘consulted concordances’. Record these references with RISM codes and page numbers.

Example Documentation:

For example, some of the concordances consulted for the piece "Sinede bir lâhza aram eyle gel canim" in the manuscript TR-Iboa TRT.MD.d.521 are documented as follows:

-TR-Iboa TRT.MD.d.400, pp. 223-4

-TR-Iboa TRT.MD.d.450, p. 1

-TR-Iboa TRT.MD.d.567, p. 28

-TR-Iüne 204-2, p. 148

-TR-Iüne 208-6, p. 105

-TR-Iüne 209-7, fol. 80a

Explanation of Data Fields Excluded from the Sections:

Catalogue Information, Remarks, Illustrate Structure, Pitch Set, Notes on Transcription, Consulted Concordances

CMO Ref No. in header (Example: CMO1-I/1.1) 

Each piece has a CMO Reference Number, which is represented in the header of the critical report. In the CMO Editions and Source Catalogue (https://corpus-musicae-ottomanicae.de/content/index.xml?lang=en) , selecting "Editions" (https://corpus-musicae-ottomanicae.de/content/edition/browse.xml)  allows for viewing the editions of manuscripts written in Hamparsum notation, designated as Part 1. 

The number 1 next to the CMO abbreviation indicates this part. The number 2 represents sources in Western notation (Part 2). Therefore, if the piece in question is from a source written in Western notation, the code would be 2. The Roman numeral following the hyphen denotes Series I, which corresponds to manuscripts in the Rare Works Library at Istanbul University [İstanbul Üniversitesi Nadir Eserler Kütüphanesi].This information is available in the CMO Editions and Source Catalogue. For example, Series II represents the Arel Library at the Institute of Turkic Studies [İstanbul Üniversitesi Türkiyat Araştırmaları Enstitüsü Arel Kütüphanesi] at Istanbul University, Series III the Atatürk Library [İstanbul Büyükşehir Belediyesi Atatürk Kitaplığı], Series IV the National Library of Ankara [Milli Kütüphane, Ankara], among others.

The volume number of the listed codices follows the slash, and the number after the period specifies the piece’s number within that codex or manuscript.

Heading

In the Heading section of the template, the heading entered corresponds to the title of the piece within the codex. These headings are represented according to transliteration rules, based on the alphabet used in the codex (e.g., Turkish written in Armenian letters (TAL) or Ottoman Turkish).

Incipit

The incipit is a crucial element in vocal works, representing the first line or verse of the piece. This section captures the opening words as they appear in different sources, with a focus on maintaining the original poetic meter. 

For example:

sīnede bir laḥẓa ārām eyle gel cānım gibi (as it appears in an Ottoman Turkish source)

Sinēdē bir lâhza aram ēylē gēl canım gibi (as it appears in a TAL source)

Note on the Exclusion of Fill-in Words:

-The incipit should omit fill-in words such as ‘ah’ or ‘aman efendim’. These are often added for emotional or dramatic effect but do not belong to the core poetry. Therefore, if the line starts ‘ah’ and does not belong to the poetry, it should be excluded from the Incipit. For example, if a piece begins like ‘Ah rahi aşkʿında idüb kʿaddimi güda gönül aman ēfēndim’, the incipit of the piece should be ‘rahi aşkʿında idüb kʿaddimi güda gönül’. ‘Ah’ and ‘aman ēfēndim’ do not belong to the hemistich.

Introductory information about the purpose and content of the editions, as well as the guidelines. Can be separated in two sub-capitals if necessary.

The structure of the CMO Editions is to be understood as a framework to provide a common system for presenting a variety of works, each with unique features, depending on the individual manuscript they are based on. The editions are usually uploaded gradually, as bundles of single pieces at first, and as whole volumes when the edition of the manuscript is finalised. The progress of each edition has its own pace, depending on factors such as the condition of the original manuscript, complexity of the repertoire, number of concordant pieces, etc. Therefore, the uploaded editions present different levels of completion. After an edition is finalised as a whole, editions of single pieces might be subject to changes and revisions, in case the further analyses of the manuscript leads to new findings. Since the creation of machine readable editions are still in progress, most of the editions currently only present the PDF versions; editions in MEI and TEI formats will be uploaded gradually, as soon as they are prepared.

The metadata of the editions refer to the works created by authors within the framework of the CMO project, rather than the original manuscripts they are based on. Thus, they do not include structured information on the musical or textual content of the manuscripts. Some information related to these contents, such as certain musical parameters like makâm or usûl, might be found within the heading of pieces, because the headings are given on the basis of the originals in the manuscripts. Since the rich variety of scribal conventions does not allow a systematisation of the headings, they are given as plain text. For a more accurate search for the editions of specific musical pieces, it is highly recommended to use the source catalogue first, which allows to filter the results to show only the manuscripts and pieces that have already been edited and are directly linked to the editions. A clear overview of the already published editions, as well as the manuscripts that are planned to be edited, is available on the browsing page, including links to the editions.

Structure of the Editions

Main Series

This single dataset is already created: Corpus Musicae Ottomanicae: Critical Editions of Near Eastern Music Manuscripts

Metadata

Connections

Uploaded files

DOI Registration

'Parts' (First level of subseries according to the notation type)

These two datasets are already created: CMO1, CMO2

Metadata

Connections

Uploaded files

DOI Registration

'Series' (Second level of subseries according to library/collection)

There are currently 7 series under Part 1, and 5 series under Part 2. The number of these subseries might be subject to minor changes.

Metadata

Connections

Uploaded files

DOI Registration

e.g.: CMO1-I, Series I: The Manuscript Sources from İstanbul Üniversitesi Nadir Eserler Kütüphanesi

Volumes

Smaller manuscripts containing only (or mainly) instrumental music are published in one volume (e.g. CMO1-I/14), including the transcriptions and critical reports, as well as the commentary (i.e. introduction, manuscript description, etc.). According to the system we used until now, if the (mainly) instrumental manuscript contains one or two vocal pieces, the text editions were also included in this single volume (e.g. CMO1-I/13), as we thought it not reasonable to create a separate volume, including frametexts, introduction, etc., for such little material. The difference between text and music edition in this case is only apparent on the level of the single piece ('Article', as explained below). We are now considering creating minor volumes for these text editions as well, which would just be treated as regular volumes of text editions without causing any structural change.

Comprehensive manuscripts of instrumental music (e.g. CMO1-I/11) and manuscripts including vocal music (e.g. CMO1-I/02abc and CMO1-I/02de) are published in multiple volumes.

If the multivolume edition includes only instrumental music, and the critical reports are collected in one volume (within 'Commentary'), all of these volumes are uploaded in PDF/A format in the file container of the music edition dataset. In case of an edition of a vocal manuscript, music and text editions have separate datasets, both of which might include several volumes.

The number of volumes might change depending on the scope of the edition. For instance, the example CMO1-I/02 mentioned above includes two separate volumes for transcriptions (instrumental and vocal pieces separated), one volume for commentary and a substantial volume of supplément, all of which together constitute the music edition. The text edition on the other hand, consists of two volumes (the edition itself and again a substantial volume of supplément).

Metadata

Connections

Uploaded files

DOI Registration

Collections of Individual Pieces (Article Collections)

These datasets are created for the convenience of the users who are interested in all edition parts of a single piece or pieces.

Metadata

Connections

Uploaded files

DOI Registration

Individual Pieces (Article level 1)

A dataset is created for the editions of each piece, with which the further 'articles', the specific editions (music and text) of that individual piece are connected (e.g. CMO1-I/02.049).

Metadata

Connections

Uploaded files

DOI Registration

Edition Parts of Individual Pieces (Article level 2)

Datasets are created for music and text editions individually to include these two separate entities consisting of several files each (e.g. CMO1-I/02.049m and CMO1-I/02.049t).

Metadata

Connections

Uploaded files

DOI Registration

Notes

* Not to be confused with the field 'Published in', which is displayed as 'Appeared in' on the frontend.

** Due to the lack of a better corresponding document type in the vocabulary.

This section documents the workflows for various aspects of the project.

Creating a Sibelius file involves setting up the document with the appropriate CMO House Style, instruments, key signature, and time signature. This ensures that the file is correctly formatted and ready for detailed transcription work.

Workflow for Creating a Sibelius File

Select the CMO House Style:

Add Instruments:

Set Key Signature

Time Signature Setup: 

Create the File:

System

DOI assignment will follow the cmo_mods numbers that have been assigned to the CMO edition pages for the published transcription, commentary, text edition, as well as the individual pieces contained in editions. This method of assigning DOI numbers is intended to reduce the semantic information contained in the DOI, while still providing an accurate and unambiguous DOI that refers directly to the URL landing page where each edition publication, along with all of its associated metadata, is located.

The formula for assigning DOI numbers includes the prefix assigned for CMO publications, 10.60670, followed by the suffix that contains a semantic CMO identifier and the five-digit cmo_mods number of the dataset created for each publication within the CMO edition series. As an example we can consider the following DOI: 10.60670/CMO.00891

In this example, the DOI suffix CMO.00891 refers directly to the digital asset, cmo_mods_00000891, which is the dataset and landing page for the CMO edition CMO1-I/12, which is the full transcription and commentary prepared by Marco Dimitriou of the Hampartsum manuscript NE215 held at the Nadir Eserler Kütüphanesi of Istanbul University.

Although there is no semantic reference to the CMO identifier, original manuscript, publication date, or author contained within the assigned DOI, there is also no ambiguity because the DOI suffix refers directly to the cmo_mods dataset which contains all of the above-mentioned metadata within it, and is also the landing page for the PDF publication to which the associated metadata refers.

Because the cmo_mods number also points directly to the URL page where the digital publication and its dataset are contained, a quick look at any DOI reference for any CMO publications can quickly direct users to their digital location. For example, all of the URLs for CMO publications follow the same address formula based on their cmo_mods number, for example: https://corpus-musicae-ottomanicae.de/receive/cmo_mods_00000891

In this way, any reference to a DOI, such as 10.60670/CMO.00891, can quickly point researchers and readers to the exact URL location of the referenced publication based on the cmo_mods number included in the DOI suffix. Similarly, any of the cmo_mods numbers or URL addresses associated with CMO publication can also point users directly to the registered DOI entry based on the formula https://doi.org/10.0000/00000000 that is used by doi.org.

Instructions

The addition of a DOI Assignment button onto the relevant cmo_mods pages should be limited to the webpages associated with CMO publications. Because the cmo_mods entity is used for a wide variety of datasets, including bibliographic references and other types of research sources, the DOI should not be added to all of the cmo_mods pages.

Datasets to be assigned DOI numbers for the time being are only the ones where edition files are uploaded (as opposed to the datasets of series and subseries, where only metadata are entered and no files are uploaded), i.e.:

Datasets of single- and multi-volume editions (e.g. CMO1-I/11 and CMO1-I/14). Note that the datasets including transcriptions/critical reports/text editions altogether, such as CMO1-I/11.0 are not assigned DOI numbers, as these function as containers for the editions of individual pieces, where only metadata are entered and no files are uploaded.

Datasets of text and music editions of individual pieces (e.g. CMO1-I/14a.1m, CMO1-I/02.049m, and CMO1-I/02.049t). Note that the main datasets of individual pieces, such as CMO1-I/02.049 are not assigned DOI numbers, as these include only metadata, and no files are uploaded to these datasets.

Currently, DOI registration fails if the publication date is given as a range. The workaround in such cases for the time being is to give a single date before the DOI assignment, and correct the date as range after the registration is completed.

>

Note: In the example above, the "Index Heading" tab is not present. This is because the illustrated manuscript TR-Iboa TRT.MD.d.521 does not have an index (fihrist). If there were an index within the codex, and a heading for the piece was given in that index, the title written here would be displayed under the "Index Heading" tab in the critical report.

'Expressions' are the individual musical pieces that are contained in a 'Source'. For every piece contained in a source, a separate 'Expression' entry must be created. Once an 'Expression' entry is created, it is saved as an 'cmo_expression' entity and automatically assigned a number. The expressions contained in a source can then be added to their 'Source' so that they will be linked, and the links to all individual expression pages will appear on their respective 'Source' page.

To create an 'Expression' for an individual piece contained in a source, first click on the 'Editor' tab in the left side of the CMO Source Catalog home page. From the drop-down menu, selct 'Create new catalogue entry', and then from the CMO Content Generator page, choose 'Expression'. This will bring you to the 'Expression' entry page where all of the associated expression metadata can be entered.

Using the Excel index for the Source, you can create 'Expression' entries for each piece by adding all the metadata for each 'Expression'. The primary metadata fields are as follows:

These fields can be copied and pasted from the source index, or assigned by the catalogue editor. Additional metadata fields are available for lyricist, and various types of annotations.

Information about the sources (summary of origins, contents, types of notation and script, etc.). Sepcific topics can be written in separate sub-sections.

This section provides an overview of all terms relevant in for the XML representation of the edition, including a definition (relevant for the validation process) and explanatory remarks.

More information will follow soon.

Adjusting the page layout in Sibelius ensures that the score is visually consistent and meets the required formatting standards. This involves setting page margins, importing the correct house style, and fine-tuning the layout of the main sections of the piece.

Workflow for Adjusting Page Layout

When prompted with “Deleting this text will remove it from the score and all of your parts. Do you want it to be hidden here instead?”, click No.

View Layout Settings:

For instrumental pieces, set the staff line distance to 14.5 on both sides of the page. This may vary for vocal pieces, so follow the structure in the House Style you are importing.

Importing House Style (if necessary): 

Adjust Layout for Main Sections:

**Note: If you make each detail distance of the layout in 300 % Zoom unit, you can get the exact number 50 instead of fractional numbers like 50,2 or 49,9. 

Zoom Settings:

  1. Under View> Zoom> select the 300 %.

  2. In the lower right corner of the Sibelius window, there is a chart where you can adjust the ‘–’ and ‘+’ Zoom settings. You can also adjust them here if necessary.

An overview of the editorial conventions used for the musical and textual edition and the correspondence in MEI and TEI.

More information will follow soon.

The Remarks section provides essential notes that relate to the overall context of the piece within the codex. These notes address fundamental aspects that affect the general understanding of the piece, including physical properties of the source, annotations, structure, pitch usage, transliterations, editorial interpretations, special signs used by the scribe, and the version of the piece in relation to consulted concordances.

Workflow for Adding Remarks:

Physical Properties:

Examples:

(Source: Mıhçı, C. Ersin. “Kār-ı ḥafīf Dede Efendi: ʿAşḳ-ı tū nihāl-i ḥayret āmed,” in Codex TR-Iüne 204-2, p. 112.)

(Source: Mıhçı, C. Ersin. “Semāʿī sengīn Zekāʾī Efendi: Gülşende hezār naġme-i dem-sāz ile maḥẓūẓ,” in Codex TR-Iüne 204-2, p. 139.)

Annotations:

Example:

(Source: Mıhçı, C. Ersin. “Şett-i ʿarabān semāʿī,” in Codex TR-Iüne 204-2, p. 31.)

General Remarks:

Example:

(Source: Mıhçı, C. Ersin. “Naḳş muḫammes Ḫāce: Seyr-i gül-i gülşen bī-tū ḥarāmest,” in Codex TR-Iüne 204-2, p. 126.)

Transliterations:

Example:

(Source: Demirtaş, Salih. “P. Puselik, o. Zarbifēt‘, Z. Mēhmēd aġanın,” _Codex TR-Içağatay YZPER2_)

Editorial Interpretations:

Special Signs:

Variants, Concordances:

Unlike the workflows, this section explains the conventions used to create the editions within the project, aiming to facilitate a better understanding of them.

More information will follow soon.

Source Indexing

A Microsoft Excel index is created for each individual source, and sometimes one index is used for composite sources, or multiple sources can be combined into one index. The indices document: a) the content of each source (piece titles, composers, makam, usul, incipits, etc) and also record: b) the reference data assigned to each source and each piece contained therein (CMO identifier, RISM signature, work number, etc.). The data set saved in an index is the basis for what will be added to the online CMO source catalogue. The indices are also used internally by the CMO music editors to find concordances and to research pieces for their editions.

Formal Indexing

Reference Data

Reference data for each source and its contents must be assigned and indexed along with the source´s content. This includes the assignment and indexing of RISM Sigla, CMO Identifiers, and work numbers. The assignment of correct RISM Sigla and CMO Identifiers is important because these can show where the original source is held, and can point the user to the location of the original hard copy of the source. These are assigned firstly to the source itself, and secondly to each piece contained within the source. The assignment of these identifiers and sigla is usually accomplished by appending either the page number or the order number of each work to the RISM Library sigla, or to the CMO Identifier for each manuscript or print source.

Assignment of a RISM signature

RISM (Repertoire International des Sources Musicales) is an international organization aiming to document extant musical sources worldwide. A RISM Library Siglum is a code assigned to an archive or library that contains musical sources within its holdings. For example, the code TR-Iüne refers to the Istanbul Üniversitesi Nadir Eserler Kütüphanesi, while the code TR-Iütae refers to the Istanbul Üniversitesi Türkiyat Araştırmaları Enstitüsü Kütüphanesi. These codes are created by RISM. If a new music source is found in an archive or library that does not yet have a RISM Library Siglum assigned to it, it is possible to contact the RISM editorial team who will then assigna Library Siglum to that archive/library.

Issues on RISM signatures:

Assignment of a CMO identifier [tba]

Description of the source [tba]

[notation method, content, etc.]

Content Indexing

Indexing source content is the process of documenting all the contents contained in the hard copy of the manuscript/print source. This includes the titles of the pieces, their composers, the makâm and usûl of each piece, the incipit of vocal pieces, the genre, lyricist-poet, etc. Page numbers, and additional notes that may be found written in the margins of the original source are also documented in the index. If the source provides an index or a list of contents, this is also included. The index must document as closely as possible what is found in the original source, so spelling errors and mis-attributions are also recorded just as they are written, although they may be noted in the “Notes” column of the index.

Titles

Names of Composers and Lyricists

Incipits

Makâm, Usûl, and Genre

Page number / ordering number

Issues on pagination:

Entering catalogue information on the title page ensures that the score is accurately identified and referenced. This includes details such as the title, subtitle, makâm, usûl, and more.

Enter Catalogue Information

On the title page, enter the following information:

All Text Styles can be found under Text > Styles.

You can find these fields under the Catalog Information tab by clicking the bottom arrow of the adjustable list as shown in the Figure. 

Each entry is made by clicking on a note or rest sign (Text  > Styles > Catalog Information)

Additionally, under Headers and Footers (Text  > Styles > Header and Footers)

you will find:

This section presents an analytical overview of the piece’s formal structure. The structure section aims to accurately represent the form of the piece as notated in the source. The formal structure of vocal pieces is represented in table form according to the following five categories: Section, Text, Rhyme, Melody, Cycles. 

  1. Sīnede bir laḥẓa ārām eyle gel cānım gibi

  2. Geçme ey rūḥ-ı revān ʿömr-i şitābānım gibi

  3. Cüst [ü] cū ėtdim yine cānā Nedīmā bendeñe

  4. Bir efendi bulmadım devletli sulṭānım gibi

Since the first, second, and fourth hemistiches end with "gibi," and the third hemistich ends with "bendeñe," the rhyme is represented as a, a, b, a.

If we examine the example above: The first hem. starting with melody A continues with a different melody in the terennüm, hence represented by B. In Hâne 2, the second hem. has the same melodic features as in H1, so it is also represented as A and B in the terennüm. In the Miyânhâne, where a different melodic structure appears, this new melody is labeled as C.

Repeats are indicated by a combination of colon and vertical line, i.e. |: or :|. Repeat signs may be used in relation to Text, Melody, and/or Cycles. 

Steps:

Label Sections:

-'H' for hâne (e.g., H1 for the first hâne, H2 for the second, etc.).

-Miyânhâne is marked as (m), and in Beste form, it is usually H3, shown as H3 (m).

-Subsections like terennüm or nakarat are denoted by 't' and 'n', respectively.

Text:

Indicate Rhyme:

Describe Melody:

Show Cycles:

Issues related to the CMO customized MEI schema.

Title, Composer, Publisher, Composer’s Dates and CMO Identifier into the Other Information section.

Enter the information for each piece separately in the File tab:

As shown in the Figure, enter the Title, Subtitle (the first verse of the vocal piece is written in the Subtitle as an Incipit), Composer, Lyricist, Publisher (e.g. Corpus Musicae Ottomanicae) and the CMO Reference number (e.g. CMO1-I/6.30) in the ‘Other information’ section below.

The "Meter" section in the critical reports of vocal editions provides a practical tool for editors and readers. It helps the editor check the ratio of aruz (prosody) and usûl while placing syllables during the text underlay process. It also assists in addressing specific syllables in editorial notes and tracking issues related to the metrical pattern highlighted in the notes and transcription section.

Workflow for Illustrating Meter:

-Use the provided template to create the meter table, which includes the metrical pattern (Bahir) and the syllable count for each hemistich.

-Enter the metrical pattern (Bahir) from the text edition, prepared by the text editor.

Example metrical patterns:

Remel 1: Fâʻilâtün / fâʻilâtün / fâʻilâtün / fâʻilün

Hezec: Mef‘ûlü / mefâ‘îlü / mefâ‘îlü / fe‘ûlün

Hezec 2: Mef‘ûlü / mefâ‘îlü / mefâ‘îlü / fe‘ûlün 

-Use specific symbols to represent anomalies in the meter:

U: Merge (ulama/vasl) - represented with a superscript "u"

Z: Shortening (zihâf/kısaltma) - represented with a superscript “z”

I: Lengthening (imâle/uzatma) - represented with a superscript “i”

M: Insertion (med) - represented with a superscript “m”

The inclusion of the Meter table in critical reports has been incorporated into CMO Vocal Music Editions from 2023 onwards, based on the collaborative efforts of CMO Text Editor Dr. Neslihan Demirkol and CMO Music Editor Dr. C. Ersin Mihci, as well as the recommendations from the Academic Advisory Board of the CMO Project. We wish to express our sincere appreciation to Dr. Demirkol, Dr. Mihci, and Prof. Nilgün Doğrusöz Dişiaçık for their invaluable contributions.

This section is on issues related to the CMO customized TEI templates and schema.

The entire CMO-specific TEI customization is available for download as liquid documents:

Works are conceptualized to combine all variants of an individual piece (i.e. 'concordances') in one entity, and are identified by a 'work number'. Work numbers are assigned by music and/or data editors. On this page, you will find information on where and in which format/structure work numbers are documented, how are they to be created and processed.

Documentation

Structure of the Work Numbers

Work numbers consists of a prefix indicating whether the work is instrumental or vocal, 'CMOi' and 'CMOv' respectively, and a four digit number (starting with zero(s) if necessary to complete the number of digits).

The numbers have no semantic meaning and they give no information on the musical content of the work. They are thus simply assigned in ascending order, whenever a new 'work' is identified.

Workflow

Coordination with other editors
Assigning and documenting the work numbers
Organizing the follow-up process
Cataloguing

[to be added]

Preliminary Reminder: At the end of step 3, as mentioned in Zoom Settings, you should set the zoom to 300 % for any other text to be entered for the piece being worked on, or for the numbers given in the instructions for the position of the characters (e.g. eight squares, two squares distance, etc.).

Section: For the Hâne(s), select Section (Text->Styles->General->Section) and enter the relevant text  (e.g. H1, 2, 4) in Charis SIL font, size 11.1. The distance to the staff line should be eight squares at zoom 300%.

Usûl: For the Usûl, select Usûl name (Text->Styles->Techniques-> Usûl name) and enter the text (e.g. Çenber) in Charis SIL font, size 11. The distance to the staff line should be eight squares at zoom 300%. Also insert the letters D and T for Düm and Tek (Text->Styles->Techniques->Düm/Tek; Charis SIL font, size 10.1). The distance to the staff line should be one square at zoom 300%.

Note: Due to different versions of Sibelius, layout adjustments made in one version might appear differently in another, even if the same distance settings are used.

The pitch set represents every Hampartsum pitch sign used in the piece and its transcribed value in staff notation. This means that the original Hampartsum pitch signs from the source are shown as their equivalent in staff notation based on the editor’s choices, making the pitch set concept more visible. 

In CMO critical editions, editors can follow and utilize theoretical approaches that most accurately reflect the pitch understanding of the manuscript they are working on. For example, in early manuscripts, pitch signs that are modified with various additions, such as tildes or strokes to distinguish and detail different pitches, may not be adequately conveyed by the AEU (Arel-Ezgi-Uzdilek) system prevalent in the 20th century. Consequently, some editors might turn to different pitch systems and represent these pitches based on those theoretical frameworks. This demonstrates the receptiveness of CMO editions to new and/or different theoretical approaches, allowing flexibility for the editors rather than adhering to a single theoretical framework.

Steps:

Compile a list of All Pitches 

Enter Total Number of Pitches

Copy-paste Hampartsum Signs

Export the Pitch Set

This section of the critical report lists all the concordances relevant to the edition of the piece in question, but not all possible concordances. For the concordances, the RISM siglum of the library in combination with the shelfmark of the manuscript are listed in alphabetical order and the corresponding page numbers or folio numbers.

The section “Notes on Transcription” provides details about specific transcription issues. These primarily pertain to editorial interventions unique to a particular piece or part of a piece, rather than general editorial practices. Editorial interventions may be necessitated by reasons such as scribal errors in pitch, duration, or form; physical damage to the manuscript; unclear notation or text; or elements that require significant interpretation. Additional notes may address original corrections, such as deletions or additions by the original scribe, or changes made by subsequent scribes.

Square brackets within the transcription indicate an editorial intervention, and the corresponding passage will usually be annotated or discussed within the guidelines as a general practice. If no square brackets are used but a comment is still necessary, an asterisk (*) will be placed above the melody staff. This symbol can refer to a specific note or group, or it may mark the beginning of a longer passage that includes several groups or sections.

In all instances, comments are labelled in the sequence of division, group, and sign. 

For example, 5.1.1 refers to division 5, group 1, sign 1 – that is, the first sign in the first group of the fifth division of the piece, as seen in the example under 7: Transcribe Notation > Editorial comments. Within a group, signs are counted from left to right and include pitch signs (including superscript notes) and rest signs, but not duration signs placed above pitch signs, which are identified by referring to the pitch signs they modify. For longer passages, only divisions and groups are indicated, e.g., 8.1–10.2 (from division 8, group 1 to division 10, group 2); or only divisions, e.g., 4–18 (from divisions 4 to 18).

Concordances may be referred to or cited in the notes on transcription to clarify an editorial decision. These concordances are identified by the RISM Siglum of the source in which they are located (For RISM Sigla/Abbreviations, visit https://corpus-musicae-ottomanicae.de/content/edition/abbreviations.xml ). All cited concordances are listed with their respective page, folio or piece number in the final section of the commentary (See Consulted Concordances).

Workflow for Finalizing Editorial Notes

Division number

Sequence number of the group within the division

Sequence number of the pitch sign within the group

For example, a note numbered/coded as 5.1.1 refers to the first sign in the first group of the fifth division.

Inserting usûl (adjust meter if necessary):

-Import the appropriate usûl template from the server.

-Some of the usûls such as Dârb-I fetih, may require a few adjustments after importing (i.e. splitting measures for divisions etc.)

-Adjustment of dashed or invisible barlines could be necessary for usûls that are longer than 1 measure through Add or Remove in the Instrument section of Home tab.

- Darb: Hide the Time Signature and add the correct darb number (Text->Styles->General->Time Signatures->Darb), e.g. if the usûl is Çenber it requires 12/2 so that the darb should be written as 12.
- Add the Tempo denominator (Text->Styles->General->Performance Instruction (above) )

NOTE: They are the shortcuts for whole (w), half (h), quarter (q), eighth (e), sixteenth (x) notes. In Text it should be selected font: Opus Std) 

Transcribing the melodic line:

- Transcribe the sections of the piece to staff notation in consultation with the concordances.

- Add asterisk markers in the transcription for the editorial notes: Entering jotted version of editorial notes (Notes on Transcription) in critical report in consultation with the concordances. (See Editorial comments below)

Adding CMO Symbols and Necessary Text Styles:

- For Brackets: Notation>Symbols>Conductor>Start Bracket and End bracket:

- For Division Signs: Notation>Symbols>User-defined>Division or End cycle:

-Barlines: Notation>Barline

-For Line breaks: Text>General>Line break

-For Page breaks: Text>General>Page break

-Indicating Subsections: Text>General>Subsection

To indicate sections such as Terennüm, Zemînhâne, or Miyânhâne, select the Subsection. If the scribe in the manuscript writes these sections, they can be represented as given by the scribe. However, if the scribe has not provided them as text (even if indicated with a symbol), the editor should indicate the subsection in the transcription using square brackets (e.g. [Zemînhâne], [Terennüm]).

        

Figure a                                                                                                                      Figure b

For example, in Figure b, you might see “mian[hâne]” because the scribe has added "mian" in Armenian script, and the editor has shown "hâne" in square brackets since the word ‘hâne’ is added by the editor.

-Adding Directional Titles to 1st and 2nd Endings in a beste form

In the Notation tab, click on the dropdown box to open the main list as shown in the visual.

Under the System lines find the 1st ending and double-click on "1st ending".

In the section where you selected "1st ending", you will see an option to "Edit…" at the bottom. Click on this.

At the top, you will see "Name" with "1st ending" written next to it. Below this, you will see sections labeled "Line", "Start", and "Cap".

In the "Start" section, click on the "Edit" option next to "Text". A "Text" box will open, and you will automatically see "1." written there.

>

Replace "1." with "To Zemînhâne" and click "OK".

Repeat the same steps for the 2nd ending:

Click on "2nd ending".

Select "2nd ending" and click "Edit".

Click on "Line" > "Start" > "Text" > "Edit".

In the "Text" box that appears, enter "To Miyânhâne" instead.

These steps help guide the readers through the flow of the piece in beste form more easily.

-Performance instructions: Text>General>Performance instruction

Note: Depending on the conception and position of the addition in the manuscript, you can choose a more specific position such as Text>General>Performance instructions (above) or Text>General>Performance instructions (below).

Editorial comments: (Text>General>Editorial Comment)

As seen below, simply place the * symbol where the mouse will be after selecting the editorial comment. As mentioned above (>7: Transcribe Notation/Transcribing the melodic line), the purpose of this asterisk is to indicate that the editor has a comment at that position. In fact, the function of this asterisk is to support the notes on transcriptions under the "Notes on transcription" section in the critical report, where references are made to division numbers.

Another function of this symbol is to allow the editor to take notes while transcribing and later add these notes to the critical report, helping them remember the location. The asterisk also assists the editor in determining coordinates.

Based on the example here, the reader can view the note on the 1st symbol of the 1st group of the 5th division in the critical report under 5.1.1:

The final stage before layout is the placement of the syllables under the text. The text underlay may be provided in the codex you are working on, or it may not be provided at all. Within the CMO editions, two examples of text underlay provided in the codex can be found in Codex TR-Iüne 204-2 and TR-Iboa TRT.MD.d.521. An example where the text underlay is not provided, and the editor has placed the syllables themselves is the Edition of Codex TR-Iüne 208-6. You can review these on the Online publication Platform of CMO https://corpus-musicae-ottomanicae.de/content/edition/browse.xml.

Text Underlay Workflow

  1. Assign Lyric Line Numbers:

-Click on the note where the syllable will be entered

-Go to Text>Lyrics > Lyrics line 1 no

Sibelius will automatically wait for your command to enter a number (e.g. 1.) or letter (e.g. t1 for 1st part of terennüm).

For example, if the text underlay belongs to a "Beste" Form, the syllables of the first hemistich are typically given in H1. In the common structural feature of the beste form, the melodies of H1 (Zemînhâne), H2, and H4 are the same. if the text underlay of H1 is to be entered, for the line number click on Text > Lyrics > Lyrics line 1 no and enter "1.".

Since the second hemistich's syllables will be placed in the next line for H2, specify this by selecting line 2 in the same manner: Click on Text > Lyrics > Lyrics line 2 no and enter "2."

For the third line, where H4's words will appear, follow the same process. Click on Text > Lyrics > Lyrics line 3 no and enter "4." This is because hemistich 3 typically belongs to the Miyânhâne and has a different melody. Therefore, to enter the syllables for hemistich 3 in the Miyânhâne, click on Text > Lyrics > Lyrics line 1 no and enter "3." to represent Hem. 3.

Figure c: Lines 1, 2, and 3 for the hemistiches of H1, H2, and H4.

Figure d: Since the hem. 3 (Miyânhâne) is on the 1st line, the line no is 1, but the number for the hem. assigned by the editor will be 3.

2. Place the Syllables:

After assigning line numbers, the next step is to place the syllables on the respective lines. Just as with assigning line numbers, click on the note where the syllable will be entered and then go to Text > Lyrics > Lyrics Line 1.

Sibelius will automatically wait for your command to enter a syllable under the note in Line 1. At this stage, you can place the syllables appropriately.

-The editor may adhere to the placement style given by the scribe if a syllable underlay is provided. However, if it is necessary to intervene due to metrical/rhythmic considerations, the editor can make adjustments with proper justification. If no text underlay is provided by the scribe, the editor will place the syllables starting with a square bracket ‘[’ and ending with a square bracket ‘]’ based on the methodology followed.

Fundamental Rules for Placing Syllables

-Melisma on Opening/Intermediary Syllable:

Indicated by hyphenation, e.g., gēl - - - mēdi.

-Melisma on Final Syllable:

Indicated by an underscore, for example, ca-nım____.

-Repeated syllables: (in the beginning, middle, or final position)

Indicated by hyphenation, for example, ca-nım - - - nım.

-Single Syllable from Two Words: (Ulama case)

Separated by a vertical line, e.g. fēy (from lutʿf ēylē) becomes f|ēy:

When the final sound of one word and the first sound of the following word are written together as a single syllable, they are separated in the transcription by a vertical line, for example, fēy (from lutʿf ēylē) becomes f|ēy:

Note: The placement of a final consonant or semivowel of a syllable in the underlay may precede its actual pronunciation. In gēl - - - mēdi, for example, it can be assumed that the melisma occurs on ē rather than l, which is presumably pronounced immediately before m. Likewise, if the underscore follows a word-final consonant or semivowel (reflecting the placement of letters in the original underlay), it is assumed that the melisma is sung on the final vowel, for example, gülis-tʿan____. The exact placement of the final consonant or semivowel is left to the discretion of the performer. Alternatively, the placement of the final consonant or semivowel of a syllable may be specified by the source, in which case it is indicated by hyphenation, for example, gē - - - l - mēdi or gülis-tʿa - - - n. Both practices are encountered in the sources, and therefore also in the transcriptions. Accordingly, when the underlay is added by the editor, it may follow either practice, depending on the conventions of the concordances used as well as the discretion of the editor.

-Alternative Endings:

In the case that a single line of underlay has two or more alternative endings (as may occur in the beste, for example, when the terennüm concludes with the final word(s) of the relevant hemistich in each hâne), the alternative endings are enclosed in braces { } to indicate that they are all sung with the same surrounding text:

-Additional typographic features

Bold or italics used in block lyrics are not used in the underlay.

Brackets are used only for editorial insertions or emendations.

Performance instructions related to the lyrics, usually directing the singer to the next hemistich, are transcribed as they appear in the source, with the number of the hemistich supplied by the editor.

Instructions to proceed to a particular hemistich or section of the text may also be supplied by the editor in brackets to clarify the order of performance:

  1. Block Lyrics in Manuscripts:

Block lyrics are often supplied in the manuscripts preceding or following the notation of a vocal piece.

The layout of block lyrics (i.e., alternation of verse and terennüm sections, line breaks, and spacing) follows conventions observed in printed and manuscript collections of song texts.

The order of text presentation in the source is generally adhered to, but spacing and line breaks may be altered by the editor for clarification and consistency.

2. Typographic Conventions

Hemistichs: Given in bold.

Nonsense Syllables and Words (Terennüm) and Exclamations: In roman.

Formal Labels (e.g., miyānḫāne) and Performance Instructions (e.g., mükerrer): In italics.

Separation of Sections: Verse and terennüm sections are separated by an empty line.

Formal labels are adjoined to the relevant section of text.

Performance instructions are separated from verse and terennüm sections by an empty line if they occupy a whole line, or by a tab space if they occur on the same line as a hemistich or part of the terennüm.

3. Line Breaks and Modifications

Original Line Breaks: Each hemistich typically occupies a single line.

If necessary to modify line breaks (e.g., to place a hemistich on one instead of two lines), the original line breaks are indicated by forward slashes (/) within that section of text only.

If no adjustment is made, original line breaks are not indicated.

Terennüm Sections: Line breaks are usually applied arbitrarily by the scribe based on spatial distribution on the page.

Editorial line breaks correspond to internal textual or musical units (labelled t1, t2, t3, etc.) shown in the Structure part of the critical report.

Forward slashes are used only if original line breaks have been modified.

4. Additional Textual Material

Underlay vs. Block Lyrics: Additional textual material in the underlay but not in the block lyrics (e.g., exclamations, verse, nonsense syllables, or words) is added by the editor and enclosed in braces { }.

If textual material in the block lyrics differs from the underlay, it is underlined and marked with a superscript number.

The variant in the underlay is provided in a footnote below the block lyrics.

If material is omitted from the underlay, it is marked in the block lyrics in the same manner and indicated in the footnotes by "omit."

Discrepancies between block lyrics and underlay are indicated only if they relate to substantive differences, not orthographic differences.

5. Performance Instructions and Order

Adding Performance Instructions: Performance instructions, as well as sections of verse or terennüm, may be added by the editor to clarify the order of performance in complex pieces.

This helps avoid significant discrepancies between the block lyrics and the score.

Block lyrics represent a concise but accurate performance order of the piece, except in the case of the beste, where the terennüm follows the entire verse in the block lyrics but follows each hemistich in performance.

6. Deriving Block Lyrics

No Block Lyrics in Source: If block lyrics are not provided in the source, they are derived from the underlay by the editor.

Additional text not included in the underlay and correct orthography are based on concordances, including both notated sources and song-text collections.

- General layout

Quantity of divisions per line can vary from piece to piece. For example, instrumental pieces generally may have two divisions on a line. However, if the melodic line contains many notes, there may be only one division on a line in such cases. It is recommended that an editor ensures the line arrangement (in terms of the distance between the last bracket and the division or end cycle sign at the end of the line) is seen consistently.

In semâî or some pieces, if spreading one or two divisions across a line creates too much blank space, even three divisions can be placed on the same line.

First Sections of Each Hâne:

Divisions starting with the first sections of each hâne are only shown on one line because sections like H1 or H3 (Miyânhâne) are already indented (Staff line distance 50), making them narrower compared to other lines.

Manual Adjustments in Sibelius:

Since Sibelius does not automatically arrange the desired layout, the editor must make such adjustments manually.

To extend a line to a new line below, the editor should click Layout>Breaks>System Break.

If the editor wants to combine divisions, they should click Layout>Format>Keep Bars Together to merge the divisions.

Ensure that the spaces between divisions are balanced.

Spacing and Alignment:

There can be roughly six squared spaces (at 300% zoom) counted between the closing bracket of the last group and the division sign at the end of the line.

It is recommended to have two squares between the Key signature and Darbs.

Then two squares between the number of the lyric line and the darb.

Adjusting Positions:

The automatic position seems like this:

 Therefore, adjusting is required!

Use the keyboard shortcuts (↑ + ALT + “→”) to change positions.

Continue by clicking on the note, not the song number, while changing positions, as Sibelius automatically adjusts the lyrics and the song numbers.

It is also advisable to have a two-square distance between the last sign in the key signature at the beginning of a line and the first group’s bracket or the first symbol:

Sometimes, during this alignment process, hyphens between syllables in the text underlay can disappear due to the close spacing. In such cases, the distance may exceed two squares.

- Check all the formatting and layout settings explained before.

This section of the critical report lists all the concordances relevant to the edition of the piece in question, but not all possible concordances. For the concordances, the RISM siglum of the library in combination with the shelf mark of the manuscript are listed in alphabetical order and the corresponding page numbers or folio numbers.

For example, some of the concordances consulted for the piece "Sinede bir lâhza aram eyle gel canim" in the manuscript TR-Iboa TRT.MD.d.521 are documented as follows:

-TR-Iboa TRT.MD.d.400, pp. 223-4

-TR-Iboa TRT.MD.d.450, p. 1

-TR-Iboa TRT.MD.d.567, p. 28

-TR-Iüne 204-2, p. 148

-TR-Iüne 208-6, p. 105

-TR-Iüne 209-7, fol. 80a

(See also c. Transcription>1: Concordance(s) )

Basic information about the piece is taken from the Source Catalogue, either in standardized spelling and terminology or in transliteration. These include: 

[Single items might be detailed here if necessary, especially if it is not to be clarified in the guidelines for the Source Catalogue, such as the source of particular information.]

In-score text in the transcriptions include:

Slightly more information might be needed here, compared to catalogue information for instance, to clarify the distinction between (and usage os) underlay and block lyrics. as well as the content of the lyrics (terennüm, verse, etc.). Particular types can then be explained in relevant sub-sections.

This page documents all elements, attributes and values that are specifically designed for the CMO customization.

Header

Element

Custom

Attribute

Custom

Mandatory?

Value

List Type

Custom

Definition (for use in validation)

tei:title

no

@type

no

no

desc

titleTranscription

main

alt

sub

closed


X

X

X

X

Title header section with the descriptive parameters of an individual piece.

Title of the musical piece the lyrics belong to in academic transcription from the script originally used in the source.

Main title of a source as noted in the CMO source catalogue.

Main alternative title of a source as noted in the CMO source catalogue.

Subtitle of a source as noted in the CMO source catalogue.

tei:note

no

@type

no

no

makamTranscription

makamStandardized

usulTranscription

usulStandardized

genreTranscription

poeticForm

poeticGenre

bahir

meter

publicationInformation

persons-institutions

other

date

closed

X

X

X

X

X

X

X

X

X

X

X

X

Type of the makam in academic transcription from the script originally used in the source.

Type of the makâm in standardized modern spelling.

Type of the usul in academic transcription from the script originally used in the source.

Type of the usul in standardized modern spelling.

Type of the musical genre in academic transcription from the script originally used in the source.

Type of the poetic form.

Type of the poetic genre.

Type of the bahir.

A fixed type of meter pattern consisting of 2-5 feet.

Information on a publication as noted in the CMO source catalogue.

Information on persons or institutions as noted in the CMO source catalogue.

Information on any other observation as noted in the CMO source catalogue.

Information on the dating of a source as noted in the CMO source catalogue.

tei:supplied

no

@reason

no

yes

provided-by-editor

closed

X

Indicates additional information on a piece of text inferred from other analyses, conducted by an editor.

tei:supplied

no

@cert

no

yes

0

0.5

0.75

1

closed


No attribution to a piece of specific information is given or can be made.

The attribution is made by the editor on implicit evidence with more than one possible choice.

The attribution is made by the editor on implicit evidence for a piece of specific information.

The information is either clearly named in the text or is identifiable without a doubt.

tei:supplied


@resp

no

yes


open


See tei:name[@xml:id] set in tei:seriesStmt.

tei:idno


@type

no

yes

CMO

RISM

GND

ORCID

semi-open

X

X

X

X

Identifies a piece of information following the definitions or structure of CMO.

Identifies a piece of information following the definitions or structure of RISM.

Identifies a piece of information following the standards of the GND.

Identifies a piece of information following the standards of ORCID.

tei:author

no

@role

no

no

lyricist

composer

closed

X

X

Name of the person to whom the lyrics are attributed.

Name of the person to whom the music is attributed.

tei:author

no

@cert

no

no

0

0.5

0.75

1

closed


No attribution to a piece of specific information is given or can be made.

The attribution is made by the editor on implicit evidence with more than one possible choice.

The attribution is made by the editor on implicit evidence for a piece of specific information.

The information is clearly named in the text and is identifiable without a doubt.

tei:author

no

@resp

no

no


open


See tei:name[@xml:id] set in tei:seriesStmt.

tei:editor
(attribute for use
within tei:titleStmt)

no

@role

no

no

author

contributor

proofreader

compiler

open

X

X

X

X

The author responsible for the edition.

Any other person responsible for the scientific contents of the edition.

Any individual that proofread the edition.

An individual that compiled an original song text collection.

tei:date

no

@calendar

no

yes

hijri

rumi

gregorian

closed

X

X

X

The date provided is in the Arabic Hijri lunar calendar.

The date provided is in the Ottoman Rumi solar calendar.

The date provided is in the Gregorian solar calendar.

Body

Element

Custom

Attribute

Custom

Mandatory?

Value

List Type

Custom

Definition (for use in validation)

tei:div


@type

no

yes

pieceNewStart

blockLyricsTranscription

blockLyricsReconstructed

glossary

bibliography

closed

X

X

X

X

X

Text area collating the page number and piece number, usually written at the top of a page / beginning of a piece.

Text area containing the block lyrics in academic transcription from the script originally used in the source.

Text area containing Latin transcription from an original, but different Ottoman Turkish source in Arabic letters.

Text area containing terms and definitions.

Text area containing bibliographic data.

tei:milestone


@unit

no

yes

cite

closed


Reference to the printed text edition in PDF format.

tei:milestone


@source

no

yes

#cmo_mods_########

open

X

The 8-digit code refers to the unique identifier that links to the page with the original PDF text edition of the piece.

tei:msItem


@n

no

yes


open


The identifier of the manuscript part containing the block lyrics according to the piece number.

tei:locus


@from@to

no

yes


open


The identifier on which page the block lyrics appear according to the page number in the manuscript.

tei:rubric


@type

no

yes

pieceNumber

titeTranscription

makamTranscription

closed

X

X

X

Indicates the notation of the piece number in incrementing counting.

Title of the musical piece the lyrics belong to in academic transcription from the script originally used in the source.

Type of the makam in academic transcription from the script originally used in the source.

tei:rubric


@subtype

no

yes

red-pencil

red-ink

black-ink

closed

X

X

X

Indicates the notation of a piece-related information (e.g. piece number, makâm, etc.) with a red pencil in the manuscript.

Indicates the notation of a piece-related information (e.g. piece number, makâm, etc.) with a red(dish) ink in the manuscript.

Indicates the notation of a piece-related information (e.g. piece number, makâm, etc.) with a black(ish) ink in the manuscript.

tei:term
(attribute for use
within tei:head)


@type

no

no

genre

usul

closed

X

X

Defines a word/words in the headline as the genre.

Defines a word/words in the headline as the usul.

tei:lg


@decls


yes


closed

X

Reference to the tei:metSym[@xml:id] of a specific sub-meter unter tei:metDecl[@xml:id="vezin"]

tei:lg


@rhyme

no

yes


open


Indication of the rhyme structure of hemistiches in small letters, separated by hyphens, e.g. "a-a-b-a".

tei:seg


@type

no

yes

vocal

instruction

information

closed

X

X

X

Text for any act of creating musical sounds with the voice.

Text that provides information on how to execute the vocal performance.

Text that provides additional information by the editor.

tei:seg


@ana

no

yes

mainPartLyrics

terennüm

closed

X

X

Text for the main lyrics that consist of a proper sentence following the syntax of the underlying language in the form of a distich. Only with @type "vocal".

Text for other intermittent or stand-alone lyrics, either isolated words or syllables that make up no syntactic structure; or indication of performance instructions. With either @type "vocal" or "instruction".

tei:stage


@type

no

yes

stop

repetition

pointer

music


X

X

X

X

Instruction to terminate a vocal performance. With @ana "temme".

Instruction to repeat a vocal performance. With @ana "ilaAhirihi", "mükerrer", "eyzan", "terennümKelevvel".

Any non-verbal text highlighting the internal structure of the text to be performed. With @ana "eyzan", "miyanHane", "bendiSani", "bendiSalis", "haneiSani".

Non-verbal text not in relation to vocal performance but in reference to music. With @ana "usul"

tei:stage


@ana

no

yes

temme

ilaAhirihi

mükerrer

eyzan

terennümKelevvel

bendiSani

bendiSalis

haneiSani

miyanHane

usul

closed

X

X

X

X

X

X

X

X

X

X

Termination of a vocal performance.

Text fragment that replicates a part of a hemistich written out in full earlier in the text to repeat its performance in full again, indicated by either "ilā-āḫirihi" or its abbreviated form "ilaḫ".

Repetition of the performance of a preceding text part or line.

Pointing out the following text to be performed next.

Repetition of the preceding entire terennüm.

Indication of the second distich (2nd couplet) in a poem.

Indication of the third distich (3rd couplet) in a poem.

Indication of the second distich in a poem.

Indicates the third hemistich in a poem that may involve different music, indicated by either "miyānḫāne" or abbreviated as "miyān".

Indication of a specific usul within the text for vocal performance.

tei:note


@type

no

no

lyricist

closed

X

Name of the lyricist of the text, assured or reconstructed, according to the information in the header section.

tei:supplied


@reason

no

yes

derived-from-lyrics

omitted-in-original

provided-by-editor

reconstruced-from-source

closed

X

X

X

X

Indicates the incipit as derived from the first line of the main part lyrics of a piece added by an editor.

Indicates one or more letters absent in the primary source, reconstructed by an editor.

Indicates additional information on a piece of text inferred from other analyses, conducted by an editor.

Indicates the text of lyrics and instructions taken from a source different to the one the piece is located in, conducted by an editor.

tei:supplied


@cert

no

yes

0

0.5

0.75

1

closed


No attribution to a piece of specific information is given or can be made.

The attribution is made by the editor on implicit evidence with more than one possible choice.

The attribution is made by the editor on implicit evidence for a piece of specific information.

The information is clearly named in the text and is identifiable without a doubt.

tei:supplied


@resp


yes


open


See tei:name[@xml:id] set in tei:seriesStmt.

Back

Element

Custom

Attribute

Custom

Mandatory?

Value

List Type

Custom

Definition (for use in validation)

tei:div


@type

no

yes

source

provenance

readings

annotation



Text area in the critical apparatus that indicates the source consulted for the provision of a block text of lyrics and instructions.

Text area in the critical apparatus that indicates the different sources of these lyrics.

Text area in the critical apparatus that indicates different spellings or words in other sources.

Text area in the critical apparatus with editorial notes.

tei:rdg


@type

no

no

orthographic-variant

omission

misspelled

addition

variant-reading

closed

X

X

X

X

X

The word(s) in the referred source is/are an orthographic variant, e.g. būse and pūse.

The word(s) is/are not represented in the referred source.

The word(s) in the referred source is/are clearly a misspelling, e.g. ḥafīf.

The word(s) in the referred source is/are absent in the current piece.

The word(s) in the referred source is/are a variant in terms of grammar, synonymy, etc.

tei:note
(for use within
div="annotations")


@type

no


divan-variant

closed

X

A variant reading to the original source that does not appear in another musical source, but in the divan of a poet, either a manuscript, printed and/or edited book.

Conventions used for the musical edition as used and set in Sibelius. More information will follow.

Convention

Meaning

Definition

MEI Correspondence

Native to Sibmei

Suggested MEI Form

┌ ┐

Group


mei:

no

@type="group"

This part will be gradually completed by music editors. The current structure and contents mentioned are to be understood as suggestions.

This section contains a step-by-step guide to editing manuscripts notated in Hampartsum notation with Sibelius according to the CMO edition standards.

Music Edition for Instrumental Pieces

Provides detailed workflows and instructions specific to the editing of instrumental manuscripts.

Music Edition for Vocal Pieces

Provides detailed workflows and instructions specific to the editing of vocal manuscripts.

Before embarking on the actual transcription, it is advisable to carry out a preliminary examination of the manuscript in its entirety. This is because the characteristics of the manuscript determine the editorial approach to be applied. Particular attention should be paid to details that may influence the editorial result. This includes first of all an examination of the scribe(s) or the writing style. Is Arabic or Armenian script used in the titles and performance instructions? Different forms of scholarly transliteration or transcription are used according to the respective alphabet. Are there any indications in this context that allow the manuscript to be dated?

The physical condition of the manuscript should also be examined. Are there any illegible passages or are parts of the manuscript damaged? If so, it is advisable to find concordances for the relevant passages, which you can refer to in case of doubt.

It is also important to get an overview of the content. Which genres are included? Are they exclusively instrumental pieces or are there also vocal pieces? This also has an effect on the layout of the edition. The notated makâms should also be taken into account, as they require the use of the corresponding key signatures and house styles. In addition, a matching of the composer attributions can help with the classification of the repertoire and, at best, with the dating of the manuscript.

The type of notation found is of particular importance for the editorial process. Is it an early form of notation with implicit rhythmic indications (HNIR) or a more precise form of notation with explicit durations (HNER)? The use of pitch signs should also be examined in this context. In the corpus of manuscripts available so far, different interpretations of the pitch signs can be found. Depending on their form, these may indicate an older pitch system or reflect a transition to the modern understanding of the pitch system of Ottoman art music. This in turn also influences the choice of key signatures and accidentals. In addition, structural signs or previously unknown symbols should also be considered.

Before embarking on the actual transcription, it is advisable to carry out a preliminary examination of the manuscript in its entirety. This is because the characteristics of the manuscript determine the editorial approach to be applied. Particular attention should be paid to details that may influence the editorial result. This includes first of all an examination of the scribe(s) or the writing style. Is Arabic or Armenian script used in the titles and performance instructions? Different forms of scholarly transliteration or transcription are used according to the respective alphabet. Are there any indications in this context that allow the manuscript to be dated?

The physical condition of the manuscript should also be examined. Are there any illegible passages or are parts of the manuscript damaged? If so, it is advisable to find concordances for the relevant passages, which you can refer to in case of doubt.

It is also important to get an overview of the content. Which genres are included? Are they exclusively instrumental pieces or are there also vocal pieces? This also has an effect on the layout of the edition. The notated makâms should also be taken into account, as they require the use of the corresponding key signatures and house styles. In addition, a matching of the composer attributions can help with the classification of the repertoire and, at best, with the dating of the manuscript.

The type of notation found is of particular importance for the editorial process. Is it an early form of notation with implicit rhythmic indications (HNIR) or a more precise form of notation with explicit durations (HNER)? The use of pitch signs should also be examined in this context. In the corpus of manuscripts available so far, different interpretations of the pitch signs can be found. Depending on their form, these may indicate an older pitch system or reflect a transition to the modern understanding of the pitch system of Ottoman art music. This in turn also influences the choice of key signatures and accidentals. In addition, structural signs or previously unknown symbols should also be taken into account.

Aruz: The system of prosody used in Arabic, Persian and classical Ottoman poetry.

Bahir: Standard prosodic meter

Meter: Varying sub-meter (vezin in Turkish) within each standard meter

Scansion: Showing the weight of syllables, or the rhythmic structure in every line

Used in: tei:note, tei:metDecl, tei:metSym, tei:lg, tei:l

Standard prosodic symbols for scansion:

Symbol

Description

Definition

u

short syllable

A syllable of the form cv or v.

–

long syllable

A syllable of form cV, cVc, cvc, cVcc, cvcc, vc, or V.

x

anceps

The position in a metrical pattern which can be filled by either a long or a short syllable.

U

merge (ulama/vasl)


Z

shortening (zihâf/kısaltma)


I

lengthening (imâle/uzatma)


M

insertion (med)


|

foot division

The separator of two feet within a meter, for RegEx purposes always set at the end.

List of feet used in meter patterns

Name

Pattern for tei:metDecl[@met]

Name @xml:id

Description

fâ’

– |

fa


fâ’ilâtü 

– u – u |

failatu


fâ’ilâtün 

– u – – |

failatun


fâ’ilün 

– u – |

failun


fa’lün 

– – |

falun


fe’ilâtün 

u u – – |

feilatun


fe’ilün

u u – |

feilun


fe’ûl

u – |

feul


fe’ûlün 

u – – |

feulun


mef’ûlü 

– – u |

mefulu


mef’ûlün 

– – – |

mefulun


mefâ’îlü

u – – u |

mefailu


mefâ’ilün

u – u – |

mefailun1


mefâ’îlün 

u – – – |

mefailun2


müfte’ilâtün

– u u – – |

mufteilatun


müfte’ilün 

– u u – |

mufteilun


müstef’ilün

– – u – |

mustefilun


mütefâ’ilün 

u u – u – |

mutefailun


List of Meters used:

Name of bahir

Name of sub-meter (Vezin)

Alignment of the feet

Scansion for tei:metDecl[@met]

Name @xml:id

Definition

Description

Cedîd

Cedîd 1

fe’ilâtün / fe’ilâtün / mefâ’ilün

u u – – | u u – – | u – u – |

cedid1



Hezec

Hezec 1

mef’ûlü / mefâ’îlü / mefâ’îlü / fe’ûlün

– – u | u – – u | u – – u | u – – |

hezec1




Hezec 2

mef’ûlü / mefâ’îlün / mef’ûlü / mefâ’îlün

– – u | u – – – | u – u | u –  – |

hezec2




Hezec 3

mef’ûlü / mefâ’ilün / fe’ûlün 

– – u | u – u – | u – – |

hezec3




Hezec 4

mefâ’îlün / fe’ûlün / mefâ’îlün / fe’ûlün

u – – – | u – – | u – – – | u – – |

hezec4




Hezec 5

mefâ’îlün / mefâ’îlün / mefâ’îlün / mefâ’îlün

u – – – | u – – – | u – – – | u – – – |

hezec5




Hezec 6

mefâ’îlün / mefâ’îlün / mefâ’îlün / fe’ûlün

u – – – | u – – – | u – – – | u – – |

hezec6




Hezec 7

mefâ’îlün / mefâ’îlün / fe’ûlün

u – – – | u – – – | u – – |

hezec7




Hezec 8

mefâ’îlün / mefâ’îlün

u – – – | u – – – |

hezec8



Hezec (Ahreb)

Hezec (Ahreb) 1 (Rubâî Meter)

mef’ûlü / mefâ’îlün / mef’ûlü / fe’ûl

– – u | u – – – | – – u | u – |

hezecahreb1




Hezec (Ahreb) 2 (Rubâî Meter)

mef’ûlü / mefâ’îlü / mefâ’îlü / fe’ûl

– – u | u – – u | u – – u | u – |

hezecahreb2




Hezec (Ahreb) 3 (Rubâî Meter)

mef’ûlü / mefâ’îlün / mef’ûlün / fâ’

– – u | u – – – | – – – | – |

hezecahreb3




Hezec (Ahreb) 4 (Rubâî Meter)

mef’ûlü / mefâ’îlün / mefâ’îlün / fâ’

– – u | u – – – | u – – – | – |

hezecahreb4




Hezec (Ahreb) 5 (Rubâî Meter)

mef’ûlü / mefâ’ilün / mefâ’îlü / fe’ûl

– – u | u – – – | u – – u | u – |

hezecahreb5




Hezec (Ahreb) 6 (Rubâî Meter)

mef’ûlü / mefâ’ilün / mefâ’îlün / fâ’

– – u | u – – – | u – – – | – |

hezecahreb6



Hezec (Ahrem) (Rubâî Meter)

Hezec (Ahrem) 1 (Rubâî Meter)

mef’ûlün / mef’ûlü / mefâ’îlü / fe’ûl

– – – | – – u | u – – u | u – |

hezecahrem1




Hezec (Ahrem) 2 (Rubâî Meter)

mef’ûlün / mef’ûlü / mefâ’îlün / fâ’

– – – | – – u | u – – – | – |

hezecahrem2




Hezec (Ahrem) 3 (Rubâî Meter)

mef’ûlün / mef’ûlün / mef’ûlü / fe’ûl

– – – | – – – | – – u | u – |

hezecahrem3




Hezec (Ahrem) 4 (Rubâî Meter)

mef’ûlün / mef’ûlün / mef’ûlü / fâ’

– – – | – – – | – – u | – |

hezecahrem4



Kâmil

Kâmil 1

mütefâ’ilün / fe’ûlün / mütefâ’ilün / fe’ûlün

u u – u – | u – – | u u – u – | u – – |

kamil1



Muzâri

Muzâri 1

mef’ûlü / fâ’ilâtü / mefâ’îlü / fâ’ilün

– – u | – u – u | u – – u | – u – |

muzari1




Muzâri 2

mef’ûlü / fâ’ilâtün / mef’ûlü / fâ’ilâtün

– – u | – u – u | – – u | – u – – |

muzari2



Müctes

Müctes 1

mefâ’ilün / fe’ilâtün / mefâ’ilün / fe’ilün

u – u – | u u – – | u – u – | u u – |

muctes1



Münserih

Münserih 1

müfte’ilün / fâ’ilün / müfte’ilün / fâ’ilün

– u u – | – u – | – u u – | – u – |

munserih1




Münserih 2

müfte’ilâtün / müfte’ilâtün

– u u – – | – u u – – |

munserih2



Recez

Recez 1

müfte'ilün / mefâ’ilün / müfte'ilün / mefâ’ilün

– u u – | u – u – | – u u – | u – u – |

recez1




Recez 2

müfte’ilün / müfte’ilün / müfte’ilün / müfte’ilün

– u u – |– u u – |– u u – | – u u – |

recez2




Recez 3

müstef’ilün / müstef’ilün / müstef’ilün / müstef’ilün

– – u – | – – u – |– – u – | – – u – |

recez3



Remel

Remel 1

fâ’ilâtün / fâ’ilâtün / fâ’ilâtün / fâ’ilün

– u – – | – u – – | – u – – | – u – |

remel1




Remel 2

fe’ilâtün / fe’ilâtün / fe’ilâtün / fe’ilün

u u – – | u u – – | u u – – | u u – |

remel2




Remel 3

fâ’ilâtün / fâ’ilâtün / fâ’ilâtün

– u – – | – u – – | – u – – |

remel3




Remel 4

fâ’ilâtün / fâ’ilâtün / fâ’ilün

– u – – | – u – – | – u – |

remel4




Remel 5

fâ’ilâtün / fâ’ilâtün / fâ’ilâtün / fâ’ilâtün

– u – – | – u – – | – u – – | – u – – |

remel5




Remel 6

fe’ilâtün / fe’ilâtün / fe’ilâtün / fe’ilâtün

u u – – | u u – – | u u – – | u u – – |

remel6



Serî

Serî 1

müfte’ilün / müfte’ilün / fâ’ilün

– u u – | – u u – | – u – |

seri1



The CMO source catalogue is the main entry point to the research data. The team of researchers at the Orient Institut Istanbul are responsible for the continuous development of the content.

The textual information include the following three categories.

House styles are essential in editorial work because they contain all the relevant data on formatting, text styles, key signatures, etc. In other words, they encompass everything characteristic of the layout of CMO editions. Each editor should prepare a set of house styles for each edition or manuscript and store them in the Sibelius Avid folder and on the common CMO net drive, as detailed further below.

House styles do not have to be created from scratch; they can be based on existing ones, which can be easily adapted and modified. The most critical feature to be modified in the house styles is the key signatures. Before doing so, however, the editor should have a clear understanding of the makâms that will be needed for the manuscript edition. Therefore, a thorough study of the makâms and accidentals is an essential step before starting the manuscript edition.

It is very helpful to prepare a table with all the necessary information before creating new key signatures. This ensures that the editor does not miss anything. The following provides an example of how such a table could look:

The naming of house styles follows a specific model that should be consistently adapted. The format consists of:

CMO + Voc (for vocal) + Ks (Key signature) + digit (the number of used Key signatures) followed by the abbreviation of the manuscript.

For example, a house style might be named CMO_Voc_KS3_XYZ. A detailed table of these abbreviations can be found at:

https://corpus-musicae-ottomanicae.de/content/edition/browse.xml (For the collections)

https://corpus-musicae-ottomanicae.de/content/edition/abbreviations.xml (For Library Sigla) 

Technical Information on CMO Key Signatures

Before starting with the instructions, here is some technical information on CMO key signatures. In Sibelius, all pre-determined Major and Minor key signatures are digitally defined. However, CMO key signatures, which are derived from the Ezgi-Arel system in this context, are purely visual reproductions with no digital metadata behind the signs.

Since the CMO collaborates with scholars from digital humanities who aim to program a digital output for our scores, it is necessary to indicate the key signature information to make it accessible for them. Currently, the CMO uses a code to indicate this information in the form of metadata. Each accidental in the key signature is indicated by one digit and one letter.

For example, if there are three accidentals in the key signature, the code might look like:

4k 8b 3m

The digits refer to the notation system:

The used letters are defined as follows:

By following this coding system, the key signature information can be accurately represented and accessed in a digital format.

Creation of Key Signatures

To create a new key signature in Sibelius, you can follow these step-by-step instructions:

  1. Access Symbols: Navigate to the "Notation" tab located in the top menu of Sibelius.

  2. Open Symbols Window: Click on "Symbols" to open the symbols window. This window will display a variety of available symbols for your score.

  3. Find Key Symbols: Within the symbols window, navigate to the "keys" category. Here, you'll find a range of key symbols such as G key, F key, C key, and others.

  1. Select Clef: Double-click on one of the clefs in your score that does not have any accidentals. In your specific case, there may be two or more clefs without accidentals.

5. New Window: Upon double-clicking, a new window will open. On the right side of this window, you'll see the treble clef.

Here you can click on the “add” button to add more accidentals. Once they are added, they have to be moved to the correct position. There are fixed measures to do so. Each added accidental should be moved +1,25 units horizontally. Hence, the measures would be 3,50 for the first accidental; 4,75 for the second; 6 for the third accidental etc. Vertically they can be moved in 0,5 units by +0,5 or -0,5. Do not forget to name the key signature with the correct CMO code under “Name”. When the desired accidentals have been entered press “OK”, and the treble clef in the symbol’s window will appear in the new modified form. The Key will appear now under “keys” in the “Notation” tab. You can also press “q” and see if the newly created key signature is now available.

By following these steps, you can easily access and insert key signatures into your Sibelius score.

Introduction

House styles are indispensable in our daily editorial work, because they contain all the relevant data on formatting, text styles, key signatures etc., with other words, everything that is characteristic of the layout of the CMO editions. The editor should prepare for each edition or manuscript a set of house styles and store them on the Sibelius Avid folder and on the common CMO net drive, as I will explain further below. The house styles do not have to be created from zero, but they can be created based on already existing ones, which can be easily adopted and modified. The most relevant feature that have to be modified in the house styles are the key signatures. Before doing so, however, the editor should have a clear idea of the makâms that will be needed for the edition of the manuscript. Therefore, a thorough study of the makâms and accidentals is an inevitable step before starting the edition of a manuscript. It is very helpful to prepare a table with all the necessary information, before starting creating the new key signatures. In this way the editor can make sure that he did not miss anything. The following gives an example how such a table could look like:

The name of the house styles follows a specific model and should be adapted. It consists of CMO + Inst (for instrumental) or Voc (for vocal) + Ks (Key signature) + digit (the number of used Key signatures) followed but the abbreviation of the manuscript (the table can be found under Z:\CMO - Critical Editions\Formatting). A clear naming of the house styles is strongly recommended since it helps to distinguish the different house styles and makes is easier to reproduce an edition at some later point, when the editor is probably not working anymore for the CMO.
Before starting with the instructions, let me share some technical information on the CMO key signatures. Whereas in Sibelius all pre-determined Major and Minor key signatures are digitially defined, the CMO key signatures which are in the above case derived from the Ezgi-Arel system, are a mere visual reproduction. With other words, there is no digital metadata behind the signs. Since the CMO is working with scholars from digital humanities, who aim to program a digital output for our scores, it is necessary to somehow indicate the information, in order to make it accessible for them. Currently, the CMO uses a code to indicate this information in form of metadata. Each accidental in the key signature is indicated by one digit and one letter. If there were for example three accidentals in the key signature, then you would have a combination of three digits, each of them followed by a letter as in “4k 8b 3m”. The digits refer to the notation system. The first line of the notation system is from below “0”, the second is “2”, the third “4”, the fourth “6” and the fifth is “8”. The used letters are defined as in the following:

This key signature has the code 4k 8B 5B

Creation of Key signatures

To create a new key signature go to “Symbols” under the “Notation” tab. When you open the “Symbols” a new window will appear with all the available symbols in this section. Under the category “keys”, you will find all sorts of G key, F key, C Key and many others. In the first row, there are several keys following the “TAB”.

In order to produce a new key signature, double click one of the clefs that has no accidentals. In the above case, there would be two more. Once you double clicked, a new window will open, and on the right side the treble clef will appear.

Here you can click on the “add” button to add more accidentals. Once they are added, they have to be moved to the correct position. There are fixed measures to do so. Each added accidental should be moved +1,25 units horizontally. Hence, the measures would be 3,50 for the first accidental; 4,75 for the second; 6 for the third accidental etc. Vertically they can be moved in 0,5 units by +0,5 or -0,5. Do not forget to name the key signature with the correct CMO code under “Name”. When the desired accidentals have been entered press “OK”, and the treble clef in the symbol’s window will appear in the new modified form. The Key will appear now under “keys” in the “Notation” tab. You can also press “q” and see if the newly created key signature is now available.

Creation of Instruments

In the edition, the key signatures are defined as instruments. Therefore, it is necessary to create or rename the instruments for the manuscript that is going to be edited. The “Instruments” can be found under the “Start” tab. Select under “Ensembles” a CMO instrument and rename it with the necessary information for your edition. Rename also the information under “Family of Instruments”. Under Instruments you can or chose one of the existing ones, or you can create a new one based on the old one, which is may be the easier way. Whenever you rename or create new instruments, make sure to use the correct CMO Instrument code for the correct key signature.
Once the key signature has been created and appears in the under “keys” of the “notation” tab (or press q-key), it is now time to create the instrument that contains the newly created key signature. Open the instruments and create a new instrument. Enter the CMO instrument code in the name section.

In the lower part of the window, press “select” and chose the newly created key signature that will be assigned to the instrument name.
It is recommendable at this point to delete all unnecessary CMO instruments that for some reason appear due to a technical bug in the instrument/ensemble family. There should be ideally only the one CMO instrument available that corresponds with the number of accidentals in the musical piece. All others should be removed.

Exporting and Storing Housestyles

Once the superfluous instruments/ensembles have been removed, it is timed to export the house styles. In order to do so click the “Erscheinungsbild” Tab and go to “export”.

Make sure to indicate the correct CMO house style code. The house styles will be exported to the folder

C:\Users\USER-ID\AppData\Roaming\Avid\Sibelius\House Styles

In order to find the “AppData” file, you have make first visible the hidden files in your system settings. Once you have verified that the house styles work correctly, store them on the CMO directory. Create a new file for your manuscript as in the following example

Z:\CMO - Critical Editions\House Styles\House styles 20XX\NE204

Requirements for the CMO specific schema customization of TEI. This document lists for each header, main body and footer templates to match each edition and its individual needs.

Header

This is the header template for NE204. For more clarity, it is currently filled with content information from piece 49 on page 69 to exemplify the use of certain elements, attributes and values.

Please put special attention to the elements following a <!-- commentary --> that detail a reason for choosing a specific markup, ask a question, or require action. You can directly <!-- comment --> in the code by editing this page or make changes in the code. Once this version is finalised, SG will also provide a cleaned-up version as reference and for further use (e.g. if a piece needs manual input) and will use the template to adapt the transformation routine.

<?xml version="1.0" encoding="uTF-16"?>
<?xml-model href="CMOtextschema.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>
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                <title>
                    <note type="makamTranscription" xml:lang="ota">Dil-keş Ḥāverān</note>
                    <note type="usulTranscription" xml:lang="ota"><ref target="usulGlossary.xml#cenber">Çenber</ref></note>
                    <note type="bahir" xml:lang="ota" corresp="#remel2"><ref target="bahirGlossary.xml#remel">Remel</ref></note>
                    <note type="meter" xml:lang="ota" corresp="#feilatün #feilatün #feilatün #feilün">Fe’ilâtün / fe’ilâtün / fe’ilâtün / fe’ilün</note>
                    <note type="genre" xml:lang="ota"><ref target="genreGlossary.xml#beste">Beste</ref></note>
                    <title type="transcriptionLatin" xml:lang="ota">Beste çenber İsaḳ</title>
                    <idno>TR-Iüne 204-2, Piece no. 49, Ms. page no. 65</idno>
                </title>
                <!-- Reference to a composer/lyricist will be made to the CMO catalogue. Optional. Manual.  -->
                <author role="lyricist" cert="0.5" resp="#ND">
                    <persName ref="https://corpus-musicae-ottomanicae.de/receive/cmo_person_00000081">Hâmî</persName>
                </author>
                <author role="composer" cert="1" resp="#ND">
                    <persName ref="https://corpus-musicae-ottomanicae.de/receive/cmo_person_00000292">İsaḳ</persName>
                </author>
                <editor role="author" corresp="#ND">Dr. Neslihan Demirkol</editor>
                <editor role="contributor" corresp="#MS">Dr. Malek Sharif</editor>
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            <editionStmt>
                <edition>First Edition</edition>
                <funder ref="https://www.dfg.de">Deutsche Forschungsgemeinschaft</funder>
                <sponsor ref="https://www.wwu.de">Westfälische Wilhelms-Universität Münster</sponsor>
                <respStmt>
                    <resp key="ged">General Editor</resp>
                    <name>
                        <persName corresp="#RJ" ref="http://d-nb.info/gnd/122654099">Prof. Dr. Ralf Martin Jäger</persName>
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                </respStmt>
                <respStmt>
                    <resp key="edi">Editors</resp>
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                    <name>
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                <availability>
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                    <resp key="oth">Cooperation Partners</resp>
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                <respStmt>
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                    <name xml:id="JS">
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            <notesStmt>
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                                    <author/>
                                </titleStmt>
                                <publicationStmt>
                                    <ab/>
                                </publicationStmt>
                                <sourceDesc>
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                                        <term
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                                        <term
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                                    <language ident="ota-arab">Ottoman Turkish in Arabic script</language>
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                                <country>Turkey</country>
                                <settlement>Istanbul</settlement>
                                <repository>İstanbul Üniversitesi Nadir Eserler
                                    Kütüphanesi</repository>
                                <idno>Y. 204-2</idno>
                            </msIdentifier>
                            <msContents>
                                <summary>Collection of instrumental and vocal music in Ottoman
                                    Turkish dating from late nineteenth or early twentieth
                                    century.</summary>
                            </msContents>
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                                <p>Origination: <geogName>Istanbul?</geogName>
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                        The modelling is based on the <ref target="https://www.tei-c.org/release/doc/tei-p5-doc/en/html/VE.html">
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                    <p>Further information on the transformation is available in the <ref
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                    <p>The metadata was retrieved from the project´s own <ref
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                        Die Modellierung basiert auf dem <ref target="https://www.tei-c.org/release/doc/tei-p5-doc/de/html/VE.html">
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                    <p>Weitere Informationen zur Transformation finden Sie im <ref
                        target="https://www.uni-muenster.de/CMO-Edition/publikationen/publikationen.html">
                        editorischen Kommentar</ref>.
                    </p>
                    <p>Die Metadaten wurden abgerufen aus dem projekteigenen <ref
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                        XML çıktısının <ref target="https://gitlab.gwdg.de/perspectivia.net/ospot">OsPoT Framework</ref> tarafından
                        uygulanan TEI dönüştürme rutini sonucunda oluşturulmuştur. Modelleme, <ref
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                    <p>TEI dönüştürme rutini, <persName ref="https://d-nb.info/gnd/1229022201">
                        Dr. Anna Plaksin</persName> ve <persName>Frauke Pirk</persName> tarafından
                        hazırlanmış, <persName corresp="#SG">Dr. Sven Gronemeyer</persName> tarafından geliştirilmiştir.
                    </p>
                    <p>TEI dönüştürme rutini ile ilgili ayrıntılı bilgiyi <ref
                        target="https://www.uni-muenster.de/CMO-Edition/publikationen/publikationen.html">
                        editoryal yorumlar</ref> bölümünde bulabilirsiniz.
                    </p>
                    <p>Meta veriler projenin kendi <ref
                        target="https://corpus-musicae-ottomanicae.de/content/index.xml">
                        kaynak kataloğu ve yayın platformundan</ref> alınmıştır.
                    </p>
                </application>
            </appInfo>
            <projectDesc xml:lang="en">
                <p>Corpus Musicae Ottomanicae (CMO) is a project funded by the <ref
                    target="https://www.dfg.de">Deutsche Forschungsgemeinschaft</ref> (DFG,
                    German Science Foundation). The CMO project is carried out collaboratively
                    across three locations: Münster and Bonn (both in Germany) and Istanbul
                    (Turkey). Each center deals with a specific aspect of the project. The central
                    research task – the transcription and critical editing of nineteenth-century
                    sources of Ottoman music – is carried out at the <ref
                        target="https://www.uni-muenster.de/Musikwissenschaft/">Institute for
                        Musicology</ref> at the <ref target="https://www.wwu.de">Westfälische
                            Wilhelms-Universität</ref> in Münster. Critical editions of the accompanying
                    texts of vocal pieces are prepared in collaboration with <ref
                        target="https://www.uni-muenster.de/ArabistikIslam/">Institute of Arabic
                        and Islamic Studies</ref>, also at the <ref
                            target="https://www.wwu.de">Westfälische Wilhelms-Universität</ref> in
                    Münster. The project support and digital publication of the edition is
                    undertaken jointly by associates based at the <ref
                        target="https://www.maxweberstiftung.de/en/">Max Weber Foundation</ref> in
                    Bonn and the <ref target="https://www.oiist.org/en/">Orient-Institut Istanbul</ref>.
                </p>
                <p>For further information on the project, please visit the following page: <ref
                    target="https://www.uni-muenster.de/CMO-Edition/en/cmo/beschreibung.html">
                    Project Description</ref>.
                </p>
                <p>For an overview of the staff involved, please visit the following page: <ref
                    target="https://corpus-musicae-ottomanicae.de/content/below/contributors.xml">
                    Contributors</ref>.
                </p>
            </projectDesc>
            <projectDesc xml:lang="de">
                <p>Corpus Musicae Ottomanicae (CMO) ist ein von der <ref
                    target="https://www.dfg.de">Deutschen Forschungsgemeinschaft</ref> finanziertes
                    Projekt. Das CMO-Projekt wird in Zusammenarbeit an drei Standorten durchgeführt:
                    Münster und Bonn (beide in Deutschland) und Istanbul (Türkei). Jedes Zentrum
                    beschäftigt sich mit einem spezifischen Aspekt des Projekts. Die zentrale
                    Forschungsaufgabe - die Transkription und kritische Edition von Quellen
                    osmanischer Musik aus dem 19. Jahrhundert - wird am <ref
                        target="https://www.uni-muenster.de/Musikwissenschaft/">Institut für
                        Musikwissenschaft</ref> der <ref target="https://www.wwu.de">Westfälischen
                        Wilhelms-Universität</ref> in Münster durchgeführt. Kritische Editionen
                    der Begleittexte von Vokalstücken werden in Zusammenarbeit mit dem <ref
                        target="https://www.uni-muenster.de/ArabistikIslam/">Institut für Arabistik
                        and Islamwissenschaft</ref>, ebenfalls an der <ref
                        target="https://www.wwu.de">Westfälischen Wilhelms-Universität</ref> in
                    Münster, erstellt. Die Projektbegleitung und digitale Publikation der Ausgabe
                    erfolgt gemeinsam mit Mitarbeitenden der <ref
                        target="https://www.maxweberstiftung.de/">Max Weber Stiftung</ref> in
                    Bonn und des <ref target="https://www.oiist.org/">Orient-Instituts
                        Istanbul</ref>.
                </p>
                <p>Weitere Informationen zum Projekt finden Sie auf der folgenden Seite: <ref
                    target="https://www.uni-muenster.de/CMO-Edition/cmo/beschreibung.html">
                    Projektbeschreibung</ref>.
                </p>
                <p>Einen Überblick über die beteiligten Mitarbeitenden finden Sie auf der folgenden Seite: <ref
                    target="https://corpus-musicae-ottomanicae.de/content/below/contributors.xml">
                    Mitarbeitende</ref>.
                </p>
            </projectDesc>
            <projectDesc xml:lang="tr">
                <p>Corpus Musicae Ottomanicae (CMO), <ref target="https://www.dfg.de">
                    Deutsche Forschungsgemeinschaft</ref> (DFG, Alman Araştırma Cemiyeti) tarafından
                    finanse edilen bir projedir. CMO projesi, üç farklı merkezde bulunan kurum ve
                    kuruluşlar tarafından ortaklaşa yürütülmektedir: Münster (Almanya), Bonn (Almanya)
                    ve İstanbul (Türkiye). Her merkez projenin belirli bir yönüyle ilgi araştırmayı
                    yürütmektedir. Projenin ana araştırma hedefi olan on dokuzuncu yüzyıl Osmanlı
                    müziği kaynaklarının transkripsiyonu ve eleştirel edisyonu, Münster'deki <ref
                        target="https://www.wwu.de">Institute for Westfälische Wilhelms-Universität</ref>
                    bünyesindeki <ref target="https://www.uni-muenster.de/Musikwissenschaft/">Müzikoloji
                    Enstitüsü</ref> nde yürütülmektedir. Sözlü eserlere eşlik eden metinlerin eleştirel
                    edisyonları, yine Münster'deki <ref target="https://www.wwu.de">Westfälische
                    Wilhelms-Universität</ref> bünyesindeki <ref target="https://www.uni-muenster.de/ArabistikIslam/">
                    Arap ve İslam Araştırmaları Enstitüsü</ref> ile işbirliği içinde hazırlanmaktadır. Bonn'da
                    bulunan <ref target="https://www.maxweberstiftung.de/en/">Max Weber Vakfı</ref> ve
                    İstanbul’da bulunan <ref target="https://www.oiist.org/en/">Orient-Institute Istanbul</ref>
                    projeye destek sağlama ve dijital yayın görevlerini ortaklaşa üstlenmektedir.
                </p>
                <p>Projeyle ilgili ayrıntılı bilgiyi <ref
                    target="https://www.uni-muenster.de/CMO-Edition/en/cmo/beschreibung.html">
                    Proje Açıklaması</ref> sayfasında bulabilirsiniz.
                </p>
                <p>Projede görev alan personele dair ayrıntılı bilgiyi <ref
                    target="https://corpus-musicae-ottomanicae.de/content/below/contributors.xml">
                    Katkıda Bulunanlar</ref> sayfasında bulabilirsiniz.
                </p>
            </projectDesc>
            <editorialDecl xml:lang="en">
                <p>An explanation of the editorial process can be found in the <ref
                    target="https://corpus-musicae-ottomanicae.de/content/help/user_guide.xml">editorial guidelines</ref>
                    and the <ref target="https://www.uni-muenster.de/CMO-Edition/en/publikationen/publikationen.html">
                        commentary</ref>.
                </p>
                <p>An explanation of the transcription process of Ottoman lyrics from Arabic into Latin characters can be found in the <ref
                    target="https://www.uni-muenster.de/imperia/md/content/cmo-edition/publikationen/guidelines_for_transcription_ver002.pdf">
                    transcription guidelines</ref>.
                </p>
                <p>A summary of the standardized terms of Ottoman music can be found in the <ref
                    target="https://www.uni-muenster.de/imperia/md/content/cmo-edition/publikationen/standard_list_of_musical_terms_revised_edition.pdf">
                    list of musical terms</ref>.
                </p>
            </editorialDecl>
            <editorialDecl xml:lang="de">
                <p>Eine Erläuterung des Editionsprozesses finden Sie in den <ref
                    target="https://corpus-musicae-ottomanicae.de/content/help/user_guide.xml">editorischen Leitlinien</ref>
                    und dem <ref target="https://www.uni-muenster.de/CMO-Edition/publikationen/publikationen.html">
                        Kommentar</ref>.
                </p>
                <p>Eine Erläuterung der Transkription osmanischer Texte aus der arabischen Schrift in lateinische Buchstaben findet sich in den <ref
                    target="https://www.uni-muenster.de/imperia/md/content/cmo-edition/publikationen/guidelines_for_transcription_ver002.pdf">
                    Transkriptionsrichtlinien</ref>.
                </p>
                <p>Eine Übersicht über die standardisierten Begriffe der osmanischen Musik findet sich in der <ref
                    target="https://www.uni-muenster.de/imperia/md/content/cmo-edition/publikationen/standard_list_of_musical_terms_revised_edition.pdf">
                    Liste der musikalischen Begriffe</ref>.
                </p>
            </editorialDecl>
            <editorialDecl xml:lang="tr">
                <p>Editoryal sürecin ayrıntılarına dair bilgileri <ref target="https://corpus-musicae-ottomanicae.de/content/help/user_guide.xml">
                    editoryal yönergeler</ref> ve <ref target="https://www.uni-muenster.de/CMO-Edition/tr/publikationen/publikationen.html">
                    yorum</ref> sayfalarında bulabilirsiniz.
                </p>
                <p>Osmanlı Türkçesindeki şarkı sözlerinin Osmanlı alfabesinden modern Türkçe alfabesine transkripsiyon sürecine ilişkin açıklamaları <ref
                    target="https://www.uni-muenster.de/imperia/md/content/cmo-edition/publikationen/guidelines_for_transcription_ver002.pdf">
                    transkripsiyon kılavuzu</ref> nda bulabilirsiniz.
                </p>
                <p>Osmanlı müziğinin standartlaştırılmış terimlerinin bir özetini <ref
                    target="https://www.uni-muenster.de/imperia/md/content/cmo-edition/publikationen/standard_list_of_musical_terms_revised_edition.pdf">
                    müzik terimleri listesi</ref> nde bulabilirsiniz.
                </p>
            </editorialDecl>
            <!-- This element only needs to be applicable for the transformation of NE204 and is unnecessary for other MS editions. -->
            <tagsDecl/>
            <metDecl xml:id="symbols" pattern="((u|-|x|U|Z|I|M){1,5}[|]){1,4}">
                <metSym value="u">short syllable which can be in the form of cv or v</metSym>
                <metSym value="-">long syllable which can be in the form of cV, cVc, cvc, cVcc, cvcc, vc, or V</metSym>
                <metSym value="x">anceps, the position in the metrical pattern can either be short or long</metSym>
                <metSym value="U">merge (ulama/vasl)</metSym>
                <metSym value="Z">shortening (zihâf/kısaltma)</metSym>
                <metSym value="I">lengthening (imâle/uzatma)</metSym>
                <metSym value="M">insertion (med)</metSym>
                <metSym value="|">foot division</metSym>
            </metDecl>
            <metDecl xml:id="feet" corresp="#symbols" type="met">
                <metSym xml:id="fa" value="fâ’" terminal="false">-|</metSym>
                <metSym xml:id="failatu" value="fâ’ilâtü" terminal="false">-u-u|</metSym>
                <metSym xml:id="failatun" value="fâ’ilâtün" terminal="false">-u--|</metSym>
                <metSym xml:id="failun" value="fâ’ilün" terminal="false">-u-|</metSym>
                <metSym xml:id="falun" value="fâ’lün" terminal="false">--|</metSym>
                <metSym xml:id="feilatun" value="fe’ilâtün" terminal="false">uu--|</metSym>
                <metSym xml:id="feilun" value="fe’ilün" terminal="false">uu-|</metSym>
                <metSym xml:id="feul" value="fe’ûl" terminal="false">u-|</metSym>
                <metSym xml:id="feulun" value="fe’ûlün" terminal="false">u--|</metSym>
                <metSym xml:id="mefulu" value="mef’ûlü" terminal="false">--u|</metSym>
                <metSym xml:id="mefulun" value="mef’ûlün" terminal="false">---|</metSym>
                <metSym xml:id="mefailu" value="mefâ’îlü" terminal="false">u--u|</metSym>
                <metSym xml:id="mefailun1" value="mefâ’ilün" terminal="false">u-u-|</metSym>
                <metSym xml:id="mefailun2" value="mefâ’ilün" terminal="false">u---|</metSym>
                <metSym xml:id="mufteilatun" value="müfte’ilâtün" terminal="false">-uu--|</metSym>
                <metSym xml:id="mufteilun" value="müfte’ilün" terminal="false">-uu-|</metSym>
                <metSym xml:id="mustefilun" value="müstef’ilün" terminal="false">--u-|</metSym>
                <metSym xml:id="mutefailun" value="mütefâ’ilün" terminal="false">uu-u-|</metSym>
            </metDecl>
            <metDecl xml:id="vezin" corresp="#symbols" type="met">
                <metSym xml:id="remel2" value="Remel 2" terminal="false">uu--|uu--|uu--|uu-|</metSym>
            </metDecl>
        </encodingDesc>
    </teiHeader>
    <!-- End of header. -->
    <!-- Not part of the header, but a reminder that a facsimile could be linked at this place, also a pointer to the MEI and PDF. -->
    <text>
        <body>
            <ab/>
        </body>
    </text>
    <sourceDoc>
        <notatedMusic type="mei">
            <ptr target="musicedition.mei"/>
            <desc>MEI file of music notation</desc>
        </notatedMusic>
        <notatedMusic type="pdf">
            <ptr target="musicedition.pdf"/>
            <desc>PDF file of music notation</desc>
        </notatedMusic>
        <surface facs="scan.jpg"/>
    </sourceDoc>
</TEI>

Body

This is the body template for NE204. For more clarity, it is currently filled with content information from piece 49 on page 69 to exemplify the use of certain elements, attributes and values.

Please put special attention to the elements following a <!-- commentary --> that detail a reason for choosing a specific markup, ask a question, or require action. You can directly <!-- comment --> in the code by editing this page or make changes in the code. Once this version is finalised, SG will also provide a cleaned-up version as reference and for further use (e.g. if a piece needs manual input) and will use the template to adapt the transformation routine.

<?xml version="1.0" encoding="UTF-16"?>
<?xml-model href="CMOtextschema.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
    <teiHeader>
        <fileDesc>
            <titleStmt>
                <title>Beste çenber İsaḳ</title>
            </titleStmt>
            <publicationStmt>
                <ab/>
            </publicationStmt>
            <sourceDesc>
                <ab/>
            </sourceDesc>
        </fileDesc>
    </teiHeader>
    <!-- Start of text edition with critical apparatus. -->
    <!-- The transformation is now streamlined to handle a Latin script only edition, but still works with biscript output, but maybe with more flaws. -->
    <text>
        <body>
            <!-- This is the general language attribution for the entire text. -->
            <!-- Is there any need to indicate Turkised loanwords or genuine Persian/Arabic words? -->
            <!-- ND: No. -->
            <!-- "Persian lyrics were somehow Turkified" -->
            <!-- No. No need to say it -->
            <!-- Individual words could thus be marked: <span xml:lang="fas">biya</span> or <span xml:lang="arb">ʿAynī</span>. -->
            <div type="transcriptionLatin" xml:lang="ota" style="direction:ltr;">
            <!-- ND: No need for this. -->
                <!-- Use the corresponding cmo_mods_######## to link to specific the text edition. Manual. -->
                <milestone unit="cite" source="#cmo_mods_00000524"/>
                <head n="1">
                    <term type="genre">Beste </term>
                    <term type="usul">çenber </term>
                    <anchor xml:id="w2s"/>İsaḳ<anchor xml:id="w2e"/>
                </head>
                <!-- Does it make sense to embed the tei:l element into tei:lg to indicate a rhyme scheme? -->
                <!-- ND: Yes -->
                <!-- tei:lg takes the attribute @decls to refer to tei:metDecl in the header part. -->
                <!-- Meter is not indicated in the original CTE document. Manual addition. -->                 
                <!-- For tei:l, I have already created a test validation schema for @n as a showcase. -->
                <!-- For tei:span, I have already created a test validation schema for @type and @ana as a showcase. -->
                <lg decls="#remel2">
                    &lt;l n="2" real="uU--|uu--|uu--|uu-/">
                        <span type="vocal" ana="mainPartLyrics">Nedir ol cünbüş-i reftār u <anchor xml:id="w15s"/>ẓarāfet<anchor xml:id="w15e"/> o gülüş </span>
                    &lt;/l>
                    &lt;l n="3" real="uU--|uu-I|uu--|uu-/">
                        <span type="vocal" ana="mainPartLyrics">Nedir ol <anchor xml:id="w20s"/>ceẕbe-i<anchor xml:id="w20e"/> ḥüsn ile ṭarāvet o <anchor xml:id="w25s"/>revīş<anchor xml:id="w25e"/></span>
                    &lt;/l>
                    &lt;l n="4">
                        <span type="vocal" ana="mainPartLyrics">Elde <anchor xml:id="w27s"/>Saḳsonya<anchor xml:id="w27e"/> <anchor xml:id="w28s"/>ṣürāḥ[ī]yle<anchor xml:id="w28e"/> ṣafā baḫş ėderek</span>
 
                    &lt;/l>
                    <!-- Example for manual QA: The tei:span must of course directly follow the tei:l. -->
                    <!-- Can possibly be guided by validation rule. -->
                    &lt;l n="5" real="uZ--|Uu--|uu--|uu-/">
                        <anchor xml:id="w32s"/> Ḥām[ī]'niñ <anchor xml:id="w32e"/>
                        <span type="vocal" ana="mainPartLyrics">
                            <anchor xml:id="w33s"/>ʿaḳlıñ<anchor xml:id="w33e"/>
                            <anchor xml:id="w34s"/>alır<anchor xml:id="w34e"/>
                            <anchor xml:id="w35s"/>böyle<anchor xml:id="w35e"/> levendāne <anchor xml:id="w37s"/>geliş<anchor xml:id="w37e"/>
                        </span>
                    &lt;/l>
                    <!-- Problem: The text has no specific format (like bold and italic) for the transformation to test against. -->
                    <!-- ND: Shall I create a specific format in CTE for the transformation? If it prevents the manual edition it would save us many time -->
                    <!-- Because of error prone workarounds, the decision is to enter the <span ana="terennüm"> manually. -->
                    <!-- ND: Is it error prone because the text has no specific format?
                    <l n="6"><span type="vocal" ana="terennüm">ʿömrüm amān amān yār ẓarāfet o gülüş</span></l>
                    <!-- Added stage attribute @type, values to be defined. -->
                    &lt;l n="7">[
                        <stage type="temme">
                            <span type="instruction" ana="terennüm">tem</span>
                        </stage>
                        ]
                        <stage>
                            <span type="instruction" ana="terennüm">me</span>
                        </stage>
                    &lt;/l>
                    <!-- As this example originally showed, the transformation cannot handle all CTE output. -->
                    <!-- Problem 1: the tei:span has not been put into tei:l in this case (other transformations have done so). -->
                    <!-- Problem 2: the closing square bracket is inside tei:anchor. -->
                    <!-- This is quality assurance and needs to be done in the text view of oXygen. -->
                    <!-- Considering all eventualities in XSL would take more time than manual corrections. -->
                    <!-- These QA processes can be guided by a proper validation scheme (e.g. span outside l not allowed). -->
                    &lt;l n="8">   
                        <span type="information" ana="lyricist">[Lyricist: <anchor xml:id="w47s"/>Hâmî<anchor xml:id="w47e"/>]</span>
                    &lt;/l>
                </lg>
            </div>
        </body>
        <back>
            <!-- The apparatus is still in great parts a manual correction of the transformation output. -->
            <!-- In an ideal world, this is the desired state to be. -->
            <!-- Now with only the Latin transcription left, we need to consider the values for tei:div[@type='provenance, readings, annotations']. -->
            <div type="provenance">
                <!-- Think of types for tei:lem and tei:rdg and possible values. -->
                <!-- E.g. for tei:lem[@type='phrase, noun, name, onomatopoetic']. -->
                <!-- E.g. for tei:rdg[@type='ommission, orthographic-variant, misspelled, addition']. -->
                <!-- ND: These are the only cases I was able to detect. But of course a new manuscript means a new challage. I cannot be 100% sure. :) -->
                <app from="#w2s" to="#w2e">
                    <!-- The "…" sign should be replaced by "...". Maybe with transformation routine? -->
                    <lem>Beste … İsaḳ </lem>
                    <!-- ND: I can produce an XML export without "..." in CTE. I can choose the option of show full reference then we could get rid of ...-->
                    <!-- OK, that would be great. -->
                    <note>The lyrics appear in <ref target="#sig10">NE3466</ref>, fol. 252v; <ref
                        target="#cmo_source_00000075">HB1</ref>, page 406; <ref
                        target="#cmo_source_00000023">HB2</ref>, page 408 and <ref
                        target="#sig3">Ha</ref>, page 621.</note>
                </app>
            </div>
            <div type="readings">
                <app from="#w15s" to="#w15e">
                    <lem>reftār...ẓarāfet</lem>
                    <!-- Two different types of dealing with tei:rdg and @wits apply! -->
                    <!-- This is the way with different text for two or more witnesses. Needs to be separated. -->
                    <rdg wit="#sig10">reftār-ı ẓarāfet <ref target="#sig10">NE3466</ref></rdg>
                    <rdg wit="#sig3">reftār o nezāket <ref target="#sig3">Ha</ref></rdg>
                </app>
                <app from="#w20s" to="#w20e">
                    <lem>ceẕbe-i</lem>
                    <!-- This is the second way, different sources, but all with the same spelling. Can be combined. -->
                    <rdg wit="#sig10 #cmo_source_00000075 #cmo_source_00000023">
                        cezbe-i <ref target="#sig10">NE3466</ref>, <ref
                            target="#cmo_source_00000075">HB1</ref>, <ref
                            target="#cmo_source_00000023">HB2</ref>
                    </rdg>
                </app>
                <app from="#w25s" to="#w25e">
                    <!-- Here, e.g. manually corrected, Ha was not put in ref, no #sig3 applied, rdg not tokenized. -->
                    <lem>revīş</lem>
                    <rdg wit="#sig3">reviş <ref target="#sig3">Ha</ref></rdg>
                    <rdg wit="#sig10">rīş <ref target="#sig10">NE3466</ref></rdg>
                </app>
                <app from="#w27s" to="#w27e">
                    <lem>Saḳsonya</lem>
                    <rdg wit="#sig3">Saḳṣonya <ref target="#sig3">Ha</ref></rdg>
                </app>
                <app from="#w28s" to="#w28e">
                    <lem>ṣürāḥīyle</lem>
                    <rdg wit="#cmo_source_00000030">sürāhiyle <ref target="#cmo_source_00000030">NE204</ref></rdg>
                    <rdg wit="#sig10">sürāhiyle <ref target="#sig10">NE3466</ref></rdg>
                </app>
                <app from="#w32s" to="#w32e">
                    <lem>Ḥāmī'niñ</lem>
                    <rdg wit="#">Ḥāmi'niñ <ref target="#cmo_source_00000030">NE204"></ref></rdg>
                </app>
                <app from="#w33s" to="#w33e">
                    <lem>ʿaḳlıñ</lem>
                    <rdg wit="#sig10 #sig3">ʿaḳlın <ref target="#sig10">NE3466</ref>, <ref
                        target="#sig3">Ha</ref>
                    </rdg>
                </app>
                <app from="#w34s" to="#w34e">
                    <lem>alır</lem>
                    <rdg wit="#sig10">alur <ref target="#sig10">NE3466</ref></rdg>
                </app>
                <app from="#w35s" to="#w35e">
                    <lem>böyle</lem>
                    <rdg wit="#sig10">bu <ref target="#sig10">NE3466</ref></rdg>
                </app>
                <app from="#w37s" to="#w37e">
                    <lem>geliş</lem>
                    <rdg wit="#sig3">cekiş <ref target="#sig3">Ha</ref></rdg>
                </app>
            </div>
            <div type="annotations">
                <app from="#w47s" to="#w47e">
                    <lem>Lyricist Hâmî</lem>
                    <note>The lyrics are by a poet with the pen name (mahlas) Hâmî, indicated in the
                        last line of the lyrics. It is possible that the poet is in fact Hâmî Ahmed
                        Âmidî (d. 1747), though the editors could not locate the lyrics in his
                        <term ref="poeticGlossary.xml#divan">dîvân</term>; see Hâmî Âmidî 1885 and Yılmaz 2017. Öztuna (2006, vol. 1, 426) and
                        Aksüt (1983, vol 1, 148) attribute the lyrics to Mehmed Kâmî Efendi (d.
                        1724). However, the editors could not locate the poem in his dîvân either;
                        see Erişen Yazıcı 2017 and Özyılmaz 1994.</note>
                    <!-- In "poeticGlossary.xml", we could then have an <entry@xml:id="divan">Collected works of a poet</entry>. -->
                </app>
            </div>
        </back>
    </text>
    <!-- End of text edition and critical apparatus. -->
</TEI>

This section explains the editorial workflow to create a critical text edition from an original source.

More information will follow soon.

Conventions used for the critical text edition.

This section provides information on the administration of features common to both source catalogue and publication platform.

More information will follow soon.

This section explains the editorial workflow to create a scholarly digital edition from the critical text and music editions.

More information will follow soon.

This page documents all elements, attributes and values that are specifically designed for the CMO customization.

Header

Element

Custom

Attribute

Custom

Mandatory?

Value

List Type

Custom

Definition (for use in validation)

mei:title

no

@type

no

no

titleTranscription

incipit

makamStandardized

usulStandardized

genreStandardized

edition

series

part

idno

closed

X

X

X

X

X

X

X

X

X

Title of the musical piece in academic transcription from the script originally used in the source.

The incipit of the musical piece from the first line of the main part lyrics.

Type of the makâm in standardized modern spelling.

Type of the usul in standardized modern spelling.

Type of the musical genre in standardized modern spelling.

Title of the edition.

Title of the series within an edition.

Title of the part within a series.

Abbreviation of the edition, series, and part.

mei:supplied

no

@reason

no

yes

derived-from-lyrics

standardized-from-source

closed

X

X

Indicates the incipit as derived from the first line of the main part lyrics of a piece added by an editor.

Indicates an information written in the source which is represented in standardized modern spelling by an editor.

mei:supplied

no

@cert

no

yes

0

0.5

0.75

1

closed


No attribution to a piece of specific information is given or can be made.

The attribution is made by the editor on implicit evidence with more than one possible choice.

The attribution is made by the editor on implicit evidence for a piece of specific information.

The information is either clearly named in the text or is identifiable without a doubt.

mei:supplied


@resp

no

yes


open


See mei:persName[@xml:id] set in mei:respStmt.

mei:persName

no

@role

no

no

composer

closed

X

Name of the person to whom the music is attributed.

mei:persName

no

@cert

no

no

0

0.5

0.75

1

closed


No attribution to a piece of specific information is given or can be made.

The attribution is made by the editor on implicit evidence with more than one possible choice.

The attribution is made by the editor on implicit evidence for a piece of specific information.

The information is clearly named in the text and is identifiable without a doubt.

mei:persName

no

@resp

no

no


open


See mei:persName[@xml:id] set in mei:respStmt.

Body

Element

Custom

Attribute

Custom

Mandatory?

Value

List Type

Custom

Definition (for use in validation)

mei:symbolDef

no

@xml:id

no

yes


open


Provides a unique identifier for the element in the format of: Armenian sign name, Ottoman octave, and degree.

mei:symName

no

@type

no

yes

armenian

descriptive

closed

X

X

The name of the base sign in academic transcription and original Armenian script.

The name of the base sign in academic transcription and a description of all diacritics added in English.

mei:propName

no

@xm:id

no

yes


open


Provides a unique identifier for the element in the format of: Ottoman perde and consecutive numbering for multiple values of the same name.

mei:propValue

no

@n

no

yes

SPS

CMO

AEU

PSP

closed

X

X

X

X

Shared pitch system.

CMO pitch system (pre-1880 sources).

Arel-Ezgi-Uzdilek pitch system (post-1880 sources).

Piece specific pitch.

mei:propValue

no

@type

no

yes


open


Specifies the pitch in staff noation in the format of: AEU accidental, pitch, Ottoman octave.

mei:symbol

no

@glyph.auth

no

yes

smufl

cmo

semi-open


X


mei:symbol

no

@glpyh.num

no

yes


open



mei:symbol

no

@glyph.auth

no

yes


open






























mei:measure

no

@type

no

yes

pitchSet

division

endCycle

closed

X

X

X

Represents a unit not part of a score that relates original notation with a pitch in staff notation.

Represents a unit as part of a score that consists of a certain beat pattern.

Represents a sequence of units of the same beat pattern.

mei:scoreDef

no

@beat.count

yes

no

DECIMAL

open


Captures the number of beats that define a rhythmical pattern.

mei:keySig

no

@type

yes

yes

ussak

acem_asiran

buselik_asiran

rast

saba

nihavend

hicaz

ferahnak

karcigar

hicazkar

sedaraban

evcara

closed

X

X

X

X

X

X

X

X

X

X

X

X

Key signature Uşşak (Code 4k)

Key signature Acem aşiran (Code 4m)

Key signature Buselik aşiran (Code 8B)

Key signature Rast (Code 4k 8B)

Key signature Saba (Code 4k 6b)

Key signature Nihavend (Code 4m 7m)

Key signature Hicaz (Code 4b 5B)

Key signature Ferahnak (Code 4k 8B 5B)

Key signature Karcığar (Code 4k 7b 8B)

Key signature Hicazkar (Code 4k 7b 3b 8B)

Key signature Şedaraban (Code 4b 7b 5B 8B)

Key signature Evcara (Code 4k 8B 5B 7B 3B)





































Welcome to the Wiki of the Corpus Musicae Ottomanicae!

This Wiki provides a documentation on workflows and infrastructures used in the CMO project.

This page contains code snippets that can be used to copy & paste them into the appropriate place of the TEI files.

.tei:header/tei:encodingDesc/tei:metDecl[@xml:id=bahir]

<metDecl xml:id="meters" corresp="#symbols" type="met">
    <metSym xml:id="cedid1" value="Cedîd 1" terminal="false">uu--|uu--|u-u-|</metSym>
    <metSym xml:id="hezec1" value="Hezec 1" terminal="false">--u|u--u|u--u|u--|</metSym>
    <metSym xml:id="hezec2" value="Hezec 2" terminal="false">--u|u---|u-u|u--|</metSym>
    <metSym xml:id="hezec3" value="Hezec 3" terminal="false">--u|u-u-|u--|</metSym>
    <metSym xml:id="hezec4" value="Hezec 4" terminal="false">u---|u--|u---|u--|</metSym>
    <metSym xml:id="hezec5" value="Hezec 5" terminal="false">u---|u---|u---|u---|</metSym>
    <metSym xml:id="hezec6" value="Hezec 6" terminal="false">u---|u---|u---|u--|</metSym>
    <metSym xml:id="hezec7" value="Hezec 7" terminal="false">u---|u---|u--|</metSym>
    <metSym xml:id="hezec8" value="Hezec 8" terminal="false">u---|u---|</metSym>
    <metSym xml:id="hezecahreb1" value="Hezec (Ahreb) 1 (Rubâî Meter)" terminal="false">--u|u---|--u|u-|</metSym>
    <metSym xml:id="hezecahreb2" value="Hezec (Ahreb) 2 (Rubâî Meter)" terminal="false">--u|u--u|u--u|u-|</metSym>
    <metSym xml:id="hezecahreb3" value="Hezec (Ahreb) 3 (Rubâî Meter)" terminal="false">--u|u---|---|-|</metSym>
    <metSym xml:id="hezecahreb4" value="Hezec (Ahreb) 4 (Rubâî Meter)" terminal="false">--u|u---|u---|-|</metSym>
    <metSym xml:id="hezecahreb5" value="Hezec (Ahreb) 5 (Rubâî Meter)" terminal="false">--u|u---|u--u|u-|</metSym>
    <metSym xml:id="hezecahreb6" value="Hezec (Ahreb) 6 (Rubâî Meter)" terminal="false">--u|u---|u---|-|</metSym>
    <metSym xml:id="hezecahrem1" value="Hezec (Ahrem) 1 (Rubâî Meter)" terminal="false">---|--u|u--u|u-|</metSym>
    <metSym xml:id="hezecahrem2" value="Hezec (Ahrem) 2 (Rubâî Meter)" terminal="false">---|--u|u---|-|</metSym>
    <metSym xml:id="hezecahrem3" value="Hezec (Ahrem) 3 (Rubâî Meter)" terminal="false">---|---|--u|u-|</metSym>
    <metSym xml:id="hezecahrem4" value="Hezec (Ahrem) 4 (Rubâî Meter)" terminal="false">---|---|--u|-|</metSym>
    <metSym xml:id="kamil1" value="Kâmil 1" terminal="false">uu-u-|u--|uu-u-|u--|</metSym>
    <metSym xml:id="muzari1" value="Muzâri 1" terminal="false">--u|-u-u|u--u|-u-|</metSym>
    <metSym xml:id="muzari2" value="Muzâri 2" terminal="false">--u|-u-u|--u|-u--|</metSym>
    <metSym xml:id="muctes1" value="Müctes 1" terminal="false">u-u-|uu--|u-u-|uu-|</metSym>
    <metSym xml:id="munserih1" value="Münserih 1" terminal="false">-uu-|-u-|-uu-|-u-|</metSym>
    <metSym xml:id="munserih2" value="Münserih 2" terminal="false">-uu--|-uu--|</metSym>
    <metSym xml:id="recez1" value="Recez 1" terminal="false">-uu-|u-u-|-uu-|u-u-|</metSym>
    <metSym xml:id="recez2" value="Recez 2" terminal="false">-uu-|-uu-|-uu-|-uu-|</metSym>
    <metSym xml:id="recez3" value="Recez 3" terminal="false">--u-|--u-|--u-|--u-|</metSym>
    <metSym xml:id="remel1" value="Remel 1" terminal="false">-u--|-u--|-u--|-u-|</metSym>
    <metSym xml:id="remel2" value="Remel 2" terminal="false">uu--|uu--|uu--|uu-|</metSym>
    <metSym xml:id="remel3" value="Remel 3" terminal="false">-u--|-u--|-u--|</metSym>
    <metSym xml:id="remel4" value="Remel 4" terminal="false">-u--|-u--|-u-|</metSym>
    <metSym xml:id="remel5" value="Remel 5" terminal="false">-u--|-u--|-u--|-u--|</metSym>
    <metSym xml:id="remel6" value="Remel 6" terminal="false">uu--|uu--|uu--|uu--|</metSym>                     
    <metSym xml:id="seri1" value="Serî 1" terminal="false">-uu-|-uu-|-u-|</metSym>
</metDecl>

.tei:header/tei:fileDesc/tei:sourceDesc/tei:listWit

All "########" must be replaced with the corresponding 8-digit number from the URI.

<witness xml:id="cmo_source_########">
    <idno type="CMO">NE204</idno>
    <idno type="RISM">[Enter RISM identifier, if existant, or delete element.]</idno>
    <biblFull>
        <fileDesc>
            <titleStmt>
                <title type="main" xml:lang="[lan]">[Enter title of corresponding piece, or delete content otherwise]</title>
                <editor>
                    <!-- Enter appropriate 8-digit number from URI (twice). -->
                    <persName key="cmo_person_########"
                        ref="https://corpus-musicae-ottomanicae.de/receive/cmo_person_########">
                        [Enter name of person here or delete element otherwise.]</persName>
                </editor>
            </titleStmt>
            <publicationStmt>
                <ab/>
            </publicationStmt>
            <sourceDesc>
                <!-- Add appropriate 8-digit number from URI. -->
                <bibl>The following source description is retreived from the CMO
                    Source Catalogue: <ref type="uri">
                        https://corpus-musicae-ottomanicae.de/receive/cmo_source_########</ref>
                </bibl>
            </sourceDesc>
        </fileDesc>
        <profileDesc>
            <textClass>
                <keywords>
                    <!-- Add / delete tei:term elements here as appropriate. -->
                    <term
                        target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Manuscript"
                        type="cmo_sourceType">Manuscript</term>
                    <term
                        target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                        type="cmo_kindOfData">Source Catalogue</term>
                    <term
                        target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_notationType#Hampartsum_notation"
                        type="cmo_notationType">Hampartsum notation</term>
                    <term
                        target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_contentType#Mixed_musical_collection"
                        type="cmo_contentType">Mixed musical collection</term>
                </keywords>
            </textClass>
            <langUsage>
                <!-- Enter value for @ident with three-letter code for language and four-letter code for script. -->
                <!-- Use "https://tools.ietf.org/search/bcp47#appendix-A" as a guideline choosing the code to match the language description from the source catalogue. -->
                <language ident="[lan-scrp]">[Enter language description from source catalogue,
                    e.g. Ottoman Turkish in Arabic script]</language>
            </langUsage>
        </profileDesc>
    </biblFull>
    <msDesc>
        <msIdentifier>
            <country>[Enter country as in source catalogue, e.g. Turkey.]</country>
            <settlement>[Enter city as in source catalogue, e.g. Istanbul.]</settlement>
            <repository>[Enter library as in source catalogue, e.g.
                İstanbul Üniversitesi Nadir Eserler Kütüphanesi]</repository>
            <idno>[Enter sehlfmark of library as in source catalogue, e.g. Y. 204-2]</idno>
        </msIdentifier>
        <msContents>
            <summary>[Enter contents as in source catalogue.]</summary>
        </msContents>
        <history>
            <p>[Enter provenance from source catalogue (bold).] <geogName>[Enter city from source catalogue.]</geogName>
                <!-- Add date range and calendar type as in source catalogue. -->
                <date notBefore="" notAfter="" calendar="#">[Enter date as in source catalogue.]</date>
            </p>
        </history>
    </msDesc>
</witness>

The CMO Online Publication Platform provides access to the online versions of both music and text editions, as well as the source catalogue, which is a comprehensive database of printed, manuscript and online sources.

This section provides information on structures, workflows and responsibilities regarding the source catalogue, the publication of the editions, and the technical infrastructure of the publication platform.

This section provides information on the technical management of the publication platform.

More information will follow soon.

Responsible:

Name

Role

Zeynep Helvaci


Sven Gronemeyer


Nanette Rißler-Pipka


Kathleen Neumann

Platform Manager (GBV)

This page summarises all manual editing (currently with focus onNE204) that cannot be covered by the XSL transformation and also highlights typical pitfalls to take special care of during quality assurance.

For manual editing, all elements are listed in the order of their appearance in the TEI schema / template. Conceptualized for internal use.

Hint: If you would like to delete or replicate a line / lines, mark them at the very beginning (column 1, not the beginning of the element), and mark additional ones with CTRL+CursorDown, this will not create any damage to the indents or create blank lines in the TEI.

tei:header

tei:titleStmt

Musical Genre

              <note type="genreTranscription" xml:lang="ota">
                 <ref target="genreGlossary.xml##[xml:id]">[Enter type of genre for this piece or delete element.]</ref>
               </note>

Usûl (written in source)

<note type="usulTranscription" xml:lang="ota">
   <ref target="usulGlossary.xml##[xml:id]">[Enter type of usul for this piece or delete elements.]</ref>
</note>

Replace "[Enter type of usul for this piece or delete elements.]" with the musical term as it can be transcribed from the source, e.g. "Çenber", with the inital letter of the first word in uppercase.

Usûl (reconstructed)

<note type="usulStandardized" xml:lang="ota">
   <ref target="usulGlossary.xml#semai">
      <supplied reason="provided-by-editor" cert="1" resp="#CM">Aksak semâî</supplied>
   </ref>
</note>

Poetic Form and Genre

<note type="poeticForm" xml:lang="ota">
    <ref target="poeticGlossary.xml##[xml:id]">
        <supplied reason="provided-by-editor" cert="1" resp="#ND">[Enter type of poetic form for this piece or delete element.]</supplied>
    </ref>
</note>
<note type="poeticGenre" xml:lang="ota">
    <ref target="poeticGlossary.xml##[xml:id]">
        <supplied reason="provided-by-editor" cert="1" resp="#ND">[Enter type of poetic genre for this piece or delete element.]</supplied>
    </ref>
</note>

Bahir

<note type="bahir" xml:lang="ota" corresp="[#vezin@xml:id]">
   <ref target="bahirGlossary.xml##[xml:id]">
      <supplied reason="provided-by-editor" cert="1" resp="#ND">[Enter type of bahir for this piece and multiply if necessary or delete element.]</supplied>
   </ref>
 </note>

Meter Structure

<note type="meter" xml:lang="ota" corresp="[#feet@xml:id]">
    <supplied reason="provided-by-editor" cert="1" resp="#ND">[Enter type of meter structure for this piece and multiply if necessary or delete element.]</supplied>
</note>

Author

<author role="" cert="[0-1]" resp="[#Initials]">[Enter name of author here and multiply if necessary or delete elements.]</author>

Editors

<editor role="">[Add additional name and role if necessary with either @corresp or @ref or delete element.]</editor>

tei:sourceDesc

Witness List

<sourceDesc>
    <listWit>
        <!-- Multiply tei:witness as often as necessary. -->
        <witness xml:id="cmo_source_########">
            <idno type="CMO">[Enter CMO identifier, if existant, or delete element.]</idno>
            <idno type="RISM">[Enter RISM identifier, if existant, or delete element.]</idno>
            <biblFull>
                <!-- Attention: This is note a complete code block, as not necessary for NE204. -->

tei:encodingDesc

Metrical Declaration (Feet)

<metDecl xml:id="feet" corresp="#symbols" type="met">
    <metSym xml:id="fa" value="fâ’" terminal="false">-|</metSym>
    <metSym xml:id="failatu" value="fâ’ilâtü" terminal="false">-u-u|</metSym>
    <metSym xml:id="failatun" value="fâ’ilâtün" terminal="false">-u--|</metSym>
    <metSym xml:id="failun" value="fâ’ilün" terminal="false">-u-|</metSym>
    <metSym xml:id="falun" value="fâ’lün" terminal="false">--|</metSym>
    <metSym xml:id="feilatun" value="fe’ilâtün" terminal="false">uu--|</metSym>
    <metSym xml:id="feilun" value="fe’ilün" terminal="false">uu-|</metSym>
    <metSym xml:id="feul" value="fe’ûl" terminal="false">u-|</metSym>
    <metSym xml:id="feulun" value="fe’ûlün" terminal="false">u--|</metSym>
    <metSym xml:id="mefulu" value="mef’ûlü" terminal="false">--u|</metSym>
    <metSym xml:id="mefulun" value="mef’ûlün" terminal="false">---|</metSym>
    <metSym xml:id="mefailu" value="mefâ’îlü" terminal="false">u--u|</metSym>
    <metSym xml:id="mefailun1" value="mefâ’ilün" terminal="false">u-u-|</metSym>
    <metSym xml:id="mefailun2" value="mefâ’ilün" terminal="false">u---|</metSym>
    <metSym xml:id="mufteilatun" value="müfte’ilâtün" terminal="false">-uu--|</metSym>
    <metSym xml:id="mufteilun" value="müfte’ilün" terminal="false">-uu-|</metSym>
    <metSym xml:id="mustefilun" value="müstef’ilün" terminal="false">--u-|</metSym>
    <metSym xml:id="mutefailun" value="mütefâ’ilün" terminal="false">uu-u-|</metSym>
</metDecl>

Metrical Declaration (Bahir)

       <metDecl xml:id="meters" corresp="#symbols" type="met">
           <metSym xml:id="cedid1" value="Cedîd 1" terminal="false">uu--|uu--|u-u-|</metSym>
           <metSym xml:id="hezec1" value="Hezec 1" terminal="false">--u|u--u|u--u|u--|</metSym>
           <metSym xml:id="hezec2" value="Hezec 2" terminal="false">--u|u---|u-u|u--|</metSym>
           <metSym xml:id="hezec3" value="Hezec 3" terminal="false">--u|u-u-|u--|</metSym>
           <metSym xml:id="hezec4" value="Hezec 4" terminal="false">u---|u--|u---|u--|</metSym>
           <metSym xml:id="hezec5" value="Hezec 5" terminal="false">u---|u---|u---|u---|</metSym>
           <metSym xml:id="hezec6" value="Hezec 6" terminal="false">u---|u---|u---|u--|</metSym>
           <metSym xml:id="hezec7" value="Hezec 7" terminal="false">u---|u---|u--|</metSym>
           <metSym xml:id="hezec8" value="Hezec 8" terminal="false">u---|u---|</metSym>
           <metSym xml:id="hezecahreb1" value="Hezec (Ahreb) 1 (Rubâî Meter)" terminal="false">--u|u---|--u|u-| </metSym>
           <metSym xml:id="hezecahreb2" value="Hezec (Ahreb) 2 (Rubâî Meter)" terminal="false">--u|u--u|u--u|u-| </metSym>
           <metSym xml:id="hezecahreb3" value="Hezec (Ahreb) 3 (Rubâî Meter)" terminal="false">--u|u---|---|-| </metSym>
           <metSym xml:id="hezecahreb4" value="Hezec (Ahreb) 4 (Rubâî Meter)" terminal="false">--u|u---|u---|-| </metSym>
           <metSym xml:id="hezecahreb5" value="Hezec (Ahreb) 5 (Rubâî Meter)" terminal="false">--u|u---|u--u|u-| </metSym>
           <metSym xml:id="hezecahreb6" value="Hezec (Ahreb) 6 (Rubâî Meter)" terminal="false">--u|u---|u---|-| </metSym>
           <metSym xml:id="hezecahrem1" value="Hezec (Ahrem) 1 (Rubâî Meter)" terminal="false">---|--u|u--u|u-| </metSym>
           <metSym xml:id="hezecahrem2" value="Hezec (Ahrem) 2 (Rubâî Meter)" terminal="false">---|--u|u---|-| </metSym>
           <metSym xml:id="hezecahrem3" value="Hezec (Ahrem) 3 (Rubâî Meter)" terminal="false">---|---|--u|u-| </metSym>
           <metSym xml:id="hezecahrem4" value="Hezec (Ahrem) 4 (Rubâî Meter)" terminal="false">---|---|--u|-| </metSym>
           <metSym xml:id="kamil1" value="Kâmil 1" terminal="false">uu-u-|u--|uu-u-|u--|</metSym>
           <metSym xml:id="muzari1" value="Muzâri 1" terminal="false">--u|-u-u|u--u|-u-|</metSym>
           <metSym xml:id="muzari2" value="Muzâri 2" terminal="false">--u|-u-u|--u|-u--|</metSym>
           <metSym xml:id="muctes1" value="Müctes 1" terminal="false">u-u-|uu--|u-u-|uu-|</metSym>
           <metSym xml:id="munserih1" value="Münserih 1" terminal="false">-uu-|-u-|-uu-|-u-|</metSym>
           <metSym xml:id="munserih2" value="Münserih 2" terminal="false">-uu--|-uu--|</metSym>
           <metSym xml:id="recez1" value="Recez 1" terminal="false">-uu-|u-u-|-uu-|u-u-|</metSym>
           <metSym xml:id="recez2" value="Recez 2" terminal="false">-uu-|-uu-|-uu-|-uu-|</metSym>
           <metSym xml:id="recez3" value="Recez 3" terminal="false">--u-|--u-|--u-|--u-|</metSym>
           <metSym xml:id="remel1" value="Remel 1" terminal="false">-u--|-u--|-u--|-u-|</metSym>
           <metSym xml:id="remel2" value="Remel 2" terminal="false">uu--|uu--|uu--|uu-|</metSym>
           <metSym xml:id="remel3" value="Remel 3" terminal="false">-u--|-u--|-u--|</metSym>
           <metSym xml:id="remel4" value="Remel 4" terminal="false">-u--|-u--|-u-|</metSym>
           <metSym xml:id="remel5" value="Remel 5" terminal="false">-u--|-u--|-u--|-u--|</metSym>
           <metSym xml:id="remel6" value="Remel 6" terminal="false">uu--|uu--|uu--|uu--|</metSym>                     
           <metSym xml:id="seri1" value="Serî 1" terminal="false">-uu-|-uu-|-u-|</metSym>
       </metDecl>

tei:body

tei:div@type="newPieceStart"

PDF Reference

<milestone unit="cite" source="#cmo_mods_########"/>

Locus

<locus from="‌[page]" to="‌[page]">‌p. [page number]</locus>

Incipit

<incipit>
   <supplied reason="derived-from-lyrics" cert="1" resp="#ND">[First line of main lyrics]</supplied>
</incipit>

tei:div@type="blockLyricsTranscription"

Language and Direction

<div type="blockLyricsTranscription" xml:lang="ota" style="direction:ltr;">

Line Group(s)

<lg n="1" decls="[#vezin@xml:id]" rhyme="">

Line Scansion

<l n="3" real="IZI-|Iu--|IZ--|-u--|">

QA: Wrong Order within tei:l

<!-- Wrong output of transformation. -->
               <l n="3">
                  <anchor xml:id="w6180s"/> Ḥalḳa-ı <anchor xml:id="w6180e"/>
                  <seg type="vocal" ana="mainPartLyrics">
                     <anchor xml:id="w6181s"/>zülfüñ<anchor xml:id="w6181e"/> hevāsı <anchor xml:id="w6183s"/>bendeni<anchor xml:id="w6183e"/>
                     <anchor xml:id="w6184s"/>mecnūn<anchor xml:id="w6184e"/> ėder</seg>
               </l>
 
<!-- Correct order of elements. -->
               <l n="3">
                   <seg type="vocal" ana="mainPartLyrics"><anchor xml:id="w6180s"/>Ḥalḳa-ı<anchor xml:id="w6180e"/>
                     <anchor xml:id="w6181s"/>zülfüñ<anchor xml:id="w6181e"/>hevāsı<anchor xml:id="w6183s"/>bendeni<anchor xml:id="w6183e"/>
                     <anchor xml:id="w6184s"/>mecnūn<anchor xml:id="w6184e"/>ėder</seg>
               </l>

Performance Instructions

<stage type="" ana="">
   <seg type="instruction" ana="terennüm">
      <supplied reason="omitted-in-original" cert="1" resp="#ND">tem</supplied>me</seg>
</stage>

Lyricist (unknown)

<note type="lyricist">
   <supplied reason="provided-by-editor" cert="" resp="#ND">Lyricist: <anchor xml:id="w970s"/>Rezmî<anchor xml:id="w970e"/></supplied>
</note>

QA: Lyricist (multi-word) Name

<!-- Wrong order. -->
            <note type="lyricist">
               <supplied reason="provided-by-editor" cert="" resp="#ND">Lyricist: Hâfız-ı <anchor xml:id="w3043s"/>Şîrâzî<anchor xml:id="w3043e"/></supplied>
            </note>
 
<!-- Correct order. -->
            <note type="lyricist">
               <supplied reason="provided-by-editor" cert="" resp="#ND"><anchor xml:id="w3043s"/>Lyricist: Hâfız-ı Şîrâzî<anchor xml:id="w3043e"/></supplied>
            </note>

QA: Lyricists known, multiple

<!-- Wrong: All lyricists in one element. -->
            <note type="lyricist">
               <supplied reason="provided-by-editor" cert="" resp="#ND">[Lyricist: Emîr Hüsrev-i Dihlevî &amp; Hâfız-ı <anchor xml:id="w2239s"/>Şîrazî]<anchor xml:id="w2239e"/></supplied>
            </note>
 
<!-- Correct: All lyricists in individual elements. -->
            <note type="lyricist">
               <supplied reason="provided-by-editor" cert="1" resp="#ND"><anchor xml:id="w2239s"/>Lyricist: Emîr Hüsrev-i Dihlevî<anchor xml:id="w2239e"/></supplied>
               <supplied reason="provided-by-editor" cert="1" resp="#ND"><anchor xml:id="w2240s"/>Lyricist: Hâfız-ı Şîrazî<anchor xml:id="w2240e"/></supplied>
            </note>

QA: Lyricist (unknown)

<note type="lyricist">
   <supplied reason="provided-by-editor" cert="" resp="#ND">
      <supplied reason="omitted-in-original" cert="1" resp="#ND">Lyricist: unkown</supplied>
   </supplied>
</note>

tei:back

tei:div@type="provenance"

Reading in Referred Source

<rdg wit="#cmo_source_00000092" type="orthographic-variant">Saḳṣonya<ref target="#cmo_source_00000092">Ha</ref></rdg>

QA: Split Different Witnesses

<!-- Correct: One reading variant in one or more sources in one element. -->
            <app from="#w28s" to="#w28e">
               <lem>ṣürāḥīyle</lem>
               <rdg wit="#cmo_source_00000030 #cmo_source_00000091" type="misspelled">sürāhiyle <ref target="#cmo_source_00000030">NE204</ref>, <ref target="#cmo_source_00000091">NE3466</ref>
               </rdg>
            </app>
 
<!-- Wrong: All different readings in one element. -->
            <app from="#w15s" to="#w15e">
               <lem>reftār u ẓarāfet</lem>
               <rdg wit="#cmo_source_00000091 #cmo_source_00000092">reftār-ı ẓarāfet<ref target="#cmo_source_00000091">NE3466</ref>; reftār ol nezāket<ref target="#cmo_source_00000092">Ha</ref></rdg>
            </app>
 
<!-- Correct: Different readings in individual elements. -->
            <app from="#w15s" to="#w15e">
               <lem>reftār u ẓarāfet</lem>
               <rdg wit="#cmo_source_00000091" type="variant-reading">reftār-ı ẓarāfet <ref target="#cmo_source_00000091">NE3466</ref></rdg>
               <rdg wit="#cmo_source_00000092" type="variant-reading">reftār ol nezāket <ref target="#cmo_source_00000092">Ha</ref></rdg>
            </app>

tei:div@type="annotations"

QA: Split Lyricist Note

<!-- Original rendition with two lyricists in one note. -->
            <app from="#w2239s" to="#w2239e">
               <lem>Lyricist Emîr Hüsrev-i Dihlevî & Hâfız-ı Şîrazî</lem>
               <note>The first distich and miyânhâne are first and fourth distiches of a nine-couplet gazel (no. 84) by Emîr Hüsrev-i Dihlevî (d. 1325). This is the Turkish pronounciation of his name, which can also be transcribed as Amîr Kosrow Dehlavî following Encyclopaedia Iranica (Schimmel 2011). The last distich is the last couplet of a eight-couplet gazel (no. 2) by Hâfız-ı Şîrazî (d. 1390?); see Emîr Hüsrev-i Dihlevî [n.d.] and Hâfız-ı Şîrâzî 1983, 20.</note>
            </app>
 
<!-- Corrected rendtion with two notes. -->
            <app from="#w2239s" to="#w2239e">
               <lem>Lyricist Emîr Hüsrev-i Dihlevî</lem>
               <note>The first distich and miyânhâne are first and fourth distiches of a nine-couplet gazel (no. 84) by Emîr Hüsrev-i Dihlevî (d. 1325). This is the Turkish pronounciation of his name, which can also be transcribed as Amîr Kosrow Dehlavî following Encyclopaedia Iranica (Schimmel 2011).</note>
            </app>
            <app from="#w2240s" to="#w2240e">
               <lem>Lyricist Hâfız-ı Şîrazî</lem>
               <note>The last distich of the lyrics is the last couplet of a eight-couplet gazel (no. 2) by Hâfız-ı Şîrazî (d. 1390?); see Emîr Hüsrev-i Dihlevî [n.d.] and Hâfız-ı Şîrâzî 1983, 20.</note>
            </app>

Citing Secondary Sources

<app from="#w47s" to="#w47e">
   <lem>Lyricist Hâmî</lem>
   <note>The lyrics are by a poet with the pen name (mahlas) Hâmî, indicated in the last
      line of the lyrics. It is possible that the poet is in fact Hâmî Ahmed Âmidî (d.
      1747), though the editors could not locate the lyrics in his dîvân; see <ref
         target="https://www.zotero.org/neslihandemirkol/items/Q2HCUPQQ">Hâmî Ahmed Âmidî 1885</ref>
      and <ref
         target="https://www.zotero.org/neslihandemirkol/items/7UDKRYQU">Yılmaz 2017</ref>. <ref
         target="https://www.zotero.org/neslihandemirkol/items/XHEPKTYF">Öztuna (2006, vol. 1, 426)</ref>
      and <ref
         target="https://www.zotero.org/neslihandemirkol/items/F58H6YW9">Aksüt (1983, vol. 1, 148)</ref>
      attribute the lyrics to Mehmed Kâmî Efendi (d. 1724). However, the editors could not
      locate the poem in his dîvân either; see <ref
         target="https://www.zotero.org/neslihandemirkol/items/2LYLMGGG">Erişen Yazıcı 2017</ref>
      and <ref
         target="https://www.zotero.org/neslihandemirkol/items/IWPP8RKS">Özyılmaz 1994</ref>.
   </note>
</app>

Prepare “bundles”

Discuss (post-proofreading)'

This section contains the basic structure of all additional, referenced TEI files, such as glossaries.

Glossary for genres (beste, sarki, ...)

<?xml version="1.0" encoding="UTF-8"?>
<!-- Validation for tei:entry still do be solved. -->
<!--<?xml-model href="CMOtextschema.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>-->
<TEI xmlns="http://www.tei-c.org/ns/1.0">
    <teiHeader>
        <fileDesc>
            <titleStmt>
                <title>List of Genre Types</title>
                <respStmt>
                    <resp>Glossary created by</resp>
                    <name xml:id="SG">
                        <persName>Sven Gronemeyer</persName>
                    </name>
                </respStmt>
                <respStmt>
                    <resp>Glossary with terms and definitions compiled by</resp>
                    <name xml:id="NN">
                        <persName>NN</persName>
                    </name>
                </respStmt>
            </titleStmt>
            <publicationStmt>
                <publisher>Corpus Musicae Ottomanicae</publisher>
                <date>2022</date>
                <availability>
                    <licence target="http://creativecommons.org/licenses/by-nc-sa/4.0/deed.en">
                        Licence: Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)</licence>
                </availability>
            </publicationStmt>
            <sourceDesc>
                <p>Based on information from the CMO Source Catalogue</p>
            </sourceDesc>
        </fileDesc>
    </teiHeader>
    <text>
        <body>
            <div>
                <entry xml:id="beste">
                    <form xml:lang="ota">
                        <orth type="arabTranscription">Beste</orth>
                        <orth type="ottomanTurkish">بسته</orth>
                    </form>
                    <sense>
                        <sense ana="broad">
                            <def>Vocal music genre in Ottoman art music.</def>
                        </sense>
                        <sense ana="narrow">
                            <def>Bestes are a common vocal music genre in Ottoman art music. They may appear with all usûls
                                except for those of the <ref target="usulGlossary.xml#semai">semâî family</ref>. The most common
                                form of the beste is "<ref target="genreGlossary.xml#murabba">murabba</ref>" (or "murabba beste")
                                that consists of four hemistiches and one terennüm. This type of beste is
                                structured in four hânes, where each hâne is composed of one hemistich + terennüm. Hemistiches
                                one, two and four are performed to the melody of the "zemînhâne" [ground hâne], whereas
                                hemistich three is often labeled as "miyânhâne" [the middle hâne]. The miyânhâne has modulations
                                and may either use the same terennüm melody as the other hânes, or it may also have an own
                                terennüm section with a melody different to that of the zemînhâne. Although the melody of the
                                terennüms may be different, the text of the terennüm remains the same. However, in some cases
                                the end of the terennüm adopts the last syllables of the respective hemistiches which are
                                referred to as "kâfîye" [rhyme] and "<ref target="poeticGlossary.xml#redif">redîf</ref>".
                                The structural same composition of the beste is also common in semâîs.</def>
                            <!-- FRAGEN / ANMERKUNGEN -->
                            <!-- Anders als in anderen Glossaren, wo <sense> (bisher) mit @n durchnummeriert ist, weil es verschiedene
                                Definitionen für einen Term gibt (etwa bei den Bahir, Hezec 1, 2, etc.), habe ich mich hier für @ana
                                entschieden, weil hier vielleicht eine breite Definition und eine spezifische Beschreibung greifen.
                                Das müssten wir auch im Vergleich mit anderen Begriffen, also Genres, sehen, so dass die Definition nicht
                                bei allen Genres mit Gesang "Vocal music genre" lautet, sondern vielleicht kurz über andere Formalia
                                beschrieben und unterschieden werden kann. Grundsatz bei der Modellierung von Termini und Definitionen
                                ist: zwei unterschiedliche Termini können keine identische Definition haben, denn sonst bräuchte man für
                                dieselbe Definintion im Umkehrschluss keine zwei Termini. -->
                            <!-- "semai family": In der Liste der Standardtermini tauchen verschiedene Usuls mit diesem Bestandteil
                                auf, etwa "aksak semai", "yürük semai", etc. Macht es Sinn, das Usul-Glossar entsprechend seiner
                                "Familien" zu strukturieren? Also, statt separierter <entry> für jedes Semai-Usul vielleicht ein
                                <superEntry> für die gesamte Familie und darunter hierarchisch eingeordnet die anderen Usul? Bsp:
                                    <superEntry xml:id="semai">
                                        <form>
                                            <orth>Semai Family</orth>
                                        </form>
                                        <entry xml:id="aksaksemai">
                                            <form>
                                                <orth>Aksak Semai</orth>
                                            </form>
                                            <sense>
                                                <def>This semai is characterised by...</def>
                                            </sense>
                                        </entry>
                                        <entry xml:id="yürüksemai">
                                            <form>
                                                <orth>Yürük Semai</orth>
                                            </form>
                                            <sense>
                                                <def>This semai is characterised by...</def>
                                            </sense>
                                        </entry>
                                    </superEntry>
                                Diese Art der Hierarchisierung wäre dann ähnlich wie das, was wir mit den Bahir gemacht haben, also
                                die Familie der "Hezec", die verschiedene Typen haben kann. Auch wenn ein Usul nicht zu einer Familie
                                gehört, so kann ein <entry> auch gleichberechtigt neben einem <superEntry> stehen. Achtung: Ein
                                <superEntry> kann kein <sense> enthalten, es ist also keine breitere Definition der Semai-Familie
                                an dieser Stelle möglich! Alternativ ist es aber auch kein Nachteil, <superEntry> nicht zu verwenden,
                                sondern einfach zwei <entry> zu verschachteln. -->
                            <!-- "murabba": In der Liste der Standardtermini ist "Murabba" als eigenständiges Genre aufgeführt.
                                Kann man die Genres auch entsprechend zu Familien zusammenfassen, ist also Murabba nur eine Variante
                                einer Beste? Die Modellierung wäre also analog zum obigen Beispiel. Das hätte dann auch Auswirkungen
                                auf den Umfang der Beschreibung, also wenn ich das richtig verstehe, würde dann die Beschreibung von
                                vier Hemistichien plus ein Terennüm eher dorthin passen? -->
                            <!-- "hemistich", "terennüm", "hane", etc.: Wäre es sinnvoll auch diese Begriffe auch noch im "Poetic
                                Glossary" zu definieren, wo etwa dann auch Begriffe wie "divan", "kazel", "rubai", etc. erklärt werden
                                sollen? Die Beschreibung könnte dann kürzer ausfallen, wie ich es oben im Beispiel für "redif" einmal
                                exemplarisch gemacht habe. Dann wären alle Begriffe und Definitionen gut untereinander verlinkt und
                                sauber getrennt, quasi ein Mini-Wiki zur osmanischen Kunstmusik. -->
                            <!-- Generell gefragt: Da dieses Glossar im Rahmen der Textedition entsteht, soll es nur die Genres enthalten,
                                die mit Gesang einhergehen, oder auch die rein instrumentalen, weil wir es ggf. auch mit dem MEI der
                                Musikedition verbinden können. Dann sollten wir aber die Genres mit Gesang priorisieren, erweitern können
                                wir immer. -->
                            <!-- Generell gilt für die Werte der Attribute: Auch wenn XML es nicht komplett verbietet, ist am besten nur
                                der ASCII-Zeichensatz zu verwenden, also etwa type="pesrev" statt type="peşrev", das könnte beim Parsen
                                oder bei XSLT zu Komplikationen führen. Codepage 436 ginge noch, aber da ist das "ğ" etwa nicht
                                enthalten. Ich lasse also maximal die Umlautzeichen neben den 26 Standardbuchstaben zu. -->
                        </sense>
                    </sense>
                </entry>
                <entry xml:id="pesrev">
                    <form xml:lang="ota">
                        <orth type="arabTranscription">Peşrev</orth>
 <!-- ND: These are from the list of standart terms of Ottoman music. As we discussed for the poetic terms, these are also not a 'transcription' from any source. These are how we agreed to write these terms in modern Turkish. I would humbly suggest removing the markup arabTranscription.-->                          
                          <orth type="ottomanTurkish"></orth>
                    </form>
                    <sense>
                        <sense ana="broad">
                            <def>A piece of music that serves as some sort of overture.</def>
                        </sense>
                    </sense>
                </entry>
            </div>
        </body>
    </text>
</TEI>

Glossary for usul types (cenber, ...)

<?xml version="1.0" encoding="UTF-8"?>
<?xml-model href="CMOtextschema.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
    <teiHeader>
        <fileDesc>
            <titleStmt>
                <title>List of Usul Types</title>
            </titleStmt>
            <publicationStmt>
                <ab>Compiled 2022</ab>
            </publicationStmt>
            <sourceDesc>
                <ab>CMO Source Catalogue</ab>
            </sourceDesc>
        </fileDesc>
    </teiHeader>
    <text>
        <body>
            <div>
                <entry xml:id="cenber">
                    <form xml:lang="ota">
                        <orth type="arabTranscription">Çenber</orth>
<!-- ND: These are from the list of standart terms of Ottoman music. As we discussed for the poetic terms, these are also not a 'transcription' from any source. These are how we agreed to write these terms in modern Turkish. I would humbly suggest removing the markup arabTranscription.-->                          
                    <orth type="ottomanTurkish"></orth>
                    </form>
                    <sense>
                        <cit type="beatsignature">
                            <quote>24/2</quote>
                        </cit>
                        <cit type="dümtek">
                            <!-- Alternatives. -->
                            <quote>Düm Düm Tek</quote>
                            <quote>DDT</quote>
                        </cit>
                        <sense n="1">
                            <def>The beat pattern is defined by ...</def>
                        </sense>
                    </sense>
                </entry>
            </div>
        </body>
    </text>
</TEI>

Glossary for editorial terms.

<?xml version="1.0" encoding="UTF-8"?>
<?xml-model href="CMOtextschema.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>
<?xml-model href="CMOtextschema.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
    <teiHeader>
        <fileDesc>
            <titleStmt>
                <title>List of Poetic Terms</title>
                <respStmt>
                    <resp>Terms and definitions compiled by</resp>
                    <name xml:id="ND">
                        <persName>Neslihan Dermikol</persName>
                    </name>
                </respStmt>
                <respStmt>
                    <resp>Glossary created by</resp>
                    <name xml:id="SG">
                        <persName>Sven Gronemeyer</persName>
                    </name>
                </respStmt>
            </titleStmt>
            <publicationStmt>
                <publisher>Corpus Musicae Ottomanicae</publisher>
                <date>2022</date>
                <availability>
                    <licence target="http://creativecommons.org/licenses/by-nc-sa/4.0/deed.en">
                        Licence: Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)</licence>
                </availability>
            </publicationStmt>
            <sourceDesc>
                <p>Based on information from the CMO Text Edition</p>
            </sourceDesc>
        </fileDesc>
    </teiHeader>
    <text>
        <body>
            <div type="glossary">
                <entry xml:id="divan">
                    <form>
                        <orth>Dîvân</orth>
                    </form>
                    <sense>
                       <sense n="1">
                            <def>The term is here used to refer to the collected works of a poet. It is not an anthology, it is composed of the poems of a single poet. It is not compiled by someone else but by the poet him/herself. As it has certain requirements in terms of form and content, it takes a long time for a poet to compile a dîvân. To have a dîvân is a symbol of prestige and honor among poets.</def>
                        </sense>
                    </sense>
                </entry>
                <entry xml:id="mecmua">
                    <form>
                        <orth>Mecmûa</orth>
                    </form>
                    <sense>
                        <sense n="1">
                            <def>A collection of miscellaneous text excerpts, e.g.  poems, lyrics, etc.; compiled by an individual, based on the taste of the owner.</def>
                        </sense>
                    </sense>
                </entry>
                <entry xml:id="poeticForm">
                    <form>Poetic Forms</form>
                    <entry xml:id="beyit">
                     <form>
                       <orth>Beyit</orth>
                        </form>
                        <sense>
                           <sense n="1">
                                <def><cit n="andrews1976"><quote>The beyt consists of two half-lines, is most likely the smallest unit of
                                poetic expression, and must be grammatically and semantically complete. [...] Thus, a beyt could be
                                extracted from a larger unit (c) and would be indistinguishable from a complete beyt length poem (a).
                                [...] there is no requirement or tradition in Western poetry necessitating that distichs or couplets-or
                                even stanzas in many cases-be complete self-contained units; poems made up of potentially complete
                                 couplet-length units do not even occur by chance with any frequency. It is difficult, therefore, to   
                                compare the beyt with any poetic sub-unit commonly used in Western poetry</quote></cit>(Andrews 1976,
                             132-136).</def>
                            </sense>
                        </sense>
                 <entry xml:id="poeticForm">
                    <form>Poetic Forms</form>
                    <entry xml:id="gazel">
                        <form>
                            <orth>Gazel</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <def><cit n="andrews1976"><quote>The gazel is a poem of from 5 to 15 beyts
                                    [couplets] (…) The gazel is a fully developed form, in that it determines the
                                    size, format and strategy of the poem</quote></cit> (Andrews 1976, 136).</def>
                            </sense>
                        </sense>
                    </entry>
                    <entry xml:id="kaside">
                        <form>
                            <orth>Kasîde</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <def><cit n="andrews1976"><quote>The kasîde is usually an encomiastic, a praise poem, and it is
                                    commonly stated that the poem is called a kasîde because it has a purpose (maksad) - that
                                    is, to praise someone in power, to praise God, to praise oneself, to gain favor or plead for a favor,
                                    etc.</quote></cit> (Andrews 1976, 146).</def>
                            </sense>
                        </sense>
                    </entry>
                    <entry xml:id="kita">
                        <form>
                            <orth>Kıta</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <def>Kıta (piece) is a poetic form in Ottoman literature. It consists of two couplets. The poet generally
                                    does not use his/her pen name in kıta. In kıta, there is <cit n="dilcin2019"><q>a thematic unity
                                    and the lines complete each other semantically, a feature which is not observed
                                    in <ref target="#gazel">gazels</ref> for instance</q></cit> (Dilçin 2019, 202). Walter G. Andrews
                                    defines kıta as <cit n="andrews1976"><quote>one of the least-studied and least-understood forms in Ottoman poetry</quote></cit> (1976, 170).</def>
                            </sense>
                        </sense>
                    </entry>
                    <entry xml:id="müstezad">
                        <form>
                            <orth>Müstezâd</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <def>It is <cit n="andrews1976"><quote>a compound form created by adding a
                                    short line with the rhythmic pattern >mefʿūlü feʿūlün to each
                                    mısraʿ of a gazel having the rhythm [mefʿūlü mefāʿīlü faʿūlün]
                                </quote></cit> (Andrews 1976, 170).</def>
                            </sense>
                        </sense>
                    </entry>
                    <entry xml:id="rubai">
                        <form>
                            <orth>Rubâî</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <!-- Maybe the glossary can be enhanced with additional terms? Here, reference is made to a beyt, which
                                    isn't defined otherwise, although coming from an Ottoman context. Apart from that, I have no idea what
                                    a quatrain is, but that's certainly beyond the scope of this glossary. -->
                                <!-- ND: It is explained right after the comma, 'a poem of four lines or two beyt'.-->                    
                                <def>It <cit n="andrews1976"><quote>is a quatrain, a poem of four lines or two beyts which rhyme on the
                                basic monorhyme pattern. […] It is generally thought by modern scholars to be of pre-Islamic Persian
                                origin </quote></cit> (Andrews 1976, 167).</def>
                            </sense>
                        </sense>
                    </entry>
                </entry>
                <entry xml:id="poeticGenre">
                    <form>Poetic Genres</form>
                    <entry xml:id="medhiye">
                        <form>
                            <orth>Medhiye</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <def>It is a poem written to praise either a living sultan, statesman etc. or prophet, caliphs etc.  It is written in <ref target="#kaside">kasîde</ref> form.</def>
                            </sense>
                        </sense>
                    </entry>
                    <entry xml:id="mersiye">
                        <form>
                            <orth>Mersiye</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <def>It is a poem to express sorrow or lamentation for one who is dead.  It is generally written in
                                terkîb-i bend form. However, there are rare mersiye samples in Ottoman poetry, which are in tercî-i bend
                             form. Both are stanza forms in Ottoman poetry and more information can be found in <cit n="andrews1976">    
                            </cit>Andrews 1976, 162-163.</def>
                            </sense>
                        </sense>
                    </entry>
                    <entry xml:id="naatiserif">
                        <form>
                            <orth>Naat-ı şerîf</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <def>It is a <ref target="#kaside">kasîde</ref> written in honor or praise of the Prophet.</def>
                            </sense>
                        </sense>
                    </entry>
                    <entry xml:id="nazire">
                        <form>
                            <orth>Nazîre</orth>
                        </form>
                        <sense>
                            <sense n="1">
                                <def>It is a poem written to resemble another poem in form and subject; an imitative piece of poetry</def>
                            </sense>
                        </sense>
                    </entry>
                </entry>
            </div>
            <div type="bibliography">
                <bibl corresp="#andrews1976">Andrews, Walter G. 1976. An Introduction to Ottoman Poetry.
                    Minneapolis and Chicago: Bibliotheca Islamica.</bibl>
                <bibl corresp="#dilcin2019">Dilçin, Cem, Dil ve Tarih Yüksek Kurumu Atatürk Kültür, and
                    Türk Dil Kurumu. 2019. Örneklerle Türk şiir bilgisi. Ankara: Türk Dil Kurumu.</bibl>
            </div>
        </body>
    </text>
</TEI>

This list contains the mark-up for sources to be used under .tei:header/tei:fileDesc/tei:sourceDesc/tei:listWit. The mark-up is listed by its siglum and each code-block can be copy-pasted as a reference for the critical apparatus.

Critical Editions from the Source Catalogue

NE204

               <witness xml:id="cmo_source_00000030">
                  <idno type="CMO">NE204</idno>
                  <idno type="RISM"/>
                  <biblFull>
                     <fileDesc>
                        <titleStmt>
                           <title/>
                           <author/>
                        </titleStmt>
                        <publicationStmt>
                           <ab/>
                        </publicationStmt>
                        <sourceDesc>
                           <bibl>Source description originates from CMO Source Catalogue:<ref type="uri">https://corpus-musicae-ottomanicae.de/receive/cmo_source_00000030</ref>.</bibl>
                        </sourceDesc>
                     </fileDesc>
                     <profileDesc>
                        <textClass>
                           <keywords>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Manuscript"
                                    type="cmo_sourceType">Manuscript</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                                    type="cmo_kindOfData">Source Catalogue</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_notationType#Hampartsum_notation"
                                    type="cmo_notationType">Hampartsum notation</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_contentType#Mixed_musical_collection"
                                    type="cmo_contentType">Mixed musical collection</term>
                           </keywords>
                        </textClass>
                        <langUsage>
                           <language ident="ota-Arab">Ottoman Turkish in Arabic script</language>
                        </langUsage>
                     </profileDesc>
                  </biblFull>
                  <msDesc>
                     <msIdentifier>
                        <country>Turkey</country>
                        <settlement>Istanbul</settlement>
                        <repository>İstanbul Üniversitesi Nadir Eserler Kütüphanesi</repository>
                        <idno>Y. 204-2</idno>
                     </msIdentifier>
                     <msContents>
                        <summary>Collection of instrumental and vocal music in Ottoman Turkish dating from late nineteenth or early twentieth century.</summary>
                     </msContents>
                     <history>
                        <p>Origination:<geogName>Istanbul?</geogName>
                           <date notBefore="1880" notAfter="1920" calendar="#gregorian">After ca. 1880</date>
                        </p>
                     </history>
                  </msDesc>
               </witness>

NE208

               <witness xml:id="cmo_source_00000071">
                  <idno type="CMO">NE208</idno>
                  <idno type="RISM">TR-Iüne 208-6</idno>
                  <biblFull>
                     <fileDesc>
                        <titleStmt>
                           <title/>
                           <author/>
                        </titleStmt>
                        <publicationStmt>
                           <ab/>
                        </publicationStmt>
                        <sourceDesc>
                           <bibl>Source description originates from CMO Source Catalogue:<ref type="uri">https://corpus-musicae-ottomanicae.de/receive/cmo_source_00000071</ref>.</bibl>
                        </sourceDesc>
                     </fileDesc>
                     <profileDesc>
                        <textClass>
                           <keywords>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                                    type="cmo_kindOfData">Source Catalogue</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Manuscript"
                                    type="cmo_sourceType">Manuscript</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_notationType#Hampartsum_notation"
                                    type="cmo_notationType">Hampartsum notation</term>
                           </keywords>
                        </textClass>
                     </profileDesc>
                  </biblFull>
                  <msDesc>
                     <msIdentifier>
                        <country>Turkey</country>
                        <settlement>Istanbul</settlement>
                        <repository>İstanbul Üniversitesi Nadir Eserler Kütüphanesi</repository>
                        <idno>Y. 208-6</idno>
                     </msIdentifier>
                  </msDesc>
               </witness>

Other sources cited in the critical apparatus

AK37

               <witness xml:id="cmo_source_00000111">
                  <idno type="CMO">AK37</idno>
                  <idno type="RISM"/>
                  <biblFull>
                     <fileDesc>
                        <titleStmt>
                           <title/>
                           <author/>
                        </titleStmt>
                        <publicationStmt>
                           <ab/>
                        </publicationStmt>
                        <sourceDesc>
                           <bibl>Source description originates from CMO Source Catalogue:<ref type="uri">https://corpus-musicae-ottomanicae.de/receive/cmo_source_00000111</ref>.</bibl>
                        </sourceDesc>
                     </fileDesc>
                     <profileDesc>
                        <textClass>
                           <keywords>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                                    type="cmo_kindOfData">Source Catalogue</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Manuscript"
                                    type="cmo_sourceType">Manuscript</term>
                           </keywords>
                        </textClass>
                     </profileDesc>
                  </biblFull>
               </witness>

BM

               <witness xml:id="cmo_source_00000096">
                  <idno type="CMO">BM</idno>
                  <idno type="RISM"/>
                  <biblFull>
                     <fileDesc>
                        <titleStmt>
                           <title type="main" xml:lang="ota">Mecmūʿa-i ḳārhā ve naḳşhā, beste ve semāʿī ve şarḳıyat</title>
                           <editor>
                              <persName key="cmo_person_00000237"
                                        ref="https://corpus-musicae-ottomanicae.de/receive/cmo_person_00000237">Meḥmed Nūrī</persName>
                           </editor>
                           <author/>
                        </titleStmt>
                        <publicationStmt>
                           <publisher/>
                           <pubPlace>
                              <geogName>Istanbul</geogName>
                           </pubPlace>
                           <date from="1873" to="1874" calendar="#hijri">1290</date>
                        </publicationStmt>
                        <sourceDesc>
                           <bibl>Source description originates from CMO Source Catalogue:<ref type="uri">https://corpus-musicae-ottomanicae.de/receive/cmo_source_00000096</ref>.</bibl>
                        </sourceDesc>
                     </fileDesc>
                     <profileDesc>
                        <textClass>
                           <keywords>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                                    type="cmo_kindOfData">Source Catalogue</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Printed_source"
                                    type="cmo_sourceType">Printed source</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_contentType#Song-Text_collection"
                                    type="cmo_contentType">Song-Text collection</term>
                           </keywords>
                        </textClass>
                        <langUsage>
                           <language ident="ota">Ottoman Turkish</language>
                           <language ident="ota-Arab">Ottoman Turkish in Arabic script</language>
                        </langUsage>
                     </profileDesc>
                  </biblFull>
               </witness>

Ha

               <witness xml:id="cmo_source_00000092">
                  <idno type="CMO">Ha</idno>
                  <idno type="RISM"/>
                  <biblFull>
                     <fileDesc>
                        <titleStmt>
                           <title type="main">Hanende</title>
                           <author/>
                        </titleStmt>
                        <publicationStmt>
                           <ab/>
                        </publicationStmt>
                        <sourceDesc>
                           <bibl>Source description originates from CMO Source Catalogue:<ref type="uri">https://corpus-musicae-ottomanicae.de/receive/cmo_source_00000092</ref>.</bibl>
                        </sourceDesc>
                     </fileDesc>
                     <profileDesc>
                        <textClass>
                           <keywords>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                                    type="cmo_kindOfData">Source Catalogue</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Printed_source"
                                    type="cmo_sourceType">Printed source</term>
                           </keywords>
                        </textClass>
                     </profileDesc>
                  </biblFull>
               </witness>

HB1

               <witness xml:id="cmo_source_00000075">
                  <idno type="CMO">HB1</idno>
                  <idno type="RISM"/>
                  <biblFull>
                     <fileDesc>
                        <titleStmt>
                           <title type="main" xml:lang="ota">Mecmūʿa-yı ḳārhā ve naḳşhā ve şarḳıyyāt</title>
                           <editor>
                              <persName key="cmo_person_00000137"
                                        ref="https://corpus-musicae-ottomanicae.de/receive/cmo_person_00000137">Hâşim Bey</persName>
                           </editor>
                           <author/>
                        </titleStmt>
                        <publicationStmt>
                           <publisher/>
                           <pubPlace>
                              <geogName>Istanbul</geogName>
                           </pubPlace>
                           <date notBefore="1852-01-01" calendar="#hijri" notAfter="1853-12-31">1269</date>
                        </publicationStmt>
                        <sourceDesc>
                           <bibl>Source description originates from CMO Source Catalogue:<ref type="uri">https://corpus-musicae-ottomanicae.de/receive/cmo_source_00000075</ref>.</bibl>
                        </sourceDesc>
                     </fileDesc>
                     <profileDesc>
                        <textClass>
                           <keywords>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                                    type="cmo_kindOfData">Source Catalogue</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Printed_source"
                                    type="cmo_sourceType">Printed source</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_contentType#Song-Text_collection"
                                    type="cmo_contentType">Song-Text collection</term>
                           </keywords>
                        </textClass>
                        <langUsage>
                           <language ident="ota-Arab">Ottoman Turkish in Arabic script</language>
                        </langUsage>
                     </profileDesc>
                  </biblFull>
               </witness>

HB2

               <witness xml:id="cmo_source_00000023">
                  <idno type="CMO">HB2</idno>
                  <idno type="RISM"/>
                  <biblFull>
                     <fileDesc>
                        <titleStmt>
                           <title xml:lang="ota" type="main">[Mûsiki Mecmuası (İlaveli 2. Tabı)]</title>
                           <editor>
                              <persName key="cmo_person_00000137"
                                        ref="https://corpus-musicae-ottomanicae.de/receive/cmo_person_00000137">Hāşim Beğ</persName>
                           </editor>
                           <author/>
                        </titleStmt>
                        <publicationStmt>
                           <publisher/>
                           <pubPlace>
                              <geogName>Istanbul</geogName>
                           </pubPlace>
                           <date notBefore="1864-03-13" notAfter="1865-03-12" calendar="#rumi">1280</date>
                        </publicationStmt>
                        <sourceDesc>
                           <bibl>Source description originates from CMO Source Catalogue:<ref type="uri">https://corpus-musicae-ottomanicae.de/receive/cmo_source_00000023</ref>.</bibl>
                        </sourceDesc>
                     </fileDesc>
                     <profileDesc>
                        <textClass>
                           <keywords>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Printed_source"
                                    type="cmo_sourceType">Printed source</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                                    type="cmo_kindOfData">Source Catalogue</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_contentType#Song-Text_collection"
                                    type="cmo_contentType">Song-Text collection</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_contentType#Theoretical_Works"
                                    type="cmo_contentType">Theoretical Works</term>
                           </keywords>
                        </textClass>
                        <langUsage>
                           <language ident="ota-Arab">Ottoman Turkish in Arabic script</language>
                        </langUsage>
                     </profileDesc>
                  </biblFull>
                  <msDesc>
                     <msIdentifier>
                        <country>Turkey</country>
                        <settlement>Istanbul</settlement>
                     </msIdentifier>
                     <msContents>
                        <summary>Song-text collection with a theoretical introduction (in 2nd edition only).</summary>
                     </msContents>
                  </msDesc>
               </witness>

TMKlii

               <witness xml:id="cmo_source_00000050">
                  <idno type="CMO">TMKlii</idno>
                  <idno type="RISM"/>
                  <biblFull>
                     <fileDesc>
                        <titleStmt>
                           <title xml:lang="ota" type="main">Dārüʾl‑elḥān küllīyātı</title>
                           <title xml:lang="tr" type="sub">Türk Musikisinin klasikleri</title>
                           <respStmt>
                              <resp>Printer</resp>
                              <orgName>Aḥmed İḥsān ve Şürekāsı</orgName>
                           </respStmt>
                           <respStmt>
                              <resp>Printer</resp>
                              <orgName>Maṭbaʿa-yı ʿOs̱mānīye</orgName>
                           </respStmt>
                           <author/>
                        </titleStmt>
                        <publicationStmt>
                           <publisher/>
                           <publisher>İstanbul Konservatuvarı Neşriyatı</publisher>
                           <pubPlace>
                              <geogName>Istanbul</geogName>
                           </pubPlace>
                        </publicationStmt>
                        <notesStmt>
                           <note type="publicationInformation">Published in 180 fascicles. No publisher given for fascicles 1-120; fascicles 121-180 are published by İstanbul Konservatuvarı Neşriyatı. Fascicles 1-7 are printed by Aḥmed İḥsān ve Şürekāsı; fascicles 8-65 are printed by Maṭbaʿa-yı ʿOs̱mānīye; no printer is given for fascicles 66-180. Fascicles 1-120 are in Arabic script (published before 1929); fascicles 121-180 are in Latin script (1929 onwards).</note>
                           <note type="persons-institutions">Fascicles 1-120 are edited under the supervision of a Scientific Committee from the Dārü l-elḥān (‘Dārü l-elḥānda müteşekkil heyʾet-i ʿilmīye ṭarafından tedḳīḳ ve ḳabūl ėdilmişdir’); fascicles 121-180 are edited under the supervision of a Scientific Committee from İstanbul Konservatuvarı (‘Konservatuvardaki İlmî Hey’et tarafından tetkik ve kabul edilmiştir’).</note>
                        </notesStmt>
                        <sourceDesc>
                           <bibl>Source description originates from CMO Source Catalogue:<ref type="uri">https://corpus-musicae-ottomanicae.de/receive/cmo_source_00000050</ref>.</bibl>
                        </sourceDesc>
                     </fileDesc>
                     <profileDesc>
                        <textClass>
                           <keywords>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_sourceType#Printed_source"
                                    type="cmo_sourceType">Printed source</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_kindOfData#source"
                                    type="cmo_kindOfData">Source Catalogue</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_notationType#Staff_notation"
                                    type="cmo_notationType">Staff notation</term>
                              <term target="https://www.corpus-musicae-ottomanicae.de/api/v1/classifications/cmo_contentType#Mixed_musical_collection"
                                    type="cmo_contentType">Mixed musical collection</term>
                           </keywords>
                        </textClass>
                        <langUsage>
                           <language ident="ota-Arab">Ottoman Turkish in Arabic script</language>
                           <language ident="ota-Latn">Ottoman Turkish in Latin script</language>
                           <language ident="tr">Turkish</language>
                        </langUsage>
                     </profileDesc>
                  </biblFull>
               </witness>

Structure Suggestion for the Introductions of CMO Music Editions 1.2

Preliminary notes:

Table of Contents

List of Abbreviations

Preface          Possible contents:

Manuscript in Context

Codicological Aspects

Editorial Aspects

Bibliography

Important note: These instructions are primarily for an edition in two separate volumes (Transcription - Commentary).

Status Indicator

Current work in progress
  •  N/A
  • by [editors' names] on [sources' names]

Work Number

Main Source

                         Notes                         

CMOi0768



CMOi0767



CMOi0766



CMOi0765



CMOi0764



CMOi0763



CMOi0762



CMOi0761



CMOi0760



CMOi0759



CMOi0758



CMOi0757

OA373

muhayyer kürdi semai Sebuh

CMOi0756

OA289

hüseyni peşrev Nikolaki

CMOi0755

OA321

hicaz peşrev Aziz Dede

CMOi0754

only print sources

isfahan semai Nuri Efendi

CMOi0753

OA321

şehnaz semai Nikolaki

CMOi0752

OA321

karcigar semai Nikolaki

CMOi0751

OA321

karcigar düyek Nikolaki 

CMOi0750

Kevseri, TA110

nikriz semai Mumin Aga

CMOi0749

Kantemir

nikriz Mumin çenber

CMOi0748

OA259

pencgah semai Kantemir

CMOi0747

OA321, OA295

rehavi zencir Çoban Giray

CMOi0746

Kantemir, TA110

muhayyer Ali Bey düyek

CMOi0745

Kantemir, TA110, OA373

büyük muhayyer düyek Osman

CMOi0744

Kantemir

segah Sancak düyek

CMOi0743

Kantemir

acem Sancak muhammes

CMOi0742

Kantemir, TA110

hüseyni Kız peşrevi düyek

CMOi0741

Kantemir, ST1, TA110

hüseyni kulli kulliyet naziresi

CMOi0740

TA110, ST1

nişaburek dilkuşad çenber

CMOi0739

Kantemir, TA110

acem küçük murassa

CMOi0738

Kantemir, ST1

nikriz berefşan Lalpare

CMOi0737

Kantemir, ST1

beyati Acemler düyek

CMOi0736

NE218b

şehnaz semai Raşid

CMOi0735

NE218b

şehnaz fahte Raşisd

CMOi0734

ST2, NE219, TA110

sipihr hafif (Eflatun)

CMOi0733

OA373, NE218

segah semai Hizr Aga

CMOi0732

OA373

acem aşiran semai Arabzade

CMOi0731

OA373

acem aşiran muhammes Arabzade

CMOi0730

OA373

muhayyer semai Musi

CMOi0729

Kantemir, OA 373

muhayyer semai Osman Dede

CMOi0728

OA373

evc buselik semai Selim III

CMOi0727

OA405, OA373

evc buselik devr-i kebir Selim III

CMOi0726

Kantemir, ST1

evc Çak-ı Giriban düyek

CMOi0725

OA291, OA321

evc maya fahte İlya

CMOi0724

OA373

evc buselik semai

CMOi0723

OA373

evc buselik fahte Numan Aga

CMOi0722

OA373

evc semai İsak

CMOi0721

OA373

evc darb-ı feth İsak

CMOi0720

NE213, ST1, OA373

evc semai Zakir 

CMOi0719

OA373, OA401

necd-i hüseyni semai

CMOi0718

Kantemir 

hüseyni semai Ibrahim Aga

CMOi0717

Kantemir, TA110

hüseyni fahte Ibrahim Aga

CMOi0716

TA110, OA373

hüseyni kürdi devr-i kebir

CMOi0715

TA110, ST1, ST2, OA373

hüseyni kürdi darb-ı feth

CMOi0714

Kantemir

hüseyni Gamzekar düyek 

CMOi0713

OA373, TA110

zirgule buselik darb-ı feth Devatdar

CMOi0712

OA373, TA108

hüseyni (gizli fahte) semaisi

CMOi0711

OA373

neva buselik semaik İsak

CMOi0710

OA373

neva buselik devr-i kebir İsak

CMOi0709

Kantemir, ST1, OA405

dugah Feryad-i Yusuf düyek

CMOi0708

OA373

neva Feryad-i Yusuf düyek

CMOi0707

OA373

neva muhammes Hamdi

CMOi0706

OA373

neva semai Katib Çelebi

CMOi0705

OA373

neva berefşan Katib Çelebi

CMOi0704

Kevseri, ST1

neva muhammes/duyek Baba Zeytun

CMOi0703

Kantemir

neva darb-ı fetḥ Solak-zade

CMOi0702

OA373, TA108

neva semai Bedros

CMOi0701

OA373, TA108

neva ḍarb-ı feth Bedros

CMOi0700

OA373

çargah devr-i kebir İsak

CMOi0699

OA373

segah semai Sadik

CMOi0698

OA373

segah semai Ruhban

CMOi0697

OA373

segah Zulf-i Nigar semai

CMOi0696

Kantemir, OA405, OA373

segah darb-ı fetḥ Şerif

CMOi0695

OA373, TA110

dugah Mir-i Bagdad devr-i kebir

CMOi0694

OA373

dugah buselik semai İsak

CMOi0693

OA373

dugah buselik düyek İsak

CMOi0692

OA373, TA110

rast-ı ʿatik darbeyn (Mumin)

CMOi0691

OA373

rast semai Solakzade

CMOi0690

OA373

rast Mevc-i Derya semai

CMOi0689

Kantemir

rast düyek Şeyh Osman

CMOi0688

OA373

rast semai Muzaffer Musi

CMOi0687

OA373, TA108, TA110

ırak semai Elci Salih

CMOi0686

Kantemir

mahur darb-ı fetḥ

CMOi0685

OA373

ırak darbeyn İsak

CMOi0684

OA373

hüseyni aşiran semai Katib Çelebi

CMOi0683

OA373

hüseyni aşiran fahte Katib Çelebi

CMOi0682

OA373

hüseyni aşiran devr-i kebir Numan aga

CMOi0681

NE212

tahir semai Raşid

CMOi0680

NE212

nikriz devr-i kebir Rasid Efendi

CMOi0679

NE212

hümayun semai Yusuf Paşa

CMOi0678

NE212

dugah semai Yusuf Paşa

CMOi0677

NE212

şedd-i araban hafif Osman Bey

CMOi0676

NE212

hicaz hümayun devr-i kebir Osman Bey

CMOi0675

NE212

hüseyni semai Raşid Efendi

CMOi0674

NE212

hicaz semai Raşid Efendi

CMOi0673

NE212

hicaz fahte Raşid Efendi

CMOi0672

NE212

segah devr-i kebir Yusuf Paşa

CMOi0671

NE212

hicaz devr-i kebir Yusuf Paşa

CMOi0670

NE212

nisaburek hafif Osman Bey

CMOi0669

NE212

nisaburek semai Kuçuk Osman

CMOi0668

NE212

şehnaz düyek Salih

CMOi0667

NE212

huzzam semai Osman Bey

CMOi0666

NE212

huzzam devri kebir Osman Bey

CMOi0665

NE212

neveser semai Numan Aga

CMOi0664

NE212

neveser  peşrev Numan Aga

CMOi0663

NE212

şevk-i tarab semai Raşid

CMOi0662

NE212

acem semai Raşid Efendi

CMOi0661

NE212

acem devr-i kebir Raşid Efendi

CMOi0660

NE212

hicaz asiran devri kebir Raşid Efendi

CMOi0659

NE212

suzidilara semai Raşid

CMOi0658

NE212

dilnişin semai Raşid

CMOi0657

NE212

evc semai Raşid

CMOi0656

NE212

mustear muhammes Nikolaki

CMOi0655

NE212

yegah semai Sebuh

CMOi0654

NE212

sultani ırak semai Raşid

CMOi0653

NE212

segah semai Nikolaki

CMOi0652

NE212

şedaraban semai Nikolaki

CMOi0651

NE212

suzidil semai Raşid

CMOi0650

NE212

suzidil çenber Raşid

CMOi0649

NE212

sultanî ırâk muhammes Raşid

CMOi0648

NE212

uşşak semai Aziz Dede

CMOi0647

NE212

dilnişin muhammes Raşid

CMOi0646

NE212

nihavend devr-i kebîr Raşid Efendi

CMOi0645

NE212

evc buselik fahte Raşid Efendi

CMOi0644

NE212

evc düyek Raşid Efendi

CMOi0643

NE212

buselik aşiran düyek Raşid Efendi

CMOi0642

NE212

uşşak hafîf Osmân Bey

CMOi0641

NE212

hüseynī aşirān semāʿī Nikolaki

CMOi0640

NE212

huseyni asiran semai Salih

CMOi0639

NE212

huseyni asiran sakil Salih

CMOi0638

NE212

hicaz fahte Salih

CMOi0637

NE212

tahir fahte Salih

CMOi0636

NE212

segah/saba zemzeme devri Osman Bez

CMOi0635

NE212

suznak semai Nikolaki

CMOi0634

NOT ASSIGNED

NOT ASSIGNED

CMOi0633

NE212

buzurg semai Necib

CMOi0632

NE212

huseyni semai Nikolaki

CMOi0631

NE212

hicaz devr-i kebir Necip Paşa

CMOi0630

NE212

nihavend devr/i kebir Necib Paşa

CMOi0629

NE212

mustear çenber Raşid

CMOi0628

NE212 

muhayyer semai Salim

CMOi0627

NE212

muhayyer devr-i kebir Salim Bey

CMOi0626

NE212

buzurg semai Raşid Efendi

CMOi0625

NE212 

neveser semai Raşid Efendi

CMOi0624

NE212

neveser çenber Raşid Efendi

CMOi0623

NE212

buselik semai Raşid Efendi

CMOi0622

NE212

gerdaniyye çifte düyek Raşid Efendi

CMOi0621

KM2804_126

hüseyni çenber Melekcan

CMOi0620

KM2804_033

rast çenber Melekcan

CMOi0619

KM2804_003

ʿırak ŝaḳīl Melekcan

CMOi0618

KM2804_234

ʿacem duyek Ruhban

CMOi0617

MFA4941_387

nazire-ye Ruhban duyek segah

CMOi0616

KM2804_075

segah duyek Ruhban

CMOi0615

MFA4941_027

ʿirak darb-ı feth Muzaffer

CMOi0614

MFA4941_028

ʿırak darb-ı feth Şerif

CMOi0613

M355_73

dugah devr-i kebir Yusuf Paşa

CMOi0612

CT-Saz, p. 058

kürdili hicazkar saz semai Vasilaki

CMOi0611

CT-Saz, p. 056

kürdili hicazkar peşrev Vasilaki

CMOi0610

OA321_214

mahur saz semai Nikolaki

CMOi0609

OA289_021

büzürg saz semai Selim III

CMOi0608

OA289_020

büzürg çenber Selim III

CMOi0607

CT-Saz, p. 035

suznak saz semai Tatyos

CMOi0606

CT-Saz, p. 028 (also OA289)

nev-eser saz semai Yusuf Paşa

CMOi0605

CT-Saz, p. 027 (also OA289)

nev-eser peşrev Yusuf Paşa

CMOi0604

TA108

nihavend saz semai Yusuf Paşa

CMOi0603

OA321_244

rast-i cedid Altuni Hafiz Efendi

CMOi0602

Kantemir and Kevseri

hüseyni peşrev Ciger-dilen

CMOi0601

OA295a_085

sazkar saz semai Numan Aga

CMOi0600

OA289_113

sazkar havi Kantemir

CMOi0599

OA295a_065

rehavi saz semai Sultan Selim III

CMOi0598

OA321_019

rast peşrev ʿasım bey

CMOi0597

KM2804_267, f.123r

Kuh-pare peşrev hisar duyek

CMOi0596

NE212, Part B, pp. 240-242

buselik Raşid Efendi muhammes

CMOi0595

NE212, Part B, p. 240

nikriz semai Raşid Efendi

CMOi0594

NE212, Part B, p. 191

şevḳ-i ṭarab devri Raşid Efendi

CMOi0593

NE212, Part B, p. 187

Not catalogued

şevḳ-i ṭarab Sulṭān Selīm ḥafīf

CMOi0592

NE212, Part B, p. 95

Not catalogued

Mirʿat-i Dil ? - this already 

has a work number (CMOi0040)

CMOi0591

NE212, Part A, pp. 117-120

Not catalogued

dugāh devri Raşid Efendi

CMOi0590

NE212, Part A, pp. 90-91

Not catalogued

rāst semāʿī Ḳantemīroġlu'nuñ

CMOi0589

NE212, Part A, pp. 88-90

Not catalogued

rāst dūyek Ḳantemīroġlu'nuñ

CMOi0588

NE212, Part A, p. 87

Not catalogued

rāst semāʿī Ṭorun Aġa

CMOi0587

NE212, Part A, pp. 45-46

Not catalogued

ʿuşşāḳ Sulṭān Selīm

CMOi0586

NE212, Part A, p. 45

bayātī ʿarabān semāʿī Nīḳolākī

CMOi0585

NE216, p. 69


CMOi0584

NE216, p. 68


CMOi0583

NE216, p. 66


CMOi0582

NE216, p. 61


CMOi0581

NE216, p. 57


CMOi0580

NE216, p. 55


CMOi0579

NE216, p. 53


CMOi0578

NE216, p. 49


CMOi0577

NE216, p. 47


CMOi0576

NE216, p. 43


CMOi0575

NE216, p. 41


CMOi0574

NE216, p. 39


CMOi0573

NE216, p. 37


CMOi0572

NE216, p. 35


CMOi0571

NE216, p. 32


CMOi0570

NE216, p. 29


CMOi0569

NE216, p. 27


CMOi0568

NE216, p. 23


CMOi0567

NE216, p. 19


CMOi0566

NE216, p. 15


CMOi0565

NE216, p. 09


CMOi0564

NE216, p. 05


CMOi0563

NE216, p. 03


CMOi0562

NE216, p. 01


CMOi0561

NE214, p. [iv]


CMOi0560

NE214, p. [143] [n.pag.]


CMOi0559

NE214, p. 129


CMOi0558

NE214, p. 126


CMOi0557

NE214, p. 069


CMOi0556

YZPER2, fol. 16r [n.pag.]


CMOi0555

NE217b, p. [34] [n.pag.]


CMOi0554

NE217b, p. [24] [n.pag.]


CMOi0553

NE217b, p. [04]  [n.pag.]


CMOi0552

NE217a, p. 09


CMOi0551

NE217a, p. 07


CMOi0550

NE217a, p. 03


CMOi0549

NE203, p. 10/6


CMOi0548

NE215, p. 50


CMOi0547

NE215, p. 47


CMOi0546

NE215, p. 45


CMOi0545

NE215, p. 41


CMOi0544

NE215, p. 38


CMOi0543

NE215, p. 35


CMOi0542

NE215, p. 33[b]


CMOi0541

NE215, p. 31


CMOi0540

NE215, p. 29


CMOi0539

NE215, p. 27


CMOi0538

NE215, p. 25


CMOi0537

NE215, p. 23


CMOi0536

NE215, p. 21


CMOi0535

NE215, p. 19


CMOi0534

NE215, p. 15


CMOi0533

NE215, p. 12


CMOi0532

NE215, p. 10


CMOi0531

NE215, p. 08


CMOi0530

NE215, p. 05


CMOi0529

NE215, p. 03


CMOi0528

NE215, p. 01


CMOi0527

NE204, p. 053


CMOi0526

NE204, p. 052


CMOi0525

NE204, p. 051


CMOi0524

NE204, p. 048


CMOi0523

NE204, p. 034


CMOi0522

NE204, p. 020


CMOi0521

NE204, p. 019


CMOi0520

NE204, p. 016/1


CMOi0519

NE204, p. 015


CMOi0518

NE204, p. 014


CMOi0517

NE204, p. 013


CMOi0516

NE204, p. 010


CMOi0515

NE205 i56


CMOi0514

NE207, p. 22


CMOi0513

NE205 i51


CMOi0512

NE207, p. 39


CMOi0511

NE211, p. 230


CMOi0510

NE204, p. 041


CMOi0509

NE211, p. 097


CMOi0508

NE205, p. [398] [n.pag.]


CMOi0507

NE211, p. 034


CMOi0506

NE211, p. 033


CMOi0505

TA249, p. 0989/2


CMOi0504

TA249, p. 3019


CMOi0503

TA249, p. 3005


CMOi0502

TA249, p. 2999


CMOi0501

TA249, p. 2989


CMOi0500

TA249, p. 2987


CMOi0499

TA249, p. 2985


CMOi0498

TA249, p. 2983


CMOi0497

TA249, p. 2979


CMOi0496

TA249, p. 2975


CMOi0495

TA249, p. 2973


CMOi0494

TA249, p. 2971


CMOi0493

TA249, p. 2965


CMOi0492

TA249, p. 2963


CMOi0491

TA249, p. 2959/2


CMOi0490

TA249, p. 2959/1


CMOi0489

TA249, p. 2945


CMOi0488

TA249, p. 2941


CMOi0487

TA249, p. 0209


CMOi0486

TA249, p. 2929


CMOi0485

TA249, p. 0213


CMOi0484

TA249, p. 2921


CMOi0483

TA249, p. 2913


CMOi0482

TA249, p. 2905


CMOi0481

TA249, p. 2899


CMOi0480

TA249, p. 2897


CMOi0479

TA249, p. 2893


CMOi0478

TA249, p. 2881


CMOi0477

TA249, p. 2873


CMOi0476

TA249, p. 2869


CMOi0475

TA249, p. 2865


CMOi0474

TA249, p. 2862


CMOi0473

TA249, p. 2861


CMOi0472

TA249, p. 2858


CMOi0471

TA249, p. 2857


CMOi0470

TA249, p. 2849


CMOi0469

TA249, p. 2845


CMOi0468

TA249, p. 0205


CMOi0467

TA249, p. 2839


CMOi0466

TA249, p. 2837


CMOi0465

TA249, p. 2835


CMOi0464

TA249, p. 2823


CMOi0463

TA249, p. 2821


CMOi0462

TA249, p. 2818


CMOi0461

TA249, p. 2817


CMOi0460

TA249, p. 2810


CMOi0459

TA249, p. 2809


CMOi0458

TA249, p. 2805


CMOi0457

TA249, p. 2797


CMOi0456

TA249, p. 2793


CMOi0455

TA249, p. 2778


CMOi0454

TA249, p. 2777


CMOi0453

TA249, p. 2769


CMOi0452

TA249, p. 2739


CMOi0451

TA249, p. 2737


CMOi0450

TA249, p. 2727


CMOi0449

TA249, p. 2717


CMOi0448

TA249, p. 2703


CMOi0447

TA249, p. 2701


CMOi0446

TA249, p. 2697


CMOi0445

TA249, p. 2694


CMOi0444

TA249, p. 2693


CMOi0443

TA249, p. 2690


CMOi0442

TA249, p. 2681


CMOi0441

TA249, p. 2677


CMOi0440

TA249, p. 2673


CMOi0439

TA249, p. 2669


CMOi0438

TA249, p. 2665


CMOi0437

TA249, p. 2603


CMOi0436

TA249, p. 2643


CMOi0435

TA249, p. 2635


CMOi0434

TA249, p. 2631


CMOi0433

TA249, p. 2623


CMOi0432

TA249, p. 2609


CMOi0431

TA249, p. 2602


CMOi0430

TA249, p. 2597


CMOi0429

TA249, p. 2593


CMOi0428

TA249, p. 2575


CMOi0427

TA249, p. 2573


CMOi0426

TA249, p. 2566


CMOi0425

TA249, p. 2565


CMOi0424

TA249, p. 2563


CMOi0423

TA249, p. 2561


CMOi0422

TA249, p. 2540


CMOi0421

TA249, p. 2539


CMOi0420

TA249, p. 2537


CMOi0419

TA249, p. 2535


CMOi0418

TA249, p. 2527


CMOi0417

TA249, p. 2515


CMOi0416

TA249, p. 2508


CMOi0415

TA249, p. 2503


CMOi0414

TA249, p. 2496


CMOi0413

TA249, p. 2495


CMOi0412

TA249, p. 2485


CMOi0411

TA249, p. 2483


CMOi0410

TA249, p. 2479


CMOi0409

TA249, p. 2476


CMOi0408

TA249, p. 2475


CMOi0407

TA249, p. 2472


CMOi0406

TA249, p. 2471


CMOi0405

TA249, p. 2467


CMOi0404

TA249, p. 2463


CMOi0403

TA249, p. 2459


CMOi0402

TA249, p. 2444


CMOi0401

TA249, p. 2439


CMOi0400

TA249, p. 2423


CMOi0399

TA249, p. 2419


CMOi0398

TA249, p. 2411


CMOi0397

TA249, p. 2408


CMOi0396

TA249, p. 2407


CMOi0395

TA249, p. 2403


CMOi0394

TA249, p. 2399


CMOi0393

TA249, p. 2393


CMOi0392

TA249, p. 2391


CMOi0391

TA249, p. 2377


CMOi0390

TA249, p. 2375


CMOi0389

TA249, p. 2371


CMOi0388

TA249, p. 2367


CMOi0387

TA249, p. 2364


CMOi0386

TA249, p. 2359


CMOi0385

TA249, p. 2355


CMOi0384

TA249, p. 2351


CMOi0383

TA249, p. 2340


CMOi0382

TA249, p. 2339


CMOi0381

TA249, p. 2327


CMOi0380

TA249, p. 2323


CMOi0379

TA249, p. 2315


CMOi0378

TA249, p. 2313


CMOi0377

TA249, p. 2309


CMOi0376

TA249, p. 2307


CMOi0375

TA249, p. 2303


CMOi0374

TA249, p. 2299


CMOi0373

TA249, p. 2291


CMOi0372

TA249, p. 2283


CMOi0371

TA249, p. 2279/2


CMOi0370

TA249, p. 2279/1


CMOi0369

TA249, p. 2275


CMOi0368

TA249, p. 2271


CMOi0367

TA249, p. 2251


CMOi0366

TA249, p. 2244


CMOi0365

TA249, p. 2231


CMOi0364

TA249, p. 2221


CMOi0363

TA249, p. 2217


CMOi0362

TA249, p. 2213


CMOi0361

TA249, p. 2205


CMOi0360

TA249, p. 0201


CMOi0359

TA249, p. 2189


CMOi0358

TA249, p. 2187


CMOi0357

TA249, p. 2185


CMOi0356

NE204, p. 009


CMOi0355

TA249, p. 2175


CMOi0354

TA249, p. 2173


CMOi0353

TA249, p. 2168


CMOi0352

TA249, p. 2161


CMOi0351

TA249, p. 2159


CMOi0350

TA249, p. 2155


CMOi0349

TA249, p. 2147


CMOi0348

TA249, p. 2145


CMOi0347

TA249, p. 2139


CMOi0346

TA249, p. 0198


CMOi0345

TA249, p. 0197


CMOi0344

TA249, p. 2131


CMOi0343

TA249, p. 2115


CMOi0342

TA249, p. 2111


CMOi0341

TA249, p. 2097


CMOi0340

TA249, p. 2095


CMOi0339

TA249, p. 2093


CMOi0338

TA249, p. 2089


CMOi0337

TA249, p. 2085


CMOi0336

TA249, p. 2083


CMOi0335

TA249, p. 2081


CMOi0334

TA249, p. 2074


CMOi0333

TA249, p. 2073


CMOi0332

TA249, p. 2069


CMOi0331

TA249, p. 2065


CMOi0330

TA249, p. 2062


CMOi0329

TA249, p. 2061/2


CMOi0328

TA249, p. 2061/1


CMOi0327

TA249, p. 2059


CMOi0326

TA249, p. 2057


CMOi0325

TA249, p. 2049


CMOi0324

TA249, p. 2025


CMOi0323

TA249, p. 2017


CMOi0322

TA249, p. 2009


CMOi0321

TA249, p. 2007


CMOi0320

TA249, p. 2005


CMOi0319

TA249, p. 1993


CMOi0318

TA249, p. 1991


CMOi0317

TA249, p. 1987


CMOi0316

TA249, p. 1981


CMOi0315

TA249, p. 1977


CMOi0314

TA249, p. 1973


CMOi0313

TA249, p. 1969


CMOi0312

TA249, p. 1965


CMOi0311

TA249, p. 1961


CMOi0310

TA249, p. 1957


CMOi0309

TA249, p. 1949


CMOi0308

TA249, p. 1945


CMOi0307

TA249, p. 1941


CMOi0306

TA249, p. 1937


CMOi0305

TA249, p. 1935


CMOi0304

TA249, p. 1933


CMOi0303

TA249, p. 1929


CMOi0302

TA249, p. 1925


CMOi0301

TA249, p. 1921


CMOi0300

TA249, p. 1913


CMOi0299

TA249, p. 1910


CMOi0298

TA249, p. 1905


CMOi0297

TA249, p. 1897


CMOi0296

TA249, p. 1883


CMOi0295

TA249, p. 1879


CMOi0294

TA249, p. 1877


CMOi0293

TA249, p. 1874


CMOi0292

TA249, p. 1873


CMOi0291

TA249, p. 1871


CMOi0290

TA249, p. 1867


CMOi0289

TA249, p. 1863


CMOi0288

TA249, p. 1859


CMOi0287

TA249, p. 1841


CMOi0286

TA249, p. 1837


CMOi0285

TA249, p. 1836


CMOi0284

TA249, p. 1831


CMOi0283

TA249, p. 1823


CMOi0282

TA249, p. 1817


CMOi0281

TA249, p. 1815


CMOi0280

TA249, p. 1813


CMOi0279

TA249, p. 1795


CMOi0278

TA249, p. 1791


CMOi0277

TA249, p. 1787


CMOi0276

TA249, p. 1783


CMOi0275

TA249, p. 1776


CMOi0274

TA249, p. 1767


CMOi0273

TA249, p. 1765


CMOi0272

TA249, p. 1759


CMOi0271

TA249, p. 1756


CMOi0270

TA249, p. 1755


CMOi0269

TA249, p. 1743


CMOi0268

TA249, p. 1723


CMOi0267

TA249, p. 1719


CMOi0266

TA249, p. 1715


CMOi0265

TA249, p. 1711


CMOi0264

TA249, p. 1707


CMOi0263

TA249, p. 1703


CMOi0262

TA249, p. 1685


CMOi0261

TA249, p. 1679


CMOi0260

TA249, p. 1673


CMOi0259

TA249, p. 1662


CMOi0258

TA249, p. 0193


CMOi0257

TA249, p. 1659


CMOi0256

TA249, p. 1649


CMOi0255

TA249, p. 1647


CMOi0254

TA249, p. 1641


CMOi0253

TA249, p. 1637


CMOi0252

TA249, p. 1633


CMOi0251

TA249, p. 1629


CMOi0250

TA249, p. 1625


CMOi0249

TA249, p. 1621


CMOi0248

TA249, p. 1616


CMOi0247

TA249, p. 1609


CMOi0246

TA249, p. 1605


CMOi0245

TA249, p. 1591


CMOi0244

TA249, p. 1589


CMOi0243

TA249, p. 1581


CMOi0242

TA249, p. 1579


CMOi0241

TA249, p. 1577


CMOi0240

TA249, p. 1567


CMOi0239

TA249, p. 1565


CMOi0238

TA249, p. 1561


CMOi0237

TA249, p. 0190


CMOi0236

TA249, p. 0189


CMOi0235

TA249, p. 1547


CMOi0234

TA249, p. 1543


CMOi0233

TA249, p. 1535


CMOi0232

TA249, p. 0247


CMOi0231

TA249, p. 0245


CMOi0230

TA249, p. 1519


CMOi0229

TA249, p. 1515


CMOi0228

TA249, p. 1507


CMOi0227

TA249, p. 1503


CMOi0226

TA249, p. 1497


CMOi0225

TA249, p. 1491


CMOi0224

TA249, p. 1486


CMOi0223

TA249, p. 1483


CMOi0222

TA249, p. 1479


CMOi0221

TA249, p. 1475


CMOi0220

TA249, p. 1471


CMOi0219

TA249, p. 1469


CMOi0218

TA249, p. 1467


CMOi0217

TA249, p. 1453


CMOi0216

TA249, p. 1449


CMOi0215

TA249, p. 0237


CMOi0214

TA249, p. 1427


CMOi0213

TA249, p. 1423


CMOi0212

TA249, p. 1409


CMOi0211

TA249, p. 1407


CMOi0210

TA249, p. 1396


CMOi0209

TA249, p. 1395


CMOi0208

TA249, p. 1391


CMOi0207

TA249, p. 1377


CMOi0206

TA249, p. 1371


CMOi0205

TA249, p. 1349


CMOi0204

TA249, p. 1347


CMOi0203

TA249, p. 1343


CMOi0202

TA249, p. 1339


CMOi0201

TA249, p. 1335


CMOi0200

TA249, p. 1327


CMOi0199

TA249, p. 1315


CMOi0198

TA249, p. 1303/2


CMOi0197

TA249, p. 1303/1


CMOi0196

TA249, p. 1296


CMOi0195

TA249, p. 1287


CMOi0194

TA249, p. 1284


CMOi0193

TA249, p. 1283


CMOi0192

TA249, p. 1275


CMOi0191

TA249, p. 1271


CMOi0190

TA249, p. 1267


CMOi0189

TA249, p. 1263


CMOi0188

TA249, p. 1259


CMOi0187

TA249, p. 1251


CMOi0186

TA249, p. 1249


CMOi0185

TA249, p. 1247


CMOi0184

TA249, p. 1245


CMOi0183

TA249, p. 1243


CMOi0182

TA249, p. 1239


CMOi0181

TA249, p. 1235


CMOi0180

TA249, p. 0231


CMOi0179

TA249, p. 0229


CMOi0178

TA249, p. 1223


CMOi0177

TA249, p. 1219


CMOi0176

TA249, p. 1215


CMOi0175

TA249, p. 1213


CMOi0174

TA249, p. 1203


CMOi0173

TA249, p. 1197


CMOi0172

TA249, p. 1195


CMOi0171

TA249, p. 1187


CMOi0170

TA249, p. 1183


CMOi0169

TA249, p. 1179


CMOi0168

TA249, p. 1173


CMOi0167

TA249, p. 1169


CMOi0166

YZPER2, fol. 10r [n.pag.]


CMOi0165

TA249, p. 1161


CMOi0164

TA249, p. 1155


CMOi0163

TA249, p. 1153


CMOi0162

TA249, p. 1149


CMOi0161

TA249, p. 1145


CMOi0160

TA249, p. 1142


CMOi0159

TA249, p. 1131


CMOi0158

TA249, p. 1129


CMOi0157

TA249, p. 1125


CMOi0156

TA249, p. 1117


CMOi0155

TA249, p. 1113


CMOi0154

TA249, p. 1105


CMOi0153

TA249, p. 1102


CMOi0152

TA249, p. 1101


CMOi0151

TA249, p. 1099


CMOi0150

TA249, p. 1093


CMOi0149

TA249, p. 1081


CMOi0148

NE204, p. 006


CMOi0147

TA249, p. 1069


CMOi0146

TA249, p. 1065


CMOi0145

TA249, p. 1061


CMOi0144

TA249, p. 1059


CMOi0143

TA249, p. 1057


CMOi0142

TA249, p. 1047


CMOi0141

TA249, p. 1019


CMOi0140

TA249, p. 1017


CMOi0139

TA249, p. 1015


CMOi0138

TA249, p. 1013


CMOi0137

TA249, p. 1012


CMOi0136

TA249, p. 1005


CMOi0135

TA249, p. 1003


CMOi0134

TA249, p. 1001


CMOi0133

TA249, p. 0989/1


CMOi0132

TA249, p. 0985/2


CMOi0131

TA249, p. 0985/1


CMOi0130

TA249, p. 0981


CMOi0129

TA249, p. 0977


CMOi0128

TA249, p. 0974


CMOi0127

TA249, p. 0973


CMOi0126

TA249, p. 0970


CMOi0125

TA249, p. 0969


CMOi0124

TA249, p. 0965


CMOi0123

TA249, p. 0961


CMOi0122

TA249, p. 0957


CMOi0121

TA249, p. 0953


CMOi0120

TA249, p. 0949


CMOi0119

TA249, p. 0925


CMOi0118

TA249, p. 0227


CMOi0117

TA249, p. 0225


CMOi0116

TA249, p. 0917


CMOi0115

TA249, p. 0913


CMOi0114

TA249, p. 0909


CMOi0113

TA249, p. 0905


CMOi0112

TA249, p. 0901


CMOi0111

TA249, p. 0891


CMOi0110

TA249, p. 0889


CMOi0109

TA249, p. 0887


CMOi0108

TA249, p. 0885


CMOi0107

TA249, p. 0865


CMOi0106

TA249, p. 0861


CMOi0105

TA249, p. 0857


CMOi0104

TA249, p. 0233


CMOi0103

TA249, p. 0839


CMOi0102

TA249, p. 0831


CMOi0101

TA249, p. 0827


CMOi0100

TA249, p. 0823


CMOi0099

NE204, p. 004


CMOi0098

YZPER2, fol. 06r [n.pag.]


CMOi0097

TA249, p. 0803


CMOi0096

TA249, p. 0799


CMOi0095

TA249, p. 0798


CMOi0094

TA249, p. 0795


CMOi0093

TA249, p. 0783


CMOi0092

TA249, p. 0781


CMOi0091

TA249, p. 0779


CMOi0090

TA249, p. 0777


CMOi0089

TA249, p. 0775


CMOi0088

TA249, p. 0763


CMOi0087

TA249, p. 0759


CMOi0086

TA249, p. 0751


CMOi0085

TA249, p. 0747


CMOi0084

TA249, p. 0743


CMOi0083

TA249, p. 0739


CMOi0082

TA249, p. 0737


CMOi0081

TA249, p. 0731


CMOi0080

TA249, p. 0720


CMOi0079

TA249, p. 0719


CMOi0078

TA249, p. 0711


CMOi0077

TA249, p. 0707


CMOi0076

TA249, p. 0671


CMOi0075

TA249, p. 0669


CMOi0074

TA249, p. 0661


CMOi0073

TA249, p. 0647


CMOi0072

TA249, p. 0643


CMOi0071

TA249, p. 0639


CMOi0070

TA249, p. 0635


CMOi0069

TA249, p. 0631


CMOi0068

TA249, p. 0627


CMOi0067

TA249, p. 0625


CMOi0066

TA249, p. 0623


CMOi0065

TA249, p. 0615


CMOi0064

TA249, p. 0611


CMOi0063

TA249, p. 0605


CMOi0062

TA249, p. 0601


CMOi0061

TA249, p. 0599


CMOi0060

TA249, p. 0595


CMOi0059

TA249, p. 0591


CMOi0058

TA249, p. 0590


CMOi0057

TA249, p. 0587


CMOi0056

TA249, p. 0576


CMOi0055

TA249, p. 0571


CMOi0054

TA249, p. 0567


CMOi0053

TA249, p. 0547


CMOi0052

TA249, p. 0543


CMOi0051

TA249, p. 0539


CMOi0050

TA249, p. 0537


CMOi0049

TA249, p. 0535


CMOi0048

TA249, p. 0523


CMOi0047

TA249, p. 0521


CMOi0046

TA249, p. 0511


CMOi0045

TA249, p. 0508


CMOi0044

TA249, p. 0504


CMOi0043

TA249, p. 0503


CMOi0042

TA249, p. 0493


CMOi0041

TA249, p. 0491


CMOi0040

TA249, p. 0487


CMOi0039

TA249, p. 0483


CMOi0038

TA249, p. 0481


CMOi0037

TA249, p. 0477


CMOi0036

TA249, p. 0473


CMOi0035

TA249, p. 0461


CMOi0034

TA249, p. 0457/1


CMOi0033

TA249, p. 0447


CMOi0032

TA249, p. 0445


CMOi0031

TA249, p. 0441


CMOi0030

TA249, p. 0437


CMOi0029

TA249, p. 0429


CMOi0028

TA249, p. 0421


CMOi0027

TA249, p. 0418


CMOi0026

TA249, p. 0417


CMOi0025

TA249, p. 0415


CMOi0024

TA249, p. 0413


CMOi0023

TA249, p. 0403


CMOi0022

TA249, p. 0401


CMOi0021

TA249, p. 0395


CMOi0020

TA249, p. 0393


CMOi0019

TA249, p. 0389


CMOi0018

TA249, p. 0377


CMOi0017

TA249, p. 0369


CMOi0016

TA249, p. 0361


CMOi0015

TA249, p. 0221


CMOi0014

TA249, p. 0349


CMOi0013

TA249, p. 0341


CMOi0012

TA249, p. 0337


CMOi0011

TA249, p. 0333


CMOi0010

TA249, p. 0329


CMOi0009

TA249, p. 0325


CMOi0008

TA249, p. 0317


CMOi0007

TA249, p. 0307


CMOi0006

TA249, p. 0289


CMOi0005

TA249, p. 0288


CMOi0004

TA249, p. 0217


CMOi0003

TA249, p. 0269


CMOi0002

TA249, p. 0255


CMOi0001

TA249, p. 0253



Work Number

Main Source

Notes

[Add new]

[Add new]

CMOv0143

NE216, p. [i]

CMOv0142

NE208, p. 145

CMOv0141

NE208, p. 134

CMOv0140

NE208, p. 122/2

CMOv0139

NE208, p. 122/1

CMOv0138

NE208, p. 121

CMOv0137

NE208, p. 115

CMOv0136

NE208, p. 109

CMOv0135

NE208, p. 099

CMOv0134

NE208, p. 098

CMOv0133

NE208, p. 097

CMOv0132

NE208, p. 095

CMOv0131

NE208, p. 093

CMOv0130

NE208, p. 091/2

CMOv0129

NE208, p. 081

CMOv0128

NE208, p. 079

CMOv0127

NE208, p. 073

CMOv0126

NE208, p. 049

CMOv0125 

AM1537_49 

Not yet catalogued

CMOv0124

NE208, p. 037

CMOv0123

NE208, p. 025

CMOv0122

NE208, p. 013/1

CMOv0121

NE208, p. [i]

CMOv0120

NE217b, p. [30]

CMOv0119

NE207, ls. 1r

CMOv0118

NE211, p. 261-2 [n.pag.]

CMOv0117

TA249, p. 2417

CMOv0116

NE204, p. 212

CMOv0115

NE204, p. 211

CMOv0114

NE204, p. 210

CMOv0113

NE204, p. 209

CMOv0112

NE204, p. 208

CMOv0111

NE204, p. 207

CMOv0110

NE204, p. 206

CMOv0109

NE204, p. 205

CMOv0108

NE204, p. 204

CMOv0107

NE204, p. 203

CMOv0106

NE204, p. 201

CMOv0105

NE204, p. 200

CMOv0104

NE204, p. 198

CMOv0103

NE204, p. 197

CMOv0102

NE204, p. 196

CMOv0101

NE204, p. 195

CMOv0100

NE204, p. 194

CMOv0099

NE204, p. 193

CMOv0098

NE204, p. 192

CMOv0097

NE204, p. 191

CMOv0096

NE204, p. 190

CMOv0095

NE204, p. 189

CMOv0094

NE204, p. 188

CMOv0093

NE204, p. 187

CMOv0092

NE204, p. 186

CMOv0091

NE204, p. 185

CMOv0090

NE204, p. 184

CMOv0089

NE204, p. 181

CMOv0088

NE204, p. 180

CMOv0087

NE204, p. 178

CMOv0086

NE204, p. 177

CMOv0085

NE204, p. 174

CMOv0084

NE204, p. 172

CMOv0083

NE204, p. 171

CMOv0082

NE204, p. 170

CMOv0081

NE204, p. 169

CMOv0080

NE204, p. 168

CMOv0079

NE204, p. 167

CMOv0078

NE204, p. 165

CMOv0077

NE204, p. 164

CMOv0076

NE204, p. 162

CMOv0075

NE204, p. 161

CMOv0074

NE204, p. 159

CMOv0073

NE204, p. 158

CMOv0072

NE204, p. 157

CMOv0071

NE204, p. 156

CMOv0070

NE204, p. 155

CMOv0069

NE204, p. 153

CMOv0068

NE204, p. 152

CMOv0067

NE204, p. 151

CMOv0066

NE204, p. 150

CMOv0065

NE204, p. 149

CMOv0064

NE204, p. 148

CMOv0063

NE204, p. 147

CMOv0062

NE204, p. 145

CMOv0061

NE204, p. 143

CMOv0060

NE204, p. 142

CMOv0059

NE204, p. 141

CMOv0058

NE204, p. 140

CMOv0057

NE204, p. 139

CMOv0056

NE204, p. 138

CMOv0055

NE204, p. 137

CMOv0054

NE204, p. 136

CMOv0053

NE204, p. 135

CMOv0052

NE204, p. 134

CMOv0051

NE204, p. 132

CMOv0050

NE204, p. 131

CMOv0049

NE204, p. 129

CMOv0048

NE204, p. 128

CMOv0047

NE204, p. 127

CMOv0046

NE204, p. 126

CMOv0045

NE204, p. 124

CMOv0044

NE204, p. 123

CMOv0043

NE204, p. 121

CMOv0042

NE204, p. 118

CMOv0041

NE204, p. 116

CMOv0040

NE204, p. 114

CMOv0039

NE204, p. 112

CMOv0038

NE204, p. 110

CMOv0037

NE204, p. 108

CMOv0036

NE204, p. 107

CMOv0035

NE204, p. 106

CMOv0034

NE204, p. 105

CMOv0033

NE204, p. 104

CMOv0032

NE204, p. 103/2

CMOv0031

NE204, p. 103/1

CMOv0030

NE204, p. 101

CMOv0029

NE204, p. 100

CMOv0028

NE204, p. 99

CMOv0027

NE204, p. 97

CMOv0026

NE204, p. 96

CMOv0025

NE204, p. 95

CMOv0024

NE204, p. 94

CMOv0023

NE204, p. 92

CMOv0022

NE204, p. 91

CMOv0021

NE204, p. 90

CMOv0020

NE204, p. 88

CMOv0019

NE204, p. 87

CMOv0018

NE204, p. 86

CMOv0017

NE204, p. 85

CMOv0016

NE204, p. 83

CMOv0015

NE204, p. 82

CMOv0014

NE204, p. 81

CMOv0013

NE204, p. 80

CMOv0012

NE204, p. 79

CMOv0011

NE204, p. 78

CMOv0010

NE204, p. 77

CMOv0009

NE204, p. 76

CMOv0008

NE204, p. 75

CMOv0007

NE204, p. 74

CMOv0006

NE204, p. 72

CMOv0005

NE204, p. 71

CMOv0004

NE204, p. 69

CMOv0003

NE204, p. 68

CMOv0002

NE204, p. 66

CMOv0001

NE204, p. 65

This section contains a step-by-step guide to editing manuscripts notated in Hampartsum notation with Sibelius according to the CMO edition standards.

A: Music Edition for Instrumental Pieces

Provides detailed workflows and instructions specific to the editing of instrumental manuscripts.