Structure Suggestion for the Introductions of CMO Music Editions 1.2

Preliminary notes:

• The structure suggestion is a guide to provide orientation for writing the introduction of a CMO music edition. The final prioritization of individual aspects, as well as their reduction and/or additions to them, depend on the conditions regarding the individual manuscript and is subject to the decision of the responsible editors.

• The suggested outline is not designed to be implemented identically to each edition. If there is no information on one or more of the suggested aspects, these can be simply omitted. Similarly, new aspects can be added if necessary.

• Chicago Manual of Style is used as the basis for all references.

Table of Contents

List of Abbreviations

Preface          Possible contents:

• Introductory remarks on the edition of the manuscript within the framework of CMO

• Acknowledgments

Manuscript in Context

• General information on the conception and usage of the individual edition

• If necessary: Remarks on the editorial procedure (individual approach, proofreading, etc.)

• If possible: Relation to the context of transmission of music in Ottoman Empire

Codicological Aspects

• Location, holding library

• Physical description

  • Format and dimensions

  • Paper, watermark (if available)

  • Former signatures (if available)

  • Pagination

  • Whether the manuscript is complete or fragmentary

  • Reconstruction of the original sequence of the leaves and/or binding if possible

• Scribe

  • Number of scribes

  • Script types and handwriting styles

  • Writing medium (e.g. pencil, reed pen, ink, ink colors)

  • Characteristics of the handwriting style

  • Conventions of the scribe

• Origination + former owners (so far as identifiable)

• Content

  • Title of the manuscript

  • Is there an original index?

  • Structure/order of the manuscript (e.g. according to fasıl, makâm, genre, etc.)

  • Repertoire

    • Genres

    • Makâm

    • Composers

  • Chronological classification/estimated dating (as far as possible)

• Relations to other manuscripts if appropriate

  • Concordant or parallel manuscripts

  • Original collection or copy of a known/unknown manuscript (if an assertion is possible)?

• Further aspects if appropriate (characteristics of the pieces or of the repertoire, etc.)

Editorial Aspects

• Basic preliminary remarks on decisions by the edition of instrumental works (e.g. regarding the addition of repetitions, etc.)

• Basic preliminary remarks on decisions by the edition of vocal works

• Which genres are used? Are they representative of the form?

• Which kinds of texts are included in the manuscript (lyrics, performance instructions, structuring texts such as miyan, terennüm, etc.)?

• In which form are the lyrics presented?

• Characteristics of the block texts and syllables

• With which method were the syllables arranged that were not given by the scribe?

• If unclear, peculiarities of the correct order of performance of the vocal piece

• General information on makâm system and usûl (-sources)

• Particularities of the individual edition (no general reflections on subjects that belong to edition guidelines, such as the type of the notation in the source; no unnecessary repetition of isolated cases which are already explained in detail in the commentaries) 1. Information on the peculiarities of sings and sign usage for the specific manuscript  2. Decisions and problems by representing the usûl and its relation to the melody 3. Other features (regarding the critical commentaries)  4. Function and usage of concordances with respect to the individual critical edition (which concordances were used and for what reason?) 5. If appropriate, further aspects (e.g. information on notations which required a special editorial consideration)

Bibliography