>> At 12:39 AM -0400 5/31/09, David W. Fenton wrote: > >> >The old dot vs. stroke controversy c. 1800 has always struck me as an >> >interesting example of engravers having to make decisions on which >> >engraving tool to use when copying from a manuscript in which the >> >staccatto marks could vary from a dot to a hasty dot that almost >> >looks like a stroke, to strokes that are so small they look like >> >dots, to regular strokes, and all the way to hasty strokes that are >> >very large and sometimes lean and look like our modern tenuto marks. >> >> An excellent example, David. (And a potential doctoral dissertation >> for someone, if I'm not mistaken!) > > It's already been done: > > Robert D. Riggs. "Articulation in Mozart's and Beethoven's Sonatas > for Violin and Piano." Ph.D. Diss., Harvard, 1987.
I know those symbols are a nightmare for me in Graupner, Telemann, and Fasch's manuscripts. I try my best to put into my file what I see in the original manuscript and make a note of it in the critical report. I know these markings continued into the classical period, which I'm finding in Wanhal / Cannabich / Ordonez manuscripts now. Thanks Kim _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
