One of the aims of this article is to clarify and align more closely the respective priorities of researchers and practical musicians in using music notation. To that end, the first part surveys existing digital editions of music both in general and from the standpoints of different types of performer. Consideration is then given to a new ‘digital edition concept’ which might achieve more creative engagement with music on the parts of instrumentalists and singers alike. Two ostensibly conventional editions of nineteenth-century music serve as the basis of case studies that show how the notorious limitations of the printed page might be transcended more effectively and propitiously. The conclusion is that digital editions of music (DEMs) are unlikely to replace printed editions and that wholesale replacement should not be the goal in any case. Instead, in developing future DEMs for performers, the aim should be to take fuller advantage of the affordances of the digital medium so that musicians can engage with and make music all the more creatively. Only by moving conceptually beyond the stasis of ‘the material medium’ and harnessing the dynamic flux of the digital medium can the dynamic flux inherent in music itself best be captured. At the same time, it is important to recognize and respect musicians’ need for a fixed version of the score on given performance occasions, even if it is bound to be superseded thereafter.

中文翻译：

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数字版和表演者的创意作品

本文的目的之一是澄清和更紧密地调整研究人员和实际音乐家在使用音乐符号时各自的优先事项。为此，第一部分从总体上和从不同类型的表演者的角度对现有的音乐数字版本进行了调查。然后考虑一个新的“数字版本概念”，它可能会在乐器演奏家和歌手等方面实现对音乐的更多创造性参与。两个看似传统的 19 世纪音乐版本作为案例研究的基础，展示了如何更有效和更有利地超越印刷页面的臭名昭著的限制。结论是，音乐的数字版本 (DEM) 不太可能取代印刷版本，而且在任何情况下，大规模替代都不应成为目标。相反，在为表演者开发未来的 DEM 时，目标应该是更充分地利用数字媒体的功能，以便音乐家可以更有创意地参与并制作音乐。只有在概念上超越“物质媒介”的停滞并利用数字媒介的动态流动，才能最好地捕捉音乐本身固有的动态流动。同时，重要的是要认识到并尊重音乐家在特定表演场合对固定版本乐谱的需求，即使此后必然会被取代。只有在概念上超越“物质媒介”的停滞并利用数字媒介的动态流动，才能最好地捕捉音乐本身固有的动态流动。同时，重要的是要认识到并尊重音乐家在特定表演场合对固定版本乐谱的需求，即使此后必然会被取代。只有在概念上超越“物质媒介”的停滞并利用数字媒介的动态流动，才能最好地捕捉音乐本身固有的动态流动。同时，重要的是要认识到并尊重音乐家在特定表演场合对固定版本乐谱的需求，即使此后必然会被取代。