Resumen de Encoding Genetic Processes II
Traditional music philology aims at establishing an edited text, which is supposed to stage a clearly identifiedand well-reasoned version of a musical work. Such a text will always depend on sources used for its preparation and decisions taken by the editor(s). However, the intention is to deliver a product – a static text, whichresembles a specific combination of the transmitted sources of the work in question. In Genetic Editing, the focus lies elsewhere: Instead of justifying a specific product version, the intention is to trace the creative processesinvolved in the composition of that work. Obviously, those processes are only accessible through transmitteddocuments as well, but those documents do not need to contain full texts, nor are they only relevant when thecomposition has already matured enough to more or less reflect the final work.The Beethovens Werkstatt project is one of the first endeavors to explore the applicability of Genetic Editingto music. Several years ago, a presentation at MEC 2015 in Florence introduced the first findings of the projectand illustrated the then novel approaches of encoding genetic processes in MEI [2]. The discussions of theconceptual model proposed there eventually led to the introduction of several new elements into MEI. Sincethen, not only MEI has evolved, but also the project. The paper at hand reflects on data model considerationsfor the project’s current module.
