> Thought this audience might be interested in this New York Times > article entitled, "Inside the Detail-Obsessed, Essential World of Music > Editing." There's some quotes from Elaine Gould, and a link to "Behind > Bars." No mention of Lilypond, but does mention Sibelius. >
I came across this article a few days ago, and I thought it was interesting to see such an article coming out at this very moment. While it is true that music editors indeed exist in major music publishers, I felt that NYTimes dealt with the topic only cursorily. While there may still be editors in smaller publishers, composers there often assume a bigger responsibility of ensuring what they publish is publication- and performance-ready. I teach in the higher ed in the US, and here one of the emphases in teaching composition is to make sure that the students start to develop discerning eyes for what constitutes as well-typeset, well-prepared performance materials, regardless of the software programs they use. Like Helge mentioned, it seems to me that the author of the article just wanted to pick one of the major software programs that came to mind (though Sibelius as the choice might stem from the fact the article originates from London). I had to chuckle a bit though, because last fall, MakeMusic pushed the Finale users *so hard* to switch to Dorico. Glad I didn’t end up choosing it and instead went with LilyPond. It has invigorated me intellectually over the past several months, not to mention allowed me to learn new things every day through this mailing list, for which I am so grateful. (Off-topic: A news editor and I had an interview in October and it might be that an article incorporating some of my thoughts may appear in an online journal for which he writes at some point in the future, so we will see, I suppose…) Regards, Yoshi
