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I wrote the piece to meander through music history – quoting and recontextualising musical texts – the music I had run to as a child to escape my own reality.
My research focuses on the intellectual, aesthetic, and political history of medieval music, and on the intersections between musical texts, oral culture, and political life in the late-medieval Mediterranean.
A different problem is that of musical texts.
So far there are collected poems, plays, libretti and musical texts, and prose up to 1939.
At the same time, however, the composer sought to placate his audiences by substantially revising his musical texts in later performances, sometimes abandoning his most creative ideas.
Her latest work probes the intertwining histories of musical texts and improvisatory performance in Saffos Lyre: Improvising Italys Past in Nineteenth-Century Opera (forthcoming from Indiana University Press).
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But the musical text reverts to Gluck's original 1762 score, without the later ballet music.
It's very much the idea of free music: something the composer gives to the musician and says, "This is the musical text, but it's yours to liberate". Then the text can be used in new ways, so that the notes on paper become music again.
It becomes a prominent part of the musical text, apparent to performers and spectators alike.
To accommodate this, Bausch, who died in 2009, drastically altered the musical text.
He caught some misprints in the musical text and dictated the correct notes.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com