Historically, scholarly editions of music have identified a managing editor and individual volume editors. Other contributors might receive an acknowledgement with a vague description of activities, with institutional support often appearing in the printed metadata. This model’s emphasis on single scholars perpetuates a myth, relying heretofore upon predominantly invisible labour. Digital editions require interdisciplinary collaboration combining musicological skills, technical skills, and infrastructural resources, thus challenging this model’s ability to endure. Moreover, digital editions proffer opportunities for reconsidering the roles, workflows, and knowledge structures involved in critical musical scholarship. Situated at the intersection of currently running and recently completed digital projects, continuously emergent tools, sociology, and philosophy, this essay reflects on the role of the editor in the digital age. Beginning with Howard Becker’s art worlds model of creative communities, it suggests a model based on FAIR (Findable, Accessible, Interoperable, and Reusable) and CARE (Collective Benefit, Authority to Control, Responsibility, and Ethics) principles and the Music Encoding Initiative (MEI). MEI affords expansive metadata recording for contributors – composers, librettists, performers, editors, researchers, funders, etc. – to a work and its embodiments, which in turn enables broader visibility and empowers greater acknowledgement of the labour involved in such projects. Alongside other digital projects, this essay pays particular attention to how these technological and team-focused concepts are at- and in-play in the Reger-Werkausgabe Online.
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