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This is not a post about Nate Mitchell's query concerning dividing up Lewin's Morgengruss for discussion, but a separate issue that arises out of the publication of Morgengruss.
In the Preface David Bard-Schwarz writes
'One unusual feature of this essay is the embedding of graphic images into sentences, where they act as subjects and objects that integrate into the textual flow.' (David Bard-Schwarz. Preface to David Lewin's Morgengruss: Text, Context, Commentaries. OUP 2015)
Lewin's idea – not yet really recognized today let alone seriously addressed – quite possibly originated with a frustration over the fractured nature of our traditional ways of communicating ideas about music. This is not the same as the problem of music notation, but the two are not unrelated.
This idea of combining in-line examples with the usual (in music writing) off-set example possibly came from David's familiarity with published text in mathematics & hard sciences where one or the other is used depending on context as much as typsetting. He was likely experimenting with a typesetting technique (not available from music publishers) that came from a desire to 'speak' the music example into the sentence rather than only present an example and then talk to or talk at the example, which creates a distance between the analysis and its object. This also gets around the problem of talking about a single line of music, say one or two bars, by putting it dirctly into the text rather than getting the reader to turn back a page to Example 7b, mm36-37 in the right hand, then flipping back and forth between text & example.
I recall visiting him to look through the material he was donating to LC. We were in his office & I was looking through a file cabinet when he walked across the room with a book in his hand & asked me if I had ever seen it. As it happened, I had, but at the time it didn't occur to me why he seemed so enthusiastic about it. The book was Envisioning Information by Edward Tufte. The pages it opened to as he showed me were Tufte's examples of how to put tiny statistical graphs inline so they could be read as part of the text. It only dawned on me later that he wanted to put music samples inline. This was before I had seen any copy of the Morgengruss paper. I've wondered since then if part of the trouble he might have had getting it published was finding a publisher to do the inline examples which are essential to the flow of the paper. Showing me Tufte's book seemed like he might have looked on it as a vindication. I can't recall seeing any other text on music with this feature, and special kudos go to David Bard-Schwarz and Richard Cohn for insisting on it & Reiner Kra:mer for the hard work of setting it.