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Since their emergence in the 19 th  century, the aim of critical editions has not only been to publish philologically reliable texts, but also to make the decisions on the basis of the editorial process as transparent as possible. In the specific case of the music edition, however, the formulation of editorial decisions in a critical apparatus is complicated by the semiotic discrepancy between the sign system of musical text and its verbalised annotation in the fundamentally different sign system of linguistic text. This unbridgeable medial gap between the musical text and its verbal account caused the original editorial object to be split apart within printed editions of the 20 th  century: between the edited text and the critical report on the one hand, and again between practical editions for the general public and scholarly editions for the small circle of qualified musicologists on the other hand.

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Auditivierung des textkritischen Apparats: Die digitale Musikausgabe als mediale Mediation zwischen ediertem Notentext und kritischer Dokumentation am Beispiel der  Digitalen Mozart-Edition