ABSTRACT
This chapter describes an abstract model for multidimensional editions of music as finished, relatively stable applications. Mass digitization arose in the 1990s, stimulated by the ever-decreasing prices of storage space and by the availability of standard technology for creating and processing digital audio, images and video. HyperEditing deals with material instances of texts rather than with idealized works abstracted from those instances. Critical editing in music has been shaped after traditional models of literary editing. As in literary studies, a HyperEditing approach might offer some solutions for music too. An anonymous Missa 'Ma bouche rit' survives in the early sixteenth-century manuscript VienNB 11883. The principal contribution of a digital critical edition of Ockeghem's chanson would be to allow direct access to the sources through a third dimension of the edition, rather than indirect access only, through the apparatus. Future work on the multidimensional model must also address its implementation.
