The prospect of compiling a critical edition of Hawaiian repertoire for
the Music of the United States of America (MUSA) series appeared at first
glance to be straightforward. Published sheet music was plentiful; those
sources could be augmented where necessary by exercising ethnomusicological
skills in transcription. Critical editions of other music repertoires
would provide models of methodology, either to emulate, adopt selectively,
or to think through how the Hawaiian repertoire required alterations.
In retrospect, I could not have been more naïve.
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