fair copy

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a clean copy of a corrected draft

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17) As can be said about the work of so many other composers, Nielsen's manuscripts can be classified into three distinct categories: sketches (these are extant only in connection with a relatively limited number of works), (18) pencil drafts and fair copies.
Tempest," the only song not in the form of invocation and response, was left in rough draft in MS VI, while the remaining songs, dated by Ruskin as 20 and 22 June, survive as fair copies in MS V.
The latter gives rise to a substantial chapter on sketches, drafts, and fair copies in which Owens presents a typology for the interpretation of autograph manuscripts.
The two collections now in Venice and Parma are fair copies, possibly made by Sebastian Albero and Antonio Soler, for Queen Maria Barbara, who had exclusive rights to his teaching and musical production.
Aquinas' left-handed script and his idiosyncratic abbreviations are certainly difficult, but his secretaries and copyists made fair copies for wider circulation, as others made fair copies of law books, theological treatises and the like.
The fascination of drafts, fair copies, and signed books might thus be understood as a matter of investing literary works with the allure of the autographic: the material object, singular and irreproducible, takes the place of the endlessly reproducible text.
For his early drafts, Satie worked back and forth between two other notebooks (Ho 10, 11) before entering two fair copies into Ho 12.
Part 1 was published in the First Folio of 1623; Part 2 appeared in quarto in 1594 and was printed from revised fair copies in the First Folio; and Part 3 appeared in quarto in 1595 and was printed from revised fair copies in the First Folio.
It was completed in thirteen Books when in late February 1806 two fair copies were made from the draft manuscripts.
Reportationes were sometimes prepared by teams and were often revised from the messy scribblings made in class to fair copies.
The collection includes sketches, fair copies, and computer-generated holographs of the composer's works from the late 1970s to the present, including that of No Time Like the Present (1996), a commission from Mariss Jansons and the Pittsburgh Symphony Orchestra.
Only by surveying all extant authorial fair copies could Merriam command as much information as necessary to promote Munday's work as copyist rather than composer in the More manuscript.
An explanation which--although purely hypothetical--fits the facts is that he habitually used as the basis of new fair copies some sort of master copy which was incompletely texted, perhaps with incipits or cues for each phrase of text, or just an incipit for an entire piece, or with underlay for just one voice.
The least interesting manuscripts are, as a rule, fair copies or Stichvorlagen (printer's copies); while prized as collector's items, they show us little or nothing of the effort that preceded them.