I would not write the following if I had received an answer from Faber Music in the last four weeks. This was not the case, so I do post here - sorry!
I am always refining my work, and since all people are fascinated with Elaine Gould’s book - me too!!! - there are lots of points of her view which may be criticised. For once, she is very strict in her rules, which is not the case with engraving. There are many very important rules, yet it often comes down to taste, experience and differences between editions and national traditions. These are to be appreciated, like traditions in the different sound of orchestras (in danger of extinction by reason of demands from the music industry) or interpretations of french, english, german, czech, russian or else music by differently raised musicians (and no, americans are not able to interpret all of them in the right manner because they have less traditional rules - it comes down to the greatness of the single musician!).
Of course with the dawn of computer supported engraving, one has to take in account that there are hundreds of bad engraved editions out there (e.g. I once read proof for an already published Schott symphonic edition criticised by Franz Welser-Möst, and since SCORE does the distance for accidentals often wrong, most of them were out of place. This is the reason why Thomas Brodhead created his tool accs.exe)…
These above mentioned points of view taken in account, very important differences she often does not consider in her statements (e.g. french beaming). More to that: Sometimes she rather contradicts herself, when she excludes notes on the middle line to be stemmed down and writes in another context that many editions stem the note on the middle line down.
I beg your pardon that I do not have the page numbers by hand right now for the examples above, if you are interested, I will find it for you again.
Here an example with page number:
S. 108: “Do not place a hairpin before a note is started, nor after a note is finished.” Quite often it is the case that a composer wants to imply to let the music start before you play or that the sound shall kind of linger on without sound. In these cases it is common practice to write a hairpin before a note starts or after it is finished (musicians know what I mean). What about hairpins written beneath rests?
So, with all due and very big respect to Elaine Gould and her awesome, more than important work: Do not take all of her statements as top rule or common law in all cases.