Case studies in live electronic music preservation: recasting Jorge Peixinho's Harmónicos (1967-1986) and Sax-Blue (1984-1992)
Main Article Content
Abstract
We present two examples of technology transfer from analogical to digital systems, in two works of live electroacoustic music by the Portuguese composer Jorge Peixinho (1940-1995), Harmónicos (1967) and Sax-Blue (1982). These works require the use of analogue technology that has become obsolete or difficult to access by the average performer. We think that migration from electronics to software, also referred as recast represents a necessary step to preserve live electroacoustic music. However, this process can pose multiple questions as it also relies on aesthetic considerations. In this case, we put on a considerable effort into understanding both the composer's intentions and the equipment operating mode and we think the solutions proposed are adequate to perform both works. Finally, we discuss some of the questions, solutions and limitations that arose with these recasts and how they can contribute to the sustainability problem concerning these works.
Downloads
References
Bernardini, N.; Vidolin, A., “Sustainable Live Electroacoustic Music”, Sound and Music Computing 2005 conference, Salerno (Italy), AIMI / AFIM 2005.
Burns, C., “Realizing Lucier and Stockhausen: Case studies in the Performance Practice of Electroacoustic Music”, JNMR, 30/1, 2002, 59-68. https://doi.org/10.1076/jnmr.31.1.59.8104
Canazza, S.; Vidolin, A. (gest eds.), JNMR – Special issue: Conservation, Restoration and Archiving of Electroacoustic Music, 40/4 Dec 2001.
Canazza, S.; Vidolin, A. “Preserving Electroacoustic Music”, JNMR, 40/4, 2001, 289-293. https://doi.org/10.1076/jnmr.30.4.289.7494
Chadabe, J. “Preserving Performances of Electronic Music”, JNMR, 40/4, 2001, 303-305. https://doi.org/10.1076/jnmr.30.4.303.7485
Esler, R. “Digital Autonomy in Electroacoustic Music Performance: Re-Forging Stockhausen.” Proceedings of the International Computer Music Conference, New Orleans (USA), ICMA, 2006.
Keane, D., Tape Music Composition, London, Oxford University Press, 1980 (p.54-55).
Kientzy, Daniel, Instrumenta 4: Saxophone(s) et Dispositif Electro-Acoustique, Poly-Art Records, PAR 5304 (Vinyl, LP), 1988.
Korg Stage Echo SE 500 Owner Manual.
Landy, L. (ed.), Organised Sound, 11/3. Cambridge, Cambridge University Press, 2006.
Max, http://www.cycling74.com. 13 /17
Miguel Borges Coelho (piano), Jorge Peixinho : música para piano, Numérica NUM 1133 (CD), 2005.
Minemier, R., “The Case for Tape”, Device – The Publication for Electronic Musicians, 1/8, 1979. http://hammer.ampage.org/files/Device1-8.PDF (16.09.2008).
Peixinho, J., “Harmonicos”. Recordings: [1] Jorge Peixinho, Filipe de Sousa (pianos), Jorge Peixinho - Música I, Editora Tecla TES 50002 (LP), 1972 (reed.);
Peixinho, J., “Música e Novas Tecnologias? (Um Pouco de História e algumas Reflexões, Acompanhadas por certas Vivências Pessoais)”, Actas do Seminário Internacional sobre as Novas Tecnologias e o Ensino da Música, Pólo Minerva da Universidade do Minho, Braga, 1988.
Peixinho, J., “Sax-Blue”, Recordings : [1] Daniel Kientzy et al., Peixinho Kientzy; Nova Musica NMCD 5102, 1996
Revox A77 Reference Manual.
Settel, Z., "Jimmies", 2nd edition, [Paris, IRCAM] Forum IRCAM, 1998.
Sluchin, B., "A Computer-Assisted Version of Stockhausen’s Solo for a Melody Instrument with Feedback", Computer Music Journal, 24/2, 2000, 39-46.
Sousa Dias, A., L´Objet Sonore: Situation, Évaluation et Potentialités. Un paradigme pour la création d´outils de composition musicale, PhD Thesis Université Paris VIII, 2005.