Résumés
Abstract
Musical practices derived from post-1960s experimental music created heterogeneous musical materials and traces—including scores, preparations and instrument modifications, electronic instruments, custom-made devices, and recordings. The Romantic work concept on which most traditional musical archives are based is unsuitable to preserve this expanded apparatus of objects and concepts, and rethinking the musical archive is becoming urgent.
This colloquy collected the experiences of three researchers, engaging with five institutions, three creators, and four countries. Yet the archival issues presented are eerily similar. These experiences involve David Tudor (paper-based archive at the Getty Research Institute, Los Angeles, CA, and the David Tudor Instrument Collection at Wesleyan University, Midtown, CT); Mario Bertoncini (paper-based archive at the archive of the Akademie der Künste, Berlin, and his object collection at the moment stored at the Fondazione Isabella Scelsi, Rome); Gayle Young (who still owns all her production).
Keywords:
- archiving objects,
- music archive,
- experimental musics,
- musical instruments
Résumé
Les pratiques musicales dérivées de la musique expérimentale depuis les années 1960 ont produit des matériaux et des traces musicales hétérogènes, comprenant des partitions, des préparations et modifications d’instruments, des dispositifs personnalisées, des enregistrements. Le concept d’oeuvre sur lequel la plupart des archives musicales traditionnelles se fondent, remontant au romantisme, n’est pas adapté pour préserver ce complexe élargi d’objets et de concepts, et il est de plus en plus urgent de repenser les archives musicales.
Cette discussion rapproche les expériences de trois chercheur·e·s, qui s’intéressent à cinq institutions et trois créateur·rice·s dans quatre pays différents. Pourtant, les problèmes relatifs aux archives qu’on rencontre présentent des ressemblances troublantes. Ces expériences regardent : David Tudor (archives papier au Getty Research Institute à Los Angeles, Californie, et David Tudor Instrument Collection à la Wesleyan University à Midtown, Connecticut); Mario Bertoncini (archives papier aux archives de l’Akademie der Künste à Berlin et collection d’objets hébergée actuellement à la Fondazione Isabella Scelsi à Rome); Gayle Young (qui est toujours en possession de toute sa production).
Mots-clés :
- objets d’archives,
- archive musicale,
- musiques expérimentales,
- instruments musicaux
Parties annexes
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