Sound Archives and Creation...Transcription by Béla Bartók of a traditional melody interpreted by...
Transcript of Sound Archives and Creation...Transcription by Béla Bartók of a traditional melody interpreted by...
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SoundArchivesandCreation
IntangibleCulturalHeritage,MuseumsandInnovation
Aubusson,February5-6th,2019
MadeleineLeclairCurator,DepartmentofEthnomusicologyHeadofAIMP(Archivesinternationalesdemusiquepopulaire)
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Thecase:• SoundarchivesoftraditionalfieldrecordingsfromAfrica,America,Asia,Europeand
Oceania• Contemporarymusiccreationsbasedonthesoundarchives
ConstantinBrăiloiurecordingRomanianmusicians.Around1930. JeremyYoung.CompositionofThePoeticsofTimeSpacebasedontheMEG‘ssoundarchives.2016.
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Startingpoint:SoundChamber(2014)• VideoinstallationbyAngeLeccia,visualartistandJulienPerez,composer• Seriesofvisualandmusicalcompositionswhichillustratethequalitiesandcoloursof
thesoundsproducedbythevariousmusicalinstruments• Appliedresearchprojetonarchivesandcreation
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Practitionersinvolved:• Traditionalmusiciansbutalsoeveryonepresentduringtherecordings
Romania,surroundingsofBucarest.GroupofRomanianmusicians.2008
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Cooperationbetweenpractitionersandcurator:• Feedbackaftertherecordings(duringfieldwork)• WorkingandmeetingsessionsinGenevawiththeparticipantsintherecordings
LaurentAubertduringasoundrecordingsession,Kerala(SouthIndia).1999.
DavidA.BoxleyandhissonDavidR.Boxley,TsimshianartistsfromAlaska,studyingtheMEGcollections.2018
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SafegardingICH:• Digitization• Metadata• Phonogramspreservedinaspecialair-conditionedroom• Freeaccesstothemusiclounge(library)
Consultationinterfaceofthe16,000hoursofsoundrecordingsoftheMEGarchives.
Listeningtosoundarchivesinfreeaccesstothemusiclounge.2014
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OtheractionsforsafegardingICH:• Documentation• Initiationofalegalworkinggroup• Acquisitionpolicy• Returnofsoundrecordindstothecountryoforigin
Brazil,StateofPará,Cateté.KayapóXikrin.PhotobyA.Fontanet,2013.
DocumentationofsoundarchivesfromtheGulfcountrieswiththedonorPaulMattar.2016
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Surprisingresultslinkedtothecreationsbasedonsoundarchives:UnanimousconsentabouttheprincipleoftheprojectANDdiscrepancyaboutproceduresforexecutingit• Reactionofthesourcecommunities• Reactionofthegeneralpublic• Reactionoftheartistsinvolvedintheproject• Reactionoftheresearchersandscholars
LivemixwithLPs(duplicate)oftraditionalmusicpreservedintheMEG’sarchives.2018
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Referenceto«Innovation»:1.Methodology:
relativelycommonpracticeinclassicalmusicrareinelectronicmusicpragmaticwayofbringingtogether:curators,sourcecommunity,artists
2.Form:transformationofarchivaldocumentsbydifferenteffectsusuallyreservedforpopandelectronicmusicdeviationfromtheinitialcontextofperformance
TranscriptionbyBélaBartókofatraditionalmelodyinterpretedbyasingerofDoboz,southwesternHungary.1906
CuttingandassemblingdifferentsoundsourceswiththeWaveLabsoftwarefortheAmazonianSoundStoriesprojectpresentedattheMEGin2016
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FocusonICH,museumsandinnovationinrelationtotechnologyandsensorialexperiences*SoundChamber=Asophisticatedsoundsystemprovidingdiffusioninsideasmallroom.*Theexperiencethatisproposedistoapprehendbythesensitivearelativelycomplexnotion–musicaltimbre.*Focusontheheuristicvalueofthesensoryexperience,asacomplementtotheintellectualizeddatatransmission.
ThecomposerJulienPerezintheSoundChamber,MEG’spermanentexhibition.2014
VisualizationofthespectralcompositionofasoundwithAudioSculptsoftware.2018
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Motivations*Toexploretheexhibitiondevicesofmusicandthecontributionofmusicinobject-basedmuseography.*Innovativemediationproposalforthegeneralpublicaroundaspecializedcollection.*Sourcecommunityparticipationatthestartingpointofaproject;toallowthemtoreinvesttheirsoundheritage;involvethemintheheartoftheproject.*Toopenadebateandreflectiononthethemeofcreativeappropriation(legal,ethical,andphilosophicalquestions).
Listeningdeviceforsoundarchivesinthepermanentexhibition.2014
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ChallengesThemaindifficultyistoreconnectwithpeopleconcernedbythearchives:problemofgeographicaldistance;problemofculturaldistance.Tomakeanadjustmentwiththeartistsconcerningthecontentsofthearchivedmusic.Tocontactnon-westernersmusicianstoparticipatetothecreationproject.Toreallyfacetheresultsofwhatwedo:whatwouldhappenifoneofthecompositionprojectshadrealcommercialsuccess?
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Howdidthemuseumgoaboutintacklingchallenges?Themaindifficultyistoreconnectwithpeopleconcernedbythearchives:problemofgeographicaldistance;problemofculturaldistance-benefitfromthepassageinGenevaofpeoplefromthesourcecountriesorcommunitiesfromwhichthearchivescome-contactanetworkofethnomusicologistsandresearcherswhohavecontactsinsourcecountries
Tomakeanadjustmentwiththeartistsconcerningthecontentsofthearchivedmusic-pedagogyandseveralmeetingswiththeartistsTocontactnon-westernersmusicianstoparticipatetothecreationproject-trytoexpandmynetworkinthemiddleoftheelectronicmusicscene,ormusicianswhoarelikelytobeabletoparticipateintheprojectofcompo.Toreallyfacetheresultsofwhatwedo:whatwouldhappenifoneofthecompositionprojectshadrealcommercialsuccess?-consultationwithspecializedorganizationsinthefieldofeditoriallaw-toidentifyanetworkofacademicsandarchivecentersthatreflectonthesequestions-settinguptheresearchprogramentitled"Soundarchivesandcreation“,involvingspecialistsandstudents
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Positivesresultsoccured- Contactandcommunicationbetweenpeopleofdifferenthorizons,onasametopic
foralltosee
- ThedebateontheroleandresponsibilityofamuseuminthedevelopmentofitsICHisopen
- Fruitfultrackstodevelopthereflectiononcreativeappropriation