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Recovering Music-Theatre Works Involving Electronic Elements: The case of Molly Bloom and FE…DE…RI…CO…

Published online by Cambridge University Press:  30 May 2019

Filipa Magalhães  and
Isabel Pires
Filipa Magalhães*
Affiliation:
CESEM – Centro de Estudos de Sociologia e Estética Musical (Centre for the Study of Sociology and Aesthetics of Music), Faculty of Social and Human Sciences, Universidade NOVA de Lisboa, Av. de Berna 26-C 1069–061 Lisboa, Portugal
Isabel Pires*
Affiliation:
CESEM – Centro de Estudos de Sociologia e Estética Musical (Centre for the Study of Sociology and Aesthetics of Music), Faculty of Social and Human Sciences, Universidade NOVA de Lisboa, Av. de Berna 26-C 1069–061 Lisboa, Portugal
*
*Emails: filipa.magalhaes@campus.fcsh.unl.pt; isabelpires@fcsh.unl.pt
*Emails: filipa.magalhaes@campus.fcsh.unl.pt; isabelpires@fcsh.unl.pt
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Abstract

This article aims to reflect on the main constraints encountered in recovering music-theatre works that involve a variety of diverse aspects that are relevant to their performance. As well as the score, scripts or other additional documents, the works considered here also include electroacoustics recorded on magnetic tape, consequently requiring specific approaches in order to preserve such kinds of works. Video recordings of concerts are important for understanding, documenting and eventually restaging these works. This idea is not new; audio-video recordings have for many years served as sources for documenting live performances (music-theatre or art performances). However, it is still important to discuss just how and with which tools these very important documents might be preserved and exploited. Hence, the study of the structure of Molly Bloom and FE…DE…RI…CO…, both with music by Constança Capdeville, enables an understanding of the processes in which documentation is relevant to preserving such a valuable cultural heritage.

Type
Articles
Information
Organised Sound , Volume 24 , Special Issue 1: Perceptual Issues Surrounding the Electroacoustic Music Experience , April 2019 , pp. 96 - 108
Copyright
© Cambridge University Press, 2019 

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References

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