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Active Preservation of Electrophone Musical Instruments

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Active Preservation of Electrophone Musical Instruments ACTIVE PRESERVATION OF ELECTROPHONE MUSICAL INSTRUMENTS. THE CASE OF THE “LIETTIZZATORE” OF “STUDIO DI FONOLOGIA MUSICALE” (RAI, MILANO) Sergio Canazza, Federico Avanzini Antonio Roda` SMC Group, Dept. of Information Engineering Maria Maddalena Novati AVIRES Lab., Dept. of Informatics University of Padova RAI, Milano Viale delle Scienze, Udine Via Gradenigo 6/B, 35131 Padova Archivio di Fonologia University of Udine [email protected] [email protected] [email protected] [email protected] ABSTRACT installation consisting of a SW-HW system that re-creates the electronic lutherie of the Studio, allowing users to in- This paper presents first results of an ongoing project de- teract with such lutherie. In particular, the production setup voted to the analysis and virtualization of the analog elec- originally employed to compose Scambi is considered as a tronic devices of the “Studio di Fonologia Musicale”, one relevant case study. Achieving the goal of the project im- of the European centres of reference for the production of plies (i) analyzing the original devices through both project electroacoustic music in the 1950’s and 1960’s. After a schemes and direct inspection; (ii) validating the analysis brief summary of the history of the Studio, the paper dis- through simulations with ad-hoc tools (particularly Spice cusses a particularly representative musical work produced – Simulation Program with Integrated Circuit Emphasis, a at the Studio, Scambi by Henri Pousseur, and it presents software especially designed to simulate analog electronic initial results on the analysis and simulation of the elec- circuits [3]); (iii) developing physical models of the analog tronic device used by Pousseur in this composition, and the devices, which allow efficient simulation of their function- ongoing work finalized at developing an installation that ing (according to the virtual analog paradigm [4]); (iv) de- re-creates such electronic lutherie. signing appropriate interfaces to interact with the virtual devices. The paper is organized as follows. Section2 dis- 1. INTRODUCTION cusses the issues posed by preservation and restoration of electrophone instruments. Section3 briefly summarizes Despite the fact that electroacoustic music is a young form the history of the Studio di Fonologia and of Scambi. Fi- of art, it is necessary to take care of its preservation, due nally, Sec.4 presents initial results on the analysis and sim- to the limited life of the supports where electroacoustic ulation of the electronic lutherie used by Pousseur for the music works are preserved, of the reading systems of the composition of Scambi. data, and of the instruments. Moreover, preservation and restoration of this works raises peculiar technical and philo- logical issues. With particular regard to electrophone in- 2. PRESERVATION AND RESTORATION struments, many technological generations have passed since In most cases, the electroacoustic musical piece, as the au- the appearance of the first instruments, and many elec- thor has produced it, is made of various elements like a tronic components used in their construction do not exist score, recorded music, suggestions for interpretation, and 1 anymore or are only available with difficulty. other materials which are often important for understand- The potential damages produced by a bad conservation or ing the making of the piece itself. This lead to the need an inadequate restoration are irreversible. of preserving both graphics and textual materials (score, The aim of this paper is to report on initial results of an schemes, suggestions) and audio materials (musical parts ongoing project devoted to the preservation, analysis and or the whole piece), software (for sound synthesis, live virtualization of the analog electronic devices of the Stu- electronics, etc.), and electrophone instruments. The first dio di Fonologia Musicale. The final goal is to develop an materials are usually on paper and are thus concerned with 1 Electrophones are considered to be the only musical instruments the more general problem of paper materials preservation. which produce sound primarily by electrical means. Electrophones are Audio materials are recorded on various supports in which one of the five main categories in the Hornbostel-Sachs scheme of musi- cal instrument classification [1]. Although this category is not present in a rapid degradation of the information occurs. A new in- the original scheme published in 1914, it was added by Sachs in 1940 [2], teresting field is the preservation of electrophone musical to describe instruments involving electricity. instruments. Preservation can be categorized into passive preservation, Copyright: c 2011 Sergio Canazza et al. This is an open-access article distributed meant to defend the original instruments from external agents under the terms of the Creative Commons Attribution 3.0 Unported License, which without altering the electronic components, and active preser- permits unrestricted use, distribution, and reproduction in any medium, provided vation, which involves a new design of the instruments the original author and source are credited. using new electronic components. Active preservation is needed to prevent the equipments from disappearing, and ments, whose careful preservation protects a cultural her- it is desirable because it allows to access them on a wide itage useful to historical and musicological research. scale (e.g. active preservation may allow to access the in- It is also necessary to make a distinction between com- strument in virtual spaces that can be accessed even re- mercial instruments, produced on a large scale, and ex- motely by large communities of users). Collaboration be- perimental prototypes realized in musical research labs. tween technical and scientific competences (informatics as The former are typically closed and compact instruments well as electronic engineering) and historical-philological whose operational aspects are well documented and often competences is also essential. protected by patents. Large-scale production makes less In the field of audio documents preservation some rele- problematic their preservation, in terms of availability of vant guidelines have been sketches along the years [5,6], replacement components. On the contrary, experimental but most questions regarding the safeguard and the preser- prototypes are harder to preserve, because of lacking tech- vation of electrophone instruments remain unanswered, as nical documentation, as well as “cannibalism”, i.e. the the regulations in force do not provide for specific care or practice of reusing some components for the assemblage of legislative obligations. new devices. This phenomenon also makes difficult to date prototypes, and to know their characteristics at the time 2.1 The instruments when the musical work was realized. Often, electroacoustic music production is not linked to a Electroacoustic music instruments differ from traditional particular instrument, but to a system composed of several ones in many respects: the use of electric energy as the instruments. This requires preservation of the laboratories main sound producing mechanism, rapid obsolescence, the where all the steps of the musical work production process dependence on scientific research and available technol- were performed. As an example, the study of electronic ogy. Unlike Sachs [2], we prefer (from the standpoint of music in Koln¨ has been reconstructed in the same config- preservation) to cluster electrophone instruments in three uration used in the 1950’s. A similar approach has been categories: electroacoustic, electromechanical, and elec- followed for the Institute of Sonology of the Utrecht Uni- tronic (analogic or digital). versity, active in the 1960’s. The exhibition at the Cite´ de In an electroacoustic instrument, transductors transform la Musique in Paris includes a section dedicated to elec- acoustic vibrations into a voltage variation representing the trophone instruments related to the experience of real-time acoustic pressure signal. Sound is produced through an computer music in the 1980’s. amplification system, while the original acoustic sound is hardly perceivable. Examples are the microphone, the elec- tromagnetic pick-up of the electric guitar, the piezoelectric 3. THE STUDIO DI FONOLOGIA MUSICALE pick-up of the turntable. 3.1 History In electromechanical instruments, voltage variations are caused by sound storage on a rotating disk or a tape ac- The Studio di Fonologia Musicale [8] was founded in 1955 cording to electromechanical, electrostatic, or photoelec- at the Milan offices of the Italian Radio-Television (RAI), tric principles. The main electromechanical generator is under the initiative of the italian composers Luciano Berio the audio-wheel first used by Thaddeus Cahill in the early and Bruno Maderna. In a few years, the Studio became one 1900’s, for his Telharmonium. Successful electromechani- of the European centres of reference for the production of cal instruments include the Hammond organ (audio-wheel) electroacoustic music, by deploying cutting-edge devices and the Mellotron (magnetic tape). Unlike the electroa- for the generation and processing of sound. Often these coustic case, in electromechanical instruments sound could devices were especially designed and crafted by Alfredo be heard only through the amplification. Lietti: oscillators, noise generators, filters, dynamic and In electronic instruments, sound is synthesized by one frequency modulators. These were unique
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