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Array2020 Archiving array2020 archiving to collecting and keeping information The electroacoustic repertoire: Is updated for (re-)performances ofmu- there a librarian ? sical works (cf. e.g. Lemouton/Gold- bySerge Lemouton szmidt 2016, hal-01944619).This is particularlyrelevant in so far as the Introduction information archived concerning a musical workcan strongly influence Until proven otherwise, our civiliza- its possible future appearance (cf. tion is still a civilization ofthe Book. Akkermann 2019, http://doi.org/ Libraries are the places where books 1 0.5281 /zenodo.3484546). are transmitted over time.Works of plastic art, paintings, sculptures, are The presented articles in this issue exhibited, preserved, restored in mu- ofarray mirror discussions that have seums, with the specific difficulties alreadybeen tackled at the ICMC pan- posed bythe materials and tech- el sessions on“computer music herit- niques used. Cinematographic works age”2018 in Daegu/KOR, hosted by have their cinematheques, but seem Kevin Dahan, and“archiving”2019 in more difficult to preserve when we NewYork/USA, hosted byTaeHong realize that some films have already Park, involving also the other authors completely disappeared. We can con- and the editorofthis issue.The panels sidera musical workas a text: musical haveshown thatthereis a broad in- works in the form ofwritten, printed terestin the communityand a need or handwritten scores also have their for more discussion. In the following, libraries. But what happens when some ofthe mentioned aspects are music, since the advent ofpossibilities now connected to most recent reflec- opened up bythe means oftechnical tions, considerations, projects and reproduction, includes elements that debates, providing a broad and sub- are not strictlynotated in form of stantial starting point for a future de- text? We are interested here specific- bate on archiving approaches and allyin music ofscholarlyorexperi- projects. mental tradition (real-time electronic music) using newinstruments such as synthesizers, samplers, effects, pre-re- 7 array2020 archiving corded sounds, amplification devices Who should assume this role? Is it and spatial sound diffusion as well as the composer, the performer, the all kind ofsound devices orcomputer publisher, the musicologist, or the music system. music historian? Is this responsibility Paradoxically, digital resources need collective or individual? more care to be preserved than infor- mation written on paper.The inherent Composers fragility ofdigital materials leaves only a small windowoftime during which We can thinkthat the first actorin- they can be preserved before being volved in the preservation ofmusical erased forever. The electro-acoustic works should be the author. First of music works considered therefore all because it seems obvious that pose specific problems oftransmis- composers from the Western tradition sion and diffusion; these problems, of write music for the posterity. Second- various natures, are beginning to be ly, because it seems that theyare the recognized and studied.This reper- firstones to have the moral dutyto toire has grown throughout the last preserve their productions. In prac- centuryand is veryimportant both in tice, however, we observe that this terms ofthe numberofworks and of responsibility is rarely assumed by interest in the historyofmusical art. the composer. And it became so important that these Here we can question the notion new instruments and digital means ofthe workofart as artefacts built will infuse the vast majorityofcurrent for the posterity. Is writing for future musical creation in all directions. centuries historically situated, is it a Within the frameworkofa recent notion born with romanticism? Music working group, we were interested is an ephemeral art, but isn’t the urge in the methods of“how”to preserve, to leave a trace consubstantial with and in the inscription and the dis- all artistic practice since the origins semination ofthis repertoire, but not ofhumanity? reallyin the question of“who”is pre- In the specific case ofcontempor- serving: who has the responsibility, arymusic, we observe a paradox: the the dutyto ensure its conservation composer notates the instrumental for future generations? part more and more precisely, while 8 array2020 archiving the electronic part (in general, no standardized notation for elec- however, so essential to the workthat troacoustic devices which could play one cannot envisage to playthe piece a similarrole as traditional music the- without) is not fixed (at least very orydoes for the notation ofinstru- rarely by the composer himself). mental music)? Is it simplyforprac- While some composers have been tical reasons (preserving software actively engaged in documenting, data requires an appropriate infra- preserving and transmitting the elec- structure)? Itcan also be due to a lack troacoustic part oftheir works, this is ofknowledge on the developments not generallythe case.We can cite the oflanguages and computer systems case ofKarlheinz Stockhausen, a com- —butwhoin thisarea can claim to poser characterized by an extreme master the complex issue ofobsoles- control on his works, who himself cence and prophesyabout the evo- produced a critical and complete lution ofcomputing? edition ofhis scores.This edition is Whydo composers not have the so exhaustivelydetailed that we will to write the electronic part of can predict that its preservation is as- their works? Do they consider that sured. But this case seems ratherthe the electroacoustic part oftheir work exception in the context ofcontem- is secondary, accessory, less noble porarymusic.What we learn from this than the instrumental part? particularcase is also that we must The electronic part can also be the not neglect the role ofthe artist’s result ofa collaborative work, it is family in this question ofpreserving sometimes co-composed or co-pro- an artistic heritage. duced bywhatis generallycalled a One can wonderabout the reasons "computer music designer". It can also for this fairly constant lackofinterest sometimes be entirely produced by among composers for the documen- the latter; in this case one maywon- tation ofthe electroacoustic part of derwhetheritis reallyup to the com- theirpieces. Is it because ofa theo- poserto include it in the score. retical difficulty or a practical impos- The question ofsafeguarding this sibility? Is it an educational problem? repertoire is all the more crucial today Is it due to the lackoftheoretical as the first generation ofcomposers means (itis well known thatthere is to use the means ofexpression 9 array2020 archiving offered by computer music are slowly to the“design”ofthe computer part but inevitably disappearing. Ifthey are ofthe musical works in which they the ones who should store theirown collaborate, but also encompasses computer archives, what is left after? Is (among others) interpretation, docu- it up to theirpossible heirs orbene- mentation, archiving, and updating ficiaries to preserve their archives? We the pieces from their personal reper- can cite Pierre Henryas a successful toire. example, whose home studio and do- The computer music designers are, mestic sound libraryare saved for the byvirtue oftheir activityas per- future, finally supported by both the formers, experts in the question ofthe National Library ofFrance (cf. https:// evolution ofcomputer music environ- www.bnf.fr/fr/toute-loeuvre-de- ments.Theirjob and the rapid devel- pierre-henry-la-bnf) and the Philhar- opment ofcomputer music tools re- monie de Paris (cf. https://philhar quire them to always be in "technolo- moniedeparis.fr/fr/musee-de-la- gywatch" mode. Indeed, among the musique/collection/parcours#studio- manytasks implied bytheir position pierre-henry, last access Sept. 14, as Réalisateur en Informatique Musicale 2020), thanks to the commitment of (or RIM, french for Computer Music its beneficiaries. After the passing of Designers), porting (migration ofthe Jean-Claude Risset, his archives were electroacoustic part ofa musical work finallytaken care ofbya CNRS labora- from one material system to another) tory (cf. https://musinf.univ-st- due to a change ofthe computeren- etienne.fr/SiteRisset/archives.html, vironment, new software versions, last access Sept. 14, 2020). operating system evolution (etc.) is probably the activity which occupies Computer Music Designers the most oftheirtime and energy. Consequently, computer music de- Although there is some recent work signers have empirically developed on the position ofcomputer music knowhow, methodologies and sys- designer in electroacoustic music tems to facilitate the porting ofworks (Zattra 2016), the nature oftheir in order to ensure their playability activity remains largely unknown. In- over time. Among these systems, deed, their activityis not limited we can cite the Sidneydatabase 1 0 array2020 archiving developed and hosted at IRCAM ers realized the importance ofthe (Lemouton 2016), allowing the opera- technological developments in mu- tional backup ofdocuments created in sical practice. Historical publishing the institute since its creation in 1977. houses have not equipped them- Nevertheless, the computer music selves to respond to technological designers' as well as the instrumen- developments in the field ofdigital talists' knowledge on howto playa distribution ofmusic online, and even particularworkand howit should less to the distribution ofworks in- sound, remain stronglyoral and seems volving hybrid or heterogeneous me- to be passed on from person
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