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Annotated Catalogue of the Roberto Gerhard Tape Collection

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ANNOTATED CATALOGUE OF THE ROBERTO GERHARD TAPE COLLECTION Gregorio García Karman Submitted as supporting material associated with the following publications: [1] García-Karman, Gregorio. “Roberto Gerhard’s Tape Collection: The Electronic Music” In Proceedings of 1st International Roberto Gerhard Conference. Huddersfield: University of Huddersfield, 2010. [2] Adkins, Monty, Carlos Duque, and Gregorio García-Karman. Roberto Gerhard. The Electronic Music In International Computer Music Conference. Ljubljana, 2012. [3] García-Karman, Gregorio. “Roberto Gerhard's BBC Sound Compositions.” In The Roberto Gerhard Companion, edited by Michael Russ and Monty Adkins. Aldershot (England): Ashgate, 2013. [4] García-Karman, Gregorio. “Sonido y símbolo en Lament for the Death of a Bullfighter de Roberto Gerhard.” Quodlibet: Revista de Especialización Musical, no. 54 (2013): 53-92. [5] García-Karman, Gregorio. Uprooted Sounds: International Electroacoustic Output of Spanish Pioneers in Times of Francoism In JIEM - Espacios Sonoros. Madrid: Universidad Autónoma de Madrid, 2014. In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy University of Huddersfield School of Music, Humanities and Media May 2014 ANNOTATED CATALOGUE OF THE ROBERTO GERHARD TAPE COLLECTION 1. BACKGROUND The present document was elaborated during the years 2013–2014, following the digital transfer of the Roberto Gerhard Tape Collection (an AHRC-funded project carried out in 2012 by Prof. Monty Adkins, Carlos Duque and myself under the auspices of the University of Huddersfield).! This catalogue has grown out of the necessity to present the results of that undertaking in an ordered and accessible manner." Its main contribution is to provide a systematic documentation of the totality of both Gerhard’s open-reel tapes (which are part of Roberto Gerhard’s Archive held at Cambridge University Library) and the master preservation files produced as a result of the aforementioned re-mediation project. As such it provides, in a single document, a key to both the physical archive and the digital repository and serves as a bridge between both corpuses. This document was elaborated taking the recommendations of the International Association for Recorded Sound (IASA) as a reference framework.# The structure of the present catalogue closely follows that of the original inventory of the collection completed during the years 2007–08.$ During that first inventory I 1 A discussion of the conceptual and technical challenges posed by the remediation Gerhard’s open- reel tape collection was presented by the author at the Conference of the International Association for Recorded Sound (IASA), New Delhi, 12 October 2012: Gregorio García-Karman, Monty Adkins, and Carlos Duque, “The Restoration Project of Roberto Gerhard’s Tape Collection” (presented at the Conference of the International Association for Recorded Sound, New Delhi, 2012). 2 The elaboration of this catalogue would have been a logical follow-up of the project of the digitisation of Gerhard’s tapes but funding was exhausted before this work could be undertaken. 3 Mary Miliano, ed., The IASA Cataloguing Rules. A Manual for the Description of Sound Recordings and Related Audiovisual Media (Stockholm: IASA, 1999), http://www.iasa-web.org/cataloguing-rules. 4 See the two research reports submitted as supporting materials associated with the publication Gregorio García-Karman, “Roberto Gerhard’s Tape Collection: The Electronic Music,” in Proceedings of 1st International Roberto Gerhard Conference (Huddersfield: University of Huddersfield, 2010), 107–22. documented the external appearance of the tapes—including annotations on containers and reels—in a Filemaker database purposely tailored to this end. In 2012, the original database was extended to accommodate the data collected as a result of the digital transfers of the tapes. During this second stage, the original metadata corresponding to the external description of the tapes was revised, technical metadata was incorporated to the database, and preliminary notes on the contents of the tapes were taken. The current catalogue represents a profound revision of this groundwork. Following the project of the digitization of Gerhard’s tapes, comprehensive editorial work on the metadata collected was undertaken. Moreover, supported by the systematic audition of the tapes and external documentary sources,% a significant amount of editorial comments were incorporated. Besides, during this third stage, a significant reprogramming of the database was carried out in order to format the raw metadata according to IASA specifications. Embracing the terminology set forth by the IASA cataloguing rules,& the catalogue design uses a multilevel approach with analytical features. In this regard, the information within each record is organized hierarchically in three different areas represented by three levels of indentation. The first level is concerned with the physical description of the resource being catalogued (the external appearance of the container, dimensions, contents, etc.) and includes a full transcript of the external annotations on containers and foreign objects. The second level of the hierarchy consists of an analytic description of the reel itself. To this end, the external evidence on containers and reels was contrasted with the contents recognized from audition as well as the forensic examination of analogue carriers and digital objects. The information for each reel is structured into the following fields: title proper, statement of responsibility, place and dates (production / publication / broadcast), track format,' 5 For instance, the cross-correlation of Gerhard’s tapes with the BBC broadcast indexes. See also Gregorio García-Karman, “Roberto Gerhard’s BBC Sound Compositions,” in The Roberto Gerhard Companion, ed. Monty Adkins and Michael Russ (Aldershot (England): Ashgate, 2013), 307–47. 6 Miliano, The IASA Cataloguing Rules. A Manual for the Description of Sound Recordings and Related Audiovisual Media. 7 As determined upon direct examination of the preservation master files and, in some instances, upon inspection of the analogue carrier with a magnetic viewer. 2 reel dimensions, and Reel ID / name of preservation master session (see below). Similarly to the previous level of description, a full transcript of the annotations on the reel (or directly on the tape) is provided in the form of comments. This information is supplemented by editorial contributions such as, e.g., extended statements of responsibility, cross-references to other items in the collection and external sources, observations as regards to tape contents, and technical notes (transfer problems, quality of the recordings, etc.). The third and last level in the hierarchy is concerned with the digital objects. Care was taken to construct a visually comprehendible presentation of the number of takes per session and the channels (mono / stereo) bound to each transfer. Duration, transfer speed, transfer machine, head-block,( and operator) are specified for each preservation master file. 2. NAMING PATTERNS Each resource in the Gerhard Tape Collection is assigned a unique identifier. This nomenclature is consistently used across the physical and digital domains and is expressive of the hierarchical relations among objects. Unique identifiers are formed by appending alphanumeric characters to the Root ID. 2.1 Physical Objects 2.1.1 Root ID The Root ID is a unique string that represents a resource (physical entity) in the collection. Entities may range from, e.g., an empty tin, to complex multi-part objects, such as, e.g., a group of tapes strung together on a spike (Figure 1). To each Root ID corresponds a catalogue entry and a record in the main table of the database: Root ID Description CUL_OR01_Gerhard_0001 the first object in the collection 8 Full-track (FT), half-track (HT) and quarter-track (QT) head-blocks were used to transfer of the tapes. 9 Carlos Duque (CD) and myself (GGK). 3 Figure 1. CUL_OR01_Gerhard_0559 2.1.2 Reel ID Each catalogue entry can be associated with none, one, or more than one open reel tapes. Open reel tapes are identified by a Reel ID, adding two additional digits to the Root ID: Reel ID Description CUL_OR01_Gerhard_000101 The first reel of the first item in the collection 2.2 Digital Objects Names of digital objects are subsequently derived from the corresponding Reel ID by the addition of suffixes. 2.2.1 ProTools sessions A ProTools session exists for each open reel tape in the Gerhard collection. Session names are directly derived from the corresponding Reel ID: Reel ID ProTools session CUL_OR01_Gerhard_000101 CUL_OR01_Gerhard_000101_pres.ptx 4 2.2.2 Preservation master files Each ProTools session can accommodate one or more preservation master files. The following nomenclature is used to uniquely identify each audio file: CUL_OR01_Gerhard_[ID*]_pres.wav *ID = Root ID Reel ID Channel ID Take ID Characters XXXX XX X XX Range 0001–9999 01–99 L / R / M 01–99 A tape transferred with a full-track head will produce a single (mono) preservation master file: CUL_OR01_Gerhard_000101M01_pres.wav Root ID Reel ID Channel ID Take ID ID 0001 01 M 01 A tape transferred with a half-track head will result in two (mono) preservation master files: CUL_OR01_Gerhard_000101L01_pres.wav Root ID Reel ID Channel ID Take ID ID 0001 01 L 01 CUL_OR01_Gerhard_000101R01_pres.wav Root ID Reel ID Channel ID Take ID ID 0001 01 R 01 A ProTools session may contain one or more different takes.!*
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