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A Rch Ivin G ARRAY2020 – Archiving array2020 archiving The International Computer Music Association President:Tae Hong Park Vice President for Membership: Michael Gurevitch Vice President for Conferences: Rob Hamilton Vice President for Asia/Oceania: -- Vice President for the Americas: Eric Honor Vice President for Europe: Stefania Serafin Vice President for Preservation: Tae Hong Park Music Coordinator: PerMagnus Lindborg Research Coordinator: Christopher Haworth Publications Coordinator: Tom Erbe Treasurer/Secretary: Chryssie Nanou BoardofDirectors 2018/2019 At-Large Directors Miriam Akkermann MarkBallora (+) Lauren Hayes John Thompson Americas Regional Directors Rodrigo Cadiz Charles Nichols Asia/Oceania Regional Directors PerMagnus Lindborg Takeyoshi Mori Europe Regional Directors Kerry Hagan Stefania Serafin Non-Elected Positions: ICMA Administrative Assistant: Sandra Neal array2020 archiving Index.......................................................................................................................................... p. 3 Editorial ...................................................................................................................................p. 4 Introduction Miriam Akkermann............................................................................................................... p. 6 The electroacoustic repertoire: Is there a librarian? Serge Lemouton.................................................................................................................... p. 7 Preserving Hardware History: Archiving the Studios at Columbia University Seth Cluett............................................................................................................................... p. 1 5 The Electro-Acoustic Music Mine Project (EAMM) Collecting, Archiving, Sharing, and Exploring Tae Hong Park......................................................................................................................... p. 21 Musings on computer music perennity Kevin Dahan............................................................................................................................ p. 31 Preservation strategies for mixed music: the long tail and the short tail Guillaume Boutard................................................................................................................ p. 36 Main Editor Array: Miriam Akkermann Published by International Computer Music Association ICMA 2020 1819 PolkStreet, San Francisco, California 94019, USA DOI: 1 0.25370/array.v2020 https://journals.qucosa.de/array/ www.computermusic.org 3 array2020 archiving Editorial With this issue, arrayis welcoming you to the newvirtual home ofInternatio- nal Computer Music Association ICMA’s journal: https://journals.qucosa.de/array. Atthis point– and againstthe back- ground ofthe topic“archiving”ofthis current issue – it is reasonable to briefly lookbackat the history ofarray, which is interwoven with the historyof the ICMA, and also to thinkabout Ar- ray’s own archive. The ICMAhas been co funded by Curtis Roads, John Strawn and Thom Blum in 1978/79.Thom Blum, the first First page Array 1 (1 ), 1 980 editor of Array, started the journal in 1980 as the organization's quarterly ICMA members with information on newsletter, explaining that he came up computer music events, announce- with the name Array“[…] becauseit ments and reviews, as well as with a could be interpreted both as a data small sell-and-search section. As Blum structure that's fundamental to our art remembers for the very beginning: as well as a description ofthe open, di- “Everyissue was handmade and put verse information that members could together, much like a Tape Music piece, contribute and expect in the (roughly) byphysical cutting and pasting, pho- quarterly issues.”(Thom Blum, Email to tocopy layout iterations […], then tak- M. Akkermann 2020) Designed as a ing the masterto a photocopyshop member’s counterpart to the MITPress and finallyaddressing, stamping, and Journals’Computer Music Journal dropping the issues at my post office.” (CMJ), Array was intended to serve the (Blum 2020) 4 array2020 archiving Jennifer B. Merkowitz (2008-11); Scott McLaughlin (2011-13) Christopher Haworth (2014-17); Patricia Alessandrini, Shelly Knotts &Christopher Haworth (2018) Miriam Akkermann&Rama Gottfried (2019). Manyissues have been published, and notall havefound theirwayin a digital documentation ofarray yet. Being hosted on musiconn.publish, an information service specialized for musicologyfunded byGerman Re- search Fund, which is jointly operated bythe BSB Munich and SLUB Dresden offering amongst others long-term archiving ofmusicological literature, ICMA has nowthe possibilityto provide a sustainable open access for Front Cover Array 1 7(3), 1 998 upcoming issues ofarray, as well as the possibility to retrospectively in- Overthe last 40 years, Array changed tegrate former issues. its appearance and frequency several Thus https://journals.qucosa.de/ time. editors and co-editors were: array will become array’s new virtual Thom Blum (1980-88); representation and it’s new archive. John Worthington (1988) With thisin mind,I wish you both a Carla Scaletti&Kurt Hebel (1990-92) good read ofthe currentissue and a Brad Garton&Robert Rowe (1992-95); lot offun browsing through the past Katharine Normann (1996-98); issues, which will be putonline on Mara Helmuth&Jøran Rudi(1998-04); the platform bit bybit. Margaret Schedel (2004); Margaret Schedel&Jennifer B. Special thanks to:T. Blum, C. Harris, Merkowitz (2006-08); C. Haworth, M. Helmuth, C. Roads, R. Rowe, M. Schedel, and T. Erbe. 5 array2020 archiving Introduction several years (e.g. such asThe Music by Miriam Akkermann Encoding Initiative MEI, https://music- encoding.org, last access Sept 20, This issue ofICMA’s array is dedicated 2020), and itis assumable thatthey to the topic“Archiving”and presents a may increasingly replace traditional variety ofperspectives, approaches, printed forms ofpublication in the and projects related to archiving, pre- coming years. In contrast, the 20th serving, and re-performing ofelec- and 21st centuryborn field ofelec- troacoustic and computer music by troacoustic music and computer mu- researchers and practitioners. siccan –yet–lookbackneitheron a Archiving cultural objects ofcon- tradition ofstandardized documenta- temporary history plays an increasing tion nor common initiatives for role in current research.This includes strategies on archiving and preserva- also a constant reflection ofthe hand- tion.The need ofvaluable strategies, ling ofarchives, their structures, and however, becomes more and more their accessibility. Preserving music obvious. faces both a long tradition ofmusic libraries, instrument collections and Besides qualitative debates about compilations ofsound recordings em- an adequate technical configuration ploying different media one the one ofthe data to be preserved, itis also hand, and new challenges deriving necessary to communicate about new from digitization and new media approaches to archiving strategies. formats on the other. Especially for di- This includes dealing with the com- gital (media) data, preserving existing position’s basic information as well as works becomes increasingly urgent, the question ofhowto deal with in- the more the loss ofcontentis im- volved (digital) technologywhich is pending.The spirit ofthe continuously practically bound e.g. to obsolete faster developing field ofdigital tech- hardware systems and connected nologies also causes a fasterdecayof software compatibility problems. its children. Projects on digital forms Hereby, archiving can aim for several ofarchiving and editing music nota- different purposes, ranging from a tion have been ongoing alreadyfor pure preservation oforiginal content 6 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
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