The documentation and preservation of knowledge about the history of electroacoustic music and the original technical conditions of its performance is an essential prerequisite for the development of an informed performance practice today. In the research project “Performance Practice of Electroacoustic Music” musicologists and musicians develop and test performance concepts which are then presented in concert and evaluated.
DATABASE NOW ONLINE!
The database dedicated to the performance practice of electroacoustic music is now online:
ppeam.zhdk.ch
It was conceived within the research project The Performance Practice of Electroacoustic Music – towards a practice-based exchange between musicology and performance.
Currently, the database contains the repertoire studied within the research project and offers information on its history, performance and sources. The entries are above all aimed at performers of this repertoire, and specially at electroacoustic performers. It is intended for the database to be expanded in the future. It is understood as an open, dynamic publication.
The double SACD Les Espaces Électroacoustiques is also part of the project’s output. It contains works in two formats (stereo and 5.1), among others compositions such as György Ligeti’s Artikulation, Jonathan Harvey’s Mortuos plango, vivos voco or Boulez’ Dialogue de l’ombre double, which are presented here for the first time in surround sound.
You can order the double SACD at the Label Col Legno
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The Performance Practice of Electroacoustic Music – towards a practice-based exchange between musicology and performance
60 years after the birth of electroacoustic music, questions concerning performance practice are becoming increasingly relevant. Many composers who traditionally have been the foremost interpreters of their own music are now at old age or no longer alive. The same can be said of other important witnesses to history such as instrumentalists, conductors, technicians, studio assistants and musicians concerned with performance and sound projection. Younger generations of musicians and researchers are now becoming involved with this repertoire. For any of them, but particularly for performers, the question of how to perform a piece taking into account its specific artistic, historic and technical genesis becomes critical, considering that the technical means available nowadays are completely different from historical conditions. The disappearance of old technologies and the availability of new ones present challenges as well as new possibilities. Different attitudes and experiences of today’s audiences must be taken into account as well. As in (instrumental) performance practice of older music, those questions lead into an area marked by the tension between historical performance practice and modern reception. The preservation of knowledge about the genesis of electroacoustic works, the original performance conditions and the development of a performance tradition is an essential prerequisite for developing an adequately informed interpretation practice.
In order to gather the evidence necessary for developing adequate interpretation criteria for specific works, thorough philological investigation of different sources like sketches, scores, diagrams, photographs, films, letters and audio documents must be undertaken. The study of audio material like base recordings, working materials reflecting different compositional stages, preliminary mixes, different versions and historical performances must be done in hearing in analogy to the composition process in the studio. Hypotheses on issues like versions, number of channels, spatial configuration of sound sources and audience, channel distribution, kind and properties of technical means, dynamics and spatialization of projected audio, amplification of instruments, etc. must then be validated in a dialogue with experienced performers and historical witnesses under spatial and technical conditions corresponding to real performances. The possibility to experiment with different sound projection devices and configurations according to artistic intentions and spatial conditions is a prerequisite.
Accordingly, the project aims to establish a research methodology for performance practice of electroacoustic music where musicologists and performers enter into a practice-based dialogue. Such a dialogue between theory and practice serves a double purpose: to deliver a model for research methodology and to yield concrete results with respect to compositions that can be considered exemplary study subjects in terms of the problems they present to performers.
Providing methods of study and practice-validated evidence that allow performers to formulate their own interpretation criteria, the overarching objective of the project is thus to contribute to the realization of artistically adequate performances of electroacoustic works.
The collaboration with the Paul Sacher Stiftung and the continuing collaboration with a select group of musicologists and performers constitutes a unique network that allows integrating precious knowledge and experience and provides the basis for a broad impact.