EMSAN - Université Paris

Transcription

The Electroacoustic Music
Studies Asia Network (EMSAN)
and
Leonardo Abstracts Service
Intentions and methodology
Marc Battier
Université Paris-Sorbonne
v. Novembre 18, 2008 !
EMSAN - CEMC, Beijing (28/10/08) and SICMF, Seoul (11/11/08)
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Caveat
This document is the visual support of presentations for the
CEMC/EMSAN Symposium Day
at the Musicacoustica Festival in Beijing,
China Millenium Monument, October 28, 2008
and the
EMSAN/LABS Conference
at the Seoul International Computer Music Festival (SICMF) 2008,
Hangaram Design Museum, Seoul Art Centre, November 11, 2008
Additional information can be found at
http://www.omf.paris-sorbonne.fr/EMSAN
For reasons of convenience, the EMSAN and the LABS presentations are included in this document.
However, LABS was only presented in Seoul.
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EMSAN
Electroacoustic Music Studies Asia Network
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Context of EMSAN
The context: development of the academic field of
Electroacoustic Music Studies
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THE EMSAN PROJECT: HISTORY
The MINT research group is a co-founder of the Electroacoustic Music Studies field, a research area
devoted to better understanding the history, trends and techniques of electroacoustic music in general. It
insists in not considering any particular territory but is aiming at studying electroacoustic music from any
period and any country.
One of its goal is to help other scholars access well-researched materials.
In so doing, it co-founded with the Music, Technology and Innovation Research Group (De Montfort University,
Leicester, UK) the Electroacoustic Music Studies Network, a network of scholars and researchers created
in 2003, now a non-for-profit association which includes the Groupe de Recherches Musicales (INA/GRM) in
Paris.
One the main goals of Electroacoustic Music Studies Network is to foster research on electronic,
electroacoustic, computer music as well as other forms of art music and audio art created with technology,
and to help organize an annual conference and publish the proceedings.
The EMS directors are: Marc Battier (co-founder), Leigh Landy (co-founder), Daniel Teruggi.
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EMS Conferences
http://www.ems-network.org
Past
•  A century of innovation involving sound and technology. Resources, Discourse, Analytical Tools (IRCAM,
Paris, France, October 2003)
•  Sound in multimedia contexts (University of Montreal, McGill University, Concordia University, Montreal,
Canada, October 2005)
•  Terminology and Translation (Central Conservatory of Music, Beijing, China, October 2006)
•  The ‘languages’ of electroacoustic music (Leicester, UK, June 2007)
•  Musique concrète - 60 years later (INA-GRM and Paris-Sorbonne, Paris, France, June 2008)
Next
•  2009 - National University of Tres de Febrero, Buenos Aires (June 22-25, Centro Cultural Borges, Buenos
Aires, Argentina)
•  2010 - Shanghai Conservatory, Shanghai, China
•  2011 – New York, USA (to be confirmed)
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❍ 2005: first idea of an International Research Centre on Electroacoustic Music of Asia, formulated by the
MINT research group at Sorbonne. The initial idea of an International Research Centre on Electroacoustic
Music of Asia was soon turned into an International Network of Researchers.
❍ The EMSAN project was officially born in 2006, three years after the start of the Electroacoustic Music
Studies Network (EMS). 2006 was the year EMS Conference was held in Beijing, in collaboration with CEMC
and Musicacoustica. Later, the EMSAN idea was discussed during ICMC 2006 with Tae Hong Park, among
other scholars.
These preliminary steps led to formulating a research programme.
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THE EMSAN PROJECT: PROGRAMME
Database
o A comprehensive database, geared towards the inventory and documentation of the musical repertory
of electroacoustic and computer music from East Asia in the twentieth century. It will be built according to the
requirements of musicological research but it will be useable for other purposes (Information, documentation).
Knowledge base
o Search among the materials kept in the repository will be conducted through a knowledge base
(bibliographies, glossaries, hyper-links, program notes, manuals, grey literature, reports....).
Repositories/archives
o Materials, online publications, documentation records and miscellaneous musical data and media will
be identified, collected and retrieved, stored and preserved in repositories, in the participating countries.
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Database
Knowledge base
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Database
Knowledge base
Pieces can be presented in full (linear encoding) or only through excerpts (linear or compressed).
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THE EMSAN PROJECT: THE PROGRAMME
Root page of EMSAN at Sorbonne which leads to pages in English and in French
http://omf.paris-sorbonne.fr/EMSAN/.
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❍ In June 2007, a preliminary EMSAN meeting gathered several international researchers and composers
during the EMS conference in Leicester (Great Britain). In this meeting, scholars came from: Canada, China,
France, Japan, Malaysia, Taiwan, Singapore, USA.
❍ Septembre 2007: first successful EMSAN proposal on a joint scientific programme financed by the Ministry
of Foreign Affairs of France and the National Science Council of Taiwan under the umbrella of a research
agreement between Taiwan and France. It led to an EMSAN workshop on Taipei.
Similar bilateral agreements exist between France and Hong Kong, Japan (Sakura program), Singapore,
South Korea (Star program), etc.
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❍ June 2008: EMSAN track session during the EMS08 conference in Paris. The EMSAN track session was
host to 12 papers from Asian and Western researchers about electracoustic music history and esthestic in
Asia.
❍ June 2008: EMSAN Concert held in the main hall of the Radio, Paris, using the GRM diffusion system, the
Acousmonium (an orchestra of loudspeakers).
❍ July 2008: The Japanese EMSAN team selects a team leader. The team leader is the person authorized to
sign the grant applications and has to be a university professor or a scholar of equivalent status.
❍ Octobre 2008: CEMC/EMSAN Symposium Day during Musicacoustica, Beijing, China, with scholars from
China, France, Hong Kong, Japan, Macau, South Korea, Taiwan. A mailing list was created.
Next year, the EMS conference will take place in Buenos Aires and will have an EMSAN track session.
In the meantime, it is hoped that the Network will be ready to respond to local or international research grant
calls.
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Not all fields of the database have to be filled. However, there must be a minimum number of fields filled to
make the entry useful on a musicological level.
Here are only a few examples of fields.
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Work Database Fields: examples
-Composer: latin char. (usual romanisation), original script writing (name in original language)
-Title: id.: original writing; transcription in latin char.; usual translation; literal translation.
- 1st performance date (if any).
- Realization date/period span.
- Location(s) of realization (a piece might have been started in one studio, then taken to a different place
/country for a second or final realization phase, such as in a different country.
- Performance media (performance environment); it is a good idea to describe the equipment using the original
terms (for historical reference, because a researcher will understand what those term mean in equivalent
modern terminology.
It is also useful to specify the equipment in modern equivalent. Ex: 1st version of Jupiter: STR, or 4X, or for
later Manoury pieces, SIM.
The factor of obsolescence is variable, but is sometimes fast: 4X lasted less than 10 years, while the 4C lasted
only about 5 years (Subotnick). This factor of obsolescence is also matched by the sometimes fuzzy character
of naming or labeling the equipment (ex: the Infernal machine, used in the early and mid 80s), is really an
harmonizer with certain unique control properties.
- Number of channels (diffusion channels). Ex: in Octobre 2008 has been performed in Paris a piece by Olivier
Messiaen which is the only musique concrete realized by this composer. The piece is called Timbres-durées
has not been performed in 55 years (1953-2008). It is essentially a monophonic piece (one stream) but the
concatenated sounds events are distributed on four channels. It is, thus, a monophonic piece which calls for a
quadraphonic performance. In this case, the number of channels for the performance should be indicated as:
4, but the reader should be warned that the piece is monophonic.
- name of musical assistant(s).
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Work Database Fields: examples
The field structure of entries is currently under discussion. Please refer to the emsan mailing list for further
information. It should be soon completed once the network membres agree on the types of fields required for
EMSAN.
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THE EMSAN PROJECT: STRUCTURE
EMSAN is structured as a network.
Each network node gathers scholars and doctoral students from one country or territory. There are as many
nodes as countries or territories involved.
Each country or territory selects a team leader, who will have the charge of overseeing the writing and
authorizing grant applications.
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EMSAN position in Electroacoustic music studies
There is no comparable project or tool covering the field which is the object of EMSAN. In this respect,
EMSAN has no equivalent.
Past and current tools and endavours:
–  Music Documentation Centers (common in various countries in the world).
–  Catalogue of composers' associations
– The International Documentation of Electroacoustic Music (mostly Europe; number of entries is more
important than precision or completeness of information)
–  IDEAMA (International Digital ElectroAcoustic Music Archive) target collection of hundreds of musical
works from Europe, the Americas and Asia. Limited collection. Project stopped.
–  Catalogue of music publishers
–  Surveys from scholarly projects (universities, scientific and technical organizations)
–  Musical libraries
–  Radio and television archives
–  Film archives
–  International Electronic Music Catalog (1968).
–  Surveys of research (Unesco project: Artinfo's catalog, 1977, Buxton's catalog, 1978...)
– …
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Historical surveys
First attempt towards a comprehensive survey of the world production of electroacoustic music.
Répertoire International des Musiques Expérimentales (RIME), Paris, Service de la recherche, Groupe de
recherches musicales,ca 1962.
Contents
List of works
Equipment of the studios
Discography
Problems:
Little attention was given to the production taking place outside of the wellknown studios. University studios,
private ones and single individuals were seldom contacted. This has been later corrected by the 1968
version of tehe Catalog (published in 1969, GRM-the MIT Press).
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Author: Hugh Davies
International Electronic Music Catalog, Cambridge
(MA), The MIT Press; Independent Electronic Music
Center, Trumansburg (NY), Electronic Music
Review; and Paris, Groupe de recherches
musicales de l'ORTF, 1968.
This catalogue is an extension of RIME (Répertoire
International des Musiques Expérimentales).
It presents the works classified by country and
studios and contains the name of composer, name
of work, function (music for concert, live electronics,
applied music), date, duration, number of tracks,
medium (tape, disc, other) and notes.
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A page from the Catalog
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International Electronic Music Catalog - PRECURSORS
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International Electronic Music Catalog - PRECURSORS
CEMC/EMSAN Symposium Day – 28 octobre 2008, Musicacoustica, Beijing
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International Electronic Music Catalog
Criteria used for the description of the works!
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Example 1: sample page annotated by Hugh Davies himself!
Let's take the example of a piece composed by 黛敏郎 Mayuzumi Toshirō in 1953 (and not in 1955 as mentioned in the
handwritten note by Hugh Davies) when he came back from Paris. He had been the student of Tony Aubin in 1951-1952 at
the Paris Music Conservatory. While in Paris, he had visited the studio of the Groupe de recherches en musique concrète
founded and directed by Pierre Schaeffer.
In Davies' catalog, it first appears as XYZ.
The handwritten note (by Davies) corrects the title as Musique concrète no tame no XYZ.
…/…
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Example 1: an early Japanese piece!
In the catalog of his works, this piece is called ミュージックコンクレートのための作品X,Y,Z (music concrete no tame no sakuhin
X,Y,Z), which is, in French, Œuvre XYZ pour musique concrète and in English Work XYZ for musique concrète.
This work has been realized in the studio of JOQR radio at Tōkyō Broadcasting System. It was first performed in 1953 at
Tōkyō Summer Festival. For the genesis of this work, it would be interesting to know if Mayuzumi went to the concerts and
the events of the "Première décade internationale de musique expérimentale" (First International Decade of Experimental
Music") which took place in Paris, June 8-18,1953.
…/…
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Example 2: a different title problem!
Problem 2.
The printed title of the third item is in French: L'Eve Future (The Future Eve). This could very well be in reference to the
extraordinary novel written around 1886 by French author Auguste Villiers de l'Isle-Adam, in which an engineer called
Edison built an artificial woman whose voice was activated by phonographs.
Hugh Davies's handwritten annotation, [Mirai no Eve], is a transcription from the Japanese 未来のイヴ [ みらいのイヴ] .Is
this piece by Mayuzumi in reference to the 19th century novel? It is probable. This would be a question that could be
treated in the EMSAN Knowledge base. After all, how many researchers know about this old novel? And if indeed
Mayuzumi wrote this piece in reference to the novel, what was his intention and what was the destination of his piece?
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Unesco Project, 1978
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Computer Music 1976/77
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Other Notable Databases on Electroacoustic Music
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Collection of Latin American Electroacoustic Music (Dal Farra)
http://www.fondation-langlois.org/
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Database and Repertory of Latin American Electroacoustic Music
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Database and Repertory of Latin American Electroacoustic Music
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Online resources
Français
English
Español
Italiano (en cours)
中国語 (en cours)
http://www.ears.dmu.ac.uk/
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Local Libraries. Ex: SCU (Soochow University Library)
Research result display from a quest on
the works of Tseng Yu-Chung from a
local university library.
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EMSAN: NEXT STEPS
In the immediate future, important steps have been decided at the Beijing meeting.
1. Mailing list, mostly to share information and discuss the structure of the database entries (the
spectification of fields).
2. Development of an EMSAN database on a limited body of works. The database will be established in
Taiwan using a dedicated software environnement and will work in collaboration with other territories such as
China (Beijing, at this point). This will be a way to test the validity of the database and experiment with the
archives.
3. As a director of Electronic Music Foundation (EMF) in charge of publications, I have proposed to publish
a book in which chapters will be written by membres of the EMSAN network for their respective countries
(history, education, influences, specificity, esthetical considerations...). This book will be an authoritative
ressource of the history and trends of electroacoustic music in Asia.
In addition, EMSAN meetings will be organized throughout the coming years. Among them, the EMS
conference and EMSAN have an agreement that an EMSAN track session will be organized during each
subsequent EMS conference, provided enough papers are submitted. Additional meetings should take place
in Paris and in Asia.
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THE EMSAN PROJECT: MAILING LIST
http://mailman.ucalgary.ca/mailman/listinfo/emsan-l
To post (must be a member of the mailing list)
[email protected]
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EMSAN
Thank you for your attention
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LABS
Introduction to LABs
EMSAN/Labs Conference
at the Seoul International Computer Music Festival (SICMF) 2008,
Hangaram Design Museum, November 11, 2008
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THE LABs PROJECT: INTENTION
Leonardo is spearheading a vast project whose generic name is
Leonardo ABstracts Service (LABs).
Leonardo is linked to the International Society for the Arts, Sciences and Technology
(Leonardo/ISAST)
http://www.leonardo.info/
Leonardo/ISAST serves the international arts community by promoting and documenting work
at the intersection of the arts, sciences, and technology, and by encouraging and stimulating
collaboration between artists, scientists, and technologists.
Leonardo:
http://www.leonardo.info/
LABS is a comprehensive database of abstracts of dissertation of various levels:
•  Ph.D,
•  Masters
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THE LABs PROJECT: INTENTION
Leonardo is spearheading a vast project whose generic name is
Leonardo ABstracts Service (LABs).
Leonardo Book Series,
published by the MIT Press
Leonardo-EMS Award for Excellence
Leonardo, Leonardo Music Journal, Leonardo Electronic Almanac, OLATS (French Leonardo),
Leonardo Awards (including EMS conference young researcher; given in 2006 and 2008)
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THE LABS PROJECT: SCOPE
The scope of LABS is composed of any research at the emerging intersection between
art, science, technology.
It is a selection of dissertations of higher degrees in any field when the research is at the
intersection of art, science and technology.
Examples of fields
•  Visual art, digital art (painting, sculpture)
•  Electroacoustic music (composition, notation, performance, gestural control, interaction,
software synthesis or processing…)
•  Dance (choreography, robotics, interaction…)
•  Space art
•  Gardens and ecology art
•  Video art
•  Photography
•  Telematics, communication, collaborative art theory…
•  Esthetics (historical, critical, theoretical…)
•  Literature and poetry, interactive reading, text composition, sound poetry…
.
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THE LABS PROJECT: OUTCOME
Inform any person in the world about research conducted in various languages.
In addition to being published in the database, a selection of Abstracts selected by an expert
panel for their special relevance will be published quarterly in Leonardo Electronic Almanac
(LEA), Leonardo's monthly peer reviewed e-journal.
Authors of abstracts most highly ranked by the panel will also be invited to submit an article for
publication consideration in Leonardo Journal .
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THE LABS PROJECT: STRUCTURE
There are 4 existing Labs at this point:
•  English language LABS (well developed)
•  Spanish language LABS (well developed)
•  Chinese language LABS (in phase of transition)
•  French LABS (only starting at this time)
Apart from the current discussion on a Korean Labs, a Japanese-language Labs is under way
and is scheduled to be organized in 2009.
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THE LABS PROJECT: INTENTION
LABS in the World
English Labs
Covers the English-speaking countries and territories
Spanish Labs
Covers the Spanish-speaking countries and territories
Chinese Labs
Covers the Chinese-speaking countries and territories
Franco Labs
Covers the francophone areas: Europe, Québec/Canada, Africa, Polynesia, South America (Guyane)…
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THE LABs PROJECT: STRUCTURE
The structure is composed of:
A Peer Review Panel, which is a panel of experts. These experts are nominated for a limited time. They
should be native speakers of the target language and be experts in their respective fields.
A Core Committee which:
•  Receives the submitted proposals from authors or schools;
•  Sends out the proposals to the Peer Review Panel, once or twice a year;
•  Receives the evaluations from the Review Committee;
•  Manages the database.
The Peer Review Panel is nominated by the Core Committee.
The Core Committee should be headed by a permanent faculty member, assisted by graduate students or
other researchers. It does not need to be large.
In addition, an Advisory Board with scholars from universities and institutions may be organized to
supervise the LABs.
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THE LABs PROJECT: STRUCTURE
Field structure of a database entry (based on the French Labs)
• Name of Author [non latin languages: original script + latin transcription=2 fields]
• Title [of dissertation] [non latin languages: original + latin + translation =3 fields]
•  Title [Recommended: transcription in latin alphabet]
•  Title [Recommended: translation in English]
• Year [of completion]
• Nature of the diploma
• Academic Field
• University[ies]
• Principal thesis supervisor
• Additional supervisors
• Number of pages
• List of associated multimedia documents
• URL of dissertation [if applicable]
• Location where the dissertation can be accessed
• Keywords [Mandatory]
• Abstract [Mandatory: in original language]
• Abstract [Mandatory: in English]
• Email of author
Each LABs is free to adapt and modify this field structure, while keeping in mind that the entry should be
usable by non-speakers.
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THE ENGLISH LABs
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THE ENGLISH LABs
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THE SPANISH LABs
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THE CHINESE LABs
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THE FRENCH LABs
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EMSAN: LINKS
EARS (Electroacoustic Resource Site)
http://www.ears.dmu.ac.uk/
IDEAMA (International Digital ElectroAcoustic Music Archive)
http://on1.zkm.de/zkm/e/institute/mediathek/ideama/
Latin American Electroacoustic Music Collection
http://www.fondation-langlois.org/html/e/page.php?NumPage=556
The International Documentation of Electroacoustic Music
http://www.emdoku.de/Vorwort-E.html
http://130.149.50.239/fmi/iwp/res/iwp_auth.html
LABs
Chinese: http://china-labs.daohaus.org
English: http://leonardolabs.pomona.edu
French: http://francolabs.univ-paris1.fr/
Spanish: http://www.uoc.edu/artnodes/leonardolabs
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EMSAN - Université Paris

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