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ABSTRACT
This paper seeks to put into perspective the current situation of preservation and performability of a certain Portuguese contemporary music, known as Portuguese musical avant-garde, focusing on the preservation of experimental music from 1960 onwards. This strives to problematise this subject by not only presenting the creative context to these specific musical works but also the main priorities around their documentation and preservation. Furthermore, we also set out actual efforts to retrieve as many musical works as possible, specifically by gathering together all the facets of the musical works, including their magnetic tape recordings. In addition, this paper also approaches current composer concerns about the future survival of their own musical works.
Disclosure statement
No potential conflict of interest was reported by the authors.
Notes
1 For reasons of clarity, and because of the technical and performative specificities of the music discussed, we here refer to ‘experimental music’, instead of ‘contemporary music’.
2 Some composers with the opportunity to work in other countries, used to produce their electroacoustic works there. Those works are sometimes better documented and preserved as the support quality was usually better.
3 Elvis Veiguinha, is a Music Producer, Sound Designer, Director and CEO at DMIX – Digital Mix Music and Image. He was a technician at one of the national radio stations at the time when radio programs were edited on tape and holds more than 20 years of experience with this type of equipment.