Music, performance, and preservation: insights into documentation strategies for music theatre works

References

• Akkermann, M., ed. 2020. Array 2020 – Archiving. USA: ICMA.
   Google Scholar
• Arns, I., and G. Horn2007. History will Repeat Itself – Strategies of Re-enactment in Contemporary (Media) Art and Performance. Hartware MedienKunstVerein, Dortmund, and KW Institute for Contemporary Art Berlin.
   Google Scholar
• Auslander, P. 2004. “Performance Analysis and Popular Music: A Manifesto.” Contemporary Theatre Review 14 (1): 1–13. doi:10.1080/1026716032000128674.
   Web of Science ®Google Scholar
• Auslander, P. 2006a. “Music as Performance: Living in the Immaterial World.” Theatre Survey 47 (2): 261–269. doi:10.1017/S004055740600024X.
   Web of Science ®Google Scholar
• Auslander, P. 2006b. “Musical Personae.” TDR/The Drama Review - A Journal of Performance Studies 50: 100–119. 10.1162/105420406776092313.
   Google Scholar
• Auslander, P. 2008. Liveness: Performance in a Mediatized Culture (2nd ed.). New York: Routledge. doi:10.4324/9780203938133.
   Google Scholar
• Auslander, P. 2018. Reactivations: Essays on Performance and Its Documentation. Ann Arbor: University of Michigan Press.
   Google Scholar
• Barthet, M., and S. Dixon. 2011. “Ethnographic Observations of Musicologists at the British Library: Implications for Music Information Retrieval.” Proceeding of the 12th International Society for Music Information Retrieval Conference (ISMIR 2011).
   Google Scholar
• Birringer, J. 1986. “Pina Bausch: Dancing Across Borders.” The Drama Review: TDR 30 (2): 85–97.
   Google Scholar
• Bonardi, A. 2000. “IR for Contemporary Music: What the Musicologist Needs.” Proceedings of the International Symposium on Music Information Retrieval.
   Google Scholar
• Bosma, H. 2017. “Canonisation and Documentation of Interdisciplinary Electroacoustic Music, Exemplified by Three Cases from the Netherlands: Dick Raaijmakers, Michel Waisvisz and Huba de Graaff.” Organised Sound 22 (2): 228–237. doi:10.1017/S1355771817000139.
   Web of Science ®Google Scholar
• Bressan, F. 2018. “A Philological Approach to Sound Preservation.” In Research Methods for the Digital Humanities, edited by L. Levenberg, T. Neilson, and D. Rheams, 243–261. Palgrave Macmillan: Cham.
   Google Scholar
• Castro, P. F. 2015. “Tempo, Modernidade e Identidade na Música Portuguesa do Século XX.” In Olhares Sobre a História da Música em Portugal, edited by J. A. Costa, 213–247. Vila do Conde: Verso da História.
   Google Scholar
• Coelho, A. P. 2018. “Toda a nudez será castigada.” Ípsilon (Supplement to Edition no. 10,422 of the Público newspaper), 4-8.
   Google Scholar
• Cossettini, L. 2017. “Al Gran Sole Carico D’amore Thirty Years on for a Restaging of Luigi Nono’s Musical Theater.” In Sounds, Voices and Codes from the Twentieth Century, edited by Luca Cossettini, and Angelo Orcalli, 349–368. University of Udine: Department of Languages and Literatures, Communication, Education and Society.
   Google Scholar
• Couto, J., and A. Vidal. 1972. “Constança Capdeville: a silenciosa pesquisa do mundo sonoro.” In Revista Flama, edited by António dos Reis (no. 1282, Ano XXIX), 8-10.
   Google Scholar
• Dekker, A., G. Wijers, and V. E. J. P. Van Saaze. 2010. “The Art of Documentation.” Notation / RTRSRCH 2 (2): 22–27.
   Google Scholar
• Goldberg, R. 2012. A Arte da Performance: do futurismo ao presente. 2nd ed. Lisbon: Orfeu Negro.
   Google Scholar
• Groh, K. 1981. “Performance Art: What Is It?” Leonardo 14: 37.
   Web of Science ®Google Scholar
• Heile, B. 2016. The Music of Mauricio Kagel. New York: Routledge. ISBN 9780754635239.
   Google Scholar
• Hillman-McCord, J. 2017. iBroadway: Musical Theatre in the Digital Age. Cham, Switzerland: Palgrave Macmillan.
   Google Scholar
• Kartsaki, E. 2016. On Repetition Writing, Performance and Art. Intellect (UK). 1783205776. 9781783205776.
   Google Scholar
• Lawson, L., A. Finbow, and H. Marçal. 2019. “Developing a Strategy for the Conservation of Performance-Based Artworks at Tate.” Journal of the Institute of Conservation.
   Web of Science ®Google Scholar
• Magalhães, F. 2019. “Reflexões em Torno do Teatro-Música de Constança CApdeville.” Dramaturgias 11: 88–102. doi:10.26512/dramaturgias.v0i11.27385
   Google Scholar
• Magalhães, F. 2020a. ‘A música já não pode viver sozinha’: da interação rumo à identidade na obra de Constança Capdeville. (DPhil diss. NOVA University of Lisbon, FCSH). https://run.unl.pt/handle/10362/96663.
   Google Scholar
• Magalhães, F. 2020b. “Philology as a Systematic Method of Documentation and its Application to the Study of Constança Capdeville’s Musical Works.” Interdisciplinary Studies in Musicology 20: 64–78.
   Google Scholar
• Magalhães, F., and I. Pires. 2019. “Recovering Music-Theatre Works Involving Electronic Elements: The Case of Molly Bloom and FE … DE … RI … CO....” Organised Sound 24 (1): 96–108. doi:10.1017/S1355771819000098.
   Web of Science ®Google Scholar
• Marçal, H., A. Nogueira, and R. Macedo. 2018. “Materializar o intangível: a documentação da obra Luís Vaz 73 (1975), de Jorge Peixinho e Ernesto de Sousa.” Conservar Património 27: 13–22. doi: 10.14568/cp2016042.
   Google Scholar
• Marranca, B. 2020. Conversations with Meredith Monk. New York: PAJ Publications.
   Google Scholar
• Müller, I. 2015. “Performance Art, Its Documentation, Its Archives.” Revista de História da Arte série w (4): 115–123. http://revistaharte.fcsh.unl.pt/rhaw4/RHAw4.pdf.
   Google Scholar
• Phelan, P. 1993. “The Ontology of Performance: Representation Without Reproduction.” Unmarked: The Politics of Performance (146-166). London and New York: Routledge.
   Google Scholar
• Price, D. W. 1990. “The Politics of the Body: Pina Bausch’s Tanztheater.” Theatre Journal 42 (3): 322–331.
   Web of Science ®Google Scholar
• Schultz, L.L. 2013. “The Archive Is Here and Now: Reframing Political Events as Theatre.” In Performing Archives – Archives of Performance, edited by Borggren and Gade, 199–217. Copenhagen: Museum Tusculanum Press.
   Google Scholar
• Sousa Dias, A. 2019. “ColecViva: “Teatro-Música” Como Performance.” In Práticas de Arquivo em Artes Performativas, edited by C. Madeira, H. Marçal, and F. M. Oliveira, 303–321. Coimbra: Imprensa da Universidade de Coimbra.
   Google Scholar
• Stancliffe, R. 2019. “Training the Analytical eye: Video Annotation for Dance.” Theatre, Dance and Performance Training 10 (2): 273–288. doi: 10.1080/19443927.2019.1610039.
   Web of Science ®Google Scholar
• Taylor, D. 2008. “Performance and Intangible Cultural Heritage.” In The Cambridge Companion to Performance Studies, edited by T. C. Davis, 91–104. New York: Cambridge University Press.
   Google Scholar
• Taylor, D. 2016. “Saving the ‘Live’? Re-Performance and Intangible Cultural Heritage.” Études Anglaises 69: 149–161.
   Web of Science ®Google Scholar