# Towards a new methodology of conservation -restoration of electronic musical instruments and sound structure

Marie-Anne Loeper-Attia

► To cite this version:

Marie-Anne Loeper-Attia. Towards a new methodology of conservation -restoration of electronic musical instruments and sound structure. Future Talks 2009: the conservation of modern materials in applied arts and design, Oct 2009, Munich, Germany. Die Neue Sammlung, the International Design Museum, Future Talks 2009: the conservation of Modern Materials in Applied Arts and Design, 2011, Future Talks 009: The Conservation of Modern Materials in Applied Arts and Design; Papers from the Conference, Held at the Pinakothek Der Moderne, Munich 22 - 23 October 2009. hal-04971186

HAL Id: hal-04971186

https://hal.science/hal-04971186v1

Submitted on 28 Feb 2025

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The XXth century deeply widens the idea of sources of musical sounds. All of these instruments show a great creativity and technical richness due to the intensive cooperation between musicians and scientists. After the 1950, the music exists without a proper instrument, first in studios then on machines. Now the instrument is not only a traditional interpretation tool but mostly a composition tool with an evolution to the dematerialization of the instrument. Many are in a bad state of conservation or present unknown alterations because most of them were build for a functional application limited in time. Many materials, specific, interchangeable or modified for the instruments are made with unstable components (plastics, metallic alloys...). In parallel, the ephemeral nature of the music and sounds arise new problems of conservation.

## The corpus of instruments

<figure><img src="image_1.png" /><figcaption>### Analogic synthesis</figcaption></figure>

<figure><img src="image_2.png" /><figcaption>### Digital synthesis</figcaption></figure>

<figure><img src="image_3.png" /></figure>

## Methodology

**Aim** : definition of the ideal state of the instrument.

It is the physical state of an instrument that is considered most desirable by its custodian. It's not intrinsic to the object but depends on present ownership, use and meaning and is projected to the future.

**Minor values** :

**Art** : instrument not often created intentionally as art or to be appreciated as

**Aesthetic** : aesthetic appeal not primordial

**Age** : does not intentionnally looks old or desirable this way

**Newness** : does not looks new or desirable this way

**Sentimental** : rarely engenders personal sentimental feelings

**Monetary** : money value not primordial

**Major values** :

**Historical** : interconnection between the conceptor, musician and scientific

**Use** : instrument dedicated to its use. It's often define the nature of the materials present.

**Rarity** : instruments made by series or unic tool of composition

**Research** : trio made with the composer, scientist, musician.

**Educational** : conveys information or ideas to viewers

**Commemorative** : commemorate a person or an event because of it's research's importance

**Options of treatment**

* **Conservation in current state**

* **Storage**

* **Maintenance**

* **Emulate** : to create a facsimile in a totally different medium

* **Migrate** : to upgrade its medium to a contemporary standard, accepting any resulting changes in the look and feel of the work

Crossing this values with the time periods of the instrument and giving current values (high, non, negligible, some)

## Case studied : Electronic violin, M. Mathews 1985. Musée de la musique, Paris

### ① Evaluation of the values according to the conservation state report, contacts with the scientist and bibliographical researchs :

<table><thead><tr><th></th><th>Fabric. and use</th><th>Museum</th><th>After treatment</th></tr></thead><tbody><tr><th>research</th><td>Experimental belongs to a serie of 12 instruments</td><td>Violin isolated with no technical report</td><td>Contacts with Mathews, plans of the electronic parts</td></tr><tr><th>use</th><td>Violin played in concerts</td><td>No use</td><td>Possibility of use by emulating the amplificator</td></tr></tbody></table>

Example of determination for values « research » and « use ».

<figure><img src="image_4.png" /></figure>

<figure><img src="image_5.png" /></figure>

### ② Comparison of all values :

<figure><img src="image_6.png" /></figure>

Major values : research and educational.

### ③ Intervention :

Conservation in current state of the violin and layout of the amplificator if it must be played

## References

Appelbaum B., Conservation treatment methodology, Butterworth, 2008.

Barclay R., the preservation and use of historic musical instruments, Earthscan, 2004.

Battier M., Une nouvelle géométrie du son, Les cahiers de l'IRCAM, Recherche et musique n°7.

Ippolito J., composer avec l'imprévisible, L'approche des médias variables, 2003.

Schinzel H., mixed media, mixed functions, mixed positions, Modern art : who cares ?, Archetypes pub., 2005.

. Restauration et non restauration en art contemporain, les cahiers de l'ARSET, 2007.

van Wegen D.H., The conservation of non traditional objects, Modern art : who cares ?, Archetypes pub., 2005.