Abstract

In a concert performance of musique mixte (i.e., music combining electronics with acoustic instruments), the documentation accompanying the score is of great importance. But this information is often missing or, at best, incomplete. Moreover, there has never been a systematic study of this subject. For these reasons, we decided to examine the documentation practices of the electroacoustic repertoire, with the goal of proposing a documentation model allowing for a better transmission and conservation of this repertoire.

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