Filipa Magalhães | FCSH, Universidade Nova de Lisboa (Portugal) (original) (raw)

Papers by Filipa Magalhães

Sound and Music Computing (SMC 2024), 2024

This article focuses on setting up a comprehensive digital repository (roadmap) capable of captur... more This article focuses on setting up a comprehensive digital repository (roadmap) capable of capturing the collective memory of music theatre, enabling sustainable access to performing arts works in Portugal and abroad, and thereby also enhancing their study, re-performance and visibility. This development spans three phases: proposing a termi- nological resource based on a literature review, existing knowledge organisation systems, and specialist inputs; se- lecting and producing ontological classes and properties for a case study, deploying recognised ontologies, such as Dublin Core, RiC-CM, and DOREMUS; developing a conceptual data model incorporating the semantic web and Linked Open Data principles to provide contextual infor- mation on music theatre composers and creators, includ- ing their biographies, work lists, and archive contacts. In- terconnected by defined ontologies, this conceptual model provides users with a holistic view of these works. Rep- resenting music theatre works in digital archives chal- lenges musicology, archival science, and digital humanities through requiring new approaches to ensure system inter- operability. This digital archive helps to preserve unseen performing arts works while also strengthening Portuguese archives by interconnecting them with their international counterparts, enabling new scientific knowledge, histori- cal narratives, and repertoire renewal able to reach wider audiences.

INSAM Journal of Contemporary Music, Art and Technology, Jul 17, 2023

In this article a group of authors will discuss the documentation process carried out by Filipa M... more In this article a group of authors will discuss the documentation process carried out by Filipa Magalhães during her PhD research, who gathered all possible materials concerning the music theatre work FE...DE...RI...CO... (1987) by Constança Capdeville. She created a more complete script (based on the information left by Capdeville, such as scores, texts, drawings, sketches with stage indications, scripts containing the main lines, and scripts for sound and light) aiming to document the several layers of information in order to systematize the work for archival purposes. The music theatre as a performative genre is a synthesis of multimedia artform that involves technological resources (for example the magnetic tape medium), which are aimed to be preserved, exploited, and valorized in order to make re-performance feasible. We will focus on the understanding of the difficulties and challenges found to bring this performance back from the archive to the stage.

UID/EAT/00693/2019 PD/BD/114395/2016The coexistence of two sound universes, acoustic and electron... more UID/EAT/00693/2019 PD/BD/114395/2016The coexistence of two sound universes, acoustic and electronic sounds, is a very complex issue. Yet when composers add to both universes other elements from different artistic expressions, resulting in a new “language” in which concert, theatre and dance are combined through the confluence and exploration of sound, music, word, light, gesture and movement, this makes the methodological approach and the analysis of music-theatre works that use electroacoustic sound even more difficult. The composer Constança Capdeville, an outstanding figure in Contemporary Portuguese Music, left us a great number of works of this genre, including acoustic and electroacoustic sounds and other elements such as those mentioned above. However, most of the documentation from Capdeville's music-theatre works is still dispersed, or is not in good condition (as for example the tape collection), and moreover there is no articulation and systematization of the existing...

Boletim do Arquivo da Universidade de Coimbra, Extra 1 [2024], 2024

The starting point of this article is a training internship that took place at the Gulbenkian Arc... more The starting point of this article is a training internship that took place at the
Gulbenkian Archives (AG) of the Calouste Gulbenkian Foundation (FCG), as part
of the Postgraduate Course in Historical Archivistics in 2021/22, taught at the
Universidade Nova de Lisboa — Faculty of Social and Humanities. The main
purpose of this internship was to carry out the technical-archival treatment of the
documentary series Encontros Gulbenkian de Música Contemporânea (EGMC)
belonging to the FCG Music Service. In total, twenty-six editions of the EGMC
occurred between 1977 and 2002, and all documentation is housed at the FCG.
Until the date, no technical-archival treatment of this documentation had been
carried out, the content of which is extremely important in the context of the
Portuguese avant-garde musical scene. This work seeks to reflect on the
importance of interdisciplinarity between two areas of knowledge, in particular
musicology and archival science, and demonstrate how musicology is useful for
the technical-archival treatment of this type of documentation that refers to
musical events. Here, musicological contributions to the treatment of
documentation are also exposed, highlighting the way in which musicology
assists archival practice by making the description of information more intelligible.
Based on the observation and nature of the EGMC documentation, some
possible approaches are discussed regarding the procedures to be adopted.

Contemporary Music Review, 2023

Portuguese music theatre still lacks appropriate representation in the narratives of Western musi... more Portuguese music theatre still lacks appropriate representation in the narratives of Western music history. Ernesto de Sousa (1921–1988), accurately termed the avant-garde in Portugal as a ‘history without history’ (Madeira 2017, 109). This special edition of Contemporary Music Review envisions offsetting this long-identified gap, that derives from the absence of narratives and the overall non-representation of Portuguese music theatre in European musical circles. Furthermore, such an in-depth understanding of Portuguese music theatre enables composers, performers, and music students to solidify the founding concepts of this genre and create new performances, productions, and pedagogic challenges.

Contemporary Music Review, 2023

This article explores the ColecViva activities from the perspective of founding member and double... more This article explores the ColecViva activities from the perspective of founding member and double bass player Alejandro Erlich Oliva (b. 1948). The group was founded by the composer Constança Capdeville in 1985 with the aim of performing her music and theatre works and as a pioneering project in Portugal. Interviewed by Filipa Magalhães on two occasions (in 2018 and 2023), Erlich Oliva details the first steps of the group’s actions, discusses the ongoing collaborative work among members of ColecViva, and addresses the ‘pedagogy of deconditioning’ concept that he forged. In the 1980s, Capdeville guided stimulating study programs at the Calouste Gulbenkian Foundation in which Erlich Oliva, as a lecturer, defined the contents within the scope of non-conventional procedures for obtaining sound from the double bass. Capdeville dedicated the music theatre work Amen para uma ausência (1986) for a solo double bass to him. At the composer’s request and in close collaboration with her, Erlich Oliva created the graphic score with specific writing notes for the double bass. This last interview attempts to shed light on his perceptions as a performer.

Experimental Approaches in Portuguese Music Theatre, 2023

The ColecViva was a group founded in 1985 by the composer Constança Capdeville (1937–1992) with t... more The ColecViva was a group founded in 1985 by the composer
Constança Capdeville (1937–1992) with the purpose of
performing her own music theatre works. She composed, led, and
acted as a performer in her own creations. Capdeville’s music
theatre incorporates various artistic expressions such as dance,
theatre, and cinema, resorting to different elements such as
music, recorded sounds on tape, light, image, text, and
movement, all structured as heterogeneous counterpoints.
ColecViva’s activity also included seminars with discussions on
aspects of performance and the group members shared their
experiences with participants as an educational project. Although
its activity has now ceased, ColecViva remains the only music
theatre group to have existed in Portugal, with a lasting impact
on those who were part of the group. It was also unique in the
context of contemporary Portuguese music, as it sought to
interpret a less widespread repertoire within a classical
production style, revealing a connection with avant-garde
aesthetics. This article aims to discuss ColecViva’s collaborative
methods through an exploration of its educational activities,
which influenced successive generations of performers who are
now significant composers, performers (musicians, dancers, and
actors), choreographers, directors, and musicologists.

INSAM Journal of Contemporary Music, Art and Technology, 2023

In this article a group of authors will discuss the documentation process carried out by Filipa M... more In this article a group of authors will discuss the documentation process carried out by Filipa Magalhães during her PhD research, who gathered all possible materials concerning the music theatre work FE... DE...RI...CO... (1987) by Constança Capdeville. She created a more complete script (based on the information left by Capdeville, such as scores, texts, drawings, sketches with stage indications, scripts containing the main lines, and scripts for sound and light) aiming to document the several layers of information in order to systematize the work for archival purposes. The music theatre as a performative genre is a synthesis of multimedia artform that involves technological resources (for example the magnetic tape medium), which are aimed to be preserved, exploited, and valorized in order to make re-performance feasible. We will focus on the understanding of the difficulties and challenges found to bring this performance back from the archive to the stage.

Archival Notes No. 7, 2022

Archiving music theatre works implies describing interactions, interventions and interpretations ... more Archiving music theatre works implies describing interactions, interventions and interpretations by creators, performers, musicologists, users, and archivists. An in-depth understanding of music theatre, a performative genre that appeared in Europe throughout the 1960s, allows composers and performers to solidify the founding concepts of this performative genre and create new performance, production, and pedagogical challenges. This article aims to discuss practices and methodologies between musicology and archival science to preserve music theatre works within a holistic perspective. This approach assists archivists’ work regarding the processing of existing documentation in creations involving collaborative practices, with particular impact on institutions dealing with performance preservation. It also contributes to boosting the access and intelligibility of music theatre works. In this article, I take as a case study the personal archive of the composer Constança Capdeville (1937-1992), a prominent figure in the field of music theatre in Portugal. Based on the issues raised by her music theatre works especially in archival perspective the article proposes possible approaches to archival description and specific tools that may assist the archiving of musical performances.

Conference on Interdisciplinary Musicology, Aug 31, 2022

UID/EAT/00693/2013 PD/BD/114395/2016Constança Capdeville foi uma compositora, professora e intérp... more UID/EAT/00693/2013 PD/BD/114395/2016Constança Capdeville foi uma compositora, professora e intérprete. A sua obra insere-se no contexto da música contemporânea portuguesa, a partir da segunda metade do século XX. Capdeville ocupa um lugar singular na música e na arte em Portugal, quer pela sua modernidade, que se traduz, por exemplo, no uso da experimentação com a introdução de aspectos tecnológicos na música e exploração de novos timbres; quer pela sua posição iconoclasta, de ruptura com as convenções; quer ainda pela sua imaginação criadora. Escreveu obras para orquestra, música de câmara, dança, teatro, cinema e teatro-música. No que respeita a este último, a compositora revelou-se muito versátil apresentando diferentes formas de teatralidade. Capdeville demonstrou uma nova atitude perante a noção de "espetáculo" através de uma abordagem multidisciplinar, integrando concerto, teatro e dança através da "convergência e exploração do som, da música, da palavra, da luz...

UID/EAT/00693/2013 PD/BD/114395/2016A coexistência de dois universos sonoros, acústico e electrón... more UID/EAT/00693/2013 PD/BD/114395/2016A coexistência de dois universos sonoros, acústico e electrónico, é uma questão complexa numa performance ao vivo. E quando, a esses universos se agregam outros elementos provenientes de diferentes expressões artísticas, como o concerto, o teatro e a dança, que combinados com a música, a palavra, a luz, o gesto e o movimento, resultam numa nova linguagem, que designamos por teatro-música, torna a análise musicológica deste tipo de repertório difícil. A obra Double, concebida por Constança Capdeville, por ser paradigmática e ilustrar bem essa dificuldade inerente à análise musicológica a nível metodológico, é um dos nossos objetos de estudo.publishersversionpublishe

Tracking Creative Processes in Music: TCPM 2017, Sep 15, 2017

UID/EAT/00693/2013 PD/BD/114395/2016Constança Capdeville was a composer and one of the most promi... more UID/EAT/00693/2013 PD/BD/114395/2016Constança Capdeville was a composer and one of the most prominent figures in Contemporary Portuguese Music. She also stands out as the most representative example of the music-theatre genre, which saw its most intense period of activity in Portugal peak in the 1980’s. Some of Capdeville’s works have also been composed within a context of combining electroacoustic music on magnetic tape and instrumental music. These different dimensions of her compositions mean incorporating a new electronic component, which requires new approaches not only as regards the appropriate analytical processes but also the preservation strategies necessary to retaining the media. The usage of magnetic tapes was very important for Capdeville's works since, for example, inputs from the magnetic tapes or certain actions performed in the scene served to provide indications for each moment, so the performer could be guided by sound signals. The music, through incorporating an electronic component, completely changes the way of making music and, thus, different approaches to analysing such kinds of music have correspondingly emerged. Capdeville applied new symbols in her graphic scores, creating her own particular language in order to conduct performers, even with regard to interactions between the performer and the electronic component, particularly in her recourse to magnetic tape. She also left handwritten parts with several annotations, explanatory scripts about movements, lights and interpretation. All such facets need gathering in conjunction with the sound content included in tape recordings in order to build any new performance. Those aiming to re-perform the works of Constança Capdeville therefore need to understand the meaning of these metadata she herself created. New technologies have altered the nature, methodologies and limits of musical creation, and due to both different dimensions of this kind of music and the “ambiguity” of their material outcomes, the study of the process of composition must be applied to the tape, score, composer notes, testimonies and so forth. There is a clearly identified need to explore and study this domain; musical analysis has sought out some options, nevertheless these still require improvements and adaptation to the needs of each case, whence new experiments and new theories are required. This paper intends to reflect on a methodology appropriate to perceive how we can, or cannot, re-perform Capdeville’s music works in the future by preserving not only the magnetic tape media, but also their performance as well as analysing some of these works within a musicological context, thus also new strategies of documentation are required in order to facilitate the access to future transmissions and performances of works involving technology. Both works FE...DE...RI...CO (1987) and Silêncio Depois (1990), composed by Capdeville, serve here as our case study to better understand our aforementioned purposes.publishersversionpublishe

International Journal of Performance Arts and Digital Media, 2021

This article encourages further discussion of certain concepts and practices for the music theatr... more This article encourages further discussion of certain concepts and practices for the music theatre creations by the composer Constanca Capdeville (1937-92) in keeping with the time and context of h...

BISA 2018 - British & Irish Sound Archives conference 2018, Nov 15, 2018

TDR: The Drama Review, 2022

In a concert of two sound worlds, one acoustic and the other electroacoustic, it is difficult to ... more In a concert of two sound worlds, one acoustic and the other electroacoustic, it is difficult to balance both sonically. When texts, lights, gestures, and movements from different artistic domains such as theatre, dance, or cinema combine with the music this coexistence creates, the result is a new language: the language of Constança Capdeville.

Information Systems Management, 2020

The advent of new music technologies has led to a rapid growth of the audio preservation field. M... more The advent of new music technologies has led to a rapid growth of the audio preservation field. Music is not independent of its medium, and this growing loss of independence calls for a transdisciplinary approach with a strong technological component. Musical compositions created in the second half of the twentieth century exist in the intersection of technology, embodiment, and sound and thus widen the importance of aspects such as human and non-human interactions. This article will reflect on these issues and how they reframe (digital) philology methods through the works of Constança Capdeville. The works by this seminal artist are accompanied by an extensive archive that includes scores, recorded sounds, video and images, among other documents. It will be demonstrated how a reflexive approach to digital philology can bring concealed archival stories to light while fostering new meanings on what it means to preserve our sound heritage. Resource optimisation is one of the reasons m...

Em Portugal, nos anos 40, a fita magnetica analogica e implementada como meio de gravacao e armaz... more Em Portugal, nos anos 40, a fita magnetica analogica e implementada como meio de gravacao e armazenamento sonoro. A quantidade de acervos de fita magnetica que documenta momentos historicos, politicos, artisticos e sociais e extensa. Este suporte e instavel e necessita de cuidados especificos de preservacao. O presente artigo procura refletir sobre as metodologias de documentacao usadas na preservacao da fita magnetica com base na colecao de Constanca Capdeville, uma figura extremamente relevante da musica contemporânea portuguesa a partir da segunda metade do seculo XX. A maioria das suas composicoes compreende performances ao vivo com instrumentos acusticos e gravacoes em suporte magnetico. Na ausencia dessas fitas e de outra documentacao complementar, torna-se dificil a performance destas obras. Este artigo e a primeira abordagem cientifica, tecnica e musicologica as obras de musica mista, com registo audio em fita magnetica, e visa evidenciar uma lacuna relativamente a preservac...

Dramaturgias, 2019

Constança Capdeville é a maior representante do teatro-música em Portugal. As suas composições vã... more Constança Capdeville é a maior representante do teatro-música em Portugal. As suas composições vão além do musical, incluindo recursos extramusicais, como adereços, luzes, imagens, elementos teatrais e gravações em fita magnética.Esses recursos foram introduzidos nas suas obras, seja para estabelecer ambientes, estados emocionais ou para definir espaços. As obras de teatro-música de Capdeville, apesar de seu sucesso, também suscitaram reações controversas no público. Na perspetiva da compositora, a ópera e o concerto tradicional tinham terminado e, portanto, o conceito do palco deveria ser repensado. Capdeville referiu que, muitas vezes, teve que resolver esse problema criando os seus próprios palcos. Neste artigo, discutiremos o conceito de teatro-música no contexto da música contemporânea portuguesa e as suas influências nas composições de Capdeville.

Sound and Music Computing (SMC 2024), 2024

INSAM Journal of Contemporary Music, Art and Technology, Jul 17, 2023

Boletim do Arquivo da Universidade de Coimbra, Extra 1 [2024], 2024

Contemporary Music Review, 2023

Experimental Approaches in Portuguese Music Theatre, 2023

INSAM Journal of Contemporary Music, Art and Technology, 2023

In this article a group of authors will discuss the documentation process carried out by Filipa M... more In this article a group of authors will discuss the documentation process carried out by Filipa Magalhães during her PhD research, who gathered all possible materials concerning the music theatre work FE... DE...RI...CO... (1987) by Constança Capdeville. She created a more complete script (based on the information left by Capdeville, such as scores, texts, drawings, sketches with stage indications, scripts containing the main lines, and scripts for sound and light) aiming to document the several layers of information in order to systematize the work for archival purposes. The music theatre as a performative genre is a synthesis of multimedia artform that involves technological resources (for example the magnetic tape medium), which are aimed to be preserved, exploited, and valorized in order to make re-performance feasible. We will focus on the understanding of the difficulties and challenges found to bring this performance back from the archive to the stage.

Archival Notes No. 7, 2022

Conference on Interdisciplinary Musicology, Aug 31, 2022

Tracking Creative Processes in Music: TCPM 2017, Sep 15, 2017

International Journal of Performance Arts and Digital Media, 2021

BISA 2018 - British & Irish Sound Archives conference 2018, Nov 15, 2018

TDR: The Drama Review, 2022

Information Systems Management, 2020

Dramaturgias, 2019

IASA Journal

Constança Capdeville was a composer and one of the most prominent figures in Portuguese contempor... more Constança Capdeville was a composer and one of the most prominent figures in Portuguese contemporary music. She also stands out as the most representative example of the music- theatre genre, which saw its most intense period of activity in Portugal peak between the 1970’s and the 1980’s. […]
Regarding the music-theatre genre, Capdeville not only assimilated some of the conceptions of Mauricio Kagel but also developed her own language through exploring the “new sonorities” concept to the limit, creating, rehearsing, and conducting her own compositions. […] She thus explores the concept of “new sonorities” to the maximum. Some of Capdeville’s works have also been composed within a context of combining electroacoustic music on magnetic tape and instrumental music. These different dimensions of her compositions mean incorporating a new electronic component, which requires new approaches not only as regards the appropriate analytical processes but also the preservation strategies necessary to retaining the media. […] this article aims to put forward a general reflection on a methodology appropriate to understanding how we can, or cannot, re-perform Capdeville’s music works in the future by preserving not only the magnetic tape media but also their performance as well as analysing some of these works within a musicological context.

Perspectives on Music, Sound and Musicology II - Springer, 2024

The act of composing, performing and listening to music has been understood as intertextual. Furt... more The act of composing, performing and listening to music has been understood as intertextual. Further expanding the scope of this notion, this article aims to reflect on the preservation of music theatre performances as a practice that encompasses intertextuality in terms of performance documentation. This includes the production of an ekphrastic icono/phono-text, which embraces intertextuality by means of allusion, paraphrase and quotation of different texts such as scores, musicological writings, programmes, audio-visual records, among others, all assuming equal status. The intrinsic nature of music theatre works requires a preservation approach that crosses all areas involved in this performative genre, whether it is music, theatre and dance or movement, which are in themselves scenic-visual elements. The practices of preserving scenic-visual elements transcend musical preservation practices, therefore it is necessary to reflect on them. To illustrate this theoretical assumption, the work Libera me (concert version, 1979) by Constança Capdeville will be analysed, as this work raises discussions on how intertextuality and preservation in the context of music theatre can be related through the notion of ekphrastic icono/phono-text, enabling a connection between past, present and future.

Geografias culturais da música do som e do silêncio, 2021

Constança Capdeville (1937-1992) foi compositora, pianista, percussionista e professora, desenvol... more Constança Capdeville (1937-1992) foi compositora, pianista, percussionista e professora, desenvolveu uma prática e re exão estética que gostava de designar como teatro-música, ligando a investigação sonora a elementos teatrais e gestuais, bem como a poesia, literatura e cinema, na tentativa de descobrir e reinventar novas formas de criação e da própria performance 1 musical. Por essa razão, a compositora é atualmente considerada a grande gura do teatro-música em Portugal. Constança Capdeville nasceu em Barcelona no dia 16 de março de 1937, em plena Guerra Civil Espanhola, e costumava dizer que tinha nascido debaixo do

Cinema e Outras Artes II - Diálogos e Inquietudes Artísticas, 2019

Constança Capdeville: “A música já não pode viver sozinha”. Diálogos entre música e cinema em Cer... more Constança Capdeville: “A música já não pode viver sozinha”. Diálogos entre música e cinema em Cerromaior (1980), de Luís Filipe Rocha

The intersection between preserving cultural heritage and the ephemeral nature of artistic creat... more The intersection between preserving cultural heritage and the ephemeral nature of artistic creation, especially in the digital era, presents both challenges and opportunities. As digital technology evolves, so do the methods and theories surrounding cultural heritage preservation. This discussion explores ways to preserve ephemeral artistic creations, particularly in music theatre, by reflecting on innovative approaches to their preservation and recreation. Preserving and recreating music theatre involves addressing issues like technological obsolescence, authenticity, access, and inclusion. This requires interdisciplinary collaboration and raises questions such as: How can we ensure current digital preservation methods will be sustainable? What are the ethical considerations in preserving and potentially altering ephemeral art forms during digitisation? How can digital archives be made accessible to a wider audience, considering intellectual property rights? Answering these questions highlights the need for collaboration between musicologists, archivists, digital humanists, artists, and academics to develop effective preservation strategies. The preservation of the ephemeral nature of music theatre requires creativity, technology, and a deep understanding of live performance. Innovative strategies include creating digital repositories by digitising all elements of a music theatre production, such as: scripts, scores, texts, costumes, set designs, audio, and video recordings, among others. Detailed metadata should describe each element, including contextual information about creators, performers, and technicians, as well as specific notes on the creative processes involved in constructing works that result from artistic collaborations. Dynamic documentation and living archives that evolve by incorporating new performances, reinterpretations, and academic analyses ensure relevance and appeal. Documenting creative processes, such as collecting testimonies from past performers or documenting rehearsals and discussions, helps understand how a production comes into being. Additionally, AI can analyse and recreate performances from partial recordings or written descriptions, filling gaps and offering new forms of experimentation and interpretation. Innovative methods for capturing, documenting, and presenting performances allow music theatre traditions to endure and reach future generations. These strategies preserve not only the performances but also their context, creativity, and collaborative nature, making music theatre a lively art form. In this discussion, I will examine case studies that demonstrate effective strategies for ensuring that transitional art forms like music theatre are preserved for the future.

Glosas 22, 2024

Pensar o modo de pensar e preservar o arquivo, refletindo sobre uma entidade produtora individual... more Pensar o modo de pensar e preservar o arquivo, refletindo sobre uma entidade produtora individual cujas atividades artísticas têm um traço comum: o som e a audição...
Observar em particular o caso do compositor Carlos Alberto Augusto, figura extremamente eclética, que muito contribuiu para a criação musical no panorama português, sobretudo para o teatro.
Um reflexo das preocupações dos compositores contemporâneos sobre a sobrevivência futura das suas próprias obras musicais, a partir de um inquérito feito pela investigadora Andreia Nogueira.