INTERNATIONAL ASSOCIATION
OF MUSIC LIBRARIES CONGRESS
THESSALONIKI, GREECE
28.6 - 3.7.2026
MERCOLEDI 1 LUGLIO 2026 - ore 12:00
NoMus partecipa al congresso IALM 2026
con un intervento di Sofia Weck e Valeria Luti dal titolo:
NoMus Digital Archive and Sylvano Bussotti
Un approfondimento dedicato al NoMus Digital Archive, la piattaforma digitale sviluppata da NoMus per conservare, valorizzare e rendere accessibile il patrimonio della musica del Novecento e contemporanea, attraverso l’integrazione di fonti musicali, materiali visivi, documentazione delle esecuzioni e contributi critici, con un focus particolare sull’opera di Sylvano Bussotti.
This presentation introduces the NoMus Digital Archive, developed by NoMus – an archive and research center dedicated to 20th-century and contemporary music – with a specific focus on the digital preservation and interpretation of the works of Sylvano Bussotti.
The NoMus Digital Archive is conceived as a hybrid documentation system that integrates musical sources, visual materials, performance documentation, and critical writings. Its structure combines traditional archival standards with flexible digital tools, allowing for the coexistence of heterogeneous materials such as scores, sketches, concert programs, correspondence, photographs, video recordings, and performance-related ephemera.
The case of Bussotti is particularly emblematic for exploring the relationship between composition, visual arts, and performance. His works often challenge the boundaries between notated music, graphic art, theatrical gesture, and improvisation. Consequently, performative ephemera—programs, stage notes, annotated scores, costume sketches, and documentation of performance contexts—play a crucial role in reconstructing both the creative process and the history of the reception of his work.
Through the presentation of selected archival examples, this contribution discusses methodological issues relating to the cataloguing, digitization, interpretation, and dissemination of materials present at NoMus, focusing on those belonging to Bussotti.
It also offers a reflection on how performative ephemera can be transformed into active research tools within a digital environment, opening up new perspectives for musicological studies and archival practice.
By addressing these issues, the paper aims to highlight the role of digital music archives and their reenactment in promoting new forms of access, interpretation, and scientific participation.