No More Songs: Henry Cow and British Experimental Music, 1968-1980

不再有歌曲：亨利·考和英国实验音乐，1968-1980

• 批准号: AH/I022511/1
• 负责人: Benjamin Piekut
• 金额: $ 8.16万
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI022511%2F1
• 关键词: No; More; Songs; Henry; Cow

No More Songs writes a history of British experimental music in the 1970s through the lens of the ensemble Henry Cow. Formed by two Cambridge University undergraduates in May 1968, Henry Cow existed for ten years, producing some of the most complex, varied, and imaginative music of the 1970s. The group cycled through more than ten musicians in various combinations, but its steadiest membership included multi-instrumentalist Fred Frith, saxophonist and keyboard player Tim Hodgkinson, percussionist Chris Cutler, bassist John Greaves, oboist and bassoonist Lindsay Cooper, vocalist Dagmar Krause, and bassist Georgina Born. Its music ranged widely across different styles: precise, electrified chamber music; jazzy solos with accompaniment; wild group improvisations; live electronic music and studio experimentation; rhythmically propulsive rock; art and cabaret songs; and multi-sectional suites comprising several or all of these styles. Although they released several albums, Henry Cow was primarily a performing ensemble, and toured extensively throughout Europe and Scandinavia, where they found enthusiastic audiences and likeminded musicians working in the spaces between traditional musical genres. Henry Cow and its former members recorded and performed with a wide variety of musicians. In the rock world, their partners included Robert Wyatt of Soft Machine, Dave Stewart of Egg, Mike Oldfield, Captain Beefheart, Faust, the Residents, and Brian Eno. Among the classically trained composers with whom the band engaged were Roger Smalley, Heiner Goebbels, Michael Nyman, and Cornelius Cardew. The list of well respected improvisers who collaborated with members of Henry Cow included Derek Bailey, Lol Coxhill, Annemarie Roelofs, Steve Beresford, Irene Schweizer, Phil Minton, Maggie Nichols, Sally Potter, Zeena Parkins, and the Art Ensemble of Chicago. This broad network of cultural production evidences a web of attachments characteristic of British experimentalism. The members of Henry Cow often remarked on their indebtedness to American experimental music in the 1950s and 1960s. These transatlantic connections originated in three sources: John Cage and his successors in the downtown New York milieu, Ornette Coleman and the free jazz movement, and the adventurous rock-identified ensembles of Frank Zappa and Captain Beefheart. A central issue for this study, then, is how Henry Cow, as well as its wide range of collaborators, received these American musical traditions and adapted them to fit into a British cultural context. This project will not, however, limit itself to matters of reception, for its overall goal is to document and analyse the entire field of British experimental music in the 1970s. In what ways did the jazzers, rockers, improvisers, and composers interact with each other? Although Henry Cow performed many pieces of through-composed and notated music, its prevailing musical practice was improvisation. Unlike many of their contemporaries in the British free improvisation scene, the band often added recognizable licks and vamps into its spontaneous music making, creating space in its group dialogues for a sense of musical history and style. This kind of referentiality was anathema to the free improvisation movement, which was more invested in purging all recognizable musical signs from their playing in search of a 'blank slate' state that could condition the interactions of the group. I will seek to investigate further the different meanings that improvisation acquired for the various scenes of spontaneous music-making in the UK, and what different musical protagonists-rock bands, 'free' music ensembles, and trained composers-felt they could gain by turning to improvisation in this period.

《不再有歌》通过合奏团亨利牛的透镜，书写了20世纪70年代英国实验音乐的历史。亨利·考于1968年5月由两名剑桥大学的本科生组建，成立了十年，创作了20世纪70年代最复杂、最多样、最富有想象力的音乐。该组合由十多位不同组合的音乐家组成，但其最重要的成员包括多乐器演奏家弗雷德·弗里斯，萨克斯管演奏家兼键盘演奏家蒂姆·霍奇金森，爵士乐演奏家克里斯·卡特勒，贝斯手约翰·格里夫斯，双簧管演奏家兼巴松管演奏家林赛库珀，声乐家达格玛·克劳斯和贝斯手乔治娜·伯恩。它的音乐广泛地跨越不同的风格：精确的，电气化的室内乐;爵士乐独奏与伴奏;狂野的团体即兴表演;现场电子音乐和录音室实验;节奏推进摇滚;艺术和歌舞歌曲;以及包含几种或所有这些风格的多部分套房。虽然他们发行了几张专辑，亨利牛主要是一个表演合奏，并在欧洲和斯堪的纳维亚半岛广泛巡回演出，在那里他们发现热情的观众和志同道合的音乐家在传统音乐流派之间的空间工作。 亨利牛和它的前成员记录和表演与各种各样的音乐家。在摇滚界，他们的合作伙伴包括Soft Machine的Robert Wyatt，Egg的Dave Stewart，Mike Oldfield，Captain Beefheart，Faust，The Residents和Brian Eno。在与乐队合作的古典音乐作曲家中，有罗杰·斯莫利、海纳·戈培尔、迈克尔·尼曼和科尼利厄斯·卡杜。与亨利牛乐队成员合作的备受尊敬的即兴表演者包括德里克·贝利、洛尔·考克斯希尔、安妮玛丽·鲁洛夫斯、史蒂夫·贝雷斯福德、艾琳·施韦策、菲尔·明顿、玛吉·尼科尔斯、萨利·波特、泽娜·帕金斯和芝加哥的艺术包围。这种广泛的文化生产网络证明了英国实验主义特有的依恋网络。亨利·考（Henry Cow）的成员经常谈到他们对20世纪50年代和60年代美国实验音乐的感激之情。这些跨大西洋的联系起源于三个来源：约翰凯奇和他的继任者在市中心的纽约环境，奥尔内特科尔曼和自由爵士乐运动，以及冒险的摇滚乐团弗兰克扎帕和船长牛心。因此，本研究的一个中心问题是，亨利考及其广泛的合作者如何接受这些美国音乐传统，并将其改编成适合英国文化背景的音乐。然而，这个项目并不局限于接受问题，因为它的总体目标是记录和分析20世纪70年代英国实验音乐的整个领域。爵士乐手、摇滚乐手、即兴演奏者和作曲家是如何相互影响的？ 虽然亨利牛执行了许多作品通过组成和注释的音乐，其流行的音乐实践是即兴创作。与英国自由即兴现场的许多同时代人不同，乐队经常在其自发的音乐制作中加入可识别的舔和鞋面，在其团体对话中创造空间，以感受音乐历史和风格。这种参照性对自由即兴创作运动来说是一种诅咒，自由即兴创作运动更多地致力于从演奏中清除所有可识别的音乐符号，以寻找一种可以调节群体互动的“白板”状态。我将寻求进一步调查的不同意义，即兴收购的各种场景的自发音乐制作在英国，以及不同的音乐主角摇滚乐队，“自由”的音乐合奏，训练有素的作曲家认为他们可以获得在这一时期转向即兴。