Oramics - Precedents, Technology and Influence

Oramics - 先例、技术和影响

• 批准号: AH/I024798/1
• 负责人: Mick Grierson
• 金额: $ 7.68万
• 依托单位: Goldsmiths University of London
• 依托单位国家: 英国
• 项目类别: Training Grant
• 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%2FI024798%2F1
• 关键词: Oramics; Precedents; Technology; Influence

ContextElectronic music has made a dramatic impact on our sound world. Academic analysis of this revolution is well under way. There is also a considerable constituency of lay people - listeners as well as musicians - who are knowledgeable, and hunger to learn more, about how this came about: the technologies, the techniques, the people who made it happen. Britain was an important crucible for new musical devices and artistic forms, but this 'local history' requires focussed studies to bring to academic and public attention the precise circumstances under which electronic music developed here. Any list of such studies will inevitably include Daphne Oram (1925 - 2003), pioneer of musique concrete and first founder of the BBC Radiophonic Workshop. After leaving the BBC in 1959, Oram devoted herself to freelance music composition and the development of a unique device, the 'Oramics Machine' to actualise her musical ideas. Her collected papers and recordings were acquired by Goldsmiths College in 2006. The Collection generates international interest amongst academics, practitioners, industry and the general public. It has been the subject of magazine articles, commercial CD releases, short films, three exhibitions, radio documentaries (one for BBC Radio 3), a symposium, and concerts at the South Bank and the Roundhouse, London.In January 2008, the original 1960s Oramics Machine - a unique and idiosyncratic audio-visual device for composition and sound synthesis, which had been thought lost or destroyed, was located by the Director of the Oram Collection. It was later purchased by the Science Museum so that it could be conserved, stored and displayed to international standards. The Museum and the College have signed a long term research collaboration agreement in which each is the other's partner of choice in research and exploitation of the Oramics Machine, with the aim of producing greater value to both the research community and the general public. In this partnership, the Museum's historical and conservation expertise complements that at Goldsmiths, which is musicological and technical. AimsThis project aims to closely study the Oramics Machine and the Oram Collection. Understanding its genealogy is essential to grasping Oram's significance in the history of British electronic music and her impact on later music. The audio-visual roots of her practice with the Machine is known in outline only; the precise links between her musical aesthetic and its antecedents in avant garde music have not been traced in detail; and the origins of the Machine's hybrid electro-mechanical and electronic implementation are only dimly understood. The project will ask: How can close analysis of the surviving Oramics Machine inform understanding of its workings and evolution? What were the Oramics Machine's antecedents in postwar electronics, music and photophonic and film art? What contribution did the Oramics Machine make to the electronic and computer music, in terms of both technique and creativity? What is its cultural impact and legacy?In what ways is the Oramics Machine unique? Why did others not adopt this approach to electronic music synthesis and composition?What kinds of historical account can make valid connections between Daphne Oram's gender and personality on one hand and the form of the machine and her musical output on the other?Applications and benefitsNot only will the project produce a PhD and verbal and published papers, it will also contribute to the Science Museum's major gallery project, 'Making Modern Communications', which will include displays on the impact of electronics on our sound world, and which will show the Oramics Machine itself within displays to which the student will contribute. The project will also feature concerts and symposia for public audiences.

电子音乐对我们的声音世界产生了巨大的影响。对这场革命的学术分析正在进行中。还有相当多的非专业人士——听众和音乐家——他们知识渊博，渴望了解更多，了解这是如何发生的：技术，技巧，让它发生的人。英国是新音乐设备和艺术形式的重要熔炉，但这种“本地历史”需要集中研究，以使学术界和公众注意到电子音乐在这里发展的确切情况。任何此类研究的名单都不可避免地会包括达芙妮·奥拉姆（1925 - 2003），她是混凝土音乐的先驱，也是BBC广播工作室的第一个创始人。1959年离开英国广播公司后，奥拉姆全身心地投入到自由音乐创作中，并开发了一种独特的设备——“奥拉姆机器”，以实现她的音乐理念。她收集的论文和录音于2006年被金史密斯学院收藏。该收藏引起了国际学术界、从业人员、工业界和公众的兴趣。它已成为杂志文章、商业CD发行、短片、三个展览、广播纪录片（一个为英国广播公司第三电台）、一个专题讨论会和在伦敦南岸和Roundhouse举行的音乐会的主题。2008年1月，原始的60年代Oramics机器-一种独特而独特的视听设备，用于作曲和声音合成，曾被认为丢失或毁坏，由Oram收藏主任找到。后来，它被科学博物馆购买，以便按照国际标准进行保存、储存和展示。香港博物馆与香港科技大学已签订长期研究合作协议，在研究和开发Oramics机器方面，双方都是对方的首选合作伙伴，目的是为研究界和公众创造更大的价值。在这次合作中，博物馆的历史和保护专业知识补充了金匠的音乐和技术。本项目旨在深入研究奥拉姆机器和奥拉姆收藏。了解它的谱系对于把握Oram在英国电子音乐史上的重要性以及她对后来音乐的影响至关重要。她的“机器”实践的视听根源只是轮廓而已；她的音乐美学与其先锋派音乐前辈之间的确切联系尚未被详细追查；机器的机电和电子混合实现的起源只是模糊的理解。该项目将提出这样的问题：如何对现存的Oramics机器进行近距离分析，以了解其工作原理和进化？Oramics Machine在战后电子、音乐、声光和电影艺术中的前身是什么？Oramics Machine在技术和创意方面对电子音乐和计算机音乐做出了什么贡献？它的文化影响和遗产是什么？Oramics机器在哪些方面是独一无二的？为什么其他人没有采用这种方法来合成和创作电子音乐？什么样的历史记载可以在达芙妮·奥拉姆的性别和个性与机器的形式和她的音乐输出之间建立有效的联系？应用和收益：该项目不仅将产生博士学位、口头和发表论文，还将为科学博物馆的主要画廊项目“制造现代通信”做出贡献，该项目将包括展示电子产品对我们声音世界的影响，并将展示Oramics机器本身，学生将为展览做出贡献。该项目还将为公众观众举办音乐会和专题讨论会。