Hugh Davies: Electronic Music Innovator

休·戴维斯：电子音乐创新者

• 批准号: AH/M005216/1
• 负责人: James Mooney
• 金额: $ 13.68万
• 依托单位: University of Leeds
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2015
• 资助国家: 英国
• 起止时间: 2015 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FM005216%2F1
• 关键词: Hugh; Davies; Electronic; Music; Innovator

This research, in partnership with the Science Museum, examines the work of musician and musicologist Hugh Davies (1943-2005) in the field of electronic music, focusing on his work in the 1960s and early 70s and its subsequent influence. Davies's work in this field was varied. It can be divided into 3 broad areas: (1) research and documentation; (2) instrument-building and performance; (3) campaigning and pedagogy. His work in each of these areas was groundbreaking, innovative, and influential--it is not an exaggeration to say that certain features of the present-day electronic music landscape are directly attributable to his influence--and yet his work remains largely unstudied. Consequently, the precise nature and extent of his influence are poorly understood.The aims of this research are: to enhance knowledge of Davies's work in the three areas just mentioned (no detailed published studies currently exist); to develop an understanding of what, specifically, was innovative about Davies's work by placing it in the context of previous and contemporaneous work in the field; to facilitate a greater understanding of the ways in which Davies's work has been influential by tracing trajectories to present-day episteme, praxis, and pedagogy in electronic music.The research is archival, and applies methods of science and technology studies (S&TS) to the close study of documents (e.g. Davies's extensive research notes), letters, and recordings, as well as Davies's self-built electronic instruments themselves. The sources are held in archives at the British Library, Science Museum, Stockhausen Foundation (Germany) and Goldsmiths, University of London. They will be studied, along with other published sources that predate and postdate Davies's work, in order to gain a perspective on: (a) what, precisely, Davies's main innovations were in each of the three areas; (b) what precedents there were for those innovations; (c) how Davies's innovations have influenced the way electronic music has been conceptualised, made, and taught.As a researcher Davies catalogued every single piece of electronic music in existence, publishing the results in his monumental International Electronic Music Catalog (1968). This provided a global picture of electronic music activity for the very first time. Which of the features of this 'global map' were 'Davies's own' and which can be traced back to earlier sources? What has been the lasting influence of this landmark publication? What influence has it had upon subsequent electronic music history, given that it is still the only source that provides a global picture of relevant activities up to 1967?As an instrument-builder, when electronic music was largely the preserve of a privileged elite, Davies pioneered a new, ecological, democratic form of live electronic music, accessible to all using cheap, everyday, recycled materials. The first of his self-built instruments, the 'Shozyg,' was built in 1968. In what ways were Davies's instruments influenced by his prior work with Karlheinz Stockhausen and Daphne Oram? What has been their lasting influence? What, for instance, is their relationship with present-day hardware hacking and circuit-bending practices?As a pedagogue Davies established the first electronic music studio to offer degree-bearing tuition, at Goldsmiths College, London. In what ways did Davies's teachings reflect his episteme and praxis? What has been their lasting influence? Can the establishment of studios, courses, and syllabuses elsewhere be traced to Davies?Three journal articles will be published, one on each of the three areas mentioned. There will also be a public concerts series. The project involves the collaboration of the Science Museum as a project partner. The Museum has a collection of Davies's self-built instruments, which will be exhibited as part of the project, and will host a major two-day international conference focusing on Davies's work and its influence.

这项研究与科学博物馆合作，研究了音乐家和音乐学家休·戴维斯（1943-2005）在电子音乐领域的工作，重点是他在20世纪60年代和70年代初的工作及其随后的影响。戴维斯的工作在这一领域是多种多样的。它可以分为三个广泛的领域：（1）研究和文献;（2）仪器制造和性能;（3）运动和教学。他在这些领域的工作都是开创性的，创新的和有影响力的-可以毫不夸张地说，当今电子音乐景观的某些特征直接归因于他的影响-但他的工作仍然在很大程度上未被研究。因此，他的影响的确切性质和程度知之甚少。本研究的目的是：提高知识戴维斯的工作在上述三个领域（目前没有详细的已发表的研究）;通过将其置于该领域以前和同时期工作的背景下，来了解戴维斯的工作有何创新之处;通过追踪当今电子音乐中的知识型、实践和教育学的轨迹，促进更好地理解戴维斯的工作是如何产生影响的。这项研究是档案性的，并将科学和技术研究（S&TS）的方法应用于文件的仔细研究（例如戴维斯的广泛研究笔记），信件和录音，以及戴维斯自己建造的电子仪器。这些资料保存在大英图书馆、科学博物馆、施托克豪森基金会（德国）和伦敦大学金史密斯学院的档案馆中。这些研究将与其他发表于戴维斯著作之前和之后的资料一起沿着进行，以便对以下问题有一个全面的认识：（a）戴维斯在这三个领域中的每一个领域的主要创新是什么;（B）这些创新有哪些先例;（c）戴维斯的创新如何影响了电子音乐的概念化、制作、作为一名研究人员，戴维斯将现存的每一首电子音乐都编入目录，并将结果发表在他的不朽的《国际电子音乐目录》（1968年）中。这是第一次提供全球电子音乐活动的图片。这张“全球地图”的哪些特征是“戴维斯自己的”，哪些可以追溯到更早的来源？这本具有里程碑意义的出版物的持久影响是什么？鉴于它仍然是提供截至1967年相关活动全球情况的唯一来源，它对随后的电子音乐历史产生了什么影响？作为一个乐器制造商，当电子音乐在很大程度上是特权精英的保留时，戴维斯开创了一种新的，生态的，民主的现场电子音乐形式，所有人都可以使用廉价的，日常的，回收的材料。他的第一台自制乐器“Shozyg”建于1968年。戴维斯的乐器在哪些方面受到了他之前与Karlheinz Stockhausen和Daphne Oram合作的影响？他们的持久影响是什么？例如，它们与当今的硬件黑客和电路弯曲实践有什么关系？作为一名教育家，戴维斯在伦敦金史密斯学院建立了第一个提供学位学费的电子音乐工作室。戴维斯的教导在哪些方面反映了他的知识和实践？他们的持久影响是什么？其他地方的工作室、课程和教学大纲的建立可以追溯到戴维斯吗？将发表三篇期刊文章，分别涉及上述三个领域。此外，还将举办一系列公共音乐会。该项目涉及科学博物馆作为项目合作伙伴的合作。博物馆收藏了戴维斯的自建乐器，这些乐器将作为项目的一部分展出，并将举办为期两天的大型国际会议，重点讨论戴维斯的工作及其影响。

项目成果

Hugh Davies's Electroacoustic Musical Instruments and their Relation to Present-Day Live Coding Practice: Some Historic Precedents and Similarities

休·戴维斯的电声乐器及其与当今现场编码实践的关系：一些历史先例和相似之处

• 发表时间: 2015
• 作者: Mooney J

Hugh Davies, "Quintet" and "Music for a Single Spring"; Stockhausen, "Verbindung" and "Intensitat" from "Aus den Sieben Tagen"; Christian Wolff, "Edges"; and Owen Green, "Neither the Time nor the Energy": Performances by Grey Area, with pre-concert lecture by James Mooney

休·戴维斯，《五重奏》和《一个春天的音乐》；

• DOI: 10.5518/38
• 发表时间: 2016
• 作者: Mooney J

Hugh Davies, "Voice", "Not to be Loaded with Fish", and "Birth of Live Electronic Music"; plus improvisations: Performances by Steve Beresford, Phil Minton, Aleks Kolkowski and Sean Williams, with pre-concert lecture by James Mooney

休·戴维斯，《声音》、《不要装满鱼》和《现场电子音乐的诞生》；

• DOI: 10.5518/58
• 发表时间: 2016
• 作者: Mooney J

Hugh Davies's Electroacoustic Musical Instruments and their Relation to Present-Day Live-Coding Practice : Four Suggestions

休·戴维斯的电声乐器及其与当今现场编码实践的关系：四个建议

• 发表时间: 2015
• 作者: Mooney J

The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward

卡尔海因茨·施托克豪森的音乐遗产：回顾与展望

• 作者: Mooney J