Hugh Davies: Electronic Music Innovator

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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.