Abolition Song and its Legacies

在24个月的时间里，《废奴之歌及其遗产》（ASaiL）将探索英国废奴之歌（1788- 1830年代）和1830年之前与英国黑人社区有关的音乐的未知曲目。合作机构金匠音乐系、大英图书馆（'BL'）和亨德尔·亨德里克斯之家（'HHH'）将合作将这首被遗忘的音乐数字化，促进对它的研究，并将其公开表演和录制。废除歌曲由c70高风格的曲调组成，宣传废除主义。虽然这些作品是为私人和公共音乐会创作的，但其影响力却跨越了大西洋：至少有20部作品出口到了美国。废奴之歌是一首令人担忧的表演文本，经常将“非洲人”描绘成没有文化，依赖白色拯救的人。然而，这对于理解反奴隶制的辩论至关重要，正如当时的抗议歌曲所主张的那样，非洲人的需求和权利当时是被理解的。从18世纪80年代起，黑人艺术家在英国音乐会上的表演，以及自16世纪世纪以来黑人社区在英国的音乐存在。通过其环环相扣的工作包，ASaiL将研究，出版，表演和录制这些剧目。第一个软件包将产生BL数字化的分数，并遵循包容性描述性实践。第二个包将包括六个研讨会日（每学期一个）与12名成员的学者，三个从音乐，文学，历史和视觉艺术网络。每个学科的高级学者将指导两名以上的初级学者;与PI Berta Joncus提供的乐谱和录音一起工作，初级学者将研究，辩论，并提出关于废除歌曲和黑人传统音乐的跨学科研究结果。ASaiL学者网络将向Goldsmiths出版社提出申请，要求将其产出作为带有声音文件的在线书籍出版。第三个包将准备和执行六场音乐会在HHH特色废除歌曲和黑人遗产音乐。ASaiL艺术总监约瑟夫·麦克哈迪将邀请六位音乐家每学期各准备一场音乐会。每场音乐会的三小时集体排练将是所有六位音乐家的研讨会，早期职业研究实践者将在实践研究中培训他们。网络学者将参加每场音乐会，音乐会结束时将进行问答，并由金史密斯音频技术人员录制。研究结果也将通过BL的发现音乐网络环境中的ASaiL专用页面进行传播，并作为BL，HHH和金史密斯社区/学校参与计划的工具包/教育包。制作《废除死刑》的歌曲，1830年与英国黑人社区有关的音乐，通过数字化和音乐会可以访问。为了研究废除歌曲如何定位自己，维斯英国黑人社区的当代音乐，舞台上黑人戏剧人物的音乐表现，以及领导英国音乐会的黑人艺术家。通过学术和实践研究，探索废奴主义所推动的各种叙事。培养实践研究的音乐家，从而发展他们的谈判能力，解决废奴歌曲和1830年前关于黑人的音乐所提出的种族理论问题。2受益者将是学者，专业音乐家，和一般观众参与ASaiL音乐会和产出，所有这些都将是开放的访问。

During 24 months, Abolition Song and its Legacies ('ASaiL') will probe the previously unknown repertories of British Abolition song (1788-1830s) and music associated with Britain's Black communities until 1830. Partner institutions Goldsmiths Dept of Music, the British Library ('BL'), and the Handel Hendrix House ('HHH') will collaborate to digitise this forgotten music, facilitate research into it, and bring it to public performance and recording.Abolition song consists of c70 high-style airs promoting Abolitionism. Though composed for private and public concerts, the reach of these airs was transatlantic: at least 20 were exported to the United States. Abolition song is a fraught performance text, often portraying 'the African' as without culture and dependent on White salvation. Yet it is crucial to understanding anti-slavery debates, and as the protest song of its day argued for Africans' needs and rights as these were then understood. It followed on from Black artists' performances in British concerts from the 1780s onwards, and Black communities' musical presence generally in Britain since the 16th century.Through its interlocked work packages, ASaiL will research, publish, perform, and record these repertories. The first package will produce BL-digitised scores with metadata following Inclusive Descriptive Practice. The second package will consist of six seminar days (one per term) with a 12-member network of scholars, three each from music, literature, history, and the visual arts. A senior scholar in each discipline will mentor two more junior scholars; working with scores and audio recordings provided by PI Berta Joncus, junior scholars will research, debate, and present transdisciplinary findings about Abolition song and Black heritage music. The ASaiL scholars' network will apply to Goldsmiths Press to publish its outputs as an on-line book with sound files. The third package will prepare and perform six concerts at the HHH featuring Abolition song and Black heritage music. ASaiL artistic director Joseph McHardy will invite six musicians to each prepare one concert per term. The three-hour group rehearsal for each concert will be a workshop for all six musicians, at which early career research practitioners will train them in practice research. Network scholars will attend each concert, which will end with a Q&A and be recorded by a Goldsmiths audio technician.Research findings will also be disseminated through ASaiL-dedicated pages in the BL's Discovering Music web environment, and for toolkits/education packs for use in BL, HHH, and Goldsmiths community/school engagement programmes.Aims:To make Abolition song and pre-1830 music associated with Britain's Black communities accessible through digitisation and concerts.To investigate how Abolition song positioned itself vis-à-vis concurrent music of Black British communities, musical representations of Black dramatis personae onstage, and the Black virtuosi leading British concerts.To explore, through academic and practice research, various narratives promoted by Abolitionism.To train musicians in practice research, thereby developing their ability to negotiate the problems of race theory raised by Abolition song and pre-1830 music about Blackness.Beneficiaries will be scholars, professional musicians, and general audiences engaging with ASaiL concerts and outputs, all of which will be open access.