The Art, Science and Philosophy of Electronic Music and Sound: The deconstruction of music through Daphne Oram and her contemporaries in the early Bri

达芙妮·奥拉姆（Daphne Oram, 1925 - 2003）是一位作曲家和音乐理论家，她在1958年创立了BBC广播工作室。虽然从历史的角度来看，她在电子音乐方面的开创性工作已经被写了很多，但奥拉姆关于声音的哲学概念在很大程度上被忽视了。该项目旨在建立对她的作曲方法和她的Oramics图形符号系统的更全面的理解，这将进一步促进对声音和音乐的更丰富的科学理解，无论是在实践中还是在作曲家如何理解它。Oram独特的Oramics，一种图形和声音的混合，产生了一种与标准乐谱完全不同的音乐和音乐创作概念的方法。该项目将对Oram的作品在声音研究和听觉感知的科学方法方面的哲学含义进行跨学科的描述，并将Oram的作品与其他作曲家主导的音乐技术进行批判性的比较。它将探讨电子音乐作曲的实验技术和技巧，如Oramics，如何参与当前关于声音本体论分类的哲学辩论-例如，声音是事件还是对象？以图形方式构思和创作音乐所需的认知过程（例如，从字面上画出声波）与传统的记谱系统有何不同？音乐创作与新音乐技术发展之间的辩证关系是什么？一个是如何影响另一个的？通过将电子音乐的科学、理论和实践相结合，希望在作曲、演奏体验和音乐美学上达到更加统一的观念。研究问题：1；达芙妮·奥拉姆及其同时代人的作品和思想如何为电子音乐创作的实践和哲学提供新的视角？项目的这一部分将利用档案研究，特别关注Oram的哲学和美学思想，这些思想被纳入她的Oramics符号中，并与科学博物馆收藏的更广泛的电子音乐有关。它将讨论以下子问题：-奥拉姆斯的符号系统在建立一种新的音乐美学方法中的作用是什么？-创造性想象力在现有音乐技术的限制下工作，但音乐技术也受到想象声音和追求使其成为可能的影响。在电子音乐的背景下仔细研究这种辩证法会告诉我们关于音乐创作、美学和作曲的什么？作曲家与电子生成和/或操纵声音的关系是什么？这种对奥拉米人的历史和哲学的综合研究可能会教给我们关于声音和音乐认知的什么？该项目的这一部分将把奥拉姆的遗产与当代关于声音本质的争论进行对话，特别是声音和音景的环境方面与与音乐相关的听觉感知领域之间未被探索的关系。-奥拉姆开创的技术创新和创造性实验的结合如何启发作曲家和音乐理论家重新定义“音乐空间性”的概念？电子音乐允许作曲家将声音解构成组成元素-例如音高，音色，频率，攻击，衰减等-并将它们单独用作音乐“积木”。这种创造性的实践对当前关于声音本体论的争论有什么贡献？-奥拉姆的哲学和作曲实践如何帮助我们重新协商音乐美学和声学科学之间的界限？

Daphne Oram (1925 - 2003) was a composer, and musical theorist, central to the establishing of the BBC Radiophonic Workshop in 1958. Although much has been written about her pioneering work in electronic music from an historical perspective, Oram's philosophical conceptions of sound have been largely neglected. This project sets out to establish a fuller understanding of her approach to composition and her Oramics graphic notation system which will further contribute to a richer scientific understanding of sound and music, both in praxis and in how composers conceive of it. Oram's unique Oramics, a hybridization of graphics and sound, engenders an approach to the very conception of music and musical composition wholly different from standard musical notation. The project will give an interdisciplinary account of the philosophical implications of Oram's work in relation to scientific approaches to sound studies and auditory perception, as well as a critical comparison of Oram's work with other composer-led music technologies. It will explore how experimental technologies and techniques of electronic music composition, such as Oramics, can engage with current philosophical debates concerning the ontological categorization of sound - e.g. are sounds events or objects? How do the cognitive processes required for conceiving and composing music graphically (i.e. literally painting the soundwaves) differ from doing so by the traditional notation system? What is the dialectic between musical creativity and the development of new music technologies? How does one influence the other? By combining the science, theory, and practice of electronic music, it is hoped that a more unified conception of composition, performance experience, and musical aesthetics can be achieved. Research Questions: 1. How can the work and ideas of Daphne Oram and her contemporaries offer new perspectives on both the practice and philosophy of electronic music composition?This part of the project will draw on archival research specifically focused on Oram's philosophical and aesthetic ideas, as incorporated in her Oramics notation and in relation to the broader electronic music collection held by the Science Museum. It will address the following sub-questions:- What was the role of Orams' notation system in establishing a new approach to musical aesthetics?- Creative imagination works under the constraints provided by available music technologies, but music technologies are also shaped by imagined sounds and by the quest for making them possible. What will a close study of this dialectic in the context of electronic music tell us about musical creativity, aesthetics, and composition? What is the composer's relation to electronically generated and/or manipulated sound?2. What might this integrated historical and philosophical study of Oramics teach us about sound and music cognition?This part of the project will bring Oram's legacy in dialogue with contemporary debates on the nature of sound, particularly the under-explored relationship between the environmental aspects of sound and soundscapes and the field of auditory perception in relation to music. It will address the following sub-questions:- How did the combination of technical innovation and creative experimentation pioneered by Oram inspire composers and music theorists to reconceptualise notions of 'musical spatiality'? - Electronic music allowed composers to deconstruct sound into constituent elements - e.g. pitch, timbre, frequency, attack, decay, etc. - and use them individually as musical 'building blocks'. What can this creative practice contribute to current debates concerning the ontology of sound? - How can Oram's philosophy and compositional practice help us renegotiate the boundaries between musical aesthetics and acoustic science?