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

电子音乐和声音的艺术、科学和哲学：达芙妮·奥拉姆 (Daphne Oram) 及其同时代人对早期音乐的解构

• 批准号: 2240863
• 金额: --
• 依托单位: University College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2240863
• 关键词: Art; Science; Philosophy; Electronic; Music

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?

达芙妮·奥拉姆（Daphne Oram，1925 - 2003）是一位作曲家和音乐理论家，是1958年BBC无线电音乐工作室成立的核心人物。虽然从历史的角度来看，很多关于她在电子音乐方面的开创性工作的文章，但Oram对声音的哲学概念在很大程度上被忽视了。本项目旨在更全面地了解她的作曲方法和她的Oramics图形记谱系统，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构思它。Oram独特的Oramics，图形和声音的混合，产生了一种完全不同于标准乐谱的音乐和音乐创作概念的方法。该项目将对Oram的工作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阐述，并将Oram的工作与其他作曲家主导的音乐技术进行批判性比较。它将探讨电子音乐创作的实验技术和技巧，如Oramics，如何与当前关于声音的本体论分类的哲学辩论相结合-例如，声音是事件还是对象？用图形化的方式构思和创作音乐（也就是直接描绘声波）所需的认知过程与传统的记谱系统有何不同？音乐创造力与音乐新技术的发展之间的辩证关系是什么？一个如何影响另一个？将电子音乐的科学、理论与实践相结合，以期在作曲、演奏体验、音乐美学等方面达到更统一的认识。研究问题：1。Daphne Oram和她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？该项目的这一部分将借鉴档案研究，特别侧重于Oram的哲学和美学思想，纳入她的Oramics符号，并与科学博物馆拥有的更广泛的电子音乐收藏有关。它将解决以下子问题：-在建立一个新的方法来音乐美学的奥拉姆记谱系统的作用是什么？-创造性的想象力在现有音乐技术的限制下发挥作用，但音乐技术也受到想象的声音和使之成为可能的追求的影响。在电子音乐的背景下，对这种辩证法的仔细研究会告诉我们关于音乐创造力、美学和作曲的什么？作曲家与电子生成和/或操纵的声音有什么关系？2.这种对奥拉米希的历史和哲学的综合研究，在声音和音乐认知方面能给我们什么启示呢？该项目的这一部分将把Oram的遗产与当代关于声音本质的辩论进行对话，特别是声音和音景的环境方面与音乐听觉感知领域之间的关系。它将解决以下子问题：-如何结合技术创新和创造性的实验开创了欧拉姆启发作曲家和音乐理论家重新概念化的概念“音乐空间”？- 电子音乐允许作曲家将声音解构为组成元素-例如音高，音色，频率，攻击，衰减等-并将它们单独用作音乐的“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？- Oram的哲学和作曲实践如何帮助我们重新谈判音乐美学和声学之间的界限？