Hugh Davies: Electronic Music Innovator

这项研究与科学博物馆合作，考察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年代初的工作及其后来的影响。戴维斯在这一领域的工作多种多样。它可以分为三个大的领域：(1)研究和文献；(2)仪器建设和表演；(3)宣传和教学。他在这些领域的工作都是开创性的、创新性的和有影响力的--可以毫不夸张地说，今天电子音乐版图的某些特征直接归功于他的影响--然而，他的工作在很大程度上仍然没有得到研究。因此，人们对戴维斯影响的确切性质和程度还不太了解。本研究的目的是：增进对戴维斯在上述三个领域的工作的了解(目前还没有详细的已发表研究)；通过将戴维斯的工作放在该领域以前和同时代工作的背景下，发展对戴维斯工作的创新之处的理解；为了便于更好地了解戴维斯的工作是如何产生影响的，通过追溯到当今电子音乐中的认识论、实践和教育学的轨迹。研究是档案，并应用科学和技术研究的方法(S和TS)对文献(例如戴维斯广泛的研究笔记)、信件和录音以及戴维斯自己建造的电子乐器本身进行仔细研究。资料来源保存在大英图书馆、科学博物馆、斯托克豪森基金会(德国)和伦敦大学金匠学院的档案馆。我们将与戴维斯工作之前和之后的其他出版资料一起进行研究，以获得以下观点：(A)准确地说，戴维斯在这三个领域中的每一个领域都有哪些主要创新；(B)这些创新有什么先例；(C)戴维斯的创新如何影响了电子音乐的概念化、制作和紧凑的方式。作为一名研究人员，戴维斯对现存的每一首电子音乐进行了分类，并将结果发表在他不朽的《国际电子音乐目录》(1968)上。这第一次为电子音乐活动提供了一幅全球图景。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？这本里程碑式的出版物产生了怎样的持久影响？它对后来的电子音乐史产生了什么影响，因为它仍然是提供1967年以前相关活动的全球图景的唯一来源？作为一名乐器制造者，当电子音乐基本上是特权精英的专属时，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、可回收的材料。他的第一件自造乐器“Shozyg”是在1968年制造的。戴维斯之前与卡尔海因茨·斯托克豪森和达芙妮·奥拉姆合作的乐器在哪些方面受到了影响？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？作为一名教育者，戴维斯在伦敦金史密斯学院建立了第一个提供学位课程的电子音乐工作室。戴维斯的教义在哪些方面反映了他的认识论和实践？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，分别涉及提到的三个领域。还将举行一系列公开音乐会。该项目涉及科学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，并将主办为期两天的大型国际会议，重点关注戴维斯的工作及其影响。

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.