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剧目。合作机构金匠学院音乐系、大英图书馆（BL）和亨德尔·亨德里克斯之家（HHH）将合作将这些被遗忘的音乐数字化，促进对它的研究，并将其带到公共表演和录音中。废奴歌曲由70首提倡废奴主义的高雅曲调组成。虽然是为私人和公共音乐会创作的，但这些歌曲的影响范围是跨大西洋的：至少有20首出口到美国。《废奴之歌》是一首令人担忧的表演文本，经常把“非洲人”描绘成没有文化、依赖白人拯救的人。然而，理解反奴隶制的辩论是至关重要的，就像当时的抗议歌曲为非洲人的需要和权利辩护一样。从18世纪80年代开始，黑人艺术家在英国音乐会上的表演，以及自16世纪以来，黑人社区在英国的音乐普遍存在，都是黑人音乐的延续。通过其联锁的工作包，ASaiL将研究、发布、执行和记录这些剧目。第一个包将生成包含描述性实践的元数据的bl数字化分数。第二套课程将包括6天的研讨会（每学期1天），由12名学者组成，音乐、文学、历史、视觉艺术各3天。每学科一名资深学者再指导两名初级学者；利用PI Berta Joncus提供的乐谱和录音，初级学者将研究、辩论并展示有关废奴歌曲和黑人遗产音乐的跨学科发现。ASaiL学者网络将向金史密斯出版社（Goldsmiths Press）提出申请，以带声音文件的在线图书形式出版其成果。第三组将在HHH准备并演出6场以废奴歌曲和黑人传统音乐为主的音乐会。ASaiL艺术总监Joseph McHardy每学期将邀请六位音乐家每人准备一场音乐会。每场音乐会的3小时集体排练将成为所有6名音乐家的工作坊，早期职业研究从业者将在实践研究中对他们进行培训。网络学者将参加每场音乐会，音乐会将以问答结束，并由金史密斯的音频技术人员录制。研究结果也将通过英国音乐学院“发现音乐”网络环境中的asail专用页面，以及用于英国音乐学院、HHH和金史密斯学院社区/学校参与计划的工具包/教育包进行传播。目的：通过数字化和音乐会，使废奴歌曲和1830年前与英国黑人社区有关的音乐可以访问。调查废奴歌曲如何定位自己-à-vis英国黑人社区的同期音乐，舞台上黑人戏剧人物的音乐表现，以及黑人艺术大师领导的英国音乐会。通过学术和实践研究，探索废奴主义推动的各种叙事。培养音乐家的实践研究，从而发展他们谈判的能力，由废奴歌曲提出的种族理论问题和1830年以前的音乐关于黑人。受益者将是参与ASaiL音乐会和演出的学者、专业音乐家和普通观众，所有这些都将是开放的。

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.