Hugh Davies: Electronic Music Innovator

Lead Research Organisation: University of Leeds
Department Name: Sch of Music

Abstract

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.

Planned Impact

Electronic music and its history is of increasing interest to museum and gallery curators, independent film/documentary makers, record label executives, performers and instrument builders, and a growing segment of the general public. These groups are the main beneficiaries of this research outside academia.

Many recent independent films and record releases share direct or indirect links Davies's work. Recent discs include work by Davies himself (2005, 2008) as well as by individuals with whom he worked closely (e.g. Daphne Oram, 2007, 2011; and, of course, Stockhausen) or whose work was documented--often for the first time--in his research (e.g. Tristram Cary, 2000, 2010; Fred Judd, 2012; Michel Magné, 2013; Folke Rabe, 2012). Recent films, similarly, focus upon individuals or instruments connected to Davies and his research (e.g. Delia Derbyshire, 2009; Fred Judd, 2011; Mellotron, 2008; Ondes Martenot, 2012). My research will make Davies's substantial body of documentation--as well as his own instruments and music--more accessible as a resource for film-makers and record label executives, enhancing their capacity to research and produce future releases, providing commercialisation opportunities within the next 3-10 years.

The research has further potential impacts among communities of performing musicians whose practice continues the DIY aesthetic that Davies pioneered as an instrument-builder or explores territories charted in his research and teaching (e.g. Ian Helliwell's self-built electronic instruments; John Richards's Dirty Electronics Ensemble; Aleks Kolkowski's explorations of the mechanical and acoustical amplification instruments). By affording new insight to Davies's practice as an instrument-builder and performer and its relationship to current praxis--explored in one of my articles as well as via the exhibition and concerts series--my research has the potential to catalyse new developments in instrument-building and performance practice by enhancin the knowledge of communities of performers, beginning within the Fellowship period.

Through partnership with the Science Museum, the research capitalises upon growing interest among galleries and museums in topics related to electronic music and its history. Recent exhibitions demonstrate this potential. 'Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957-1984' (Poland/London, 2012) showcased multimedia works on the boundaries between sound, sculpture, and performance, a territory first charted by Davies in his research. 'Oramics to Electronica: Revealing Histories of Electronic Music' (Science Museum, 2011-date) has as its centrepiece the work of Davies's friend and mentor Daphne Oram and also includes a few of Davies's own instruments. My research will enhance the research capacity and knowledge of museum/gallery curators with interests in electronic music history by highlighting the significance of Davies's research and documentation as a resource, by providing new interpretive perspectives on it that will make it more accessible, and by providing new knowledge of Davies's practice as an instrument-builder and its influence upon the development of electronic music more generally. This will facilitate the staging of future exhibitions, beginning with one staged during the Fellowship, with a larger-scale exhibitions expected within around 5-10 years.

Public interest in 'retro' electronic music has been steadily increasing since the early 2000s, partly driven by links to popular culture (e.g. Dr Who has helped increase interest in the BBC Radiophonic Workshop, which staged a sell-out reunion event in 2009 is now touring). The production of films, records, performances, and exhibitions as a result of this research, both during the Fellowship and via its impacts, will further increase public awareness--and hence commercial potential--and enhancing understanding of electronic music, its history, and broader cultural significance.

Publications

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Mooney J (2015) Hugh Davies's Electronic Music Documentation 1961-1968 in Organised Sound

 
Title Album release (forthcoming) - Anton Mobin and Charlie Collins - planned for release on Middle Eight Recordings 
Description A commercially available album of original performances by Anton Mobin and Charlie Collins (percussion), recorded using experimental instruments built as part of the project. Available as a digital download. 
Type Of Art Composition/Score 
Year Produced 2017 
Impact Available online, hence potentially international reach. Significance = original performances with new experimental musical instruments. Extent of distribution is unknown at the time of reporting. 
 
Title Album release (forthcoming) - Anton Mobin and Gabriel Lemaire - planned for release on Middle Eight Recordings 
Description A commercially available album of original performances by Anton Mobin and Gabriel Lemaire (saxophone), recorded using experimental instruments built as part of the project. Available as a digital download. 
Type Of Art Composition/Score 
Year Produced 2017 
Impact Available online, hence potentially international reach. Significance = original performances with new experimental musical instruments. Extent of distribution is unknown at the time of reporting. 
 
Title Album release - Anton Mobin - Collisions - Middle Eight Recordings AABA#07 - 2 March 2017 
Description A commercially available album of original performances by Anton Mobin, recorded using experimental instruments built as part of the project. Available on CD and as a digital download. 
Type Of Art Composition/Score 
Year Produced 2017 
Impact Available online, hence potentially international reach. Significance = original performances with new experimental musical instruments. Extent of distribution is unknown at the time of reporting. 
URL https://middleeightrecordings.bandcamp.com/album/collisions-aaba-07
 
Title Album release - Anton Mobin - Early Recordings - Middle Eight Recordings AABA#04 - 13 July 2016 
Description A commercially available album of recordings by Anton Mobin, recorded using experimental instruments built as part of the project. Available on CD and as a digital download. 
Type Of Art Composition/Score 
Year Produced 2016 
Impact Available online and in physical medium, hence potentially international reach. Significance = original performances with new experimental musical instruments. Extent of distribution is unknown at the time of reporting. 
URL https://middleeightrecordings.bandcamp.com/album/early-recordings-aaba-04
 
Title Album release - Olga Nosova, Alexei Borisov, Anton Mobin, Monobloc Sound Fidelity, Cisco C - Astma Meets SCZRS in Berlin - Middle Eight Recordings AABA#06 - 1 January 2017 
Description A commercially available album of recordings by an ensemble includingAnton Mobin, recorded using experimental instruments built as part of the project. Available as a digital download. 
Type Of Art Composition/Score 
Year Produced 2017 
Impact Available online, hence potentially international reach. Significance = original performances with new experimental musical instruments. Extent of distribution is unknown at the time of reporting. 
URL https://middleeightrecordings.bandcamp.com/album/astma-meets-sczrs-in-berlin-aaba-06
 
Title Autonomous Object 
Description A sound-sculpture, built by the artist Anton Mobin, as part of the Project's instrument-builder residency. 
Type Of Art Artefact (including digital) 
Year Produced 2016 
Impact Developing Davies's instrument-building practice in the present day. Impacts among the artist himself (development of his own practice) and any who hear the instrument used in performance, including audience and other ensemble members. 
URL https://hughdaviesproject.wordpress.com/instrument-building/
 
Title Concert - Anton Mobin - 1 May 2017, Paris, France 
Description A public concert featuring Anton Mobin's 'resonant chamber' instrument, built specially for the Hugh Davies Project. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2017 
Impact Impact upon the performers, through exposure to new experimental musical instruments developed during the project. Impact upon public, through developing wider audiences for experimental music. 
 
Title Concert - Anton Mobin - 10 April 2017, Paris, France 
Description A public concert featuring Anton Mobin's 'resonant chamber' instrument, built specially for the Hugh Davies Project. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2017 
Impact Impact upon the performers, through exposure to new experimental musical instruments developed during the project. Impact upon public, through developing wider audiences for experimental music. 
 
Title Concert - Anton Mobin - 10 December 2016, Montreuil, France 
Description A public concert featuring Anton Mobin's 'resonant chamber' instrument, built specially for the Hugh Davies Project. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2016 
Impact Impact upon the performers, through exposure to new experimental musical instruments developed during the project. Impact upon public, through developing wider audiences for experimental music. 
URL http://antonmobin.blogspot.fr/2016/12/la-semaine-du-bizarre.html
 
Title Concert - Anton Mobin - 3 November 2016, Brighton 
Description A public concert featuring Anton Mobin's 'resonant chamber' instrument, built specially for the Hugh Davies Project. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2016 
Impact Impact upon the performers, through exposure to new experimental musical instruments developed during the project. Impact upon public, through developing wider audiences for experimental music. 
URL http://antonmobin.blogspot.co.uk/2016/10/designing-interfaces-for-creativity.html
 
Title Concert - Anton Mobin and Ayato - 11 Feb 2017, Dole, France 
Description A public concert featuring Anton Mobin's 'resonant chamber' instrument, built specially for the Hugh Davies Project. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2017 
Impact Impact upon the performers, through exposure to new experimental musical instruments developed during the project. Impact upon public, through developing wider audiences for experimental music. 
URL http://necktar.info/majnecktar2017.htm
 
Title Concert - Anton Mobin and Ayato - 4 March 2017, Orléans, France 
Description A public concert featuring Anton Mobin's 'resonant chamber' instrument, built specially for the Hugh Davies Project. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2017 
Impact Impact upon the performers, through exposure to new experimental musical instruments developed during the project. Impact upon public, through developing wider audiences for experimental music. 
URL https://xul.philippecoudert.com/
 
Title Concert - Anton Mobin, Alex McLean, Benedict Taylor - 11 March 2016, Sheffield 
Description An improvised concert. Anton Baron played his new 'resonant chamber' instrument, built specially for the Hugh Davies Project. Benedict Taylor: violin. Alex McLean: live coding. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2016 
Impact Impact upon the performers themselves, through bringing together three highly contrasting artistic styles/practices: acoustic instrument-building, free improvisation, digital live coding. Impact on public, through developing wider audiences for experimental music. 
 
Title Concert - Anton Mobin, Théo Ceccaldi, Valentin Céccaldi et Gabriel Lemaire - 10 September 2016, Orléans, France 
Description A public concert featuring Anton Mobin's 'resonant chamber' instrument, built specially for the Hugh Davies Project. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2016 
Impact Impact upon the performers, through exposure to new experimental musical instruments developed during the project. Impact upon public, through developing wider audiences for experimental music. 
 
Title Concert - Birth of Live Electronic, Voice, Not to be Loaded with Fish - 18 October 2015 
Description A concert of works by Hugh Davies, performed by internationally renowned improvisers. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2015 
Impact New realisations of rarely performed and seminal works. Performances by prestigious international artists, resulting in increased exposure for, and public appreciation of the importance of, Hugh Davies's creative output. Expanded public experience of experimental musics, as indicated in audience surveys. 
URL https://hughdaviesproject.wordpress.com/2015/09/02/upcoming-concert-sounds-heard/
 
Title Concert - Derbyshire and Oram - 18 Feb 2015 
Description A concert of music by Daphne Oram and Delia Derbyshire, curated and diffused (performed) by Dr James Mooney for the Electric Spring Festival, Huddersfield. A public interview with Dr Mooney also took place. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2015 
Impact Further exposure for these increasingly celebrated pioneers of electronic music. Extending public knowledge of British electronic music history. 
URL https://hughdaviesproject.wordpress.com/2015/02/19/daphne-oram-and-delia-derbyshire-electric-spring-...
 
Title Concert - Grey Area - Quintet, Edges, Aus den sieben Tagen - 23 May 2015 
Description A concert of music composed by, and/or related to the work of Hugh Davies, including his rarely performed and seminal "Quintet" (1967-8). Performed by the Edinburgh-based ensemble Grey Area. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2015 
Impact Increased exposure for, and public appreciation of the importance of, Hugh Davies's creative output. Expanded public experience of experimental musics, as indicated in audience surveys. 
URL https://hughdaviesproject.wordpress.com/2015/06/02/concert-review-23-may-2015/
 
Title Concert - Printmusic, Galactic Interfaces, Mobile with Differences, Voix Spectrals, live coding - 17 October 2015 
Description A concert of music composed by Hugh Davies, performed by the ensemble Grey Area, with special guest Alex McLean. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2015 
Impact New realisations of rarely performed and seminal works. Modern day adaptations (e.g. live coding), resulting in increased relevance for new audiences. Increased exposure for, and public appreciation of the importance of, Hugh Davies's creative output. Expanded public experience of experimental musics, as indicated in audience surveys. 
URL https://hughdaviesproject.wordpress.com/2015/09/02/upcoming-concert-sounds-heard/
 
Title Concert - Quintet, Galactic Interfaces, Mobile With Differences, Not to be Loaded with Fish - 17 March 2016 
Description A concert of works composed by Hugh Davies, including Quintet, Galactic Interfaces, Mobile With Differences, Not to be Loaded with Fish, Music for a Single Spring, and Shozyg I & II. Performed by the ensemble Grey Area, with Dr James Mooney. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2016 
Impact Research findings used to stage a public performance outside of the project's home institution. 
 
Title Exhibition - Amplified Objects 
Description An exhibition, showcasing, through photographs, audio, and video, the instrument-building practice of Anton Mobin and Hugh Davies. Held at Access Space, Sheffield, from 13 May to 30 June 2016. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2016 
Impact Developing wider public audiences for experimental music and instrument-building practices. 
URL https://hughdaviesproject.wordpress.com/exhibition/
 
Title Les Soirees Tricot (exhibition 8-11 Sep 2016) 
Description Anton Mobin's experimental musical instruments (built as part of the project) were featured in this public exhibition at the Théâtre d'Orléans, Boulevard Pierre Ségelle, Orléans, France, from 8 to 11 September 2016. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2016 
Impact Public exposure of this creative practice. 
URL http://antonmobin.blogspot.co.uk/2016/08/les-soirees-tricot-2eme-edition.html
 
Title Mobile with Differences 
Description A new edition of a score of Hugh Davies's work "Mobile With Differences" (1973). 
Type Of Art Composition/Score 
Year Produced 2015 
Impact The score has enabled (to date) two performances of this rarely performed and seminal work of experimental music theatre by the ensemble Grey Area; one in Leeds, and one in Edinburgh. See 'Engagement Activities' for some further details. 
 
Title Polysonic: Exposition Interactive de Lutherie Experimentale 
Description Anton Mobin's experimental musical instruments (built as part of the project) were featured in this public exhibition at Polysonik, 108 rue de Bourgogne, Orléans, France, from 4 to 18 March 2017. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2017 
Impact Public exposure of this creative practice. 
URL http://antonmobin.blogspot.co.uk/2017/01/exposition-polysonik-orleans.html
 
Title Resonant Chamber 
Description An new musical instrument, designed and built by Anton Mobin, in response to the findings of the project. 
Type Of Art Artefact (including digital) 
Year Produced 2016 
Impact The instrument represents a development of the artist's own individual practice, and will influence the many other notable musicians with whom he interacts, as well as workshop participants and concert attendees. 
URL http://hughdaviesproject.wordpress.com/instrument-building
 
Title Springs Web 
Description An experimental musical instrument, built by Anton Baron in tribute to Hugh Davies, as part of the Project's instrument-builder residency. 
Type Of Art Artefact (including digital) 
Year Produced 2016 
Impact Developing Davies's instrument-building practice in the present day. Impacts among the artist himself (development of his own practice) and any who hear the instrument used in performance, including audience and other ensemble members. 
 
Description Key findings include:

(1) Museums need to develop better strategies for the interpretation and display of 'objects of electronic sound and music' such as the items held in the Hugh Davies Collection. A user has to touch and interact with these objects to fully understand them - and yet when museums place objects in glass cases they make this impossible. (2) Hugh Davies was the first person to document electronic music as a global, interdisciplinary activity, again, in the mid-1960s. (Prior to this, electronic music was generally thought to be confined to a relatively much smaller number of mainly Western European and North American countries, as an avant-garde art music activity.) The scale and scope of electronic music activity prior to 1975 has yet to be fully recognised / researched; the first international conference on 'Alternative Histories of Electronic Music', held at the Science Museum on 14-16 April 2016 as part of this project, represents a significant step towards addressing this, however.

(3) Through his instrument-building activities, curatorial roles, and teaching, Hugh Davies was largely responsible for bringing a culture of live electronic music to Britain, in the mid-1960s. (Prior to this, electronic music in Britain was almost exclusively an off-stage, studio-bound activity, practiced in only a handful of private studios and - in an applied context - at the BBC Radiophonic Workshop.)
Exploitation Route (1) Museums should develop new methods of interpretation and display that will help visitors to gain more from their encounters with objects of electronic sound and music in museums. (2) Researchers should investigate the many under-explored areas of electronic music's history, including but not limited to Davies's own work. The foundations for this further research were laid by the 'Alternative Histories of Electronic Music' conference at the Science Museum, and the resulting online video-proceedings and related special issue of the journal Organised Sound. (3) There is an opportunity for performers to develop new live electronic music practice. My research into Davies's instrument-building practice has already started to influence performers, instrument builders, and artists whose interests lie in similar areas, leading to further research and practice in this area. One example is the residency with the French instrument-builder Anton Mobin, held as part of the project in March 2016. (4) Concerts, CDs, exhibitions, documentary films. Performers, curators, record label executives, and film makers with an interest in electronic music's history up to 1975 could use the findings of this research to inform their work. The first concert outside of the project itself took place in March 2016.
Sectors Creative Economy,Electronics,Leisure Activities, including Sports, Recreation and Tourism,Culture, Heritage, Museums and Collections

 
Description The findings of the project are now having an impact in the museums sector, where they are influencing the ways in which 'objects of electronic sound and music' - including electronic musical instruments and also sound apparatus such as microphones, loudspeakers, playback devices, etc. - are interpreted and displayed to the public. These 'sonic-tactile' objects need to be physically touched and heard for their utility value to be fully understood, but the standard museum practice of placing objects inside glass cases makes this impossible. The findings of this project, developed through close study of the objects in the Hugh Davies Collection, have called into question the standard practices of museum interpretation and display, prompting a reappraisal of practice in this area through subsequent collaborative workshop activities. In to this: 1) Findings have been used to document the Science Museum's collection of Hugh Davies's instruments and equipment. 2) Findings have been used by performers and ensembles to stage numerous performances of Hugh Davies's rarely performed and seminal experimental music compositions, generating new audiences for experimental music. 3) Findings have underpinned activities on a two-week instrument-builder residency, in which several new experimental musical instruments in the style of Hugh Davies have been built by the artist Anton Mobin. 4) Findings have underpinned the staging of a public exhibition - 'Amplified Objects' - showcasing the work of Anton Mobin (instrument-builder resident on the project) and Hugh Davies in photographs, audio, and video. 5) Findings have been used to brief an international, interdisciplinary audience of scholars, creative practitioners, and museum curators on the Science Museum's collection of Hugh Davies's instruments and equipment, supplementing the basic details available in the Museum's catalogue and facilitating greater understanding of the significance of this collection.
First Year Of Impact 2015
Sector Creative Economy,Education,Culture, Heritage, Museums and Collections
Impact Types Cultural,Societal,Policy & public services

 
Description CDA with Science Museum Group
Geographic Reach National 
Policy Influence Type Influenced training of practitioners or researchers
Impact My research has prompted museum curators within the Science Museum Group to direct resources toward the development of new methods of interpretation and display for objects of electronic sound and music. This will, in turn, change public attitudes in relation to these objects, through the Museum's subsequent activities.
 
Description Report in Science Museum's Group's Research & Public History Annual Report for 2015-16
Geographic Reach National 
Policy Influence Type Citation in systematic reviews
 
Description Research data approach used as a case study by Manchester Metropolitan University
Geographic Reach National 
Policy Influence Type Influenced training of practitioners or researchers
 
Description Research used as a case study in research data training at University of Leeds
Geographic Reach Local/Municipal/Regional 
Policy Influence Type Influenced training of practitioners or researchers
Impact Researchers in other departments have reported that my research has helped them to consider how they might conceptualise and handle 'data' in their own research and practice.
 
Description Cheney Fellowship
Amount £46,000 (GBP)
Organisation University of Leeds 
Department Leeds Humanities Research Institute
Sector Academic/University
Country United Kingdom
Start 05/2017 
End 08/2018
 
Description HEIF (internally allocated, competitive)
Amount £1,103 (GBP)
Organisation University of Leeds 
Sector Academic/University
Country United Kingdom
Start 02/2016 
End 06/2016
 
Description Research and Innovation Services
Amount £12,000 (GBP)
Organisation University of Leeds 
Sector Academic/University
Country United Kingdom
Start 05/2015 
End 05/2018
 
Title Hugh Davies Collection - British Library 
Description The British Library possesses an extensive collection of Hugh Davies's writings (mainly unpublished), research notes, and other documentation, which currently (March 2016) is uncatalogued. As part of my research, I have begun to catalogue and provide descriptions of the several thousand items that this collection comprises. 
Type Of Material Database/Collection of data 
Year Produced 2015 
Provided To Others? Yes  
Impact My descriptions of the collection are currently (March 2016) being used by the library's own staff to assist with the formal cataloguing of the collection, which, in turn, will assist any future researchers accessing the Hugh Davies Collection. 
 
Title Hugh Davies Collection - Science Museum 
Description The Science Museum, London, has a collection of Hugh Davies's instruments and equipment. As part of this project, I documented these objects for the Museum's records. Briefly, this involved researching and providing an extended description and date of manufacture, as well as a bibliography, for each object. 
Type Of Material Database/Collection of data 
Year Produced 2016 
Provided To Others? Yes  
Impact The database provides Museum staff and anybody accessing the Hugh Davies Collection with enhanced information about the objects, as well as sources for further information in the bibliography. 
 
Description Access Space 
Organisation Clyde Space
Country United Kingdom 
Sector Private 
PI Contribution I have organised, in collaboration with Access Space, an instrument-builder residency, public instrument-building workshop, concert and exhibition in conjunction with my research project. These activities were informed by the findings of my research, which is related to the electro-acoustic instrument building practice of Hugh Davies.
Collaborator Contribution The instrument-builder residency, workshop, concert and exhibition were hosted by Access Space, which provided the facilities and staff to facilitate them.
Impact "Prepared Chamber" instrument, built by Anton Mobin. Instrument-building workshop. Public concert and improvisation session with Anton Mobin and Alex McLean (11 March 2016, open to the public). Exhibition.
Start Year 2015
 
Description Artifact Music / Grey Area 
Organisation Music & Letters Trust
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution Artifact Music Ltd is the management company associated with the musical ensemble Grey Area. Through my research I provided repertoire (performance and interpretation materials) and, together, we staged three concerts of the music of Hugh Davies. A fourth concert is upcoming at the time of this update (March 2016). We have also discussed the possible publication of scores and recordings.
Collaborator Contribution Artifact Music provided the ensemble - Grey Area - that performed in the three concerts that we staged. Artifact is also a music publisher, and we have discussed publishing scores and recordings of Hugh Davies's music - though nothing is confirmed at the time of this update.
Impact Concert - 23 May 2015. Concert - 17 October 2015. Concert - 18 October 2015. Concert - 17 March 2016. Workshop on Stockhausen's Mikrophonie I.
Start Year 2015
 
Description Media Museum 
Organisation National Science and Media Museum
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution Consultation around issues pertaining to electronic musical instruments and sound apparatus in museums.
Collaborator Contribution Administrative support and other contributions in kind for networking events; insight to relevant research problems in the museum context.
Impact No outcomes as yet, but we are planning a symposium and networking event, provisionally for July 2017. The collaboration is multi-disciplinary, involving scholars from musicology, history of science/technology, science and technology studies, and (hopefully) material culture studies and museum studies too. It also involves museum curators.
Start Year 2017
 
Description National Science and Media Museum 
Organisation National Science and Media Museum
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution We are developing new methods of interpretation and display for objects of electronic sound and music in the Museum's collections, ahead of two major planned exhibitions.
Collaborator Contribution The Museum brings curatorial expertise and awareness of museum practice and policy to the research.
Impact We are holding our first workshop in June 2018.
Start Year 2017
 
Description Science Museum 
Organisation Science Museum Group
Department The Science Museum
Country United Kingdom 
Sector Public 
PI Contribution My research informs the Museum's 'Music and Science' programme of activities / exhibitions by providing detailed information and expertise on a collection of musical instruments and equipment previously owned by the electroacoustic musician Hugh Davies (1943-2005). In brief, my contribution is to highlight how, why, and to whom this collection of objects is important/significant. More specifically, I contribute to the development of expertise within the Museum in relation to electronic music, its history, and its relationship with science and technology, and to the activities that the Museum undertakes that are relevant to those subject areas, such as workshops, conferences, exhibitions, public demonstrations, tours of the collections, etc. Specific insights that I have to offer include: describing the objects in detail, and situating them in their historic and cultural context, both in relation to Davies's own practice and within the wider field of electronic music; advising on which specific items or combinations of items should be prioritised for public display; providing details of relevant literature, recordings, and other documentation relating to the items.
Collaborator Contribution The Museum provides access to its collection of musical instruments and equipment previously owned by the electroacoustic musician Hugh Davies (1943-2005), which are unique objects unavailable elsewhere. In combination with published sources and archival documents held elsewhere, access to these objects informs my research by providing unique material insights into Davies's work. On a different level, the Museum represents one of several contexts in which my research is beneficial, and as such helps me to set research priorities - the existence of a specific collection of Davies's instruments/equipment, for example, served as an incentive to direct research efforts at those particular items, since the Museum stands to benefit from the enhanced description of them that is provided by my research. The Museum also provides guidance on issues such as curation and conservation, giving an inside perspective on the practicalities involved in preserving these objects for researchers and displaying them for the benefit of members of the public. The Museum has also provided support for my research by providing a venue for an international conference - Alternative Histories of Electronic Music - held in April 2016. All of the activities described here are, in one way or another, mutually beneficial - that is the point of a partnership.
Impact International conference - Alternative Histories of Electronic Music - April 2016. Thematic issue of Organised Sound - August 2017.
Start Year 2016
 
Description Trevor Pinch - Cheney Fellowship 
Organisation Cornell University
Department Department of Science and Technology Studies
Country United States 
Sector Academic/University 
PI Contribution Interdisciplinary collaboration "Exploring Material Cultures of Electronic Music through the Methods of Science and Technology Studies." Music, and History of Technology partners are based at University of Leeds. Leeds is also the point of contact for two museum partners, Science Museum, and National Media Museum.
Collaborator Contribution Interdisciplinary collaboration "Exploring Material Cultures of Electronic Music through the Methods of Science and Technology Studies." The Science and Technology Studies partner, Prof Trevor Pinch, is based at Cornell.
Impact At the time of reporting we have a symposium and various knowledge-exchange activities planned, as well as a future funding application.
Start Year 2017
 
Description White Rose Electroacoustic Music Network 
Organisation University of Sheffield
Department Department of Chemical and Biological Engineering
Country United Kingdom 
Sector Academic/University 
PI Contribution Contribution to a partnership between Universities of Leeds, York, and Sheffield, comprising concert programmes curated by each institution, and performed at all three institutions.
Collaborator Contribution Contribution to a partnership between Universities of Leeds, York, and Sheffield, comprising concert programmes curated by each institution, and performed at all three institutions.
Impact A series of 9 public concerts showcasing electroacoustic music research and practice at the three partner institutions.
Start Year 2016
 
Description White Rose Electroacoustic Music Network 
Organisation University of York
Department Department of Biology
Country United Kingdom 
Sector Academic/University 
PI Contribution Contribution to a partnership between Universities of Leeds, York, and Sheffield, comprising concert programmes curated by each institution, and performed at all three institutions.
Collaborator Contribution Contribution to a partnership between Universities of Leeds, York, and Sheffield, comprising concert programmes curated by each institution, and performed at all three institutions.
Impact A series of 9 public concerts showcasing electroacoustic music research and practice at the three partner institutions.
Start Year 2016
 
Description 3x3 concert - Leeds 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach Local
Primary Audience Public/other audiences
Results and Impact A public concert of electroacoustic music showcasing research and practice at the School of Music, University of Leeds.
Year(s) Of Engagement Activity 2016
URL http://concerts.leeds.ac.uk/events/3x3-electronic-music-2/
 
Description 3x3 concert - Sheffield 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Public/other audiences
Results and Impact A public concert of electroacoustic music showcasing research and practice at the School of Music, University of Leeds.
Year(s) Of Engagement Activity 2017
URL http://shef.ac.uk/usss/soundjunction/sjmay2017
 
Description 3x3 concert with pre-concert talk - York 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Public/other audiences
Results and Impact A public concert of electroacoustic music showcasing research and practice at the School of Music, University of Leeds. A pre-concert talk was delivered by Dr James Mooney, focusing on the music of Hugh Davies and its relationship (via Richard Orton) to the Department of Music, University of York. The concert was to mark the 48th anniversary of the opening of the Sir Jack Lyons Concert hall, for which Hugh Davies's composition 'Shozyg I & II' was commissioned and premiered.
Year(s) Of Engagement Activity 2017
URL https://www.york.ac.uk/concerts/programme/33march/
 
Description AHEM: First International Conference on Alternative Histories of Electronic Music 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Third sector organisations
Results and Impact This was an international conference held (and in partnership with) The Science Museum, London, focusing upon Alternative Histories of Electronic Music, that is, upon researching and accounting histories of electronic music in ways that differ from those most widely published. This includes under-researched areas, but also different approaches to 'doing' the history, that is, historiography. Although the format of this event was that of an academic conference, because of the nature of the topic it naturally engaged a range of practitioners beyond normal 'academic circles', including freelance musicians/artists, museum curators, documentary film-makers, independent record label executives, and members of the general public. The conference itself also represented a significant engagement with a high profile third sector organisation, The Science Museum, elaborating the broader context of one of the Museum's key areas of interest over the next few years, 'Music and Science'. At the time of the present update (February 2016) the conference is still, in fact, in the planning stage, and hence specific impacts remain as yet unknown, though the event is already stimulating much interest and discussion; the call for participation, for example, appeared in the high-circulation avant-garde music magazine The Wire without specifically having been sent there. The conference will also be video-recorded and made available online, to further extend the impacts beyond the time/location of the event itself. A further update will be forthcoming in a future reporting period.
Year(s) Of Engagement Activity 2016
URL http://ahem2016.wordpress.com
 
Description Concert of Electronic Music by Delia Derbyshire and Daphne Oram - 18 February 2015 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Public/other audiences
Results and Impact A concert of electronic music works by Daphne Oram and Delia Derbyshire, researched and curated as part of my research, and staged as part of the Electric Spring festival (Huddersfield).
Year(s) Of Engagement Activity 2015
URL https://hughdaviesproject.wordpress.com/2015/02/19/daphne-oram-and-delia-derbyshire-electric-spring-...
 
Description Concert of Works by Hugh Davies - 17 March 2016 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Public/other audiences
Results and Impact A concert of works by Hugh Davies, rarely or never previously performed, whose scores and performance materials were reconstructed from archive sources as part of my research. Staged in Edinburgh with the ensemble Grey Area.
Year(s) Of Engagement Activity 2016
 
Description Concert with Pre-Concert Talk - 17 October 2016 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A concert of works by Hugh Davies, rarely or never previously performed, whose scores and performance materials were reconstructed from archive sources as part of my research.
Year(s) Of Engagement Activity 2016
URL https://hughdaviesproject.wordpress.com/2015/09/02/upcoming-concert-sounds-heard/
 
Description Concert with Pre-Concert Talk - 18 October 2016 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A concert of works by Hugh Davies, rarely or never previously performed, whose scores and performance materials were reconstructed from archive sources as part of my research.
Year(s) Of Engagement Activity 2016
URL https://hughdaviesproject.wordpress.com/2015/09/02/upcoming-concert-sounds-heard/
 
Description Concert with Pre-Concert Talk - 23 May 2015 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A public concert of music by, or related to the work of, Hugh Davies, with a pre-concert talk beforehand. The purpose was to bring Davies's work to a wider public audience, and to perform works of Davies's that have seldom - if ever - been performed, adding a practical/musical dimension to this predominantly archive-based research. An in-person audience of around 100 was in attendance; in addition, regional, national, and international audience members were able to watch online via a live stream. The concert and talk were recorded, and have subsequently received 175 further views online (as of February 2016). A post-concert survey revealed that many audience members had been fascinated by the relationship between improvised and scored music. One audience member commented: "I had never seen people playing to a score in the context of improvisation." Green's use of a cardboard box as a musical instrument also appears to have been a highlight. Another audience member remarked: "I'd never seen a cardboard box being used in a concert like that before. I especially liked it in the Stockhausen." Almost 40% of audience members responding to the survey commented that this was not the kind of music that they would typically listen to. Gratifyingly, however, all of those audience members also said that they would consider attending a similar concert in the future. This suggests that the Hugh Davies Project might have a role to play in bringing experimental musics to a wider audience.
Year(s) Of Engagement Activity 2015
URL https://hughdaviesproject.wordpress.com/2015/06/02/concert-review-23-may-2015/
 
Description Disc-cutting and vocal workshop 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Undergraduate students
Results and Impact A practical disc-recording and extended vocal techniques workshop with Aleks Kolkowski (disc-cutting) and Phil Minton (vocals), participated in by a group of about 15 undergraduate and postgraduate students and members of the public. The workshop activities were related to experimental music compositions by Hugh Davies, which were performed in a concert the same evening. The purpose was to shed light upon the techniques used in the compositions/performances, which are non-standard - sounds are recorded directly on to disc, and extended vocal techniques are used.
Year(s) Of Engagement Activity 2015
URL https://hughdaviesproject.wordpress.com/2015/09/02/upcoming-concert-sounds-heard/
 
Description Hugh Davies Objects Display - guided tour of objects at National Science and Media Museum 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact 60 delegates attended the Science Museum Group's annual research conference, at which I delivered a guided tour of several objects from the Museum's collection of electro-acoustic musical instruments and sound apparatus.
Year(s) Of Engagement Activity 2017
 
Description Instrument-builder residency, workshop, and concert with Anton Mobin 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact A two-week long instrument-builder residency, held at a third-sector organisation: Access Space, Sheffield. The resident, Anton Mobin (http://antonmobin.blogspot.fr/) will spend two weeks in residence, building a new musical instrument inspired and informed by the instrument-building practice of Hugh Davies. At the end of the residency, a public instrument-building workshop will be held, as well as a public concert and a talk at University of Leeds. There will also be a month-long public exhibition showcasing both Hugh Davies's and Anton Mobin's work, at Access Space. The purpose of the residency and associated activities is: (a) to disseminate the research to a wider public audience via the workshop and concert, developing awareness of Hugh Davies and his work; (b) to engage a wider public in activities that provide access to unconventional musical sound-worlds and musical instruments, expanding horizons in these areas; (c) to enable the resident to develop his own practice by engaging with the research findings of the project.

Note that at the time of reporting, this is an activity in progress (the residency is from 29 February to 14 March 2016); a further update will be provided in a future reporting period.
Year(s) Of Engagement Activity 2016
URL http://access-space.org/hugh-davies-project-residency/
 
Description Newlands Lecture: 'Hugh Davies: Live electronic music and self-built instruments, 1967-75' 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Postgraduate students
Results and Impact A public lecture on 'Hugh Davies: Live electronic music and self-built instruments, 1967-75' as part of University of Hull's Newlands lecture series. There was much enthusiastic discussion after the event, and I received requests for further information about Hugh Davies's work.
Year(s) Of Engagement Activity 2017
 
Description OESM Workshop 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact We will hold a workshop on 'Objects of Electronic Sound and Music in Museums'. Museum curators, academics, audio professionals, and musicians will attend.
Year(s) Of Engagement Activity 2017
URL http://oesm.leeds.ac.uk
 
Description Project exhibition featured on AHRC's News and Events website 
Form Of Engagement Activity Engagement focused website, blog or social media channel
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact The project exhibition was featured on the AHRC's news and events website.
Year(s) Of Engagement Activity 2016
URL http://www.ahrc.ac.uk/newsevents/events/calendar/hugh-davies-exhibition/
 
Description Public interview with James Mooney on 'Electronic Music in Britain in the 1950s and 60s' 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Public/other audiences
Results and Impact A public interview with Dr James Mooney on the subject of 'Electronic Music in Britain in the 1950s and 60s', staged as part of the Electric Spring festival (Huddersfield). Interviewer: Prof Monty Adkins.
Year(s) Of Engagement Activity 2015
URL https://hughdaviesproject.wordpress.com/2015/04/15/electronic-music-in-britain-in-the-1950s-and-60s-...
 
Description Sounds Heard: Festival of avant-garde, experimental, electronic and improvised musics and workshops celebrating the work of Hugh Davies 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A weekend festival of music by Hugh Davies, featuring public concerts, talks, film screenings and workshops. The festival included performances by celebrated free improviser Steve Beresford, vocalist Phil Minton, sound artist Aleks Kolkowski, members of the Edinburgh-based ensemble Grey Area, and live coding of dot-matrix printers by Alex McLean. Each of the concerts was preceded by a pre-concert talk. There were also two public workshops: an analogue disc-cutting and vocal workshop with Phil Minton and Aleks Kolkowski; and a workshop and film-screening on Stockhausen's Mikrophonie I. Overall attendance for the weekend was around 100 audience members / participants, with further national and international participants engaged via a concerts live stream. In an audience survey, concert audiences reported learning about previously unknown modes of musical composition and performance (e.g. use of every-day objects as sound sources, live coding, free improvisation, use of hitherto unfamiliar technologies such as disc-cutters etc.), changing how they think about these areas of creative practice. Numerous composers in the audience reported that this is likely to influence their practice. (For further impacts, see also the separate ResearchFish entries for the two workshops held as part of this festival.) In addition, the festival has already resulted in another national concert date being arranged, 18 March 2016, in Edinburgh, and we are currently discussing the possibility of concerts at Huddersfield Contemporary Music Festival and BBC Proms.
Year(s) Of Engagement Activity 2015
URL https://hughdaviesproject.wordpress.com/2015/09/02/upcoming-concert-sounds-heard/
 
Description Stockhausen's Mikrophonie I - practical workshop 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Undergraduate students
Results and Impact Around 15-20 students, composers, and members of the public participated in a practical workshop exploring Stockhausen's avant-garde live electronic music composition Mikrophonie I. The purpose was to provide insight into that composition, which was groundbreaking at the time of its composition, and influential. Participants reported that the workshop changed the way they thought about musical performance and (in the case of composers) composition; they had not realised the range of sounds attainable with a tam-tam gong and microphone, that they had learned about the kind of electronic music equipment that was available in the 1960s. Several participants who were composers reported that their experiences at the workshop would influence their own compositional practice, while performers commented that the freer approach to musical performance explored in the workshop would be taken forward in their own performance. One participant noted that the workshop had provided beneficial life skills, enabling them to think differently about working in a team.
Year(s) Of Engagement Activity 2015
URL https://hughdaviesproject.wordpress.com/2015/09/02/upcoming-concert-sounds-heard/
 
Description Workshop - Autonomous Objects - 4 November 2016 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Postgraduate students
Results and Impact Participants will make a small instrument into two parts connected by a guitar string. Each of the two elements can be held in one hand. The first element consists of a fan, a switch and a 9v battery. The second part consists of a piezoelectric contact-microphone and a spring fixed on a board (3D printed). The guitar string create the link between the two elements, like a bridge between two towers, attached to both a fan blade and the spring at its end. Ignition of the fan drives the guitar string in a wide rotation and engages vibrations on the spring. Obtaining sound is by direct contact and pressure with the spring support that produces a voltage which reflects the acoustic waves into an electrical signal.
A basic shape is offered to participants, it's up to everyone to turn and see for yourself another design according to the constraint of the materials we have, but everything is still possible!
The challenge is to show simple acoustic principles and give to participants the urge to appropriate these techniques to produce sound differently and give ideas to create new simple interfaces to play daily objects.
Year(s) Of Engagement Activity 2016
URL http://antonmobin.blogspot.co.uk/2016/10/designing-interfaces-for-creativity.html
 
Description Workshop: How to Share Digital/Multimedia Research Outputs and Data 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach Local
Primary Audience Professional Practitioners
Results and Impact 15 academics attended a workshop on 'How to Share Digital/Multimedia Research Outputs and Data'.
Year(s) Of Engagement Activity 2016
URL http://www.leeds.ac.uk/arts_intranet/info/125227/lhri_intranet/94/lhri_events_and_recordings