Hugh Davies: Electronic Music Innovator

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.

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 enhancing 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.