Progress Music
10.5920/soundings.06 CHAPTER 6 109 Progress Music James Bulley Thanks go to Goldsmiths Special Collections, The Daphne Oram Trust, The Hugh Davies Collection, The BBC Written Archives, The British Film Institute Special Collections, Tom Richards, Dave Charlesworth (South Kiosk), Philip Zavier Serfaty (South Kiosk), Netta Pelota (South Kiosk), Daniel Jones, Ben James (Jotta), and Andrew Lister & Matthew Stuart (Bricks from the Kiln). This chapter existed in an earlier incarnation as writing commissioned for Bricks from the Kiln #2. (Lister & Stuart, 2017) 10.5920/soundings.06 110 SOUNDINGS In the Golden Age, progress music was heard in the background by nearly everybody. The first phone, the first car, the first house, the first summer holiday, the first TV — all to progress music. Then the arrival of sexual intercourse, in 1966, and the full ascendancy of the children of the Golden Age Martin Amis, The Pregnant Widow, 2010 This project explores a speculative era of ‘Progress Music’, unfolding narratives written from and through the archive. Here, form is found first as textual historical analysis, and then in the documentation of a multi-channel sound-film artwork, Progress Music I. This is a document of a time in 1960s Britain where the rapid rise of industry, communications and air travel was teamed with a spirit of idealistic public- information- film commissioning to inspire patternings of rhythmic, experimental, and incisive industrial documentary film. It is illustrated here by the collaborative work of British filmmaker Geoffrey Jones, and the composer and co-founder of the BBC Radiophonic Workshop Daphne Oram, on the British Petroleum (BP) documentary filmTrinidad and Tobago (1964).1 This inquiry began in 2012, stemming from research in the Daphne Oram collection, hosted at Goldsmiths, University of London, where I became curious about Trinidad and Tobago.
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