Constructing Musical Associations through Instruments: The Role of the Instrument Maker in the Maker-Instrument-Player Network within the Neo-Medievalist Gothic Music Scene William Klugh Connor, III Royal Holloway University of London Department of Music This thesis is submitted to partially fulfill the requirements for the degree of Doctorate of Philosophy in Ethnomusicology. 2011 1 Declaration of Authorship I, William Klugh Connor, III, hereby declare that this thesis and the work presented within it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ___________________________________________ Date: _____________________________________________ 2 Abstract Constructing Musical Associations through Instruments: The Role of the Instrument Maker in the Maker-Instrument-Player Network within the Neo-Medievalist Gothic Music Scene Many studies of musical instruments have shown the ways in which instruments embody and negotiate cultural and social significance and meaning, but little of this work has focused on the makers of those instruments. According to Alfred Gell, artisans infuse “intentionalities” into their wares that embody the agency of the artisan. In this thesis, I address the agency of makers of musical instruments to gain a better understanding of the roles they play in defining how instruments acquire their social and cultural meanings. These meanings are constantly in flux and, in turn, inform the maker’s decisions and assist in formulating a maker’s role within a musical community. Makers interact with community members primarily through the construction of their instruments as part of what I have called a Maker-Instrument-Player network. Drawing on Actor-Network Theory, I outline some of the ways in which musical instruments afford associations and engender exchanges within a musical community, and I unpack the complexities of the maker’s role. Based on ethnographic case studies which feature contemporary builders of early music instruments and performers of neo-Medievalist Gothic music with whom they interact, I examine the agency and impact of instrument makers on musical processes. This includes analysis of playing techniques, concepts of authenticity and historical accuracy, perceptions of modernity and tradition, sensibilities of craftsmanship, the economics and marketing involved, and the physical attributes of the instruments themselves. 3 Acknowledgements Undertaking a project of this magnitude is never a solitary effort. Since beginning my research for this thesis, which started well before I enrolled at Royal Holloway University of London, I have had encouragement and assistance without which I would never have had the bravery, incentive, or means to complete this preeminent academic goal. I understand that by completing a doctorate I am not gaining membership to an exclusive club nor am I not alone in my achievement to submit the requirements for a Ph.D., however for me, this is the culmination of a lifetime desire coming to fruition and the opening of a door to a world of new goals and the means to reach them. Therefore, I will take this opportunity to thank all of those whom have helped me arrive at this momentous occasion. There are far too many to thank than I can list here and there are most likely many more whom I have forgotten or never knew, but deserve no less thanks than those I mention here. Allow me to extend my greatest gratitude for kindness and support to the following in hopes that it reaches all those whom have been part of this satisfying and exciting journey: For being the first to encourage me and show faith in me I wish to thank Julie Cobb, Dr. Tony Stewart and for assuring me that my best interests lay in following this path I thank Genesis P. Orridge and Anthony Braxton. An addition extra thanks goes to Dr. Denis Wood for not only supplying the financial means for me to finish my studies, but also for his academic advice and loving support. I could not have advanced without the guidance and refinement provided by the mentors from my previous universities, including Dr. Jonathan Kramer, Dr. Fred Blake, Dr. Alexander Vovin, Dr. Ric Trimillos, and Dr. Byong-won Lee. I must also extend doubly warm thanks to my supervisor and friend, Dr. Fred Lau, for believing in me above all others. I must also thank those with whom I have worked on this project, including Roman Dill, Henning Aβmann, David Faulwasser, David Fetcher, Frank, Patrik, and Julia at David Roman Drums; Julian Goodacre; Jan Goorissen, Floris-Jan van der Voort, and Michael Popp for their contributions, time, and understanding. Additional thanks goes to Thunder Raven and Christian Zaire from the London 4 Vampire Meet Up Group for their excitement, participation, and invaluable discussions and friendship throughout. I wish to give tremendous thanks to my fellow musicians whom were so patient with me during my stressful and busiest times, Matt Chilton, Dr. Anthony Donovan, and Joanna Quail. Also, I wish to thank my housemate Ann Napier who never said a negative word when I worked late, forgot to take out the rubbish, or rambled about my research to her after a hard day’s work. And of course I cannot forget my dog Mac, who ensured my lap was warm as I typed and made certain I got plenty of exercise taking him on walks around the block several times a day. Royal Holloway’s support will not go unnoticed, in particular the assistance and guidance of Dr. Tina K. Ramnarine, Dr. Julie Brown, Mrs. Nanette Elias, and especially Dr. Anna Morcom for her support before and during my enrollment. Also, I thank the in depth comments and thoughtful suggestions of my panelists, Dr. Abigal Wood and Dr. Kevin Dawe. I must give extra special thanks to my supervisor, Dr. Henry Stobart, who, throughout my project, was exceptionally thoughtful, pleasant, kind, and instilled me with academic rigor and imparted knowledge to me in order to ensure my success in this scholarly venture. Of the highest importance are those whom I should thank who remained close to me from the conception to the completion of this journey and supported me without bounds, giving me their all without which I would not have had the stamina, inspiration, or confidence needed to carry out this undertaking. To my close friends Craig Hilton and Rebecca Cloudy, I give my deepest thanks. To one of the few persons I consider to be part of my family, I give thanks to Dan Morse for hours of academic banter and twice as much fortifying laughter during my hardest of times all whilst he should have been completing his own Ph.D. work, not helping me with mine. To my lost brother, Sean Johnson, who passed away just before I was accepted into the Music Ph.D. programme, for knowing I was going to make it and reminding me of that eventuality every time we spoke. It is to him that I dedicate this work. Finally, I extend my greatest and most sincere thanks to the one person who has stood by my side, offering support and love constantly for the past four years, assuring I attain my goal through every means possible: my lovely fiancé, Victoria Snaith, without whom I would be lost. Will Connor, London, England, U.K. 2011 5 6 Table of Contents Abstract ___________________________________________________ 03 Acknowledgements__________________________________________ 04 Chapter One: Instruments Build Their Makers, Too – An Introduction to the Maker-Instrument-Player Network __________ 07 Chapter Two: Contemporary Sounds of Darker Times: Performing the Past and the Present in the Neo-Medievalist Gothic Scene 54 Chapter Three: Making a Scene: Insider Participation and the Percussion of David Roman Drums __________________________________________ 91 Chapter Four: Re-Defining Historical Accuracy and Aesthetic Acceptance – Jan Goorissen and the Ruby Gamba _____________________________ 137 Chapter Five: Communicating from the Outskirts: Bagpipe Maker Julian Goodacre and Remote Dialectic Influences_______ 168 Chapter Six: Sharing the Network: Comparisons and Conclusions________ 199 Appendix I ____________________________________________________ 216 Bibliography __________________________________________________ 227 7 Chapter One Instruments Build Their Makers, Too – An Introduction to the Maker-Instrument-Player Network “Instruments don’t play music; people do.” (Taruskin. 1995:305) This is the sentiment that Bruce Haynes puts forward in his discussion of the ways in which performers of Early Music1 formulate their performance style (Haynes. 2007:153). It is a logical assumption, taking into account that music performance is initiated and undertaken by players, but he goes further to say that musical instruments have little bearing on the formulation of the styles performers construct and embrace. Perhaps this is the case in the context of historical accuracy within certain performance traditions and that, primarily, it is the players who decide what their performance styles will be; as humans, they possess the agency necessary to make decisions and engage them, not inanimate objects, which is the point Haynes is trying to make. In a larger context, however, instruments have a much greater influence on the musical community in which they are played, even as inanimate objects. Musical instruments are “non-neutral” however they are used and they are “entangled objects” that embody various aspects of cultural and social value (Dawe 2001:223) as well as assist in constructing “meaning and aesthetic power in performance” (Stobart 2006:73). Musical instruments