Tim Hodgkinson (b. 1949) co-founded the politically and musically radical group HENRY COW with Fred Frith in 1968, whilst studying social anthropology at Cambridge. In addition to his work as a composer, he has a long involvement as a clarinetist in improvised music, and returned to anthropology in the 1990’s with research into music and shamanism in Siberia.
His compositions have been interpreted in such international festivals as: Spectrum XXI (Brussels, Paris, Geneva, Berlin, London), Huddersfield Contemporary Music Festival (U.K.) where he was a featured composer in 2007, Craiova and Ploiesti Festivals (Romania), Guarda Festival (Portugal), CantiereInternazionaled’Arte di Montepulciano (Italy), Konfrontationen Festival (Austria), Nordlyd Festival (Norway), Musique Action (France) and the European Symposium of Experimental Music at Barcelona. He has participated in many concerts with IancuDumitrescu’s Hyperion Ensemble, both as bass clarinetist and composer and conductor. He has two CDs of his compositions out on the prestigious MODE label in New York.
His Piece for Harp and Cello was selected for the SPNM shortlist in 2005. His composition SHHH was accepted for the IMEB electroacoustic music archive at Bourges in 2006. His piece FRAGOR appeared in the Martin Scorsese film Shutter Island in 2010. He has worked with Hyperion Ensemble, Talea Ensemble, Ne(X)tworks, the Bergersen String Quartet, London Sinfonietta, Insomnio Ensemble, Phoenix Ensemble, Basler Schlagzeug Trio, NidarosSlagverkensemble, Bindou Ensemble.
With Ken Hyder from Scotland, and GendosChamzyryn from Tuva, he worked in the K-SPACE project, named after the Soviet cosmologist Nikolai Kozyrev. With numerous tours of Europe and Siberia, K-Space’s CD releases include Infinity, a set of recordings that breaks new ground by using customised software to re-compose the music with each listening, creating an experience intended to parallel that of shamanic flight. In 2009, K-Space developed a sound-installation for the exhibition Shamans of Siberia at the Museum of Ethnology in Stuttgart.
As a writer, he has published articles and reviews on improvised music, musiqueconcrète (he interviewed Pierre Schaeffer in 1986), spectralism, the boundary between art and shamanism in Tuva, and the impact of new technology on contemporary music making – in, amongst others, Perspectives of New Music, Arcana, Contemporary Music Review, Musicworks, The Wire, Cambridge Anthropology, Variant, RER Quarterly, and Resonance Magazine. In 2016 his book Music and the Myth of Wholeness was published by MIT press.