DOCSLIB.ORG

The Creation and Legacy of the Bbc Radiophonic Workshop Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Creation and Legacy of the Bbc Radiophonic Workshop Pdf, Epub, Ebook SPECIAL SOUND: THE CREATION AND LEGACY OF THE BBC RADIOPHONIC WORKSHOP PDF, EPUB, EBOOK Louis Niebur | 272 pages | 04 Nov 2010 | Oxford University Press Inc | 9780195368413 | English | New York, United States Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop PDF Book Retrieved 15 October Quiz: How Glastonbury are You? Derbyshire's original arrangement served as Doctor Who's main theme for its first seventeen series, from to Murray Gold , composer of all Doctor Who music since the show's revival in , did something special for Before the Flood, episode four of the ninth series broadcast on 10th October - he provided a rocked-out new arrangement of the theme tune to complement the episode. A fraction of the studio at Maida Vale. Who composer". In essence, synthesiser culture split the workshop in two, says Kingsland, who arrived just as the new technology was coming in. Moreover, it is transporting to hear such unique sounds, while reading about them. Seeing Through Music Peter Franklin. English musician and composer of electronic music. Music balancer Daphne Oram and studio engineer Desmond Briscoe were brought in to create sound effects for them, and the sounds that they made, using new-fangled tape-splicers and sine wave oscillators, were an instant hit. The trio, using pseudonyms, also contributed to the Standard Music Library. See media help. Derbyshire's later life was chaotic due to chronic alcoholism; she died of renal failure , aged 64, in July Skip to main content. In , her demands were green-lit and, with her as the first studio manager, the Radiophonic Workshop was born. To which she replied, "Most of it! Combining historical discussion of the people and instruments in the workshop with analysis of specific works, Louis Niebur creates a new model for understanding how the Radiophonic Workshop fits into the larger history of electronic music. Sign in. Laurie Spiegel. British readers may react with a mixture of dismay and amusement to Niebur's forensic analysis of these early days. Suzanne Ciani. Show Summary Details. Moreover, it is transporting to hear such unique sounds, while reading about them. She also frequented the gallery space of Chinese artist Li Yuan-chia at his stone farmhouse in Cumbria. More amazingly, these extraordinary sounds came from the manipulation of very ordinary items. Retrieved 16 June In August she assisted composer Luciano Berio at a two-week summer school at Dartington Hall , for which she borrowed several dozen items of equipment from the BBC. By explaining who was creating and who was watching certain BBC broadcasts at certain times, Niebur substantiates his claim that an entire musical fashion spread from the Radiophonic Workshop, situating their special sounds as a cultural intermediary for British society throughout the second half of the twentieth century. Once registered you can read a total of 3 articles each month, plus:. Review: Facing Beauty: Painted W Daphne Oram: Still Point - excerpt Prom Retrieved 14 August The job was handed to Delia Derbyshire , who worked with sound engineer Dick Mills. After the Second World War, the BBC had been trying to bolster British morale and identity by broadcasting intelligent shows and contemporary plays on the earliest incarnation of Radio 3, The Third Programme. Express Yourself: The stories behind N. Derbyshire appeared as a character in it, portrayed by actress Sarah Winter. Problems playing this file? From soca to sofa: how to recreate the Carnival experience at home View From soca to sofa: how to recreate the Carnival experience at home. Oxford University Press is a department of the University of Oxford. Related Links. Accessed 15 July Archived from the original on 14 September Wikimedia Commons has media related to Delia Derbyshire. Niebur's passion for sounds of radio and television invigorates engaging and often entertaining writing. Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop Writer Derbyshire appeared as a character in it, portrayed by actress Sarah Winter. In essence, synthesiser culture split the workshop in two, says Kingsland, who arrived just as the new technology was coming in. Archived from the original on 11 September Also of Interest. The job was handed to Delia Derbyshire , who worked with sound engineer Dick Mills. Using in-depth research in the studio's archives and papers, this book tells the history of the many engineers, composers, directors, and producers behind the studio to trace the shifting perception towards electronic music in Britain. They encouraged a spirit of playful experimentation that produced the strange, quirky sounds that gave the Workshop its name, both in early BBC horror dramas such as Quatermass and The Pit and comedy programmes like the popular Goon Show. Doctor Who News. Using in-depth research in the studio's archives and papers, this book tells the history of the many engineers, composers, directors, and producers behind the studio to trace the shifting perception towards electronic music in Britain. That spirit of innocence and joyfulness remained until the workshop ceased to be. Projections of Memory Richard I. She died of renal failure in , a year before two compilations of Radiophonic Workshop music would remind the world of her talents and those of her colleagues. Murray Gold , composer of all Doctor Who music since the show's revival in , did something special for Before the Flood, episode four of the ninth series broadcast on 10th October - he provided a rocked-out new arrangement of the theme tune to complement the episode. Are these the most indie indie bands ever? It is mandatory to procure user consent prior to running these cookies on your website. Coventry-based theatre company Noctium Theatre produced a play named Hymns for Robots about Derbyshire's working life, [51] which played at the Edinburgh Fringe festival. The BBC built a studio to provide its own avant-garde dramatic productions with experimental sounds "neither music nor sound effect. Strenuous efforts to keep a lid on the crazies were moderately successful. Performing the Doctor Who theme and incidental music from the series at the Royal Albert Hall with an orchestra is so popular it's happened three times now - in , and The Radiophonic Workshop rides again! Development History Canada and the U. And that was just the latest version of the track, which was originally composed and created in and remains one of the most recognisable pieces of music ever written - a legendary TV signature tune, but also an historically significant recording. With great enthusiasm she demonstrated a process that was surprisingly human and organic, but also revolutionary. Portal Category Book. View Quiz: Foos or Muse? Still Point forms the centrepiece of a late-night sonic exploration that features work by Delia Derbyshire — another Radiophonic Workshop pioneer who achieved cult status for her electronic arrangement of the Doctor Who TV theme — as well as new works inspired by the Radiophonic legacy. How to create the perfect Bond theme View How to create the perfect Bond theme. The band are massive Doctor Who fans, and they're not alone in the world of rock. Just register and complete your career summary. Skip to main content. The Workshop had a bit of a reputation for driving people nuts The recording of their experiment is now lost, but perhaps it is sufficient to know that it happened. It even made it to the Proms. Adjacent to it is a mural depicting Derbyshire. This volume should be required reading for anyone interested in British culture, music, and technical innovation during the mid- twentieth century. Two years after the theme was completed, Tomorrow's World visited Derbyshire at the Workshop to find out more about how she composed such seemingly alien music. Prom Pioneers of Sound. Here's Muse 's Uprising from their fifth album, The Resistance. These cookies do not store any personal information. This alarmist view suited both the BBC Music Department, in which the priority was a nationalistic "guardianship of rational development of musical aesthetics", and conservative critics such as Reginald Smith Brindle of The Musical Times , who described experimentalists as the "lunatic fringe". Retrieved 2 December Retrieved 16 June Last chance to see: iPlayer's musical treats that won't last forever View Last chance to see: iPlayer's musical treats that won't last forever. Daphne Oram. Birt brought in the Producer's Choice policy, forcing the departments to become internally competitive. All Rights Reserved. Dear Customer, As a global organization, we, like many others, recognize the significant threat posed by the coronavirus. Find more Proms on TV. Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop Reviews October—December Retrieved 15 June Er, sound familiar!? In January she bought a house in Northampton, where four months later Blackburn joined her. Longing for The Weeknd? Moreover, it is transporting to hear such unique sounds, while reading about them. BBC News. In essence, synthesiser culture split the workshop in two, says Kingsland, who arrived just as the new technology was coming in. Is this why the Workshop continues to fascinate people of all ages? That night the Roundhouse became our Tardis, taking us back to a much simpler age. Echoing the ideas of French historian Pierre Nora, Niebur inconspicuously separates the realms of history and memory, such that, whilst the former is ostensibly the business of Special Sound — the property of a sequential account of an extinct music studio — the latter continues to be embodied in recollections about the venue, about the people involved and about social and musical attitudes. Dave Edwards. Still Point forms the centrepiece of a late-night sonic exploration that features work by Delia Derbyshire — another Radiophonic Workshop pioneer who achieved cult status for her electronic arrangement of the Doctor Who TV theme — as well as new works inspired by the Radiophonic legacy.
Load more

Recommended publications
  • 1 2019 Gally Academic Track Friday, February 15
    2019 Gally Academic Track Friday, February 15, 2019 3:00-3:15 KEYNOTE “The Fandom Hierarchy: Women of Color’s Fight For Visibility In Fandom Spaces” Tai Gooden Women of Color (WoC) have been fervent Doctor Who fans for several decades. However, the fandom often reflects societal hierarchies upheld by White privilege that result in ignoring and diminishing WoC’s opinions, contributions, and legitimate concerns about issues in terms of representation. Additionally, WoC and non-binary (NB) people of color’s voices are not centered as often in journalism, podcasting, and media formats nor convention panels as much as their White counterparts. This noticeable disparity has led to many WoC, even those who are deemed “important” in fandom spaces, to encounter racism, sexism, and, depending on the individual, homophobia and transphobia in a place that is supposed to have open availability to everyone. I can attest to this experience as someone who has a somewhat heightened level of visibility in fandom as a pop culture/entertainment writer who extensively covers Doctor Who. This presentation will examine women of color in the Doctor Who fandom in terms of their interactions with non-POC fans and difficulties obtaining opportunities in media, online, and at conventions. The show’s representation of fandom and the necessity for equity versus equality will also be discussed to craft a better understanding of how to tackle this pervasive issue. Other actionable solutions to encourage intersectionality in the fandom will be discussed including privileged people listening to WoC and non- binary people’s concerns/suggestions, respectfully interacting with them online and in person, recognizing and utilizing their privilege to encourage more inclusivity, standing in solidarity with them on critical issues, and lending their support to WoC creatives.
    [Show full text]
  • Back from the Fourth Dimension Paddy Kingsland
    Back From The Fourth Dimension Paddy Kingsland Posted: April 22, 2014 robinthefog.com/2014/04/22/back-from-the-fourth-dimension-paddy-kingsland/ As promised, following last week’s report for BBC World Service, here is the first of four interviews with the veterans of the Radiophonic Workshop, the ‘Godfathers of British Electronic Music’, now reformed and touring their collection of vintage analogue equipment and classic radiophonic works to rapturous reception. They’ll be featured in the order I interviewed them two weeks ago at the University of Chichester, so we’re starting with synthesiser legend Paddy Kingsland; the man who definitely put the ‘funk’ into radiophonics. Best known for The Fourth Dimension LP (essentially a Kingsland solo album), he has a string of classic BBC themes to his name, as well as providing incidental music for such classics as Hitchhiker’s Guide to the Galaxy, Dr. Who and many more. Paddy has also recorded solo albums, made library music and jingles for KPM and worked alongside composers such as Michael Nyman. His signature sound is melodic synthesiser workouts with a strong rhythmic back-bone and the track ‘Vespucci’ is a highlight of their revived set-list. This interview, slightly truncated here, took place in the artist’s green room at Chichester University; with moderate interruptions from the air conditioning... ! PK: I worked at the Radiophonic Workshop for the BBC between 1970 and 1981, which is quite a long time ago now. Of course I’ve done quite a lot of other things since then, but more recently I was approached by some other friends who worked at the BBC Radiophonic Workshop and was asked if I‘d be interested in doing some gigs with them – some live events.
    [Show full text]
  • This Week's Essential Reading
    10 Friday, December 3, 2010 www.thenational.ae The N!tion!l thereview The N!tion!l thereview Friday, December 3, 2010 www.thenational.ae 11 this week’s essential reading ‘From Rising Skirt Lengths to the If ‘mood polarity’ is negative, then markets falter. Horror movies are popular, people buy Collapse of World Powers’ by Michelle drab cars and governments favour protectionist policies. That’s socionomics, so-called } music { Baddeley, Times Higher Education playlist " From Halim El-Dabh to the theremin – a look back into early incarnations of synthesised sound Resonant freq uencies Halim El-Dabh Crossing into the Electric Magnetic Without Fear (2000) The Egyptian composer’s electronic experiments include A new book details the history of the ess, whether that be a composer recordings from the Columbia- writing down notes or a musi- Princeton Electronic Music BBC Radiophonic Workshop and its cian playing them. Few people hear a soaring string quartet and Studios in the 1950s, and boundary-breaking adventures in attribute its power merely to a material made in a Cairo radio maestro’s fleeting moods, or the station 1944, which may be the electronic music, writes Andy Battaglia wood and steel of a violin. But first treated music in history. even fewer of us can hear a work El-Dabh’s curiosity has led him For all the ways they can sound The broadcast in question was an of electronic music and even try along many low-tech paths, too. strange now, it’s hard to imagine experimental spoken-word show to guess at its origins – at its real how alien the earliest electronic called Private Dreams and Public causes and effects.
    [Show full text]
  • Blink by Steven Moffat EXT
    Blink by Steven Moffat EXT. WESTER DRUMLINS HOUSE - NIGHT Big forbidding gates. Wrought iron, the works. A big modern padlock on. Through the gates, an old house. Ancient, crumbling, overgrown. Once beautiful - still beautiful in decay. Panning along: on the gates - DANGER, KEEP OUT, UNSAFE STRUCTURE -- The gates are shaking, like someone is climbing them -- -- and then a figure drops into a view on the other side. Straightens up into a close-up. SALLY SPARROW. Early twenties, very pretty, just a bit mad, just a bit dangerous. She's staring at the house, eyes shining. Big naughty grin. SALLY Sexy! And she starts marching up the long gravel drive ... CUT TO: INT. WESTER DRUMLINS HOUSE. HALLWAY - NIGHT The big grand house in darkness, huge sweeping staircase, shuttered window, debris everywhere -- One set of shutters buckles from an impact from the inside, splinters. SALLY SPARROW, kicking her away in -- CUT TO: INT. WESTER DRUMLINS HOUSE. HALLWAY/ROOMS - NIGHT SALLY, clutching a camera. Walks from one room to another. Takes a photograph. Her face: fascinated, loving this creepy old place. Takes another photograph. CUT TO: INT. WESTER DRUMLINS HOUSE. CONSERVATORY ROOM - NIGHT In the conservatory now - the windows looking out on a darkened garden. And a patch of rotting wallpaper catches SALLY'S eye -- 2. High on the wall, just below the picture rail, a corner of wallpaper is peeling away, drooping mournfully down from the wall -- -- revealing writing on the plaster behind. Just two letters we can see - BE - the beginning of a word -- She reaches up on tiptoes and pulls at the hanging frond of wallpaper.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008).
    [Show full text]
  • NSF Programme Book 23/04/2019 12:31 Page 1
    two weeks of world-class music newbury spring festival 11–25 may 2019 £5 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 1 A Royal Welcome HRH The Duke of Kent KG Last year was very special for the Newbury Spring Festival as we marked the fortieth anniversary of the Festival. But following this anniversary there is some sad news, with the recent passing of our President, Jeanie, Countess of Carnarvon. Her energy, commitment and enthusiasm from the outset and throughout the evolution of the Festival have been fundamental to its success. The Duchess of Kent and I have seen the Festival grow from humble beginnings to an internationally renowned arts festival, having faced and overcome many obstacles along the way. Jeanie, Countess of Carnarvon, can be justly proud of the Festival’s achievements. Her legacy must surely be a Festival that continues to flourish as we embark on the next forty years. www.newburyspringfestival.org.uk 1 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 2 Jeanie, Countess of Carnarvon MBE Founder and President 1935 - 2019 2 box office 0845 5218 218 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 3 The Festival’s founder and president, Jeanie Countess of Carnarvon was a great and much loved lady who we will always remember for her inspirational support of Newbury Spring Festival and her gentle and gracious presence at so many events over the years. Her son Lord Carnarvon pays tribute to her with the following words. My darling mother’s lifelong interest in the arts and music started in her childhood in the USA.
    [Show full text]
  • Delia Derbyshire Sound and Music for the BBC Radiophonic Workshop, 1962-1973
    Delia Derbyshire Sound and Music For The BBC Radiophonic Workshop, 1962-1973 Teresa Winter PhD University of York Music June 2015 2 Abstract This thesis explores the electronic music and sound created by Delia Derbyshire in the BBC’s Radiophonic Workshop between 1962 and 1973. After her resignation from the BBC in the early 1970s, the scope and breadth of her musical work there became obscured, and so this research is primarily presented as an open-ended enquiry into that work. During the course of my enquiries, I found a much wider variety of music than the popular perception of Derbyshire suggests: it ranged from theme tunes to children’s television programmes to concrete poetry to intricate experimental soundscapes of synthesis. While her most famous work, the theme to the science fiction television programme Doctor Who (1963) has been discussed many times, because of the popularity of the show, most of the pieces here have not previously received detailed attention. Some are not widely available at all and so are practically unknown and unexplored. Despite being the first institutional electronic music studio in Britain, the Workshop’s role in broadcasting, rather than autonomous music, has resulted in it being overlooked in historical accounts of electronic music, and very little research has been undertaken to discover more about the contents of its extensive archived back catalogue. Conversely, largely because of her role in the creation of its most recognised work, the previously mentioned Doctor Who theme tune, Derbyshire is often positioned as a pioneer in the medium for bringing electronic music to a large audience.
    [Show full text]
  • Read Ebook {PDF EPUB} Doctor Who and the Leisure Hive by David Fisher Doctor Who and the Leisure Hive by David Fisher
    Read Ebook {PDF EPUB} Doctor Who and the Leisure Hive by David Fisher Doctor Who and the Leisure Hive by David Fisher. The Doctor and Romana travel to the Leisure Hive on Argolis, a planet ravaged by a nuclear war with the Foamasi years earlier. The Argolin leader, Mena, explains that her people are now sterile and the Hive is their legacy, intended to bring different races together in the spirit of peace. The main attraction is a device called the Tachyon Recreation Generator, but it is experiencing mysterious faults. At the same time, Mena's son, Pangol, becomes increasingly militant; the scientist Hardin conducts fraudulent temporal experiments; an Earth businessman, Brock, behaves very oddly; and mysterious creatures prowl the Leisure Hive. Production. Throughout the incubation of Doctor Who 's seventeenth season, the outgoing team of producer Graham Williams and script editor Douglas Adams had tried unsuccessfully to attract new writers to the programme. As a result, they had found themselves relying on veteran Doctor Who contributors, while also leaving few viable scripts in development for Williams' successor, John Nathan-Turner. Despite these struggles, Nathan- Turner was eager to attract not only new writers, but also new directors to Season Eighteen. However, he and executive producer Barry Letts were also keen to rein in the programme's humorous and fantastical tendencies, in favour of a renewed emphasis on more legitimate science. This was out of keeping with those few narratives -- such as Pennant Roberts' “Erinella” and Alan Drury's “The Tearing Of The Veil” -- that remained available for consideration. With no script editor in place when he took over as producer in December 1979, this forced Nathan-Turner to turn to a familiar Doctor Who name: David Fisher.
    [Show full text]
  • Digital Booklet
    ORIGINAL TELEVISION SCORE ADDITIONAL CUES FOR 4-PART VERSION 01 Doctor Who - Opening Theme (The Five Doctors) 0.36 34 End of Episode 1 (Sarah Falls) 0.11 02 New Console 0.24 35 End of Episode 2 (Cybermen III variation) 0.13 03 The Eye of Orion 0.57 36 End of Episode 3 (Nothing to Fear) 0.09 04 Cosmic Angst 1.18 05 Melting Icebergs 0.40 37 The Five Doctors Special Edition: Prologue (Premix) 1.22 06 Great Balls of Fire 1.02 07 My Other Selves 0.38 08 No Coordinates 0.26 09 Bus Stop 0.23 10 No Where, No Time 0.31 11 Dalek Alley and The Death Zone 3.00 12 Hand in the Wall 0.21 13 Who Are You? 1.04 14 The Dark Tower / My Best Enemy 1.24 15 The Game of Rassilon 0.18 16 Cybermen I 0.22 17 Below 0.29 18 Cybermen II 0.58 19 The Castellan Accused / Cybermen III 0.34 20 Raston Robot 0.24 21 Not the Mind Probe 0.10 22 Where There’s a Wind, There’s a Way 0.43 23 Cybermen vs Raston Robot 2.02 24 Above and Between 1.41 25 As Easy as Pi 0.23 26 Phantoms 1.41 27 The Tomb of Rassilon 0.24 28 Killing You Once Was Never Enough 0.39 29 Oh, Borusa 1.21 30 Mindlock 1.12 31 Immortality 1.18 32 Doctor Who Closing Theme - The Five Doctors Edit 1.19 33 Death Zone Atmosphere 3.51 SPECIAL EDITION SCORE 56 The Game of Rassilon (Special Edition) 0.17 57 Cybermen I (Special Edition) 0.22 38 Doctor Who - Opening Theme (The Five Doctors Special Edition) 0.35 58 Below (Special Edition) 0.43 39 The Five Doctors Special Edition: Prologue 1.17 59 Cybermen II (Special Edition) 1.12 40 The Eye of Orion / Cosmic Angst (Special Edition) 2.22 60 The Castellan Accused / Cybermen
    [Show full text]
  • 2009 Daphne Oram's Optical Synthesizer
    Graham Wrench: The Story Of Daphne Oram’s Optical Synthesizer http://www.soundonsound.com/sos/feb09/articles/oramics.htm by Steve Marshall To celebrate the 50th anniversary of the BBC Radiophonic Workshop in April 2008, I wrote about its history for Sound On Sound (you can read the article on-line at www.soundonsound.com/sos/apr08/articles/radiophonic.htm). I’ve always felt that Daphne Oram’s importance has been underestimated, both as a co- founder of the Workshop and as an electronic composer, so I tried to redress this by including as much as I could about her graphically controlled Oramic synthesiser. This was not easy, as Daphne died in 2003 and I was unable to find anyone who’d even seen the Oramic System, let alone knew how it worked. I did my best, but shortly after the magazine went on sale, an email was forwarded to me by Sound On Sound. “I enjoyed the article very much,” said the writer. “With reference to the bizarre design concept of the original Oramics machine, you might be interested in some background as to why and how it took shape! I was the engineer who originally turned Daphne’s concept into a reality, with an extremely tight budget and a lot of inverted, lateral thinking.” It was signed: “Yours respectfully, Graham Wrench.” I had to meet this man! So off I went to rural Suffolk, where Graham lives in a little house crammed with engineering wonders. There are musical instruments, home-made telescopes, model railways, vintage photographic gear There’s even a steam railway museum just down the road! Despite these temptations, I managed to spend a whole afternoon listening to Graham’s account of how Oramics really worked, and how he came to design and build the prototype.
    [Show full text]
  • 2009 from the Daphne Oram Collection
    http://daphneoram.org/collection/ Daphne Oram From the Daphne Oram Collection Because of WWII, the role of women in society changed dramatically in the years following. Women had proved themselves more than capable technicians, producers and broadcasters during men’s absence with the war effort. Daphne recalled, “In 1942 it was arranged for met to go to Royal College of Music – but because of War time regulations, I would have to agree to be a music teacher after leaving RCM – I didn’t want to be a ‘school ma’am’! My Father entered me for Electro-Therapist at King’s College Hospital (Denmark Hill). I passed the exams, the uniform was ordered but I went against my Father because there was practically no music. Eventually I won my Father round and I went to the BBC instead.” Daphne Oram was employed at the BBC as a Junior Studio engineer and music balancer. She notes “As a Junior Programme Engineer, one of my jobs was to play the 78rpm gramophone records. With the help of a full score I had to change over from record to record, perfectly in time, so that a symphony, say on ten discs, was continuous. My other duties at the time , 1943-1944, was to assist my more senior colleagues with music balancing in the studios. I joined the BBC in October 1943. In November and December, while I was still 17, I assisted recitals by Eileen Joyce, Leon Gooseus, Isobel Baillie; and early in 1944, the London Philharmonic Orchestra...” In June 1944 Daphne also was working on the Proms in the Royal Albert Hall, on standby with gramophone records synced up to the live music that could take over in case of a bombing raid.
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Adkins, Monty, Duque, Carlos and Karman, Gregorio The electronic music of Roberto Gerhard Original Citation Adkins, Monty, Duque, Carlos and Karman, Gregorio (2012) The electronic music of Roberto Gerhard. In: International Computer Music Conference Proceedings. MPublishing, University of Michigan Library, Ann Arbor, MI, pp. 22-29. This version is available at http://eprints.hud.ac.uk/16242/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ THE ELECTRONIC MUSIC OF ROBERTO GERHARD white noise and sine-tone generators, as well as to digitize all of the tapes as well as to produce a transformed timpani, flute and piccolo. complete catalogue of the contents of the archive. The current research project2 has digitized all of the Monty Adkins Carlos Duque Gregorio Karman 2.
    [Show full text]