DOCSLIB.ORG

31 May-7 June 2014 >]Abs`Rsawu\SRPg9Sdw\1]Eo`R

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
31 May-7 June 2014 >]Abs`Rsawu\SRPg9Sdw\1]Eo`R 3ReO`R/ZRS`b]\BVSOb`S Edward#0`O[^b]\@]OR0SfZSgVSObV9S\b2/%"3H Alderton Theatre Non-Professional 0O`]^S\a(% ! ^ [ >S`T]`[O\QSPSUW\a(&^[BWQYSba(&[S[PS`a /\]\^`]TSaaW]\OZ^`]RcQbW]\ The Tempest By William Shakespeare Directed by Mark Campbell 31 May-7 June 2014 >]abS`RSaWU\SRPg9SdW\1]eO`R Box0]f=T¿QS( Office: 020 &!##&" 8301 5584eeeSReO`ROZRS`b]\]`UProgramme £1.00 www.edwardalderton.org EAT NEws DirEctor’s notes and sUmmAry Auditions Plot summary Auditions for Pygmalion by Bernard Shaw, directed by Tony Donnelly, will take place at the theatre on sunday 15 June 2014 at 3pm. Information will shortly be found on our website. The performance dates lonso, the king of Naples, is returning from his daughter’s wedding in Tunis accompanied are 18-25 October 2014. by his son Ferdinand, his brother Sebastian, and Antonio, the Duke of Milan. Gonzalo, a Acouncellor, is also on board. The ship is wrecked in a storm and the passengers and crew are Another round of auditions for Terry and Gary in ‘Dulci Jubilo’, written and directed by Ian Long, will washed up unharmed on a remote island. take place at the theatre on sunday 15 June 2014 at 2pm. Information can be found on our website. The performance dates are 6-13 December 2014. Prospero, the former Duke of Milan, and his daughter Miranda, are watching the shipwreck from the island. Twelve years earlier his brother Antonio had usurped him, but with Gonzalo’s help they had escaped in a boat. Prospero had turned the only inhabitant, the savage Caliban, into his slave and Selected highlights of Hancock’s Hour and a Half now online released the spirit Ariel from imprisonment by the witch Sycorax, whereupon she became his servant. Scriptwriters Ray Galton and Alan Simpson have kindly allowed us to put a short ‘highlights’ video together of last year’s successful radio special Hancock’s Hour and a Half, produced by Sarah O’Hanlon Ferdinand encounters Miranda and they fall in love. But Prospero puts Ferdinand to work, separating and Mark Campbell. If you enjoyed the show and want to see more—or missed it and want to see what him from Miranda so that their love can be stronger through adversity. Antonio and Sebastian plan to all the fuss was about—then remember we have Another Helping of Hancock’s Hour and a Half on 7-10 kill Alonso so that Sebastian can be king. Trinculo, the court jester, and Stephano, a boisterous butler, January next year, where we’ll be performing three more episodes of Hancock’s Half Hour. To watch the encounter Caliban who recruits them to help overthrow Prospero. They all get drunk together. video, click on the link on our Home page. Prospero releases Ferdinand and gives his blessing to their marriage. When the three would-be usurpers arrive at his cell they are distracted by some bright clothes and chased away by a pack of Up Pompeii author visit wild dogs. Finally, Prospero gathers everyone together, renounces his magic and reveals his true Miles Treddinick, the writer of the stage version of Up identity. He forgives his brother and prepares to return to Milan to resume his dukedom. Miranda and Pompeii, came to watch the show on Thursday night Ferdinand are betrothed. The bosun appears, announcing that their ship hasn’t been wrecked after and stayed behind to meet the cast. He declared himself all, and is safely anchored off the island. Ariel is set free. Caliban and the drunken servants are also extremely happy with what he saw and praised the cast forgiven. All ends happily. and director Roz Betts on the energetic production and the brilliant comic timing from all concerned. Director’s Notes I’ve had a marvellous time bringing Shakespeare’s last play to life. The story is elegant, simple and (hopefully) easy to understand. If I can follow it—and I struggle with Inspector Morse—then anyone Eleanor’s one-woman show can. My cast have brought a wonderful lightness of touch to their characters and have cheerfully Eleanor McEnery will once again by delighting us with another of her sell-out one-woman shows, this accommodated my sometimes strange requests. Thanks too to my hard working stage crew who time entitled A funny thing happened on the way to the theatre. The date for this special event is have had to cope with my irritating vagueness about costumes or lighting effects. I know what I want, Saturday 14 June 2014. Entry price includes nibbles and a glass of wine or soft drink but sometimes I can’t quite describe it properly! My aim in putting on The Tempest is to tell a riveting story through great acting and simple but Demolition of adjacent Adult Education buildings effective stagecraft. I hope I have done this tonight. Please sit back and enjoy this magical, dreamy Work has now begun on demolishing the old buildings next to the theatre. A detached 2/3 storey drama of nature, the supernatural and the divine power of love and reconciliation. building will be built in its place, to provide more rooms for the Adult Education Centre, along with provision of 40 additional parking spaces. Further information can be found on the London Borough And if you’ve enjoyed it, please stay behind and tell my actors. Between you and me I think they’re of Bexley website. In the meantime, please note that access to the theatre, and the theatre car park, is fabulous, but if I tell them, they probably won’t believe me. from the Danson Youth Centre car park only. Unfortunately the wheelchair accessible disabled toilets have been closed until further notice. mark campbell, Director A selection of images of cast by william The Tempest The Tempest shakespeare during rehearsals. Photographs by sarah O’Hanlon Directed by Mark Campbell The Cast: In order of appearance Scenes: Prospero, the rightful Duke of Milan ................Richard Self Act 1, Scene 1: The storm Miranda, his daughter .............................................Ciara O’Hare Act 1, Scene 2: Ariel, a spirit ................................................................Louise Ody Outside Prospero’s cell Caliban, a savage and deformed slave ...........Maureen Hardwen Act 2, Scene 1: Ferdinand, the King of Naples’ son ..................Darren Cullen Another part of the island Gonzalo, a Councellor ............................................Paul Friett Act 2, Scene 2: Alonso, King of Naples ...........................................Martin Gilby Another part of the island Sebastian, his brother .............................................Andy Masters interval Antonio, Prospero’s brother ................................Kevin Coward Act 3, Scene 1: Trinculo, a jester ........................................................Steve Padgham Outside Prospero’s cell Stephano, a drunken butler .................................Matthew Friett Act 3, Scene 2: Bosun .............................................................................Ken Swan Another part of the island Act 3, Scene 3: The Crew: Another part of the island Director .........................................................................Mark Campbell Act 4: Outside Prospero’s cell Stage Manager ...........................................................Sarah O’Hanlon Act 5: Outside Prospero’s cell Assistant Stage Manager ......................................Roz Betts Lighting Design..........................................................Mark Campbell Lighting Rigging ........................................................ Mark Campbell, Michael Taylor, Sarah O’Hanlon, Nicholas Hewitt and Laura Cakebread Lighting Operation ...................................................Ian Long Sound Design & Operation ...................................Michael Taylor Set Design ....................................................................Mark Campbell Set Construction .......................................................John Vinnels, John Gardner, Ron Andrews Set Painting .................................................................Michael Taylor Costumes......................................................................Janet Norton, Isabel Trafford Properties .....................................................................Mark Campbell and cast Crew ................................................................................Isabel Trafford Publicity and posters ..............................................Kevin Coward Music: A Winged Victory For The Sullen ~ A Winged Victory for the Sullen (2011) Richard Attree ~ No Easy Road (1987) Dick Mills ~ Macrocosm (1981) and Catch The Wind (1981) Paddy Kingsland ~ Brighton Pier (1980) Elizabeth Parker ~ Planet Earth (1981) and Salem’s Lot (1992) Peter Howell ~ Lascaux (1980) Underworld ~ And I Will Kiss (2012) For more information on yarndling please visit http://skonnos.netbarn.co.uk/yarndling.htm 3ReO`R/ZRS`b]\BVSOb`S 3ReO`R/ZRS`b]\BVSOb`S images frOm our lAsT ProducTion #0`O[^b]\@]OR0SfZSgVSObV9S\b2/%"3Hour nexT Produ#0`O[^b]\@]OR0SfZSgVSObV9S\b2/%"3HcTions 0O`]^S\a(% ! ^ [ >S`T]`[O\QSPSUW\a(&^[BWQYSba(&[S[PS`a 0O`]^S\a(% ! ^ [ >S`T]`[O\QSPSUW\a(&^[BWQYSba(&[S[PS`a /\]\^`]TSaaW]\OZ^`]RcQbW]\ /\]\^`]TSaaW]\OZ^`]RcQbW]\ A>317/:A6=E 19th-26th J u l y 2 0 1 4 =\S\WUVb]\Zg By Lewis Carroll Adapted and Directed by Charlotte Jacobs “A funny thing happened on the way to Up pompeii @S[W\WaQS\QSaPg the theatre”3ZSO\]`;Q3\S`g >`WQSW\QZcRSa\WPPZSaO\R BVSOb`S OUZOaa]TeW\S]`a]TbR`W\Y E/@<7<5 2cSb]ORcZb Saturday bVS[SabVWa ^`]RcQbW]\Wa >]abS`RSaWU\ \]bacWbOPZST]` >]abS`RSaWU\SRPg O\RWZZcab`ObW]\ c\RS` a 9SdW\1]eO`R 14 June 2014 Pg9SdW\1]eO`R alice 0]f=T¿QS( &!##&"eeeSReO`ROZRS`b]\]`U 0]f=T¿QS( &!##&"eeeSReO`ROZRS`b]\]`U
Load more

Recommended publications
  • 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]
  • The Focus Group and Belbury Poly by Mark Fisher
    Nostalgia for Modernism: The Focus Group and Belbury Poly ‘Myself and my friend Jim Jupp had been making music, independently and together for a while, and also obsessing over the same things – the cosmic horror of Machen, Lovecraft, the Radiophonic Workshop, weird folk and the occult. We realised that we wanted to put our music out, but also create our own world where we could play with all these reference points. Starting our own label was the only way to do it.’ Julian House is describing how he and his school-friend Jim Jupp came to found the Ghost Box label. Off-kilter bucolic, drenched in an over-exposed post-psyche-delic sun, Ghost Box recordings are uneasy listening to the letter. If nostalgia famously means ‘homesickness’, then Ghost Box sound is about unhomesickness, about the uncanny spectres entering the domestic environment through the cathode ray tube. At one level, the Ghost Box is television itself; or a television that has disappeared, itself become a ghost, a conduit to the Other Side, now only remembered by those of a certain age. No doubt there comes a point when every generation starts pining for the artefacts of its childhood – but was there something special about the TV of the 1970s which Ghost Box releases obsessively reference? ‘I think there definitely was something powerful about the children’s TV from that period,’ House maintains. ‘I think it was just after the 60s, these musicians and animators, film makers had come through the psychedelic thing and acid folk, they had these strange dark obsessions that they put into their TV programmes.
    [Show full text]
  • 2012 Selected Radiophonic Works on Radio 4 Extra
    Selected Radiophonic Works on Radio 4 Extra There was a treat for fans of the Radiophonic Workshop on Radio 4 extra last Saturday evening, with 3 hours of programming based around their output. It was presented by Richard Coles, a former keyboard player and singer with The Communards who made an interesting post-pop career move of taking up the cloth (he is a C of E vicar, the Rev.Richard Coles), and, as far as his ecclesiastical duties allow, is an irregular but always welcome commentator on and presenter of arts programmes. As a sort of prelude, Stuart Maconie played John Baker’s Codename as the opening track on his Radio 6 Friday night programme The Freakier Zone. It’s Baker’s theme for a 1969 BBC spy adventure serial, and can be found on the first of the two excellent volumes of The John Baker Tapes released on Trunk Records a couple of years ago. It’s typical of his style, its springy melody riding effortlessly on infectiously sprightly rhythms, the source sounds (usually of humble, everyday origin) edited together with immaculate precision. Baroque portal - the entrance to the Maida Vale studio, home of the Radiophonic Workshop The Radio 4 extra celebration presented several archive programmes featuring the Workshop’s music and sound design, beginning with a 1971 documentary, Electric Tunesmiths. This was made at a pivotal moment in the Workshop’s history, with fundamental changes in production methods occurring. Principally, this was due to the arrival of synthesisers, and in particular to the installation of the mammoth EMS Synthi 100 in April 1971, nicknamed the Delaware after the road in which the Maida Vale studios, where the Radiophonic Workshop was based, were situated.
    [Show full text]
  • By Paddy Kingsland (1973) / "BBC Radiophonic Music" by Delia Derbyshire, John Baker and David Cain (1971)
    R obin Carm ody, 2001 Thanks to Mark Cola, Darren Giddings and Martin Fenton. "The Fourth Dimension" by Paddy Kingsland (1973) / "BBC Radiophonic Music" by Delia Derbyshire, John Baker and David Cain (1971) I recently received copies of the above two LPs (the first albums of Radiophonic music released commercially by the BBC, though there had been single releases in the 60s) and have naturally added them to the expanding universe of Radiophonic history on Elidor (it's almost becoming a kind of microsite ...). Some of the sonics on The Fourth Dimensionare fairly conventionally of-the- time; the standard idea of the prog wonderboy amid a bank of analog synths, and certainly Kingsland's theme to the Radio 1 series "Scene and Heard" is fairly conventional trendiness circa 1970, and not great. "Just Love", written for BBC TV, could almost be Rick Wakeman and therefore is Not A Good Thing. "Vespucci", not a signature piece, sees Kingsland getting a little indulgent when left entirely to his own devices; it goes on at least a minute too long, but of course a track timed at 3'20" is mercifully short by the standards of certain bands very prominent in 1973, and it could pretty much fit into his extraordinary soundtrack for The Changes, and therefore has at least something going for it. But you feel it would be more resonant and moving if written to order; there's something emptily early 70s about it, as though it's waiting for a purpose to make it seem special, and that purpose cannot be found.
    [Show full text]
  • Shadowy Pioneers
    Radiophonic Workshop: the shadowy pioneers of electronic sound As pop luminaries queue up to appear on their forthcoming LP, we talk to surviving members of the BBC's Radiophonic Workshop, responsible for the theme music for many classic shows, including Doctor Who The Observer, Saturday 23 November 2013 19.00 GMT ! Delia Derbyshire of the Radiophonic Workshop in a BBC studio in 1965. !Photograph: BBC Photolibrary As musical legends go, they're a funny bunch. Five well-turned-out but unassuming gents, harrumphing and making small talk, they could easily be retired accountants at the golf club – were it not for the fact that they're busy wiring together enough vintage synthesisers and tape machines to make a young hipster techno producer faint with joy, all while the most peculiar boinging noises emerge from various speakers. Oh, and their manager's on the phone to Hot Chip's people, while the drummer from the Prodigy is sitting in the corner tapping his sticks. As per usual, though, the veteran tinkerers are mostly concerned with matters electronic. Worried about their antique equipment going out of tune, Paddy Kingsland, 66, mutters, "don't breathe on the autoharp!" There's a sudden electrical buzz; "ooh, that's playing havoc with my pacemaker," deadpans Roger Limb (who won't reveal his age). "Quick," says 77-year-old Dick Mills, helpfully, "stand in this bucket of water." This is life with the Radiophonic Workshop – the electronic Buena Vista Social Club, a "band that never was", masters of their craft finally coming together late in life.
    [Show full text]
  • Nicola Candlish Phd 2012
    Durham E-Theses The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio CANDLISH, NICOLA,ANNE How to cite: CANDLISH, NICOLA,ANNE (2012) The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3915/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio’ Nicola Anne Candlish Doctor of Philosophy Music Department Durham University 2012 Nicola Anne Candlish ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the Bids to Establish a National Studio’ This thesis traces the history and development of the facilities for electronic music in the UK.
    [Show full text]
  • Doctor Who 1 Doctor Who
    Doctor Who 1 Doctor Who This article is about the television series. For other uses, see Doctor Who (disambiguation). Doctor Who Genre Science fiction drama Created by • Sydney Newman • C. E. Webber • Donald Wilson Written by Various Directed by Various Starring Various Doctors (as of 2014, Peter Capaldi) Various companions (as of 2014, Jenna Coleman) Theme music composer • Ron Grainer • Delia Derbyshire Opening theme Doctor Who theme music Composer(s) Various composers (as of 2005, Murray Gold) Country of origin United Kingdom No. of seasons 26 (1963–89) plus one TV film (1996) No. of series 7 (2005–present) No. of episodes 800 (97 missing) (List of episodes) Production Executive producer(s) Various (as of 2014, Steven Moffat and Brian Minchin) Camera setup Single/multiple-camera hybrid Running time Regular episodes: • 25 minutes (1963–84, 1986–89) • 45 minutes (1985, 2005–present) Specials: Various: 50–75 minutes Broadcast Original channel BBC One (1963–1989, 1996, 2005–present) BBC One HD (2010–present) BBC HD (2007–10) Picture format • 405-line Black-and-white (1963–67) • 625-line Black-and-white (1968–69) • 625-line PAL (1970–89) • 525-line NTSC (1996) • 576i 16:9 DTV (2005–08) • 1080i HDTV (2009–present) Doctor Who 2 Audio format Monaural (1963–87) Stereo (1988–89; 1996; 2005–08) 5.1 Surround Sound (2009–present) Original run Classic series: 23 November 1963 – 6 December 1989 Television film: 12 May 1996 Revived series: 26 March 2005 – present Chronology Related shows • K-9 and Company (1981) • Torchwood (2006–11) • The Sarah Jane Adventures (2007–11) • K-9 (2009–10) • Doctor Who Confidential (2005–11) • Totally Doctor Who (2006–07) External links [1] Doctor Who at the BBC Doctor Who is a British science-fiction television programme produced by the BBC.
    [Show full text]
  • Download the Digital Booklet
    1 Scene & Heard (2.13) 7 Fourth Dimension (2.20) Bonus Tracks: 2 Just Love (1.42) 8 Colour Radio (2.30) 13 Rugby Special (1.40)* 3 Vespucci (3.17) 9 Take Another Look (2.21) 14 Willie Banks and The Administrative Machine (2.23)* 4 Reg (2.07) 10 Kaleidoscope (1.17) 15 The Ramsbottom File (2.02)* 5 Tamariu (2.45) 11 The Space Between (3.10) 6 One Eighty-One (1.54) 12 Flashback (2.52) * Previously Unreleased Music heard on radio and television (including Test Card Transmissions) Composed and Realised by Paddy Kingsland, BBC Radiophonic Workshop (BBC Music) Original Record Produced by Desmond Briscoe Original Record Co-ordinated by Jack Aistrop Produced and Remastered by Mark Ayres Sleeve Design and Photography by Andrew Prewett All titles published by Paddy Kingsland (PRS) Executive Producers for Silva Screen Records Ltd: Reynold D’Silva and David Stoner Digital Manager James Borrer Layout by Stuart Ford Notes by Desmond Briscoe The synthesisers used on this disc are both television drama, documentaries and children’s British, and both made by E.M.S. of London. programmes, to drama and schools programmes One aspect of the work of the BBC Radiophonic They are the VCS3, an amazingly versatile on radio and to many local radio stations. In all, Workshop is the composition and realisation of miniature synthesiser, and its big brother, the more that 200 different commitments a year are signature tunes and incidental music for BBC Synthi ‘100’, known within the Radiophonic undertaken. Radio and Television programmes. Programme Workshop as ‘The Delaware’, after the address producers come to the Workshop with varying of the Workshop.
    [Show full text]
  • Download the Digital Booklet
    EPISODE 1: THE NOISE EPISODE 6: A PILE OF STONES 1. The Changes Opening Titles 0.35 20. Sentence of Death 3.07 2. Home Alone (Nicky’s Theme) 3.05 21. Leaving Shipton 0.49 3. Everybody’s Gone 2.07 EPISODE 7: HEARTSEASE EPISODE 2: THE BAD WIRES 22. Heartsease 4.09 4. A Note on the Door 1.14 23. At Purton Bridge 1.10 5. A Special Kind of People 3.34 24. The Changes Closing Titles (63” version) 1.07 6. Your Ways Are Not Our Ways 1.08 7. The Changes Closing Titles (56” version) 1.01 EPISODE 8: LIGHTNING! 25. After the Bridge 1.59 EPISODE 3: THE DEVIL’S CHILDREN 26. Michael and Mary 2.09 8. The Bad Wires 0.58 9. The Barns 1.36 EPISODE 9: THE QUARRY 10. Life on the Farm 1.45 27. Necromancer’s Weather 3.19 11. The Devil’s Children 2.17 12. The Village Court 0.56 EPISODE 9: THE QUARRY (CONTINUED) 28. The Quarry 2.46 EPISODE 4: HOSTAGES! 29. Mr Furbelow 0.59 13. The Forge 1.54 30. Qui Me Tangit, Turbat Mundum 2.39 14. Hostages! 4.46 31. The Changes Closing Titles (48” version) 0.53 15. Rescue 5.43 16. The Changes Closing Titles (67” version) 1.10 EPISODE 10: THE CAVERN 32. Into the Rock 2.59 EPISODE 5: WITCHCRAFT 33. The Cavern 1.53 17. The End of the Rescue 0.32 34. Merlinus Sum 0.19 18. A Farewell 0.43 35. It’s All Over 1.40 19.
    [Show full text]
  • Download the Digital Booklet
    La Grande Pièce de la .01 Foire de la Rue Delaware Malcolm Clarke Brio .02 John Baker Adagio .03 Dick Mills Geraldine .04 Roger Limb Bath Time .05 Malcolm Clarke Nénuphar .06 Glynis Jones/Malcolm Clarke Accentric .07 John Baker Major Bloodnok’s Stomach .08 Dick Mills The Panel Beaters .09 Paddy Kingsland Crazy Dazy .10 Dick Mills Veils and Mirrors .11 Glynis Jones Romanescan Rout .12 Malcolm Clarke Schlum Rooli .13 TECHNICAL INFORMATION Glynis Jones Some of the equipment used in making Kitten’s Lullaby .14 this recording – Roger Limb Studer A80 8-Channel Master Recorder Studer B62 1⁄4” Stereo Tape Machines Chino .15 EMS Synthi 100 ‘Delaware’ John Baker ARP Odyssey Waltz Antipathy .16 EMS VCS3 Richard Yeoman-Clark Countryman Phaser Glen Sound Mixing Console The World of Science .17 AKG 451 Condenser Microphones Paddy Kingsland EMT Stereo Echo Plate The BBC Radiophonic Workshop provides a creative service, The Synthi 100 ‘Delaware’ ranging from complete background scores of electronic music for radio and television productions, through sound for poetry and science fiction to signature tunes; periodically, complete experimental stereo programmes are originated and produced. Apart from the electronic music for Doctor Who, the Radiophonic Workshop makes major contributions to television drama, documentaries and children’s programmes, to drama and schools programmes on radio, and to many local radio stations. In all, more than two hundred different commitments a year are undertaken. The composition and realisation of the music and sound is done by a small number of specialised creative staff. Desmond Briscoe, the Workshop’s Organiser, writes: “On visiting the Radiophonic Workshop, many people are surprised to find that there are, in fact, four ‘Workshops’ where electronic music of various kinds is produced.
    [Show full text]
  • THE DISSERTATION.Pages
    NORTHWESTERN UNIVERSITY The History and Semiotics of Early Electronic Advertising Music A RESEARCH DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Composition by Alex R Temple EVANSTON, IL (June 2017) !2 Abstract Starting in the late 1950s, the advertising world rapidly became a fertile arena for experimentation in the realm of electronic music. Composers explored new forms, such as the sound logo; new technology, such as the Moog synthesizer; and new semiotic relationships between music, words, images and concepts, including attempts to forge subliminal associations between sounds and brand names. Yet the composers responsible for these innovations have largely been ignored by scholars of both music and advertising. This dissertation is a step toward filling that gap. The first part consists of a literature review and a history of the repertoire, focusing on the groundbreaking work of Raymond Scott and Eric Siday, the do-it-yourself experimentation of the BBC Radiophonic Workshop, and the refinements that Suzanne Ciani brought to the genre starting in the late 1970s. The second part analyzes common tropes in electronic advertising music, including fanfare-like melodies, telegraph and teletype rhythms, sonic representations of carbonation, and the use of noisy filter sweeps in makeup commercials. In Chapter 3, drawing on Anahid Kassabian’s work on the role of “ubiquitous musics” in identity formation, I argue that advertising music played an important role in creating the idea of the Space Age. And in Chapter 4, I propose some modifications to Philip Tagg and Bob Clarida’s classification of musical signs, and then combine their approach with Kassabian’s theory to create a detailed cultural, historical and semiotic analysis of Siday’s logo for American Express.
    [Show full text]
  • The Boy from Space by Richard Carpenter the Classic BBC Science-Fiction Series 2-Disc Set
    The Boy from Space By Richard Carpenter The classic BBC science-fiction series 2-disc set Never available in any video format, the classic BBC series The Boy from Space (1971/1980) is at last being released on DVD by the BFI on 25 August 2014 as part of BFI SCI-FI: Days of Fear and Wonder, a celebration of Sci-Fi film and television. This well-remembered Look and Read series is presented with a host of extras, including the complete audio from the 1972 BBC Records LP and alternative presentations of the filmed drama sequences which allow for this thrilling adventure to be experienced in new and exciting ways. When brother and sister Dan and Helen see a mysterious object falling from the sky one night, they set out to look for traces of a meteorite in the nearby sandpit. There, they are confronted by a strange thin man, and discover a white-haired boy called Peep-peep who speaks a bizarre alien language. Written by Richard Carpenter (Catweazel, Adventures of Robin Hood), the series starred Sylvestra Le Touzel (Mansfield Park, Amazing Grace, Happy-Go-Lucky), Stephen Garlick (The Tomorrow People, The Dark Crystal), Colin Mayes (Scum, All Quiet on the Western Front), John Woodnutt (Z Cars, Children of the Stones, Doctor Who) and Gabriel Woolf (Emergency-Ward 10, Doctor Who). The striking electronic music is by Paddy Kingsland of the BBC Radiophonic Workshop. Originally broadcast in 1971, as part of the BBC’s educational Look and Read strand, The Boy from Space was shown again in 1980 in a revised version featuring new presenters Wordy and Cosmo, as well as updates – including a new foreword and a voice-over – to the main drama.
    [Show full text]