Unit Delta Plus

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http://www.delia-derbyshire.org/unitdeltaplus.php Unit Delta Plus www.delia-derbyshire.org Unit Delta Plus studio Unit Delta Plus was an organisation set up in 1966 by Delia Derbyshire, Brian Hodgson and Peter Zinovieff to create electronic music and also promote its use in television, film and advertising. The Unit Delta Plus studio was based in Peter Zinovieff's townhouse in Deodar Road, Putney, London. In 1966 they held an electronic music festival at the Watermill Theatre near Newbury, Berkshire, England. Delia said of the event: "We had an evening of electronic music and light effects. The music was indoors, in a theatre setting, with a screen on which were projected light shows done by lecturers from the Hornsey College of Art. It was billed as the first concert of British electronic music; that was a bit presumptious! John Betjeman was the re... he sat in the front row and w ent to s lee p... it was quit e a social occ asion." Million Volt Rave Flyer Perhaps the most famous event that Unit Delta Plus participated in was the 1967 Million Volt Light and Sound Rave at London's Chalk Farm roundhouse, organised by design ers Binder, Edwards and Vaughan (who had previously been hired by Paul McCartney to decorate a piano ). The event took place over two nights (January 28th and February 4th 1967) and included a performance of tape music by Unit Delta Plus, as well as a playback of the legendary Carnival of Light, a fourteen minute sound collage assembled by McCartney around the the time of the Beatles' Penny Lane sessions. Unit Delta Plus split in 1967 after a traumatic performance at the Royal College o f Art. Here w e pres ent a full copy of the 1966 Watermi ll Theatre event programm e... the t rack timin gs are ve ry appro ximate! This was Moogies Bloogies' first and perhaps only public airing until 2001. A full-length MP3 version can be found on our MP3 clips page. Agnus Dei is included on Space Age Recordings' Interface compilation, which can be purchased through Amazon UK..

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The Beatles, Instrumentals En Fora Mei 2009
L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 The Beatles, Instrumentals en Fora L.M. van der Schoot Studentnummer: 0456659. Begeleiding: Joke Dame Cursusnaam: MA Thesis Muziekwetenschap. Cursuscode: 200501202. Universiteit Utrecht; Faculteit Geesteswetenschappen; opleiding Muziekwetenschap. Datum: mei 2009. 1 Lotte van der Schoot The Beatles, Instrumentals en Google Maart 2009 “Anyone tackling the oft-told tale of John, Paul, George and Ringo had better come up with a new angle, or new facts, or new interviews, or new something - or risk suffering the wrath of zillions of Beatles nuts.” Kirkus Reviews 2007, Academic Search Elite 2 L.M. van der Schoot The Beatles, Instrumentals en fora mei 2009 Woord vooraf Aan het begin van collegejaar 2008/2009 heb ik een cursus popmuziek gevolgd. Deze cursus had als onderwerp 'the popular instrumental'. Uit onderzoek voor deze paper kwam naar voren dat de bekendste popgroep aller tijden - The Beatles - ook instrumentale songs hebben geschreven. Mijn interesse was gewekt, te meer omdat ik de Beatles voornamelijk kende van nummers zoals 'Hey Jude', 'Yesterday' en 'Strawberry Fields Forever'. Deze fameuze popgroep heeft dus eveneens andersoortige nummers geschreven. In deze thesis wil ik geen 'herziene' versie maken van informatie die al tot in den treuren is uitgeplozen. Dit is echter niet eenvoudig, maar 'instrumentale nummers' is één van de onderwerpen die als onderwerp op zichzelf, nooit onderzocht is. In de hoogtij dagen van The Beatles – de jaren 1960 – zijn er maar op 3 albums instrumentals terug te vinden. De bekendste is waarschijnlijk 'Revolution 9' van de White Album (1968). Verder staat op het album Magical Mystery Tour (1967) het nummer 'Flying'.
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Kemper | Sgt. Pepper. 100 Seiten * Reclam 100 Seiten *
Kemper | Sgt. Pepper. 100 Seiten * Reclam 100 Seiten * Peter KemPer, Publizist und Hörfunkredakteur, ist seit 1986 für den Hessischen Rundfunk tätig, schreibt re- gelmäßig für das Feuilleton der Frankfurter Allgemeinen Zeitung und hat bei Reclam schon mehrere Bücher vor- gelegt, u. a. The Beatles (UB 19052). Peter Kemper Sgt. Pepper. 100 Seiten Reclam 2017 Philipp Reclam jun. GmbH & Co. KG, Siemensstraße 32, 71254 Ditzingen Umschlaggestaltung nach einem Konzept von zero-media.net Infografiken (S. 37, 66, 77): Infographics Group GmbH Bildnachweis: S. 7 © icollector.com; S. 10 © rogerebert.com; S. 21 © efetur.com; S. 22 © The Science Museum, London; S. 25 © gerryco23.wordpress.com; S. 35 © beatlesdaily.com; S. 49 © dailymail.co.uk; S. 93 © pbagalleries.com; alle anderen Abbildungen Verlagsarchiv / The Bendermann Collection Druck und Bindung: Canon Deutschland Business Services GmbH, Siemensstraße 32, 71254 Ditzingen Printed in Germany 2017 reclam ist eine eingetragene Marke der Philipp Reclam jun. GmbH & Co. KG, Stuttgart ISBN 978-3-15-020432-0 Auch als E-Book erhältlich www.reclam.de Für mehr Informationen zur 100-Seiten-Reihe: www.reclam.de/100Seiten Inhalt 1 Swinging London – Nabel der Welt 6 Nie wieder live! – Abschied von der Beatlemania 12 »Pepper« – das Wortspiel 16 Die neuen Herren im Control Room 20 Die Kindheits-Idee: Strawberry Fields und Penny Lane 28 Unveröffentlichtes aus dem Underground: »Carnival Of Light« 32 Das erste Konzept-Album? 39 Hippie-Philosophie und psychedelische Heilsversprechen 45 Die Songs 73 Cover-Kunst und Kostümierung 86 »Paul is dead« – die Verschwörungstheorie 91 Soundtrack des Summer of Love 96 Kulturelle High-Gefühle oder die Erfindung der Nowness Im Anhang Hör- und Lesetipps V Swinging London – Nabel der Welt Wer nicht das Glück hatte, als Teenager die sechziger Jahre er- lebt zu haben, wird kaum ermessen können, wie viel Optimis- mus und Aufbruchsgeist damals in der Luft lag.
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Thesis (6.331Mb)
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2005 Collage music : the development of a language of studio composition Mumford, Paul Lewis http://hdl.handle.net/10026.1/731 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. COLLAGE MUSIC: THE DEVELOPMENT OF A LANGUAGE OF STUDIO COMPOSITION by PAUL LEWIS MUMFORD A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY Department of Music Dartington College of Arts October 2005 Copyright Statement This copy of the thesis and accompanying audio CDs have been supplied on condition that anyone who consults them is understood to recognise that their copyright rests with their author and that no quotation from the thesis and no information derived from it and no part of the recordings may be published without the author's prior consent. Paul Lewis Mumford Collage Music: The Development of a Language of Studio Composition ABSTRACT This thesis is intended to amplify, support and provide historical and aesthetic contexts for the concerns which I have explored and developed in my creative practice as a composer. It is accompanied by three audio CDs containing six compositions which map the development of my language of studio music, together with a further two CDs containing earlier compositions and a sixth CD containing a musical reference compilation which supports the text.
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