{"id":48094,"date":"2024-10-07T11:43:48","date_gmt":"2024-10-07T09:43:48","guid":{"rendered":"http:\/\/d4f3b0cd-decf-4c5b-a3a1-0c6695f18059"},"modified":"2024-10-07T13:07:15","modified_gmt":"2024-10-07T11:07:15","slug":"delia-derbyshire-electronic-musics-unsung-pioneer","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/delia-derbyshire-electronic-musics-unsung-pioneer\/","title":{"rendered":"Delia Derbyshire: electronic music&#8217;s unsung pioneer"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Monday, 07 October 2024 at 09:43 AM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>Decades before the first-ever female Doctor Who challenged perceptions that only a man could inhabit the role of Time Lord, an unknown composer was quietly realising the series\u2019 theme music at the BBC Radiophonic Workshop. <\/p><p>That theme, elaborating ideas by Ron Grainer, would create a sensation on inaugural transmission in 1963. It would go on to become one of the most recognisable and influential <strong><a href=\"https:\/\/www.classical-music.com\/articles\/best-television-theme-tunes\">TV theme tunes<\/a><\/strong> of all time.\u00a0<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/tv-and-film-music\/are-tv-theme-tunes-real-music\">Are TV theme tunes &#8216;real&#8217; music?<\/a><\/strong><\/li><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/tv-and-film-music\/doctor-who-uk-favourite-sci-fi-theme-tune\">Doctor Who voted UK\u2019s favourite sci-fi theme tune<\/a><\/strong><\/li><\/ul><p>Yet despite being lauded by many as one of the great pioneers of electronic music, its creator has only recently \u2013 and since her death \u2013 begun to be more widely recognised.<em> <strong><a href=\"https:\/\/www.classical-music.com\/features\/tv-and-film-music\/who-composed-the-theme-tune-to-doctor-who\">Doctor Who<\/a><\/strong><\/em> is an early highlight of a career which saw her elegant<em> musique concr\u00e8te<\/em> and electronic sound synthesis grace an astonishing range of media from drama and documentary to live theatre; experimental art to progressive rock. Collaborators and co-explorers included such diverse figures as Luciano Berio (whom she assisted at the 1962 Dartington Summer School), Roberto Gerhard, Yoko Ono and Paul McCartney.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Doctor Who (1963) - Original Theme music video\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/75V4ClJZME4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">\u2018Quite something for a working-class Coventry girl\u2019: who was Delia Derbyshire?<\/h2><p>Delia Derbyshire (1937-2001) first joined the BBC in 1960 as a trainee studio manager. By her own admission she\u2019d already achieved \u2018quite something for a working-class girl from Coventry\u2019 upon graduating in maths and music from Girton College, Cambridge. <\/p><p>But she\u2019d also tasted disappointment in being rejected for a job at Decca Records on the grounds that they \u2018didn\u2019t employ women in the recording studio\u2019. Determined to pursue her \u2018passion to make abstract sounds\u2019, she badgered her BBC bosses until they granted her transfer to the mysterious Radiophonic Workshop in April 1962.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"1965: How DELIA DERBYSHIRE made the DOCTOR WHO theme I Tomorrow's World I Music I BBC Archive\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/qsRuhCflRyg?list=PLp5kxJAhpetlT6trk2M3OylFgCAnMth8Y\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>It was an unusual move. The Workshop had been created in 1958 to supply sound for radio, and did not employ composers but rather temporary \u2018studio assistants\u2019. Derbyshire drily noted that \u2018it was only by gradually infiltrating the system that I managed to do music\u2019, and her contribution was hugely significant at a time of socio-cultural change and shifting interest from radio to television. Yet she received little public acknowledgement, since output was attributed to the Workshop rather than individual employees.<\/p><h2 class=\"wp-block-heading\">Music and sonic art way ahead of her time<\/h2><p>Delia Derbyshire left the BBC in 1973 \u2013 and then music itself for many years \u2013 disillusioned by the restraints on her creativity and developments which saw mass-produced synthesizers replace the oscillators and wobbulators, found sounds and tape manipulation she adored. But during her tenure, and increasing moonlighting on external projects, she set a benchmark for excellence at the cutting edge, producing music and sonic art way ahead of her time.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/guide-moog-synthesisers\">Moog: a tribute to the ground-breaking synthesizer that emerged in the 1960s<\/a><\/strong><\/li><\/ul><p>She later commented of her BBC work, \u2018most of the programmes I did were in the far-distant future, the far-distant past, or in the mind.\u2019 A project that combined all of these was<em> Inventions for Radio <\/em>(1963-65), a series of four experimental programmes made with playwright Barry Bermange. As the title suggests, the series aimed to showcase radio as an artform, combining intuitive and electronic processes.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Delia Derbyshire &amp; Barry Bermange. Invention for Radio No.1: The Dreams\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/JdJS5PU1Ztw?list=PLS9xQO89CuRD8NpNfyEgJiM3dZmQEZJqM\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>Via a collage of ambient sounds and recorded interviews, each programme explored an existential or spiritual theme through the lives and imagination of ordinary people. Titled: \u2018The Dreams\u2019, \u2018Amor Dei\u2019, \u2018The Afterlife\u2019 and \u2018The Evenings of Certain Lives\u2019, the result was a vivid blend of text, sound and music that, Bermange noted, had a parallel in Berio\u2019s radio work in Italy. So it\u2019s fascinating that \u2013 post-Dartington \u2013 Derbyshire\u2019s jottings for \u2018The Dreams\u2019 should include the enigmatic indication, \u2018Beriobashes \u2013 long, low \/ Slow cross from one to the other\u2019.\u00a0<\/p><p>Strongly visual in her working practice, she was delighted when Bermange presented pencil sketches when asked about sounds for \u2018Amor Dei\u2019: \u2018he drew me a beautiful Gothic altarpiece and said, \u201cThat\u2019s the sound I want\u201d.\u2019 Her response was a tolling exegesis of time which influenced Jonathan Harvey\u2019s 1966 <em>Symphony<\/em>: reportedly, \u2018he liked the breathing quality of the chords\u2019.\u00a0<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Delia Derbyshire - Pot Au Feu (1968)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/jpdiMcEeTJA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">\u2018Impossible for electronic music to be beautiful until Delia came along\u2019<\/h2><p>Delia Derbyshire and Jonathan Harvey were friends, and in 1958 they had travelled together to Brussels for the premiere of Edgard Var\u00e8se\u2019s <em>Po\u00e8me \u00e9lectronique<\/em>. She never fully stepped into the world of the avant-garde, remaining a maverick on its edges. But in 1963-64 her creative expertise was combined with Gerhard\u2019s to award-winning effect.\u00a0<\/p><p><em>The Anger of Achilles<\/em> is described in the BBC Programme Catalogue as an \u2018epic for radio in three parts by Robert Graves, from his translation of Homer\u2019s <em>Iliad<\/em>&#8216;. The music, it notes, was &#8216;specially composed \u2026 by Roberto Gerhard, with special effects by the B.B.C. Radiophonic Workshop.\u2019 The programme was awarded the Prix Italia for \u2018literary or dramatic programmes with or without music\u2019.<\/p><p>There was no mention for Derbyshire, who had collaborated closely on the score. Nonetheless, word of her brilliance continued to spread, and in 1967 Derbyshire\u2019s work on the TV documentary <em>The World About Us<\/em> prompted a boss to remark that it had been \u2018impossible for <strong><a href=\"https:\/\/www.classical-music.com\/articles\/best-electronic-orchestral-music\">electronic music<\/a><\/strong> to be beautiful until Delia came along\u2019.\u00a0Her imagination was fired by the programme\u2019s subject, the nomadic Tuareg people of the Sahara, and the resulting <em>Blue Veils and Golden Sands<\/em> marks a highpoint. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Delia Derbyshire\/Blue Veils and Golden Sand\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/OyUkmxy5VMI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">Blue Veils and Golden Sands: a haunting masterpiece<\/h2><p>Brian Hodgson was a close colleague with whom Derbyshire co-founded Unit Delta Plus to create and promote electronic music (1966-67, with synthesizer pioneer Peter Zinovieff) and the experimental trio White Noise (1968, with musician David Vorhaus). Of <em>Blue Veils<\/em>, just after her death he said, \u2018It still haunts me. She used her own voice for the sound of the hooves [and] virtually all the filters and oscillators in the workshop.\u2019 More recently he commented that Delia Derbyshire remained \u2018unique in the kind of sound she produced\u2019.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/ondes-martenot\">Ondes Martenot: a guide to this early, eerie electronic musical instrument<\/a><\/strong><\/li><\/ul><p>Part of that unique sound \u2013 used in <em>Blue Veils<\/em> and other soundscapes \u2013 came from her transformation of a favourite \u2018tatty green BBC lampshade\u2019 struck with a soft mallet: \u2018It was the wrong colour, but it had a beautiful ringing sound to it. I analysed the sound into all of its partials and frequencies, and took the 12 strongest, and reconstructed the sound on the workshop\u2019s famous 12 oscillators to give a whooshing sound. So the camels rode off into the sunset with my voice in their hooves and a green lampshade on their backs.\u2019<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/a-brief-history-of-sound-recording\">A brief history of sound recording<\/a><\/strong><\/li><\/ul><h6 class=\"wp-block-heading\">She caused a stir by running the longest-ever tape loop in BBC history<\/h6><p>The description is an insight into Derbyshire\u2019s mathematical rigour and poetic imagination. She maintained that she always went \u2018back to the Greeks and the simple harmonic series\u2019, and her attention to detail was legendary. Often working at night, she caused a stir by running the longest-ever tape loop in BBC history \u2018out through the double doors and then through the next pair; just opposite the ladies\u2019 toilet and reception\u2019.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"The Delian Mode - Delia Derbyshire documentary\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/nXnmSgaeGAI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">Shakespeare, prog rock, Yoko Ono and more<\/h2><p>Outside the BBC, Delia Derbyshire was active on a number of fronts: from theatre productions including Tony Richardson\u2019s <em>Hamlet<\/em> (1969) and Peter Hall\u2019s <em>Macbeth<\/em> (1967) to films such as the latter\u2019s <em>Work is a Four Letter Word<\/em> (1968) and a now-lost film with Yoko Ono (1967-8) which comprised a \u2018wrapping of the lions in Trafalgar Square\u2019.\u00a0<\/p><p>These projects, too, were largely created under a collective umbrella since the BBC frowned on extracurricular activities. Little did they know that Kaleidophon \u2013 a studio project created by the White Noise trio to encompass that and theatre work \u2013 secretly recorded some of the iconic <strong><a href=\"https:\/\/www.classical-music.com\/articles\/prog-rock\">prog rock<\/a><\/strong> album <em>An Electric Storm<\/em> (1969) after-hours at the Workshop. To divert attention, Derbyshire would sometimes use a pseudonym, Li De La Russe. In light of the <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/igor-stravinsky\">Stravinsky<\/a><\/strong> quotes on \u2018Firebird\u2019, a track on the album co-penned with Vorhaus, the anagram seems both witty and knowing.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/tony-banks\">Why did this prog rock legend turn to writing classical music?<\/a><\/strong><\/li><\/ul><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"White Noise - An Electric Storm [FULL ALBUM 1969]\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/2jLa7eEaFjk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">A cult figure for younger artists<\/h2><p>Just as she remained outside the avant-garde mainstream \u2013 and despite brief encounters with Pink Floyd and Paul McCartney \u2013 Derbyshire avoided the experimental rock scene. Yet not only was she prescient in refusing to see boundaries between art and popular genres, she later became a cult figure for younger electronic dance and <strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/best-ambient-classical\">ambient<\/a><\/strong> artists like Orbital and Sonic Boom, with whom she\u2019d begun to work at the time of her death.\u00a0<\/p><p>Excited by the new, more \u2018organic\u2019 types of music technology emerging in the 1990s, she returned to the studio. But by then alcoholism had ravaged her, and she died before completing any projects. Soon after, 267 tapes and heaps of documents were found in her Northampton attic. Now archived at the University of Manchester, new information continues to emerge about this brilliant, rebellious figure who, in doing \u2018a lot of things I was told not to do\u2019, forged so many pathways to the future. \u00a0<\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Monday, 07 October 2024 at 09:43 AM Decades before the first-ever female Doctor Who challenged perceptions that only a man could inhabit the role of Time Lord, an unknown composer was quietly realising the series\u2019 theme music at the BBC Radiophonic Workshop. That theme, elaborating ideas by Ron Grainer, would create a sensation [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":48095,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"7"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/delia-derbyshire-electronic-musics-unsung-pioneer.jpg",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/delia-derbyshire-electronic-musics-unsung-pioneer-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/delia-derbyshire-electronic-musics-unsung-pioneer-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/delia-derbyshire-electronic-musics-unsung-pioneer-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/delia-derbyshire-electronic-musics-unsung-pioneer-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/delia-derbyshire-electronic-musics-unsung-pioneer.jpg",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/delia-derbyshire-electronic-musics-unsung-pioneer.jpg",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Monday, 07 October 2024 at 09:43 AM Decades before the first-ever female Doctor Who challenged perceptions that only a man could inhabit the role of Time Lord, an unknown composer was quietly realising the series\u2019 theme music at the BBC Radiophonic Workshop. That theme, elaborating ideas by Ron Grainer, would create a sensation&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/48094"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/48095"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=48094"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=48094"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}