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HTTP/1.1 301 Moved PermanentlyDate: Thu, 07 Nov 2024 01:17:44 GMTServer: Apache/2.4.41 (Ubuntu)Blessings: DelianLocation: https://delia-derbyshire.net/Content-Length: 323Content-Type: text/html; charsetiso-8859-1 !DOCTYPE HTML PUBLIC -//IETF//DTD HTML 2.0//EN>html>head>title>301 Moved Permanently/title>/head>body>h1>Moved Permanently/h1>p>The document has moved a hrefhttps://delia-derbyshire.net/>here/a>./p>hr>address>Apache/2.4.41 (Ubuntu) Server at delia-derbyshire.net Port 80/address>/body>/html>
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HTTP/1.1 200 OKDate: Thu, 07 Nov 2024 01:17:44 GMTServer: Apache/2.4.41 (Ubuntu)Blessings: DelianLast-Modified: Mon, 25 Sep 2023 16:31:59 GMTETag: 23142-606317f4a3dc0Accept-Ranges: bytesContent-Length: 143682Vary: Accept-EncodingContent-Type: text/html !DOCTYPE HTML PUBLIC -//W3C//DTD HTML 4.0 Transitional//EN>html>head> title>Delia Derbyshire Audiological Chronology/title> META http-equivContent-Type contenttext/html; charsetiso-8859-1>/head>body>!-- Content begins... -->H1 aligncenter>BIG>Delia Derbyshire/BIG>BR>An audiological chronology/H1>P ALIGNCENTER>Version 2.34, ?? October 2013BR>(A HREFchangelog.html>whats new?/A>)BR>The A HREFhttp://wikidelia.net>wikidelia/A> is new!/P>TABLE WIDTH100% BORDER0>TR>TD ALIGNLEFT WIDTH33% VALIGNMIDDLE>B>Contents/B>UL>LI>A HREF#Presentation>Presentation/A>LI>A HREF#TheChronology>The Chronology/A> <--LI>A HREF#MusicalTributes>Musical Tributes/A>LI>A HREF#BiographicalPlays>Biographical Plays/A>LI>A HREF#VideoClips>Video clips/A>LI>A HREF#ArticlesInterviews>Articles and Interviews/A>LI>A HREF#References>References/A>LI>A HREF#Thanks>Thanks/A>/UL>TD ALIGNCENTER WIDTH33% VALIGNMIDDLE>!-- Dillo browser drops literal spaces from SRC and HREF targets :( -->A HREFimages/Delia%20RWS%201965.jpg>IMG SRCimages/Delia%20RWS%201965-mini.jpg WIDTH300 HEIGHT403 ALTDelia Derbyshire at the BBC Radiophonic Workshop in 1965>/A>BR CLEARALL>A HREFimages/Delia%20RWS%201965.jpg>Delia in 1965/A>TD ALIGNCENTER WIDTH33% VALIGNMIDDLE>A HREFimages/delia_pink-maxi.jpg>IMG SRCimages/delia_pink.jpg WIDTH175 HEIGHT212 ALTDelia Derbyshire in pink>BR CLEARALL>Delia in Pink/A>/TABLE>H2>A NAMEPresentation>Presentation/A>/H2>Delia Derbyshire is one of the earliest and most influential electronicsound synthesists. She was musically active from 1962 until the mid seventies,then briefly again for a few years before she died in 2001 at the age of 64.P>Although her revolutionary sounds are familiar to over a hundred millionpeople through the theme to the television series Doctor Who and the seminalalbum of 1969 An Electric Storm she was hardly ever credited and her name isalmost unknown.The bulk of hermusical production and atmospheric sound for television and radio programmesis on tape in the BBC Sound Archives. After her death, 267 tapes from her atticas well as a box of her papers were consigned to the archive, then in 2007donated to Manchester University Center for Screen Studies who have digitizedthem but only three new tracks have been released since then, on compilationalbums with music from other composers.Most will probably never be heard again.Mark Ayres made a catalogue of the BBC archives and of the attic tapesbut neither has been published.P>I originally compiled this chronology from what I could find ofDelia Derbyshires music from material found on the web, adding info frompeople contacted by email.For biographical material and lists of commercial albums containing her musicconsult the canonical siteA HREFhttp://www.delia-derbyshire.org>delia-derbyshire.org/A>.P>Where I have been able to find a date the order here is chronological, thoughfor many pieces I have only seen a passing mention of their existence and havehad to guess roughly where to insert them into the list.Others are inserted at random.I am always pleased to receive suggestions for better ordering,or news of other material of which I am ignorant,as well as reports of errors in the site contents, however minor.P ALIGNRIGHT>Martin Guy, <martinwguy@gmail.com>/P>P>There is some new stuff here:UL> LI>A A HREFharris_tribute.html>personal tribute by Graham Harris/A>, including detailed biographical info for her childhood LI>A HREFMorse code musician/>Morse code musician/A>: a 1970 newspaper article, complete with photo. LI>A A HREFBBCScotlandInterview.html>transcript of the 1997 BBC Radio Scotland Interview/A> with John Cavanagh and Drew Mulholland LI>A A HREFvorhaus_interview.html>transcript of an interview with David Vorhaus/A> on how he met Delia and on how the An Electric Storm album was made LI>The Performing Right Societys records for works credited to A HREFPRS%20Works%20List%20for%20Delia%20Ann%20Derbyshire.html>Delia Ann Derbyshire/A> and to A HREFPRS%20Works%20List%20for%20Russe%20Li%20(De%20La).html>Russe Li (De La)/A>, listing dozens of unknown pieces. LI>The A HREFcmj-obit.html>Computer Music Journals obituary/A>, Winter 2001./UL>HR>Delia was born on the 5th of May 1937.P>I>I was always into the theory of sound even in the 6th form. The physicsteacher refused to teach us acoustics but I studied it myself and did verywell. It was always a mixture of the mathematical side and music. Also,radio had been my love since childhood because I came from just a humblebackground with relatively few books and radio was my education. It wasalways my little ambition to get into the BBC.BR> The only way into the workshop was to be a trainee studiomanager. This is because the workshop was purely a service departmentfor drama. The BBC made it quite clear that they didnt employ composersand we werent supposed to be doing music./I>BR> -- Delia, in the A HREFsites/ARTICLE2000JoHutton.html>Hutton interview/A>, 24 Feb 2000P>Delia joined the BBC Radiophonic Workshop in 1962.TABLE WIDTH100% BORDER0>TR>TD aligncenter valignbottom>IMG SRCimages/deliaworkshop.jpg WIDTH200 HEIGHT187 ALTDelias workshop>BR CLEARALL>Delias BBC StudioTD aligncenter valignbottom>A HREFimages/delia_derbyshire.jpg>IMG SRCimages/delia_cutting_tape.jpg WIDTH226 HEIGHT282 ALTDelia Derbyshire cutting tape>/A>BR CLEARALL>A HREFimages/delia_derbyshire.jpg>Delia cutting tape/A>/TABLE>HR>H2>A NAMETheChronology>The Chronology/A>/H2>TABLE BORDER0 WIDTH100%>TR VALIGNTOP>TD WIDTH25%>SMALL>B>BR>I>Undated/I>BR>A HREF#Air>Air/A>BR>A HREF#Cloud>Cloud/A>BR>A HREF#TheDelianMode>The Delian Mode/A>BR>A HREF#Mattachin>Mattachin/A>BR>A HREF#MusicToUndressTo>Music to Undress to/A>BR>A HREF#TimeToGo>Time To Go/A>BR>A HREF#TravellingInWinter>Travelling in Winter/A>BR>I>1962/I>BR>A HREF#TimeOnOurHands>Time On Our Hands/A>BR>A HREF#ScienceServesTheArts>Science Serves The Arts/A>BR>A HREF#ArabicScience>Arabic Science And Industry/A>BR>I>1963/I>BR>A HREF#KnowYourCar>Know Your Car/A>BR>A HREF#Cracksman>The Cracksman/A>BR>A HREF#Francis Younghusband in Tibet>Francis Younghusband in Tibet/A>BR>A HREF#RadioNewsreel>Radio Newsreel/A>BR>A HREF#OliverTwist>Oliver Twist/A>BR>A HREF#DoctorWho>Doctor Who/A>BR>I>1964/I>BR>A HREF#TalkOut>Talk Out/A>BR>A HREF#ScienceAndHealth>Science and Health/A>BR>A HREF#TheCyprianQueen>The Cyprian Queen/A>BR>A HREF#AngerOfAchilles>The Anger of Achilles/A>BR>A HREF#TheTower>The Tower/A>BR>A HREF#FourInventions>Four Inventions for Radio/A>:BR>1. A HREF#TheDreams>The Dreams/A>BR>2. A HREF#AmorDei>Amor Dei/A>BR>I>1965/I>BR>3. A HREF#TheAfterlife>The Afterlife/A>BR>4. A HREF#TheEveningsOfCertainLives>The Evenings Of Certain Lives/A>BR>I>1965/I>BR>A HREF#TheBusinessOfGoodGovernment>The Business of Good Government/A>BR>I>1966/I>BR>A HREF#Ape>Ape and Essence/A>BR>A HREF#ANewViewOfPolitics>A New View of Politics/A>BR>A HREF#Ziwzih>Ziwzih Ziwzih OO-OO-OO/A>BR>A HREF#Spin>Spin/A>BR>A HREF#MoogiesBloogies>Moogies Bloogies/A>BR>A HREF#PotPourri>Pot Pourri/A>BR>A HREF#RandomTogether1>Random Together 1/A>BR>A HREF#OnTheLevel>On The Level/A>BR>A HREF#WayOutInPiccadilly>Way Out in Piccadilly/A>BR>A HREF#MillionVoltLightSoundRave>Million Volt Light-Sound Rave/A>/B>/SMALL>TD WIDTH25%>SMALL>B>BR>I>1967/I>BR>A HREF#BrightonFestival>The Brighton Festival/A>BR>A HREF#ChromophoneBand>Chromophone Band/A>BR>A HREF#Philips>Philips/A>BR>A HREF#FashionShow>ICI Fashion Show/A>BR>A HREF#HappyBirthday>Happy Birthday/A>BR>A HREF#TowardsTomorrow>Towards Tomorrow/A>BR>A HREF#BlueVeilsAndGoldenSands>Blue Veils and Golden Sands/A>BR>A HREF#Macbeth1967>RSC Macbeth/A>BR>A HREF#TigerTalks>Tiger Talks/A>BR>A HREF#WrappingEvent>Wrapping Event/A>BR>I>1968/I>BR>A HREF#DoorToDoor>Door To Door/A>BR>A HREF#PotAuFeu>Pot Au Feu/A>BR>A HREF#WhoIs>Who Is/A>BR>A HREF#BringBack>Bring Back/A>BR>A HREF#LivingWorld>The Living World/A>BR>A HREF#NakedSun>The Naked Sun/A>BR>A HREF#LePontMirabeau>Le Pont Mirabeau/A>BR>A HREF#ColouredWall>The Coloured Wall/A>BR>A HREF#ElectricStorm>An Electric Storm/A> album:BR>1. A HREF#LoveWithoutSound>B>Love Without Sound/B>/A>BR>2. A HREF#MyGameOfLoving>B>My Game of Loving/B>/A>BR>3. A HREF#HereComeTheFleas>B>Here Come the Fleas/B>/A>BR>4. A HREF#Firebird>B>Firebird/B>/A>BR>5. A HREF#YourHiddenDreams>B>Your Hidden Dreams/B>/A>BR>6. A HREF#TheVisitation>B>The Visitation/B>/A>BR>7. A HREF#TheBlackMass>B>The Black Mass/B>/A>BR>A HREF#WorkIs>Work Is A Four Letter Word/A>BR>A HREF#Clothes>Clothes/A>BR>I>1969/I>BR>A HREF#EnvironmentalStudies>Environmental Studies/A>BR>A HREF#Chronicle>Chronicle/A>BR>A HREF#JohnPeelsVoice>John Peels Voice/A>BR>A HREF#GreatZoos>Great Zoos Of The World/A>BR>A HREF#ESL104>ESL104/A> album:BR>1. A HREF#LureOfTheSpaceGoddess>Lure of the Space Goddess/A>BR>2. A HREF#GothicSubmarine>Gothic Submarine/A>BR>3. A HREF#LondonLemons>London Lemons/A> (9 themes)BR>4. A HREF#RestlessRelays>Restless Relays/A>BR>5. A HREF#Planetarium>Planetarium/A>BR>6. A HREF#WayOut>Way Out/A>BR>7. A HREF#FreshAire>Fresh Aire/A>BR>8. A HREF#DeliasTheme>Delias Theme/A>BR>9. A HREF#TentativeDelia>Tentative Delia/A>BR>10. A HREF#DeliasIdea>Delias Idea/A>BR>11. A HREF#DeliasPsychadelianWaltz>Delias Psychadelian Waltz/A>BR>12. A HREF#DeliasResolve>Delias Resolve/A>BR>13. A HREF#DeliasDream>Delias Dream/A>BR>14. A HREF#DeliasReverie>Delias Reverie/A>BR>15. A HREF#DeliasFulfilment>Delias Fulfilment/A>BR>A HREF#Hamlet>Hamlet/A>/B>/SMALL>TD WIDTH25%>SMALL>B>I>1970/I>BR>A HREF#Bagman>The Bagman/A>BR>A HREF#Medea>Medea/A>BR>A HREF#RobertLowell>Robert Lowell/A>BR>A HREF#PoetsInPrison>Poets in Prison/A>BR>A HREF#MusicOfSpheres>Music Of Spheres/A>BR>A HREF#EarlyMorning>Early Morning/A>BR>I>1971/I>BR>A HREF#Duffer>Duffer/A>BR>A HREF#Orpheus>Orpheus/A>BR>A HREF#Macbeth1971>Greenwich Macbeth/A>BR>A HREF#IEE100>I.E.E.100/A>BR>A HREF#DanceFromNoah>Dance From Noah/A>BR>A HREF#TutankhamunsEgypt>Tutankhamuns Egypt/A>BR>A HREF#OFatWhiteWoman>O Fat White Woman/A>BR>I>1972/I>BR>A HREF#Electrosonic>Electrosonic/A> album:BR>1. A HREF#Quest>Quest/A>BR>2. A HREF#QuestFast>Quest - fast/A>BR>3. A HREF#Computermatic>Computermatic/A>BR>4. A HREF#FrontierOfKnowledge>Frontier of Knowledge/A>BR>5. A HREF#ThePatternEmerges>The Pattern Emerges/A>BR>6. A HREF#FreezeFrame>Freeze Frame/A>BR>7. A HREF#PloddingPower>Plodding Power/A>BR>8. A HREF#BusyMicrobes>Busy Microbes/A>BR>9. A HREF#LiquidEnergyA>Liquid Energy (a)/A>BR>10. A HREF#LiquidEnergyB>Liquid Energy (b)/A> (rhythm only)BR>11. A HREF#NoMansLand>No Mans Land/A>BR>12. A HREF#Depression>Depression/A>BR>13. A HREF#Nightwalker>Nightwalker/A>BR>14. A HREF#Electrostings>Electrostings/A>BR>15. A HREF#Electrobuild>Electrobuild/A>BR>16. A HREF#CelestialCantabile>Celestial Cantabile/A>BR>17. A HREF#Effervescence>Effervescence/A>BR>18. A HREF#TheWizardsLaboratory>The Wizards Laboratory/A>BR>19. A HREF#ShockChords>Shock Chords/A>BR>A HREF#OhDear>Oh Dear What Can The Matter Be/A>BR>A HREF#CircleOfLight>Circle Of Light/A>BR>I>1973/I>BR>A HREF#MusicOfTheSpheres>Music of the Spheres/A>BR>A HREF#LegendOfHellHouse>The Legend Of Hell House/A>BR>A HREF#EenVanDieDagen>Een Van Die Dagen/A>BR>I>1975/I>BR>A HREF#AboutBridges>About Bridges/A>BR>I>2000/I>BR>A HREF#SynchrondipityMachine>Synchrondipity Machine/A>/B>/SMALL>/TABLE>P ALIGNCENTER>I>I have no date for the following pieces.Please get in touch if you know more about any of them. /I>/P>H3>A NAMEAir HREFhttp://wiki.delia-derbyshire.net/wiki/Air>Air/A> (1:44)/H3>P>A version of Bachs Air on a G String,which she dismissed as rubbish, though it has a fair number of admirers.SMALL>BR>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Released on vinyl BBC Radiophonic Music by BBC Records as REC25M(1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002)/SMALL>/P>H3>A NAMECloud HREFhttp://wiki.delia-derbyshire.net/wiki/Cloud>Cloud/A>/H3>P>Her papers contain detailed notes and tape labels for the creation of soundfor what appears to be a two-act play produced in collaboration withF. Chagrin and S. Brown. This may be Sandy Brown, composer of the score forSearching./P>H3>A NAMETheDelianMode HREFhttp://wiki.delia-derbyshire.net/wiki/The Delian Mode>The Delian Mode/A> (5:34)/H3>P>pretty much defies description and is all the better for it; you dontwant to have to resort to mere words to describe such a perfect sound,utterly deserving the self-definitive title Delia so knowingly gave it.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>P>It can be heard as the backing music toA HREFhttp://www.bbc.co.uk/archive/moonlandings/7609.shtml>a 1969 Sky At Night special/A> at about 1930.SMALL>BR>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Released on vinyl BBC Radiophonic Music by BBC Records as REC25M(1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002)BR>Released on Doctor Who Volume 2: New Beginnings/SMALL>/P>H3>A NAMEMusicToUndressTo HREFhttp://wiki.delia-derbyshire.net/wiki/Music to Undress to>Music to Undress to/A>/H3>P>Her papers contain two half-sheets of handwritten manuscript score forI>Music to Undress to/I>, one with the theme and chords, the other withthe bass accompaniment.P>Here, we provide these fragments recreated using A HREFhttp://lilypond.org>LilyPond/a>:UL> LI>typeset as a A HREFscores/MusicToUndressTo.pdf>PDF/A> and LI>to listen to as a A HREFscores/MusicToUndressTo.midi>MIDI/A> file./UL>H3>A NAMETimeToGo HREFhttp://wiki.delia-derbyshire.net/wiki/Time To Go>Time To Go/A> (0:24)/H3>P>SMALL>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Included in CD BBC Radiophonic Music by BBC Records as REC25MCD(26 November 2002)/SMALL>/P>H3>A NAMETravellingInWinter HREFhttp://wiki.delia-derbyshire.net/wiki/Travelling In Winter>Travelling in Winter/A>/H3>P>A NAMEDreaming HREFhttp://wiki.delia-derbyshire.net/wiki/Dreaming>/A>A note in her papers (DD073025) says that 1 minute 18 seconds of her music forTravelling in Winter (TRW 7417) was renamed Dreamingfor issue as track 17 of the BBC record of sound effects Out Of This World./P>H3 ALIGNCENTER>I>1962/I>/H3>H3>A NAMETimeOnOurHands HREFhttp://wiki.delia-derbyshire.net/wiki/Time On Our Hands>Time On Our Hands/A> (1962) (1:12)/H3>P>One of her earliest contributions - Time On Our Hands - is asuperb subversion of a phrase which would normally evoke (especiallyin the context of 1962) new-found affluence, spare time and leisure,now rendered alienated, distant and isolated.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>BR>In her papers, she writes TRW 4060 - The Future - 1987 andDon Haworth, Manchester, 20th August.(Don Haworth is a british playwright and documentary maker).SMALL>BR>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes, REC354(1979)./SMALL>/P>H3>A NAMEScienceServesTheArts HREFhttp://wiki.delia-derbyshire.net/wiki/Science Serves the Arts>Science Serves The Arts/A> (July 1962)/H3>P>Her papers include her score dated July 1962 for Science Serves the Arts,a science series for 6th formers broadcast 10.1.63 - 14.2.63.BR> -- A HREFhttp://ftvdb.bfi.org.uk/sift/series/23513>The British Film Institute entry for the series/A>!-- The TV Room + lists BBC TV Service Scotland, 31 January 1963, 10:05: For Sixth-Formers: Science serves the arts http://tvlistings.thetvroomplus.com/listing-3491.html -->H3>A NAMEArabicScience HREFhttp://wiki.delia-derbyshire.net/wiki/Arabic Science and Industry>Arabic Science and Industry/A> (August 1962) (0:23)/H3>P>Her papers contain her score for A.S.& I.,dated August 1962.BR>From her notes, it appears to be an arabic version of hersof a theme for a TV programme Science and Industryfor which a theme had already been created by ? and ?.We dont know if her version is based on their melody or not.BR>It also gets called Arabic Science and History.SMALL>BR>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes,REC354 (1979)./SMALL>H3 ALIGNCENTER>I>1963/I>/H3>H3>A NAMEKnowYourCar HREFhttp://wiki.delia-derbyshire.net/wiki/Know Your Car>Know Your Car/A> (1963) (0:58)/H3>P>a devastatingly effective appropriation of the 1930s hitGet Out And Get Under.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>BR>The original song was by Maurice Abrahms.SMALL>BR>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes,REC354 (1979)./SMALL>/P>IMG ALIGNRIGHT SRCimages/Cracksman.jpg WIDTH159 HEIGHT163ALTMovie poster: Charlie Drake cracking a safe>H3>A NAMECracksman HREFhttp://wiki.delia-derbyshire.net/wiki/In a Monastery Garden>Music for The Cracksman/A> (1963)/H3>Her papers contain a copy of a note to the Associated British PictureCorporation dated 25 April 1963:BLOCKQUOTE>I>For creating the In a Monastery Garden sequence of The Cracksman.The instrument is an Eb safe-unlocking mechanism!BR>Hope you like itBR> Delia Derbyshire/I>/BLOCKQUOTE>Although the 1963 Charlie Drake comedy film by ABPC contains a short sequencein which Drake and some prisoners escape briefly into the prison grounds,its music is orchestral and has nothing matching Delias description or style.P>A short synthetic sound effect is used near the end of the film while Drake isusing an electronic device to open a museums safe; it consists of a sine waveof varying frequency followed by some feedback noise (at which Drake makes apained expression)./P>H3>A NAMEFYinT>/A>A NAMEFrancisYounghusbandInTibet HREFhttp://wiki.delia-derbyshire.net/wiki/Francis Younghusband in Tibet>Francis Younghusband in Tibet/A> (April-May 1963)/H3>P>In her papers are her notes for a piece she calls F. Y. in T. (TRW 5053),carried out 26th April to 6th May 1963 in collaboration with David Lyttle./P>H3>A NAMEOliverTwist HREFhttp://wiki.delia-derbyshire.net/wiki/Oliver Twist>Oliver Twist/A> (May 1963)/H3>P>Her papers include notes for Oliver Twist in collaboration withplaywright Richard Wortley.H3>A NAMERadioNewsreel HREFhttp://wiki.delia-derbyshire.net/wiki/Radio Newsreel>Radio Newsreel/A>/H3>P>In her papers are her notes for the creation of aRadio Newsreel Signature Tune, with work to start 26th July 1963.A HREFimages/Doctor Who.jpg>IMG ALIGNRIGHT SRCimages/Doctor Who-mini.jpg WIDTH175 HEIGHT152ALTOriginal Doctor Who title image>/A>H3>A NAMEDoctorWho HREFhttp://wiki.delia-derbyshire.net/wiki/Doctor Who>Doctor Who/A> (August 1963)/H3>P>The Doctor Who theme is the single most important piece of electronic music.BR> -- Adrian Utley of Portishead P>Her recording of Ron Grainers Doctor Who theme, one of the mostfamous and instantly recognisable TV themes ever and ranked as the 76thgreatest song of the 60sA HREFhttp://www.pitchforkmedia.com/article/feature/37889/The_200_Greatest_Songs_of_the_1960s>on the music site Pitchfork/A>.P>I>In those days people were so cynical about electronic music and soDoctor Who was my private delight. It proved them all wrong./I>BR> -- Delia in 1993, according toA HREFhttp://www.millenniumeffect.co.uk/audio/theme.php>TheMillenium Effect/A>P>I>The first producer of Doctor Who, Verity Lambert, she had inher mind /I>Les Structures Sonores,I> this group from Paris. Their musicsounded really electronic but in fact they were all acoustic instrumentsand because the Radiophonic Workshop was a below-the-line cost she came tothe Radiophonic Workshop and the boss recommended Ron Grainer because hehad done something called Giants of Steam. Ron saw the visual titles,as usual something like a black and white negative, and he took thetimings and went away and wrote the score./I>BR>I>On the score hed written sweeps, swoops... beautifulwords... wind cloud, wind bubble... so I got to work and put ittogether and when Ron heard the results, oh, he was tickled pink!/I>BR> -- Delia, in the A HREFsites/interview_boa.php.html>Boazine interview/A>BR>I>It was a magic experience because I couldnt see from the musichow it was going to sound./I>P>She used concrete sources and sine- and square-wave oscillators,tuning the results, filtering and treating, cutting so that thejoins were seamless, combining sound on individual tape recorders,re-recording the results, and repeating the process, over and overagain. When Grainer heard the result, his response was Did I reallywrite that? I>Most of it/I>, Delia replied.BR> -- A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgson/A>BR>In an official history of the first 25 years of the BBC Radiophonic Workshop,Delia tells how she created the Dr Who theme tune with a series ofcarefully timed handswoops over oscillators.P>Dick Mills, who helped Delia create the piece, says:BLOCKQUOTE>We started with the bass line. You know those 19-inch jack-bay panels?You could get blank panels too, to fill in between them. They were slightlyflexible, so Delia found one that made a good musical twang and played itwith her thumb. We recorded it then vari-speeded up and down to differentpitches, copied them across to another tape recorder, then made hundreds ofmeasured tape edits to give it the rhythm.BR> And what was the main tune played on?It was just a load of oscillators -- signal generators -- that someone hadconnected to a little keyboard, one for each note.BR> But what about that distinctive portamento?Well, you just twiddled the frequency knob, of course -- how else?BR> Eventually, after some pre-mixing,the elements of the entire compositionexisted on three separate reels of tape, which had to be run somehow togetherin sync. Crash-syncing the tape recorders was Delias speciality, says Dick.We had three big Phillips machines and she could get them all to run exactlytogether. Shed do: one, two, three, go! -- start all three machines, thentweak until they were exactly in sync, just like multitrack. But withI>Doctor Who/I> we had a bum note somewhere and couldnt find it! It wasntthat a note was out of tune -- there was just one little piece of tape too many,and it made the whole thing go out of sync. Eventually, after trying for ages,we completely unwound the three rolls of tape and ran them all side by sidefor miles -- all the way down the big, long corridor in Maida Vale.We compared all three, matching the edits, and eventually found the point whereone tape got a bit longer. When we took that splice out it was back in sync, sowe could mix it all down.BR> -- Dick Mills,A HREFhttp://www.soundonsound.com/sos/apr08/articles/radiophonic.htm>BBCRadiophonic Workshop/A> in Sound On Sound magazine, April 2008./BLOCKQUOTE>I>I did the Dr Who theme music mostly on the Jason valveoscillators. Ron Grainer brought me the score. He expected to hire aband to play it, but when he heard what I had done electronically,hed never imagined it would be so good. He offered me half of theroyalties, but the BBC wouldnt allow it. I was just on an assistantstudio managers salary and that was it... and we got a free RadioTimes. The boss wouldnt let anybody have any sort of credit./I>BR> -- Delia, inA HREFsites/ARTICLE2000JoHutton.html>the Hutton interview/A>P>By comparison, when Kara Blake wanted to include a sample of the Doctor Whotheme in her Film Board of Canada-sponsored filmA HREFhttp://thedelianmode.com>The Delian Mode/A>, the BBC quoted her$1000 I>per second/I>, which would have consumed her entire budget for thefilm.P>The version that has Delias stamp of approval is the 1:30 versionbroadcast during the BBC Radio Scotland interview.P>I>I think every time a new producer came or a new directorcame they wanted to tart it up, the title music, and they wantedto put an extra two bars here, put some extra feedback on the highfrequencies. They kept on tarting it up out of existence. I was reallyvery shocked at what I had to do in the course of so-called duty./I>BR> -- Delia, inA HREFBBCScotlandInterview.html#DoctorWho>the BBC Scotland interview/A>.P>For a detailed history of its reworking seeUL>LI>Mark AyresA HREFhttp://markayres.rwsprojects.co.uk/DWTheme.htm>History of the Doctor Who Theme/A>,LI>The Millenium EffectsA HREFhttp://www.millenniumeffect.co.uk/audio/theme.php>Title MusicDiscography/A>,LI>the A HREFhttp://en.wikipedia.org/wiki/Doctor_Who_theme_music>Wikipediaarticle on the Doctor Who theme music/A> andLI>heritage@easy.com.ausA HREFhttp://web.archive.org/web/20040813120257/http://www.easy.com.au/heritage/drwho-theme-composers.htm>Dr Who Theme Music Gallery/A>/UL>The Theme Music Gallery lists the following versions of the Doctor Who theme:UL>LI>B>A NAMEDoctorWhoPilot>1963/A>:Pilot episode version (with Thundershot)/B> - never released on diskLI>B>A NAMEDoctorWho1963>1963/A>: Broadcast version (with Hiss-Flare) (2:19)/B>BR>used for both the Opening Titles and End Credits sequences throughout the First Doctors EraSMALL>BR>Released as a single on Decca: F11837 (1964)BR>Released on Doctor Who at the Radiophonic Workshop - Volume One: The Early Years (BBC MUSIC, WMSF 6023-2)/SMALL>LI>B>A NAMEDoctorWho1966>1966/A>: Opening Titles remix (with Spangles) (0:51)/B>BR>...introduced during the Era of the Second DoctorSMALL>BR>Released on Doctor Who at the Radiophonic Workshop - Volume One: The Early Years (BBC MUSIC, WMSF 6023-2)/SMALL>LI>B>A NAMEDoctorWho1970>1970/A>: Opening Titles remix (with Stutter-Start and Repeater playout) (0:45)/B>BR>and B>End Credits remix (with Scream Intro & Drone Playout)/B>BR>used throughout the Eras of the Third and Fourth Doctor.SMALL>BR>Both released on Doctor Who at the Radiophonic Workshop - Volume Two: New Beginnings (BBC MUSIC, WMSF 6024-2)/SMALL>LI>B>A NAMEDoctorWho1972>1972/A>: Re-issue (with Stereo Expansion & Tardis Flyby Effect)/B>BR>This is not a reissue of the 1964 release, but a stereo mixprepared by Delia Derbyshire and Paddy Kingsland (also of theRadiophonic Workshop). This version incorporates the famousDoctor Who cliffhanger scream and Brian Hodgsons Tardis launchsound.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>SMALL>BR>Released as a single by BBC Records & Tapes as RESL11 (1973)BR>Released on Doctor Who at the Radiophonic Workshop - Volume Two: New Beginnings (BBC MUSIC, WMSF 6024-2)/SMALL>LI>B>A NAMEDoctorWho1973>1973/A>: The Tenth Anniversary Delaware Versions/B>BR>So-called because it used Malcolm Clarkes EMS Synthi 100 modularanalog synthesizer to add jarring, twangy noises to it.It was realised by Delia Derbyshire, Brian Hodgson and Paddy Kingslandfor use in the tenth season but was dropped after two episodes.BR>The Theme Gallery continues:The Delaware Opening Title rendition was the first to featureGrainers secondary chorus verse as the opening title refrain,using its upbeat key-change to announce the on-screen appearance ofthe Doctor Who logo.SMALL>BR>Released on Doctor Who at the Radiophonic Workshop - Volume Two:New Beginnings (BBC MUSIC, WMSF 6024-2) and as a Bonus SpecialFeature on the BBC DVD-Video Doctor Who: Carnival of Monsters/SMALL>/UL>and there is also what appears to be a copy of a half-finished tape:UL>LI>B>Original Titles Music/B> (2:10)BR>which has a different initial hiss sound placed in the first bar insteadof the second, what appears to be the infamous bum note throwing the melodyout of sync with the bassline in the second half of the middle eight,and nothing but the bass line and whooshes cycle from 1:18 to 2:00.SMALL>BR>Released as track 5 of Doctor Who at the Radiophonic Workshop - Volume Two: New Beginnings (BBC MUSIC, WMSF 6024-2)/SMALL>/UL>H3 ALIGNCENTER>I>1964/I>/H3>H3>A NAMETalkOut HREFhttp://wiki.delia-derbyshire.net/wiki/Talk Out>Talk Out/A> (1964) (0:26)/H3>P>incredible, based almost entirely on studio-recorded voices around 26 seconds of electronic delicacy.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>SMALL>BR>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes, REC354 (1979)/SMALL>/P>H3>A NAMEScienceAndHealth HREFhttp://wiki.delia-derbyshire.net/wiki/Science and Health>Science and Health/A> (1964) (0:57)/H3>P>a succession of tumbling chords, descending with an elegance beyond almost anyone else.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>P>In making A HREF#Ziwzih>Ziwzih Ziwzih OO-OO-OO/A> sheI>used just this one bar repeated which had previously been rejected froma science and health programfor being too lascivious for the schoolchildren. It was like a scienceprogram... it was supposed to be about sex, but under another name.And then the producer had the nerve to turn down my music, saying itwas too lascivious. It was just twangy things with electronic pick-ups,and I just used a single note and then did little glissandos on it andpitched it and treated it./I> P>In a draft version of the script forA HREFhttp://reelingwrithing.com/archive7.html>the Reeling and Writhing play/A>,scriptwriter Nicola McCartney has the following dialogue about the event:BLOCKQUOTE>TABLE BORDER0 WIDTH100%>TR>TD VALIGNTOP>TT>B>DESMOND BRISCOE/B>BR>The Producer of that education programme -- that Science and Health series-- he called me. He says they cant use the tapes you sent up.BR>BR>B>DELIA DERBYSHIRE/B>BR>He cant use them?BR>BR>B>DESMOND BRISCOE/B>BR>No... He says that the sound arrangement/BR>BR>B>DELIA DERBYSHIRE/B>BR>/ Music.BR>BR>B>DESMOND BRISCOE/B>BR>Theme.../TT>TD WIDTH6%> TD VALIGNTOP>TT>B>DELIA DERBYSHIRE/B>BR>Music.BR>BR>B>DESMOND BRISCOE/B>BR>Is too lascivious for eleven year-olds.BR>BR>B>DELIA DERBYSHIRE/B>BR>Too lascivious?BR>BR>B>DESMOND BRISCOE/B>BR>... Yes. Can you believe it? I said, For goodness sake, man, its a programme about sex education!BR>BR>B>He laughs. She stops working and is very silent./B>/TT>TD WIDTH227>DIV ALIGNCENTER>A HREFimages/deliawithpen6.jpg>IMG SRCimages/deliawithpen2.jpg ALIGNRIGHT WIDTH227 HEIGHT214 ALTDelia Derbyshite seated with pen, Desmond Briscoe on the right staring down at her>/A>BR>A HREFimages/deliawithpen6.jpg>Delia at the Workshop/A>/DIV>/TABLE>/BLOCKQUOTE>P>SMALL>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes,REC354 (1979)./SMALL>/P>H3>A NAMETheCyprianQueen HREFhttp://wiki.delia-derbyshire.net/wiki/Cyprian Queen>The Cyprian Queen/A>/H3>P>Delia created the music for a 1964 programme (unsure if TV or radio) catalogued as The Cyprian Queen (The Singing Bird), TRW reference 6062, produced by M.Bakewell.P>Delia always managed to soften her purist mathematical approachwith a sensitive interpretative touch - very sexy said MichaelBakewell on first hearing her electronic music for I>CyprianQueen/I>.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>/P>H3>A NAMEAngerOfAchilles HREFhttp://wiki.delia-derbyshire.net/wiki/The Anger of Achilles>Effects for The Anger of Achilles/A> (1964)/H3>P>Derbyshire also contributed some effects to Roberto GerhardsI>Anger of Achilles/I> radio play, which won theA HREFhttp://web.archive.org/web/20021219125643/http://www.prixitalia.rai.it/italiano/cos/vincitori60-69.htm#65>Prix Italia/A>RAI prize for literary or dramatic programmes with or without music.BR>A HREFhttp://web.archive.org/web/20080622165354/http://www.uam.es/ra/amee/revista/lewin2.htm>An article atthe I>Universidad Autónoma de Madrid/I>/A> says:/P>BLOCKQUOTE>Gerhard put together many works for tape at his house in Cambridgebut processed them and did the final mix at the BBC Radiophonic Workshopin London. His first work was the 1954 incidental music for BridgetBolands I>The Prisoner/I> for chamber orchestra and tape. . . and he would be honoured with the Prix Italiain 1965 for I>The Anger of Achilles/I> for orchestra and tape,created and presented by the BBC./BLOCKQUOTE>P>The BBC Programme Catalogue describes the work as anepic for radio in three parts by Robert Graves, from his translationof Homers Iliad. . . .Music specially composed for the programme by Roberto Gerhard,with special effects by the B.B.C. Radiophonic Workshop, first broadcastA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/SX+28726_6>17 May 1964/A>.UL> LI>1. Achilles plea to his goddess mother Thetis (1:13) LI>2. Thunderclap (0:13) LI>3. The sending of the false dream to Agamemnon (2:00) LI>4. Father Zeus message, thunderclap, horse effects (1:08) LI>5. Thetis theme reprise (0:36)/UL>H3>A NAMETheTower HREFhttp://wiki.delia-derbyshire.net/wiki/The Tower>The Tower/A> (1964)/H3>P>Her papers containa letter from Martin Esslin,Head of Drama (Sound), to Desmond Briscoe dated 30th June 1964:BLOCKQUOTE>I have just been listening to the playback of the completed version of THE TOWERand should like to express my deep appreciation for the excellent work done onthis production by Delia Derbyshire and John Harrison. This play set them anextremely difficult task and they rose to the challenge with a degree ofimaginative intuition and technical mastery which deserves the highest admirationand which will inevitably earn a lions share of any success the production mayeventually achieve. I only wish that it were possible for the names ofcontributors of this calibre to be mentioned in the credits in the Radio Times andon the air. But failing this I should like to register the fact that I regardtheir contribution to this production as being at least of equal importance to thatof the producer himself./BLOCKQUOTE>H3>A NAMEFourInventions HREFhttp://wiki.delia-derbyshire.net/wiki/Inventions for Radio>Four Inventions for Radio/A>/H3>P>Working title: Mid-Century Attitudes by Barry Bermange,produced by David Thomson.BR>Her collaborations with the poet and dramatist Barry Bermange forthe Third Programme showed her at her elegant best.BR> -- A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgson/A>BR>They are listed inA HREFhttp://doollee.com/PlaywrightsB/bermange-barry.html>thedoollee.com article on Barry Bermange/A>./P>A HREFimages/bermange.jpg>Radio Times entries/A> for three of them,probably from Spring 1975, say:BLOCKQUOTE>B>10.15 The Dreams/B> (/B>Amor Dei/B> /B>The Afterlife/B>)BR>The first (/second /third) of three Inventions for radio by Barry Bermange,in collaboration with the BBC Radiophonic Workshop.More than ten years have elapsed since these ‘re-creationsin sounds and voices’ were first broadcast.They introduced a fresh genre to the medium and remain classics ofradio technique./BLOCKQUOTE>H3>Invention for Radio No. 1: A NAMETheDreams HREFhttp://wiki.delia-derbyshire.net/wiki/The Dreams>The Dreams/A> (1964)/H3>P>!-- Put track listing first because text is long -->/P>UL>LI> 1. B>Running/B> (8:08)LI> 2. B>Falling/B> (8:45)LI> 3. B>Land/B> (7:02)LI> 4. B>Sea/B> (9:38)A HREFlyrics/dreams_sea.txt>Lyrics/A>LI> 5. B>Colour/B> (9:22)/UL>A version labelled TX (Third) 5.1.1964 doesnt have the thirdmovement and has shorter, less elaborate versions of the other four.BR>One source says Amor Dei was one of the 4 Inventions for Radio alongwith The Dreams. I know the BBC did a transcription set of 2 discs forworldwide spreading to India, Canada, etc--all our colonies as ofthen. The versions are 25-30 min edits of the long versions.UL>LI>1. B>Running/B> (3:48)LI>2. B>Falling/B> (7:47)LI>3. B>Sea/B> (8:31)LI>4. B>Colour/B> (6:23)/UL>P>This programme of sounds and voices is an attempt to re-create infive movements some sensations of dreaming - running away, falling,landscape, underwater and colour. All the voices were recorded fromlife (by Barry Bermange) and arranged in a setting of pure electronicsounds. (RT) -Produced by David Thomson.P>Part of the four programme Inventions for Radio series,created in collaboration with Barry Bermange, Dreams is a collectionof spliced/reassembled interviews with people describing theirdreams. Delias editing and repetition, together with her dissonant,often terrifying musique concrete soundbeds, make this distinctlyuneasy bedtime listening. The entire piece is 45 minutes in length.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>P>It also gets called Within Dreams.SMALL>BR>BroadcastA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/SX+30096_3>5 Jan 1964/A> on the Third Programme andA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/BF+93281_1>21:45-22:45 19 Oct 1993 on BBC Radio 3/A>./SMALL>/P>H3>Invention for Radio No. 2: A NAMEAmorDei HREFhttp://wiki.delia-derbyshire.net/wiki/Amor Dei>Amor Dei: A Vision of God/A> (1964)/H3>UL>LI> 1. B>Groping towards God/B> (7:59)LI> 2. B>Rorate Coeli/B> (9:02)LI> 3. B>Id like to believe in God, but.../B> (14:35)LI> 4. B>There I>is/I> a God!/B> (14:27)/UL>P>A second invention for radio by Barry Bermange, in collaborationwith the B.B.C.s Radiophonic Workshop, with talk recorded inco-operation with the Old Peoples Welfare Council, Hornsey. Producer:David Thomson. An attempt to describe God in human terms, and tocreate, in the manner of a religious painting, an overall impressionof mans love for Him. The voices were recorded from life and arrangedby the author in a setting of radiophonic sound. Plainsong AntiphonJohn Hahessy (boy soprano) - unacc. 16-Nov-1964.BR> -- A HREFhttp://www.suttonelms.org.uk/BB.HTML>Nigel Deacon/A>P>A HREFimages/Bermange-altar-screen.jpg>IMG ALIGNRIGHT SRCimages/Bermange-altar-mini.jpg WIDTH175 HEIGHT239 ALTBarry Bermanges drawing of a gothic altar piece>/A>I>When I was doing the Inventions with Barry Bermange he wantedsounds which would sound like a Gothic altarpiece. Oh, I said,yes. What a good idea. But what do you really mean? What sort ofsounds? He said Well, give me a pencil and paper. I did, and with greatcare and elaboration he drew me a beautiful Gothic altarpiece and saidThats the sort of sound I want./I>P>Barry Bermange said that he himself thought of I>Amor Dei/I> as‘rather in the manner of a Renaissance painting with the believers in Godin the foreground or centre and half-hidden disbelievers looking out fromshadowy places round the edge of the painting.’BR>He has made this programme in four sections. In the first you will hearseveral thoughtful voices groping towards God, feeling their way into somethingundefined. In the second, some more assured voices cite concrete images; adefined notion of God begins to emerge. The third is a contest between thosewho love God and those who cannot believe in Him. The assured and confidentvoices in the last section are inspired by absolute faith.BR> -- David Thomson in the Radio Times, 1965.P>A shortened version was played in theA HREF#UnitDeltaPlusConcertOfElectronicMusic>Unit Delta Plus Concert of Electronic Music/A> at the Watermill Theatre, Bagnoron the 10th September 1966.P>The British Library Sound Archive has a recording of this,with catalogue number T1604R BD 1, which can be heardfor free by going to the British Library in London.SMALL>BR>Broadcast by the BBC Third Programme onA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/SX+28683_6>16November 1964/A>, repeated on December 5th./SMALL>/P>H3 ALIGNCENTER>I>1965/I>/H3>H3>Invention for Radio No. 3: A NAMETheAfterlife HREFhttp://wiki.delia-derbyshire.net/wiki/The Afterlife>The Afterlife/A> (1965)/H3>UL>LI> 1. B>Death is going from shadow into reality/B> (7:47)LI> 2. B>Its just like going to sleep/B> (11:09)LI> 3. B>Light. Everywhere is light./B> (10:30)LI> 4. B>Death is just a changing/B> (10:14)/UL>P>The third in a cycle of inventions for radio by Barry Bermange,in collaboration with the BBCs Radiophonic Workshop. Produced byDavid Thomson. This programme is an attempt to reconstruct in soundthe spiritualistic vision of Death and Eternity. It is conceivedas a dream of Death. Using the montage process of his earlierprogrammes, The Dreams and Amor Dei, the author has arranged insettings of electronic sound a collection of voices recorded fromlife. There are four movements. Radio Times. Actuality voicesrecorded in co-operation with the Old Peoples Welfare Council,Hornsey. 1-Apr-1965.BR> -- A HREFhttp://www.suttonelms.org.uk/BB.HTML>Nigel Deacon/A>SMALL>BR>BroadcastA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/SX+28683_7>1April 1965/A>./SMALL>/P>TABLE BORDER0>TR>TD VALIGNTOP>H3>Invention for Radio No. 4: A NAMETheEveningsOfCertainLives HREFhttp://wiki.delia-derbyshire.net/wiki/The Evenings of Certain Lives>The Evenings of Certain Lives/A> (1965)/H3>P>A fourth invention for radio by Barry Bermange in collaboration withthe B.B.C.s Radiophonic Workshop.An attempt to reconstruct with sounds and voices some of the hazards of growing old.BR>The programme is about life at a certain age, not at the extreme point whenpeople ‘just give up and wait’ but, perhaps more poignantly,at the point where old age begins and the body just wont work like it used toand the eyes just wont see, the ears just wont hear, and the memory ofwhat you were is dim.BR>I>The Evenings of Certain Lives/I> is about the sense of isolation.And the private agony.BR> -- The Radio Times, 1965.BR>There is a ten-minute extract of The Evenings on one of the tapesfrom Delias attic, of which two clips were broadcast in theSculptress of Sound radio programme.SMALL>BR>BroadcastA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/SX+28683_8>9and/or 15 September 1965/A> on the Third programme./SMALL>/P>TD WIDTH175 VALIGNTOP>A HREFimages/the_evenings_of_certain_lives.jpg>IMG ALIGNRIGHTSRCimages/the_evenings_of_certain_lives-mini.jpg WIDTH175 HEIGHT200ALTTwo old people looking at you ruefully>/A>/TABLE>H3>A NAMETheBusinessOfGoodGovernment HREFhttp://wiki.delia-derbyshire.net/wiki/The Business of Good Government>The Business of Good Government/A> (1965)/H3>P>Her papers contain !-- dd095849-->a leaflet for a Theatre 62s production of John Ardens play The Business of Good Governmentwith sound by Unit Delta Plus, in which she is credited withcomposing the soundscore.BR> It was performed at the Parish Church of Assisi, West Wickham, Kenton Thurday 16th, Friday 17th and Saturday 18th December,which correspond in 1965.P>The BBC made a radio adaption of the play which was broadcast on16th December 1964, though there is no evidence that Delia hadany involvement with that./P>H3 ALIGNCENTER>I>1966/I>/H3>H3>A NAMEApe HREFhttp://wiki.delia-derbyshire.net/wiki/Ape and Essence>Ape and Essence/A>/H3>P>There are two sides of manuscript in her papers!-- DD122833 DD122859 -->for a piece called Ape, which is probably Ape and Essence, a TV version ofAldous Huxleys novel of the same name in the TV series The Wednesday Play,series 1, programme 61, broadcast 18th May 1966.Delia seems to have reused the music for theA HREF#BrightonFestival>Brighton Festival/A> in 1967./P>H3>A NAMEANewViewOfPolitics HREFhttp://wiki.delia-derbyshire.net/wiki/A New View of Politics>A New View of Politics/A> (1966) (0:40)/H3>P>devastatingly effective (and perfect for the optimism of early BBC2, for whom the piece was written).BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>BR>The programme, an interview with Jo Grimond on the reasons for his resignationfrom the leadership of the Liberal Party, wasA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/LCA5755H>broadcast on 5 Feb 1967/A>.SMALL>BR>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes, REC354 (1979)/SMALL>/P>TABLE ALIGNRIGHT BORDER0>TR>TD>A HREFimages/ziwzih.jpg>IMG ALIGNRIGHT SRCimages/ziwzih_mini.jpg WIDTH248 HEIGHT144 ALTPraying robots screenshot from The Prophet>/A>/TABLE>H3>A NAMEZiwzih HREFhttp://wiki.delia-derbyshire.net/wiki/Ziwzih Ziwzih OO-OO-OO>Ziwzih Ziwzih OO-OO-OO/A> (1966) (1:44)/H3>P>written as theme for an episode of Out of the Unknown based aroundan Isaac Asimov story in which automata rebel against humans andworship God in an energy converterBR> -- A HREFhttp://www.cosmicsurfer.pwp.blueyonder.co.uk/Delia.html>Ian Burdon/A>BR>based around a resplicing of Science and Health, is her mostterrifying moment, tumbling into a nightmare, the sound of childhoodat its most chilling.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>BR>I>Most of the programs that I did were either in the far distantfuture, the far distant past or in the mind. I think this was theclimax of a science fiction play called The Prophet. It ended upwith all these robots and they sang a song of praise to this bloke,presumably the prophet, and this was the song they sang.It is difficult to pronounce because its made from backwards chanting andI think if you play it forwards it would say something like Praise tothe master, his wisdom and his reason and I just chose the best bits andZiwzih Ziwzih, his wiz, his wiz: its that backwards. And I must saythat the Oo-oo-oo is electronic! I think it was at the same time as oneof the Beatles songs, Please please me, and so that was like, I think,er, Drew said he thought it sounded medieval. Well that was because itwas like a new religion and theyd go back to square one and the perfectfifth as the greeks did. And so my oo-oo-oos were done on the Wobbulator./I>BR> -- Delia in A HREFBBCScotlandInterview.html#Ziwzih>the Radio Scotland interview/A>BR>I>I did the music for the whole programme. It was probably in the mid60s. ... I never watched the stuff. I had a script, thats all.The actors, I got them to chant. The words they were singing were,Praise to the master, his wisdom and his reason ...I turned it backwards first, then chose the best bitsthat sounded good backwards and would fit into a rhythm, and thenspeed-changed the voices. Then I used just this one bar repeated whichhad previously been rejected fromA HREF#ScienceAndHealth>a science and health program/A>for being too lascivious for the schoolchildren. It was like a scienceprogram... it was supposed to be about sex, but under another name.And then the producer had the nerve to turn down my music, saying itwas too lascivious. It was just twangy things with electronic pick-ups,and I just used a single note and then did little glissandos on it andpitched it and treated it. But the Ooh-ooh-ooh isnt me... thatswobbulator, pure wobbulator. Thats a piece of test equipment that doeswave sweeps./I>BR> -- Delia, in A HREFsites/interview_surface.php.html>the Surface interview/A>, December 1999BR>the voices are reversed but actually sayPraise to the Master/His Wisdom and His Reason/Praise to the Master/Foreverand OO-OO-OO-OO/His Wis.../His Wis.../OO-OO-OO-OO/.BR> -- A HREFhttp://www.bbc.co.uk/music/experimental/reviews/radiophonic_music.shtml>Peter Marsh/A>, BBCBR>An A HREFimages/RT-TheProphet.jpg>image of the Radio Times/A> lists the TVprogramme asOut of the Unknown: The Prophet, from I>Reason/I> by Isaac Asimovfor BBC-2 on Sunday 1st January at 10.05 but the year is missing.An analysis ofA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/series/OUT+OF+THE+UNKNOWN>the BBC Programme Catalogue for the series/A>suggests that was aA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/on_this_day/1967/01/01>1 Jan 1967/A>retransmission ofA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/LDP5223F>the 29 Dec 1966 episode/A>.SMALL>BR>Released on 10 vinyl Music from The BBC Radiophonic Workshopby Rephlex as CAT147LP (2003)BR>Released on vinyl BBC Radiophonic Music by BBC Records as REC25M(1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002)/SMALL>/P>H3>A NAMESpin HREFhttp://wiki.delia-derbyshire.net/wiki/Spin>Spin/A> (April 1966)/H3>P>From 22 to 30 April 1966 she worked on sound for a Proctor & GambleTV advertisement for washing powder.The script, dated 20th April 1966, calls the piece Outer space./P>H3>A NAMEMoogiesBloogies HREFhttp://wiki.delia-derbyshire.net/wiki/Moogies Bloogies>Moogies Bloogies/A> (1966?) (3:26)/H3>P>A HREFlyrics/moogiesbloogies.txt>Lyrics/A>BR>An unreleased perv-pop classic in the 1966 noveltyvein, recorded with Anthony Newley. The future Mr JoanCollins was after an electronic backing track and called inDelia.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>BR>It was played at the A HREF#UnitDeltaPlusConcertOfElectronicMusic>B>Unit Delta Plus Concert ofElectronic Music/B>/A>, 10th September 1966, then went unheard until 2001.BR>This electronic pop song is sung by Anthony Newley who alsowrote the words. The piece is composed in a traditionalmusical way with melody, rhythm and harmony, and the musicalparameters are all totally predetermined. The sources ofsound are simple sine tones.BR> -- from the concert programmeBR>I>The late Anthony Newley told his label that he wantedto do something electronic. So they got on to me. So Iproduced this bloopy track and he loved it so much hedouble-tracked his voice and he used my little tune.BR> The winking knees in the rain, and theirmini-skirts. Id done it as a lovely little innocent lovesong, because he said to me that the only songs are, I loveyou, I love you or songs saying youve gone, youve gone.BR> Id written this beautiful little innocenttune, all sensitive love and innocence, and he made it intoa dirty old raincoat song. But he was really chuffed! Joanand Jackie Collins dropped him off in a limousine at mylovely little flat above a flower shop, and he said Ifyou can write songs like this, Ill get you out of thisplace! It was only a single-track demo tape. So he rang uphis record company saying We want to move to a multi-trackstudio. Unfortunately the boss of the record company was onholiday, and by the time he returned Anthony Newley had goneto America with Joan Collins, so it was never released./I>BR> -- Delia, in A HREFsites/interview_surface.php.html>the Surface interview/A>BR>Delia was initially disappointed with the recording, but asthe years passed she became exceptionally fond of it.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>/P>TABLE WIDTH100% BORDER0>TR>TD VALIGNTOP>H3>A NAMEUnitDeltaPlusConcertOfElectronicMusic HREFhttp://wiki.delia-derbyshire.net/wiki/Unit Delta Plus Concert of Electronic Music>Unit Delta Plus Concert of Electronic Music/A> (10 September 1966)/H3>P>Delia became involved in an early electronic music concert at theNew Mill Theatre in Newbury that also featured a pioneering light projectionshow by Hornsey College of Art and magnetic sculptures by Paul Takis.BR> -- A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgson/A>BR>I>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 presumptuous! John Betjeman was there... he sat in the front row and went to sleep... it was quite a social occasion./I>BR> -- Delia, quoted in A HREFhttp://www.neontommy.com/2009/12/fibreoptic-flowers-the-music-o>Fibreoptic flowers/A>P>They put on the B>Unit Delta Plus Concert of Electronic Music/B> at theWatermill Theatre, Bagnor, near Newbury on the 10th September 1966, featuring:UL> LI>B>Amor Dei/B>, 15 mins (see A HREF#AmorDei>above/A>) LI>B>Moogies Bloogies/B>, 15 mins (see A HREF#MoogiesBloogies>above/A>) BR>This was Moogies Bloogies first and perhaps only public airing until 2001. LI>A NAMEPotPourri HREFhttp://wiki.delia-derbyshire.net/wiki/Pot-pourri>B>Pot-pourri/B>/A>, 5 mins BR>Each of the short sections was composed as a piece of introductory music for the BBC, with similar rhythms, melodic intervals and sound qualities. BR> -- from the concert programme LI>A NAMERandomTogether1 HREFhttp://wiki.delia-derbyshire.net/wiki/Random Together 1>B>Random Together 1/B>/A>, 20 mins BR>With Peter Zinovieff. The piece is in three parts. The first and last will have light projection by Hornsey College of Art. The middle section will be heard in darkness and musically is derived from the other two sections. A limited number of sounds was chosen in each section and their order and coincidence were selected randomly. It was determined beforehand what the results of any such combinations might be. The levels of reverberation, the rise and fall times, and the mixing of a large number of these sounds, as well as their being recorded on one or more tracks, werre also determined by probabilistic methods. The different quality of the first and last sections is due to the difference in pitch of the tones initially chosen and the probabilistic selection of time intervals, loudnesses and switching from track to track. In this way the spatial structure is also varied. This will be especially apparent in the transition between the central section and the last section where the sound will appear from several different directions. The central section is the only one which is musically self-sufficient. The other two were composed with light projection in mind. BR> -- from the concert programme/UL>Scanned images of the concert program are available atA HREFhttp://www.delia-derbyshire.org/unitdeltaplus.php>delia-derbyshire.org/A>.TD VALIGNTOP ALIGNCENTER> A HREFimages/UDPlogo.jpg>IMG SRCimages/UDPlogo-mini.jpg WIDTH200 HEIGHT78 ALTUnit Delta Plus logo>/A> BR CLEARALL> BR> A HREFimages/UDPletterhead.jpg>IMG SRCimages/UDPletterhead-mini.jpg WIDTH200 HEIGHT138 ALTUnit Delta Plus letterhead>/A> BR CLEARALL> BR> A HREFimages/UnitDeltaPlus_1966.jpg> IMG SRCimages/UnitDeltaPlus_1966_mini.jpg WIDTH200 HEIGHT139 ALTBanks of synthesizers at Unit Delta Plus studio 1966>/A> A HREFimages/UnitDeltaPlus_1966.jpg> Unit Delta Plus studio, 1966/A>/TABLE>H3>A NAMEOnTheLevel HREFhttp://wiki.delia-derbyshire.net/wiki/On The Level>On The Level/A> (1966)/H3>P>With Unit Delta Plus she created sounds for Ron Grainers second playOn The Level, a musical performed at The Royal Court Theatre in Liverpool.BR> -- A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgsons obituary/A>BR>In her papers there is !--dd094616-->a list of 19 sequenceslasting a total of 15:18 and!--dd094630-->a list of 67½ man-hoursspent on it by Unit Delta Plus between 6th August 1965 and 18th February 1966./P>H3>A NAMEWayOutInPiccadilly HREFhttp://wiki.delia-derbyshire.net/wiki/Way Out in Piccadilly>Way Out in Piccadilly/A> (1:52) (October 1966), also known as I>Way Out/I>/H3> I>Now let us go back to the last fifties, early sixties. Dave Brubeck had done Take Five and in 61 hed done Its a Raggy Waltz so - that was in seven time - so I thought Fine! Im into the numbers game. Ill do eleven time and thirteen time, continuing the series of prime numbers. But unfortunately that style, I was told, was too sophisticated for the BBC2 audience and so, as I was doing it, the choreographer Vin Davis sp? happened to be walking down the corridor and his feet started tapping and he said I want that! and I said No, you cant! Ive done it for the BBC. And so he implored me to do something in the same style, in eleven time and thirteen time, for his dance group, which I did. In fact it was the Frankie Howerd and Cilla Black show it was originally done for, but it had to be scrapped from that because they did the stupid thing of putting this rather delicate music as an opener to the second act. ... A friend told me that by one means or another it ended up as a backing for a deodorant commercial on television which is something of course we were absolutely forbidden to do but it was nothing of my doing. It was rejected by BBC2 and there it was on the commercial./I> BR> -- Delia in the A HREFBBCScotlandInterview.html#WayOut>BBC Radio Scotland interview/A>.SMALL>Released on vinyl as Standard Music Library ESL104 (1969).BR>Released without London Lemons on CD and vinyl asThe Tomorrow People: Original television music (JBH017CD and JBH017LP,Trunk Records, April 2006), available with audio samples atA HREFhttp://www.moviegrooves.com/shop/tomorrowpeoplesoundtrack.htm>MovieGrooves/A> ()./SMALL>A HREFimages/udp_millionvolt.jpg>IMG ALIGNRIGHT SRCimages/udp_millionvolt-mini.jpg WIDTH131 HEIGHT200 ALTA Million Volt Light-Sound Rave concert poster>/A>H3>A NAMEMillionVoltLightSoundRave HREFhttp://wiki.delia-derbyshire.net/wiki/A Million Volt Light-Sound Rave>Million Volt Light-Sound Rave/A> (1966)/H3>P>A tape of Unit Delta Plus music was also performed at the Beatles-poweredMillion Volt Sound Rave, 28 Jan and 4th Feb 1967 at Londons Roundhousein Chalk Farm Road.P>In 1966 she worked with Paul McCartney and George Harrison at an eventcalled The Carnival of Light at the Chalk Farm Roundhouse.BR> -- The Times obituary, A HREFhttp://www.cblackburn.fslife.co.uk/times.htm>cited by Clive Blackburn/A>P>Her papers contain a newspaper clipping which reads:BLOCKQUOTE>TABLE BORDER0 WIDTH100%>TR>TD WIDTH47% VALIGNTOP>B>Trendy Beatle/B>SMALL>BR>BEATLE b>Paul McCartney/B> has prepared a tape of electronic noises--knownas music in some circles--for use at a “carnival of light” atCentre 42s Round House next month.BR> Carnival of light? This is a new art form combining sound with light coming mostly from 15 automatic projectors playing onto 60ft-highscreens, which changes colour according to the sound./SMALL>TD WIDTH6%VALIGNTOP>TD WIDTH47% VALIGNTOP>SMALL> There will be another five projectors developed from aRussian invention, whch create patterns, blending and blurring vividly colouredshapes. They will be hand-operated by artists and designersB>David Vaughan/B>, B>Douglas Binder/B> and B>Dudley Edwards/B>, thethree men behind this form of entertainment.BR> The occasion threatens to be one of those eye-dazzlingear-splitting affairs that the trendy have already dubbed“psychedelic son et lumiere.”/SMALL>/TABLE>/BLOCKQUOTE>H3 ALIGNCENTER>I>1967/I>/H3>H3>A NAMEBrightonFestival HREFhttp://wiki.delia-derbyshire.net/wiki/Brighton Festival>Brighton Festival/A> (1967)/H3>P>She has mentioned doing work for the Brighton Festival, and in her papers are!--dd082346.html-->a letter dated Dec 13th 1966 and!--dd082706.html-->a draft programme fromClive Latimor of Hornsey College of Art, dated November 10th, 1966:BLOCKQUOTE>PRE>K.4 (Kinetic four dimensionalBrighton Festival: West Pier: April 14th - 30thThe advanced Studies Group of Hornsey College of Art initiates experimentsin kinetic/audio/visual environments collectively titled K.4.Assisted by staff and students of Fine Art, Visual Research, ThreeDimensional Design, Post Diploma and Film and Television Departments, thefollowing features are presented:U>Kinetic Arena/U>A white elliptical cyclorama 60 x 80 together with the white painters latticegirder roof creates a large audio/visual environment. This will be programmedwith continuously developing moving images by 10 high powered (2kw and 5kw)automatic projectors. An arrangement of 30 loudspeakers will provide threedimensional sound. From Monday to Friday, from 8 until midnight, for the twoweeks of the Festival the arena will function as a discotheque. On the openingnight and the three following weekends special audio/visual kinetic performanceswill be presented. In addition to LIGHT/SOUND WORKSHOP performances whichinclude special slide projection techniques we hope to have performances byBruce Lacey with his robots and by Pink Floyd Sound....U>Kinetic Labyrinth/U>Whilst the Arena aim to create a spacious environment for the socialactivity of a large group the Labyrinth aims to provide a more enclosed andpersonal experience. The Labyrinth is a means of presenting the work of a number of British andforeign kinetic artists together with environments created by LIGHT/SOUNDWORKSHOP.... The environments will have a number of walls which aretransparent projection screens of Perspex and other materials. Colours andimaged will be programmed on to these together with appropriate sounds tracks./PRE>/BLOCKQUOTE>There is a also !--dd082814-->a set of her noteson the back of !--dd082802-->a flyerdated Tuesday, 28th March(1967) in which she lists ten of her pieces for the event:UL> LI>D.A. LI>A HREF#Ape>Ape/A> LI>W. in S. LI>Lay in the life(?) LI>A Year IR LI>A HREF#TheTower>Tower/A> LI>A HREF#AmorDei>Amor Dei/A> LI>French Eyes LI>A HREF#TheDreams>Dreams/A> LI>ME in History/UL>H3>A NAMEChromophoneBand HREFhttp://wiki.delia-derbyshire.net/wiki/Chromophone Band>Chromophone Band/A> (1:56)/H3>P>written by Dudley Simpson and realised by Delia.It isnt a classic Delia moment by any means . . .it sounds rather end-of-pier . . .although a distinctive DD rhythm track redeems it somewhat.SMALL>BR>Released on Doctor Who Volume 1: The Early Years 1963-1969 (BBC Music WMSF 6023-2)/SMALL>/P>H3>A NAMEPhilips HREFhttp://wiki.delia-derbyshire.net/wiki/Philips>Philips/A> (February 1967)/H3>P>In her papers is a group of papers collectively called Philipsdone with Unit Delta Plus, 3.2.67, with notes, score fragments and tape labels.A HREFimages/ICIfibres-RCAdesigns.jpg>IMG ALIGNRIGHT SRCimages/ICIfibres-RCAdesigns-mini.jpg WIDTH150 HEIGHT175 ALTICI fibres - RCA designs>/A>H3>A NAMEFashionShow HREFhttp://wiki.delia-derbyshire.net/wiki/ICI Fashion Show>Music for ICI Fashion Show/A> (April 1967)/H3>P>She even recorded a score for an ICI-sponsored student fashion show,which was the first in the world to use electronic music.BR> -- A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgson/A>BR>The concert programme described it as A presentation of menswear styles in bri-nylon, terylene and crimplene designed and made up by students of the Fashion School of the Royal College of Art on 6th April 1967.BR>The music is included in the Attic Tapes and is a collage of her otherpieces, artfully blended and reworked to transition from one to the next./P>H3>A NAMEHappyBirthday HREFhttp://wiki.delia-derbyshire.net/wiki/Happy Birthday>Happy Birthday/A> (0:24)/H3>Delias joyful 24-second reworking of the classic Happy Birthday To You theme.P>SMALL>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Included in CD BBC Radiophonic Music by BBC Records as REC25MCD (26 November 2002)/SMALL>/P>H3>A NAMETowardsTomorrow HREFhttp://wiki.delia-derbyshire.net/wiki/Towards Tomorrow>Towards Tomorrow/A> (1967) (1:11)/H3>P>perfect subversion of a classic brave-new-world dynamism phrase. Thetomorrow I imagine here is the antithesis of that which the BBC inthe 60s made much play of promoting to its audience; instead, it couldeasily be some kind of dystopia, a state of decay or de-evolution.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>BR>The TV series for which it was written wasA HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/LSF5782Y>firstbroadcast 7 December 1967/A>.SMALL>BR>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Released on vinyl BBC Radiophonic Music by BBC Records as REC25M(1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002)/SMALL>/P>H3>A NAMEBlueVeilsAndGoldenSands HREFhttp://wiki.delia-derbyshire.net/wiki/Blue Veils and Golden Sands>Blue Veils and Golden Sands/A> (1967) (3:25)/H3>P>I>This was a documentary program about the Tuareg tribe. TheTuareg tribe are nomads in the Sahara desert and I think they liveby bartering, taking salt, I think it was, across the desert. Inthe piece, the extract youre going to hear, I tried to convey thedistance of the horizon and the heat haze and then theres this veryhigh, slow reedy sound. That indicates the strand of camels seenat a distance, wandering across the desert. That in fact was madefrom square waves on the valve oscillators weve just talked about,but square waves put though every filter I could possibly find totake out all the bass frequencies and so one just hears the veryhigh frequencies. It had to be something out of this world./I>BR> -- Delia inA HREFBBCScotlandInterview.html#BlueVeils>the Radio Scotland interview/A>BR>mostly created using electronic oscillators - severely high-passfiltered - to give the shimmering heat haze backdrop to the Tuaregtribesmen weaving slowly across the screen of a period documentary.Delia has since referred to the piece as including her I>castrated oboe/I>,but the only non-electronic source really recorded is her voice, cut upand re-pieced.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>BR>phenomenally atmospheric; such is its surround-sound quality that ittotally transcends the narrow constraints of simply coming from myspeakers, instead filling the room, my consciousness, the air itself.And yet virtually nothing happens...BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>BR>Among her outstanding television work, one of her favourites wascomposed for a documentary for The World About Us on the Tuareg peopleof the Sahara desert. It still haunts me. She used her own voice forthe sound of the hooves, cut up into an obbligato rhythm, and she addeda thin, high electronic sound using virtually all the filters andoscillators in the workshop.BR>!-- The Lampshade on the right. text should flow around it on the left. -->A HREFimages/coolicon.jpg>IMG ALIGNRIGHT SRCimages/coolicon-mini.jpg WIDTH186 HEIGHT136 ALTCoolicon Utility Lighting Shade (light green)>/A>My most beautiful sound at the time was a tatty green BBC lampshade,she recalled.I>It was the wrong colour, but it had a beautiful ringing sound to it.I hit the lampshade, recorded that, faded it up into the ringing partwithout the percussive start.BR>I analysed the sound into all of its partials and frequencies, andtook the 12 strongest, and reconstructed the sound on the workshopsfamous 12 oscillators to give a whooshing sound. So the camels rode offinto the sunset with my voice in their hooves and a green lampshade ontheir backs./I>BR> -- A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgsons Guardian obituary/A>BR>Few could disagree with Delias own remark on recently hearing Blue Veils:I>Doesnt it just melt you!/I>BR>The lampshade in question is the Coolicon Utility Lighting Shade,British Patent No 419602, Registered Design No 777912; theysometimes appear for sale on ebay.SMALL>BR>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Released on vinyl BBC Radiophonic Music by BBC Records as REC25M(1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002)BR>Released on Doctor Who Volume 2: New Beginnings/SMALL>/P>TABLE WIDTH100% BORDER0>TR>TD VALIGNTOP>H3>A NAMEMacbeth1967 HREFhttp://wiki.delia-derbyshire.net/wiki/Macbeth (1967)>Music for RSC Macbeth/A> (1967)/H3>P>With Unit Delta Plus she worked on Guy Woolfendens electronic score forPeter Halls 1967 Royal Shakespeare Company production of Macbeth at theRoyal Shakespeare Theatre, Stratford upon Avon with Paul Scofield as Macbeth.BR> -- A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgson/A>P>The play opened on the 15th August 1967 and the theatre programme says Music by: Guy Woolfenden and Unit Delta Plus Electronic Music and Act One is about 1 hour; Act Two is about 80 minutes.TD VALIGNTOP WIDTH96> A HREFimages/RSC Macbeth.jpg>IMG SRCimages/RSC Macbeth-mini.jpg WIDTH135 HEIGHT200 ALTThe Royal Shakespears Companys 1967 Macbeth theatre programme cover>/A>/TABLE>H3>A NAMETigerTalks HREFhttp://wiki.delia-derbyshire.net/wiki/Tiger Talks>Esso advert Tiger talks/A> (September 1967)/H3>P>Her papers contain notes, script and a telegram dated 15 Sep 67for an Esso TV advert in wihch a tiger talks with a man operating the liftat Esso headquarters. It is not know whether this was ever realised./P>H3>A NAMEWrappingEvent HREFhttp://wiki.delia-derbyshire.net/wiki/Wrapping Event>Music for Wrapping Event/A> (1967/68)/H3>P>At Kaleidophon, she did the sound track for the film Wrapping Piece forYoko Ono Productions.P>I>I did a film soundtrack for Yoko Ono, while she slept on my floor.. . . It would be 67 or 68. It was about the same timethat she met John Lennon . . . So yes, she did her/I>BottomsI> film. And we did the soundtrack for the shorter film,which was the wrapping of the lions in Trafalgar Square, which wasa happening./I>BR> -- Delia, in the A HREFsites/interview_surface.php.html>Surface interview/A>P>The film was shown A HREFhttp://web.archive.org/web/20060715023526/www.ica.org.uk/index.cfm?articleid13115>at the ICA in London in 2004/A>but the film had no soundtrack and A friend at the ICA askedthe curator of the exhibition and film festival, someone with anexhaustive knowledge of Yoko Onos work, who said that he had noknowledge of a film of the Wrapping Event with an existing soundtrack./P>H3 ALIGNCENTER>I>1968/I>/H3>H3>A NAMEDoorToDoor HREFhttp://wiki.delia-derbyshire.net/wiki/Door To Door>Door to Door/A> (0:30)/H3>P>Shows that she could also do the upbeat promotional thing well;the rings and knocks are worked perfectly into the perfect 60sadvertising campaign soundtrack.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>BR>reduced her to fits of giggles when played during a BBC Radio Scotland interviewBR>I>Well, I think thats really at the more trivial end of what I did.Yes, isnt it jolly?/I>BR> -- Delia inA HREFBBCScotlandInterview.html#DoorToDoor>the Radio Scotlandinterview/A>SMALL>BR>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Released on vinyl BBC Radiophonic Music by BBC Records as REC25M(1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002)/SMALL>/P>H3>A NAMEMattachin HREFhttp://wiki.delia-derbyshire.net/wiki/Mattachin>Mattachin/A> (1968?) (1:06)/H3>P>a fine reworking / extension of the structure of her Talk Out.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>P>Delia says in the 1977 A HREFBBCScotlandInterview.html#Mattachin>BBC Radio Scotland interview/A> that she hadnt heard it since 1968.SMALL>BR>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Released on vinyl BBC Radiophonic Music by BBC Records as REC25M (1971 and 19 May 2003) and on CD as REC25MC (26 November 2002)/SMALL>/P>H3>A NAMEPotAuFeu HREFhttp://wiki.delia-derbyshire.net/wiki/Pot Au Feu>Pot au Feu/A> (1968?) (3:13)!-- 1968, according to the comment in an MP3 file) -->/H3>P>angular robot jazz crammed with incidentBR> -- A HREFhttp://www.bbc.co.uk/music/experimental/reviews/radiophonic_music.shtml>Peter Marsh/A>BR>the real masterpiece is Pot Au Feu. This is three minutes andnineteen seconds of paranoia, virtually a rave track circa 1991 in itsstructure; a stattering, pounding teleprinter-paced bassline worthy ofTimbaland as the tension builds, then a moment of chaos and crisis,an alarm-bell of a hook recalling the panic / excitement lines soprevalent in early 90s hardcore.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>BR>A pounding, fantastically rhythmical track - its unsettling enoughto have a speedfreak running to get the breadknives in the kitchenSMALL>BR>Released on 10 vinyl Music from The BBC Radiophonic Workshop by Rephlex as CAT147LP (2003)BR>Released on vinyl BBC Radiophonic Music by BBC Records as REC25M(1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002)/SMALL>/P>A HREFimages/WHO.jpg>IMG ALIGNRIGHT SRCimages/WHO-mini.jpg WIDTH175 HEIGHT126 ALTA colourful logo for Who Is from her papers>/A>H3>A NAMEWhoIs HREFhttp://wiki.delia-derbyshire.net/wiki/Who Is>Who Is/A> (1968)/H3>P>At Kaleidophon she produced electronic title music for Who Is,a four-country, thirteen-programme, colour-TV series.BR>In her papers there are production notes and abstract scores for aseries signature for Allan King Associates (Toronto) produced by Roger Graafand directed by Paul Davies, Denis Postle and Dick Fontaine.BR>One of her Who Is papers !--dd101556--> is headed N.U../P>H3>A NAMEBringBack HREFhttp://wiki.delia-derbyshire.net/wiki/Bring Back>Bring Back/A> (1968)/H3>P>Her papers contain notes for a piece Bring Back, dated the 9th April 1968./P>H3>A NAMELivingWorld HREFhttp://wiki.delia-derbyshire.net/wiki/The Living World>The Living World/A> (1968) (TRW 6886)/H3>P>In July-Sep 1968, she created two potential signature tunes forThe Living World,a television series produced by Robina Gyle-Thompson,both of which were rejected by the programmes maker John Sparks in Augustin favour of a jazz theme./P>H3>A NAMENakedSun HREFhttp://wiki.delia-derbyshire.net/wiki/The Naked Sun>The Naked Sun/A> (1968) (TRW 6891)/H3>P>The BBC series Out Of The Unknown produced Isaac Asimovs The Naked Sundirected by Rudolph Carter, for which Delia produced music sequencesthroughout. It was filmed 23rd-26th July 1968 with studio recording on the8th and 9th August and shown on BBC2 on 18th February 1969.P>A HREFhttp://www.imdb.com/title/tt0280975/>According to the Internet Movie Database/A>, This episode was wiped by the BBC and no copy of it is known to exist.P>Her papers contain the full script for the episode with her notes forthe creation of musical sequences and sound effects.P>In 1976, three tracks from this work were renamed by BBC Records asA NAMEHeatHaze HREFhttp://wiki.delia-derbyshire.net/wiki/Heat Haze>Heat Haze (0:58)/A>,A NAMEFrozenWaste HREFhttp://wiki.delia-derbyshire.net/wiki/Frozen Waste>Frozen Waste (1:18)/A> andA NAMEIcyPeak HREFhttp://wiki.delia-derbyshire.net/wiki/Icy Peak>Icy Peak/A> (0:44)and issued by the BBC on an album of sound effects.SMALL>BR>Released as tracks 48, 50 and 51 of Out Of This World: Atmospheric Sound Effects from the Radiophonic Workshop by BBC Records & Tapes REC255 (1976).BR>Re-released as track 56, 58 and 59 of Essential Science Fiction Sound Effects, vol. 2on audio cassette as BBC 855 (1993) and on CD as BBC CD855./SMALL>/P>H3>A NAMELePontMirabeau HREFhttp://wiki.delia-derbyshire.net/wiki/Le Pont Mirabeau>Le Pont Mirabeau/A> (August 1968)/H3>P>Delias papers contain the complete typeset score for her musical settingof Apollinaires poem of the same name. It consists of two verses with achorus after each verse.UL> LI>typeset as a A HREFscores/LePontMirabeau.pdf>PDF/A> and LI>to listen to as a A HREFscores/LePontMirabeau.midi>MIDI/A> file./UL>recreated using LilyPond./P>According to James Percival: it appears to have been written for a1968 Schools Radio programme about Cubism in the series Art and Design ...There is an off-air recording of most of this programme in theManchester collection (DD263), and in Delias realisation of Le PontMirabeau its sung by White Noise vocalist John Whitman. The programmewas written and narrated by Edward Lucie-Smith.H3>A NAMEColouredWall HREFhttp://wiki.delia-derbyshire.net/wiki/The Coloured Wall>The Coloured Wall/A> (1968)/H3>P>At Kaleidophon she made electronic music for the coloured wall for theAssociation of Electrical Engineers. !--dd100926-->/P>TABLE BORDER0 WIDTH100%>TR>TD VALIGNTOP>H3>A NAMEElectricStorm HREFhttp://wiki.delia-derbyshire.net/wiki/An Electric Storm>An Electric Storm/A> (as The White Noise) (1968)/H3>P>I>I think my forte is, well, apart from having an analyticalmind to do electronic sound, at the opposite end Im verygood at writing extended melody for which there was notreally an opening at the BBC. And so I met this guy, I wasgiving a lecture at Morley College in London and he came upto me afterwards. He played the double bass, the same as I did,and he was already doing tracks for the Ballet Rambert and wegot together and started this album./I>BR> -- Delia in theA HREFBBCScotlandInterview.html#ElectricStorm>BBC Radio Scotlandinterview/A>.BR>Many sounds have never been heard - by humans. Some soundwavesyou dont hear - but they reach you. Storm-Stereo techniquescombine singers, instrumentalists and complex electronicsound. Welcome to the world of the Frequency Shifter, SignalGenerator and Azimuth Co-ordinator. A world that existed beforethe dawn of the synthesizer, when a sample was a length ofrecording-tape delicately and skillfully spliced in place.BR> -- So begins the sleeve-note introductionP>UL> LI>David Vorhaus: Production coordinator, tape effects, electronics, special stereo effects LI>Delia Derbyshire, Brian Hodgson: Electronic sound realisation LI>Paul Lytton: Percussion LI>John Whitnam, Annie Bird, Val Shaw: Vocals/UL>P>Track list (the track times in square brackets are those stated on the sleeves):OL> LI>A NAMELoveWithoutSound HREFhttp://wiki.delia-derbyshire.net/wiki/Love Without Sound>B>Love Without Sound/B>/A> (2:57 on vinyl, 2:55 on CD) BR>Co-written with Delia Derbyshire BR> -- A HREFhttp://web.archive.org/web/20091020031824/http://geocities.com/CapitolHill/Lobby/2554/whitenoise.html>CapitolHill/A>http://web.archive.org/web/20091020031824/http://geocities.com/CapitolHill/Lobby/2554/whitenoise.html LI>A NAMEMyGameOfLoving HREFhttp://wiki.delia-derbyshire.net/wiki/My Game of Loving>B>My Game of Loving/B>/A> (3:38 on vinyl, 4:07 on CD) LI>A NAMEHereComeTheFleas HREFhttp://wiki.delia-derbyshire.net/wiki/Here come the Fleas>B>Here Come the Fleas/B>/A> (2:31 on vinyl sleeve, 2:11 on CD) A HREFlyrics/fleas.txt>Lyrics/A> LI>A NAMEFirebird HREFhttp://wiki.delia-derbyshire.net/wiki/Firebird>B>Firebird/B>/A> (2:43 on vinyl, 3:00 on CD) BR>Co-written with Delia Derbyshire BR> -- A HREFhttp://web.archive.org/web/20091020031824/http://geocities.com/CapitolHill/Lobby/2554/whitenoise.html>CapitolHill/A> LI>A NAMEYourHiddenDreams HREFhttp://wiki.delia-derbyshire.net/wiki/Your Hidden Dreams>B>Your Hidden Dreams/B>/A> (4:25 on vinyl, 4:53 on CD) LI>A NAMETheVisitation HREFhttp://wiki.delia-derbyshire.net/wiki/The Visitation>B>The Visitation/B>/A> (11:45 on vinyl, 11:12 on CD) LI>A NAMETheBlackMass HREFhttp://wiki.delia-derbyshire.net/wiki/The Black Mass>B>The Black Mass: An Electric Storm in Hell/B>/A> (7:04 on vinyl, 7:20 on CD) BR>Someone said this was the most frightening thing they had ever heard. ... From the moment it started it made my scalp tickle, and the long, slow descent into screams and cries can even make someone listening to it stone-cold sober think they really had seen a glimpse of Hell!. BR> -- sarah16907 reviewing on amazon.com BR>Ein apokalypischer Jam. BR> -- kk BR>We got through about three quarters of the album in a year and then we got an abrupt letter from them Island records saying that unless we receive this album within ten days they were going to take action to recover the money advanced. Right! Well give it to you in a day! Well finish it tonight! So the last track using half of the second side we mutually didnt want to make. I just put together a drum loop and got a friend of mine Paul Lytton to come and play drums to the loop to pull the whole thing out and this became the Hell track and we just got every freaky, nasty sound we could find and started screaming our heads off over the top and tearing people to bits. We delivered it the next day and there you have it. BR> -- David Vorhaus in A HREFvorhaus_interview.html>the Macdonald interview/A>/OL>Parts of The Black Mass are played during the invocation scene in the filmDracula AD 1972.P>More details on the web page A HREFhttp://web.archive.org/web/20091020031824/http://geocities.com/CapitolHill/Lobby/2554/whitenoise.html>geocities.com/CapitolHill/A>SMALL>BR>Released on vinyl 1968, Island Records, Cat: 510 948-2.BR>Released on vinyl 1969, Island Records, Cat: ILPS9099.BR>Released on CD, 28 July 1992 by Island Records.BR>Released on CD, 28 Dec 1999 by Polygram Intl.BR>has, I believe, been reissued in Sweden of lateBR> -- A HREFBBCScotlandInterview.html>the BBC Radio Scotland interview/A>/SMALL>/P>TD VALIGNTOP>!-- Pile of Electric Storm album covers with centred captions -->TABLE ALIGNRIGHT BORDER0> TR>TD ALIGNCENTER> !-- Label from original master tape --> A HREFimages/electricstorm_notes1.jpg>IMG SRCimages/electricstorm_notes1-mini.jpg WIDTH200 HEIGHT332 ALTCopy of master tape labels for An Electric Storm cover by The Whilte Noise>/A> BR CLEARALL>Copy of master tape labels P> IMG SRCimages/78997-001.jpg WIDTH150 HEIGHT162 ALTAn Electric Storm cover, 1968> BR CLEARALL>Cover, 1968 edition P> A HREFimages/electric_storm_cover.jpg>IMG SRCimages/electric_storm_cover_mini.jpg WIDTH150 HEIGHT152 ALTAn Electric Storm cover, 1969>/A> BR CLEARALL> Cover, 1969 edition P> A HREFimages/electric_storm_back.jpg>IMG SRCimages/electric_storm_back-mini.jpg WIDTH150 HEIGHT149 ALTAn Electric Storm back cover>/A> BR CLEARALL>Back of 1969 edition P> A HREFimages/electric_storm_label.jpg>IMG SRCimages/electric_storm_label-mini.jpg WIDTH150 HEIGHT149 ALTAn Electric Storm label>/A> BR CLEARALL>Label, 1969 edition P> A HREFimages/electric_storm_cd_2007_back.jpg>IMG SRCimages/electric_storm_cd_2007_back-mini.jpg WIDTH150 HEIGHT125 ALTAn Electric Storm CD inlay, 2007>/A> BR CLEARALL>CD reissue, 2007/TABLE>/TABLE>TABLE ALIGNRIGHT BORDER0>TR>TD>A HREFimages/work_is-color.jpg> IMG SRCimages/workis.jpg WIDTH200 HEIGHT203 ALTWork is a four letter word poster>/A>/TABLE>H3>A NAMEWorkIs HREFhttp://wiki.delia-derbyshire.net/wiki/Work Is A Four Letter Word>Music for Work Is A Four-Letter Work/A> (1967, pub. 1968)/H3>P>I>I also did the music for Peter Halls first feature film, Work is aFour Letter Word. I did the electronic part of the music... the bloopybits when theyd taken the magic mushrooms./I>(see A HREF#DeliasTheme>Delias Theme/A> above)BR> -- Delia, in theA HREFsites/interview_surface.php.html>Surface interview/A>, Dec 1999BR>A HREF#DeliasTheme>Delias Theme/A> from ESL104 was usedfor the Cilla Black driven British 60s classic Work is a FourLetter Word. Cilla (surprise, surprise) takes a lorra MagicMushrooms, accompanied by Delias music, and generally plays theworking class (contraceptive) pill popping girl of her Swingintimes. Groovy, Fab and Gear.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>BR>Delias papers include a note dated 1st January 1968 in which she writes thatit was delightful to work on but did not cover the costs of the studio,resulting in a paper loss of £250.SMALL>BR>Available on DVD or VHS fromA HREFhttp://www.thevideobeat.com/beatnik-hippie-drug-movies/work-four-letter-word-1968.html>The Video Beat/A>./SMALL>H3>A NAMEClothes HREFhttp://wiki.delia-derbyshire.net/wiki/Clothes>Clothes/A> (December 1968)/H3>P>Her papers contain a manuscript!--dd104912--> for a piece calledClothes S8, dated 22.12.68.H3 ALIGNCENTER>I>1969/I>/H3>TABLE ALIGNRIGHT BORDER0>TR>TD>A HREFimages/Paul Logans Mechanical Ballet 1969.jpg> IMG SRCimages/Paul Logans Mechanical Ballet 1969-mini.jpg WIDTH175 HEIGHT185 ALTPeter Logans Mechanical Ballet programme>/A>/TABLE>H3>A NAMEMechanicalBallet HREFhttp://wiki.delia-derbyshire.net/wiki/Peter Logans Mechanical Ballet>Mechanical Ballet/A> (March 1969)/H3>P>With Kaleidophon, she did the music and effects for Peter Logansexperiments towards Mechanical Ballet, performed at theNew Art Centre, 41 Sloane Street, London from the 3rd to the 9th of March 1969.BR> -- Kirsten Cubitts article A HREFDial a tune/>Dial a Tune/A> in The Guardian, 3 September 1970./P>H3>A NAMEEnvironmentalStudies HREFhttp://wiki.delia-derbyshire.net/wiki/Environmental Studies>Environmental Studies/A> (1969) (0:30)/H3>P>There are two versions of this in circulation;one with attack on the bell hits and one with the attack removed.SMALL>BR>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes, REC354 (1979)/SMALL>/P>H3>A NAMEChronicle HREFhttp://wiki.delia-derbyshire.net/wiki/Chronicle>Chronicle/A> (1969) (0:22)/H3>P>SMALL>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes, REC354 (1979)/SMALL>/P>TABLE ALIGNRIGHT BORDER0>TR>TD> IMG SRCimages/topgear.jpg WIDTH175 HEIGHT171 ALTJohn Peel presents Top Gear record cover>/TABLE>H3>A NAMEJohnPeelsVoice HREFhttp://wiki.delia-derbyshire.net/wiki/John Peels Voice>John Peels Voice/A> (1969) (2:20)/H3>P>Treated by Delia and Brian Hodgson.This snippet is a treat for a compilation album of songs by different artists.SMALL>BR>Released on John Peel Presents Top Gear, BBC: REC52S (1969)/SMALL>/P>H3>A NAMEGreatZoos HREFhttp://wiki.delia-derbyshire.net/wiki/Great Zoos of the World>Great Zoos of the World/A> (1969) (0:36)/H3>P>When asked to make some TV title music using only animal sounds - much thought and ingenuity resulted in I>Great Zoos of the World/I>.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>BR>including the most accurate set of animal noises ever created electronically.BR> -- A HREFhttp://www.elidor.freeserve.co.uk/radiophonic.htm>Robin Carmody, 11th July / 16th October 2000/A>SMALL>BR>Released on BBC Radiophonic Workshop 21 by BBC Records & Tapes, REC354 (1979)/SMALL>/P>!-- Centred pile of images and caption on the right, text should flow on the left -->TABLE ALIGNRIGHT> TR>TD ALIGNCENTER> IMG SRCimages/sml1.jpg WIDTH200 HEIGHT200 ALTStandard Music Library ESL104 album cover> TR>TD ALIGNCENTER> Cover, 1969 edition TR>TD ALIGNCENTER> TR>TD ALIGNCENTER> A HREFimages/TheTomorrowPeople-cover.jpg>IMG SRCimages/TheTomorrowPeople-cover-mini.jpg WIDTH160 HEIGHT160 ALTThe Tomorrow People album cover>/A> TR>TD ALIGNCENTER> Cover, 2006 edition/TABLE>H3>A NAMEESL104 HREFhttp://wiki.delia-derbyshire.net/wiki/ESL104>Standard Music Library ESL104/A> (1969)/H3>P>Recorded while Delia was still employed at the Radiophonic Workshopand working on the White Noise LP. ... originally released under thepseudonym Russe (a.k.a. Li De la Russe - or Of the Red - a referenceto her auburn red hair) also features work from David Vorhaus and BrianHodgson (aka St. George - he was also still under contract to theBeeb!)BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>BR>This rare mono record was used extensively to provide the music for the70s television series The Tomorrow People./P>UL> LI>A NAMELureOfTheSpaceGoddess HREFhttp://wiki.delia-derbyshire.net/wiki/Lure of the Space Goddess>B>Lure of the Space Goddess/B>/A> (0:30) BR>used as incidental music on 70s childrens TV classic Timeslip. / -- A HREFhttp://www.cosmicsurfer.pwp.blueyonder.co.uk/Delia.html>Ian Burdon/A> BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 02 Lure of the Space Goddess (Delia Derbyshire, Brian Hodgson).ogg> Ogg@80kbps/44100Hz(232KB)/A> /A HREFaudio/TomorrowPeople/The Tomorrow People - 02 Lure of the Space Goddess (Delia Derbyshire, Brian Hodgson).mp3> MP3@64kbps/44100Hz(308KB)/A> LI>A NAMEGothicSubmarine HREFhttp://wiki.delia-derbyshire.net/wiki/Gothic Submarine>B>Gothic Submarine/B>/A> (1:56) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 07 Gothic Submarine (Delia Derbyshire, Brian Hodgson).ogg> Ogg@80kbps/44100Hz(917KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 07 Gothic Submarine (Delia Derbyshire, Brian Hodgson).mp3> MP3@64kbps/44100Hz(1.24MB)/A> LI>A NAMELondonLemons HREFhttp://wiki.delia-derbyshire.net/wiki/London Lemons>B>London Lemons/B>/A> (9 themes)BR>I>If we take the Greenwich pips, for example, we can speedthem up and slow them down and alter the quality and we can, by mixingvarious tracks together, make a little piece./I> BR>A HREFaudio/Delia Derbyshire - London Lemons (9 themes).ogg> Ogg@80kbps/44100Hz(527KB)/A>EOT;?> LI>A NAMERestlessRelays HREFhttp://wiki.delia-derbyshire.net/wiki/Restless Relays>B>Restless Relays/B>/A> (1:04) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 11 Restless Relays (Delia Derbyshire, Brian Hodgson).ogg> Ogg@80kbps/44100Hz(521KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 11 Restless Relays (Delia Derbyshire, Brian Hodgson).mp3> MP3@64kbps/44100Hz(645KB)/A> LI>A NAMEPlanetarium HREFhttp://wiki.delia-derbyshire.net/wiki/Planetarium>B>Planetarium/B>/A> (1:36) BR>Described as non-rhythmic on its original release on a 1969 Standard Music Library disc BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A> BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 12 Planetarium (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(757KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 12 Planetarium (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(953KB)/A> LI>A NAMEWayOut HREFhttp://wiki.delia-derbyshire.net/wiki/Way Out>B>Way Out/B>/A>: see A HREF#WayOutInPiccadilly>Way Out in Piccadilly/A> LI>A NAMEFreshAire HREFhttp://wiki.delia-derbyshire.net/wiki/Fresh Aire>B>Fresh Aire/B>/A> (0:11) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 15 Fresh Aire (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(76KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 15 Fresh Aire (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(104KB)/A> LI>A NAMEDeliasTheme HREFhttp://wiki.delia-derbyshire.net/wiki/Delias Theme>B>Delias Theme/B>/A>: Waltz tempo, complete theme (1:22) BR>Made for David Platzs Standard Music Library / Essex Music group, and again credited Russe. Described on the sleeve as Waltz tempo, complete theme, it was used for the Cilla Black driven British 60s classic A HREF#WorkIs>Work is a Four Letter Word/A>. BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A> BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 16 Delias Theme (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(633KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 16 Delias Theme (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(881KB)/A> LI>A NAMETentativeDelia HREFhttp://wiki.delia-derbyshire.net/wiki/Tentative Delia>B>Tentative Delia/B>/A> (0:22) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 17 Tentative Delia (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(168KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 17 Tentative Delia (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(240KB)/A> LI>A NAMEDeliasIdea HREFhttp://wiki.delia-derbyshire.net/wiki/Delias Idea>B>Delias Idea/B>/A> (0:22) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 18 Delias Idea (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(164KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 18 Delias Idea (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(224KB)/A> LI>A NAMEDeliasPsychadelianWaltz HREFhttp://wiki.delia-derbyshire.net/wiki/Delias Psychadelian Waltz>B>Delias Psychadelian Waltz/B>/A> (0:36) BR>Also released on the CD accompanying the book The Music Library, compiled by Jonny Trunk, published by Fuel Publishing, October 2005, available from A HREFhttp://www.moviegrooves.com/shop/musiclibraryrecordcoverart.htm>Movie Grooves/A> and included on Now We Are Ten (A HREFhttp://www.discogs.com/release/1034795>Trunk Records JBH 024CD/A>). BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 19 Delias Psychadelian Waltz (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(272KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 19 Delias Psychadelian Waltz (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(376KB)/A> LI>A NAMEDeliasResolve HREFhttp://wiki.delia-derbyshire.net/wiki/Delias Resolve>B>Delias Resolve/B>/A> (0:07) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 20 Delias Resolve (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(52KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 20 Delias Resolve (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(92KB)/A> LI>A NAMEDeliasDream HREFhttp://wiki.delia-derbyshire.net/wiki/Delias Dream>B>Delias Dream/B>/A> (0:41) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 21 Delias Dream (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(320KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 21 Delias Dream (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(428KB)/A> LI>A NAMEDeliasReverie HREFhttp://wiki.delia-derbyshire.net/wiki/Delias Reverie>B>Delias Reverie/B>/A> (0:23) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 22 Delias Reverie (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(172KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 22 Delias Reverie (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(240KB)/A> LI>A NAMEDeliasFulfilment HREFhttp://wiki.delia-derbyshire.net/wiki/Delias Fulfilment>B>Delias Fulfilment/B>/A> (0:23) BR>A HREFaudio/TomorrowPeople/The Tomorrow People - 23 Delias Fulfilment (Delia Derbyshire).ogg> Ogg@80kbps/44100Hz(168KB)/A> / A HREFaudio/TomorrowPeople/The Tomorrow People - 23 Delias Fulfilment (Delia Derbyshire).mp3> MP3@64kbps/44100Hz(252KB)/A>/UL>SMALL>Released on vinyl as Standard Music Library ESL104 (1969).BR>Released without London Lemons on CD and vinyl asThe Tomorrow People: Original television music (JBH017CD and JBH017LP,Trunk Records, April 2006), available with audio samples atA HREFhttp://www.moviegrooves.com/shop/tomorrowpeoplesoundtrack.htm>MovieGrooves/A> ()./SMALL>H3>A NAMEHamlet HREFhttp://wiki.delia-derbyshire.net/wiki/Hamlet>Hamlet/A> (1969)/H3>P>Brian Hodgson mentioned that they had done music for Tony Richardsons Hamlet,performed at Londons Roundhouse and featuring Nicol Williamson as Hamlet.BR> -- A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgsons obituary/A>BR>A short sample is included in the BBC News articleA HREFhttp://news.bbc.co.uk/2/hi/entertainment/7512072.stm>Lost Tapes of the Dr Who composer/A>/P>H3 ALIGNCENTER>I>1970/I>/H3>TABLE ALIGNRIGHT BORDER0>TR>TD> A HREFimages/Bagman.jpg>IMG SRCimages/Bagman-mini.jpg WIDTH150 HEIGHT150 ALTThe Bagman or The Impromptu of Muswell Hill by John Arden - BBC Radio>/A>/TABLE>H3>A NAMEBagman HREFhttp://wiki.delia-derbyshire.net/wiki/The Bagman>The Bagman/A> (1970)/H3>P>Delia produced electronic music and effects for the BBCs 1970 production ofThe Bagman or The Impromptu of Muswell Hill, a radio play by John Arden,directed by Martin Esslin.The play is one hour and 28 minutes in length and is decribed as aWitty Fable and a modern version of Molières Versailles ImpromptuA HREFhttp://www.doollee.com/PlaywrightsA/arden-john.html#993>at doollee.com/A>P>A note in her papers says that The Bagman was entered by the BBC for theItalia Prize 1970 and that she was scheduled to receive 20% of the prize moneyif the play should win.SMALL>BR>First broadcast on Radio 3 in 1970.BR>Broadcast as The Monday Play on BBC Radio 4 on 31st January 1977./SMALL>P>It can be downloaded A HREFhttp://205.196.123.15/g9ojaa7juewg/cn4li04zr67f4ea/The+Bagman.MP3>from mediafire.com/A>H3>A NAMEPhantomsOfDarkness HREFhttp://wiki.delia-derbyshire.net/wiki/Phantoms of Darkness>Phantoms of Darkness/A>/H3>In 1976, a 1:05 clip from A HREF#Bagman>The Bagman/A> was renamedPhantoms of Darkness and issued by the BBC on an album of sound effects.SMALL>BR>Released as track 31 of Out Of This World: Atmospheric Sound Effects from the Radiophonic Workshop by BBC Records & Tapes REC255 (1976).BR>Re-released as track 39 of Essential Science Fiction Sound Effects, vol. 2on audio cassette as BBC 855 (1993) and on CD as BBC CD855./SMALL>/P>H3>A NAMEMedea HREFhttp://wiki.delia-derbyshire.net/wiki/Medea>Medea/A>/H3>P>At Kaleidophon, she produced music for David Thomsons production ofEuripides play Medea which opened at the Greenwich Theatre on April 14(of which year?)BR> -- Kirsten Cubitts articleA HREFDial a tune/>Dial a Tune/A> in The Guardian, 3 September 1970./P>H3>A NAMERobertLowell HREFhttp://wiki.delia-derbyshire.net/wiki/Lowell>Music for Robert Lowell documentary film/A> (1970)/H3>P>A HREFhttp://www.pytheasmusic.org/derbyshire.html>The Pytheas Center forContemporary Musics list of her works/A> includesRobert Lowell, documentary film score (1970) and the index of her tapes hasDD045/52/51: Lowell 1/2/3 and DD178: Last installment of electronic sound for Robert Lowell Film.P>Robert Lowell was a Pulitzer prize-winning American poet who lived and lectured in England from 1970 to 1975./P>H3>A NAMEPoetsInPrison HREFhttp://wiki.delia-derbyshire.net/wiki/Poets in Prison>Poets in Prison/A> (Jan-July 1970)/H3>P>In summer of 1970, with Kaleidophon, Edward Lucie Smith, who had worked withDelia on a schools radio programme, asked her to set some verse for an eveningcalled Poets in Prison at the City of London Festival.BR> -- Kirsten Cubitts article A HREFDial a tune/>Dial a Tune/A> in The Guardian, 3 September 1970.BR>Her papers include many of the poems in question as well as some manuscriptsfor the music.She was sent the first batch of poems on 30th January 1970 and was paid on the21st/24th July./P>TABLE ALIGNRIGHT BORDER0>TR>TD ALIGNCENTER> IMG SRCimages/emslp.jpg WIDTH175 HEIGHT175 ALTEMS LP1 cover> BR CLEARALL> EMS LP 1 sleeve/TABLE>H3>A NAMEMusicOfSpheres HREFhttp://wiki.delia-derbyshire.net/wiki/Music of Spheres>Music of Spheres/A> (1970) (1:32)/H3>P>Music for I measured the skies, a BBC2 biography of Johann Kepler.BR>I could not have been more pleased with the results.I thought I might be asking for the impossible, torestrict Delias musical talents within the constraintsof what had already been established.... His primitive ideas on The Harmony of the Spheres were realizedwith incredible sensitivity and emotive power by Delias music.Please pass on my sincere thanks and admiration.BR> -- Note from John Glenister to D. Briscoe, 10 March 1970, in her papersBR>While the air-raid sirens and bombing sounds of Delias youth inwartime Coventry certainly shaped her music, this piece makes thatinfluence explicit. This rare recording has only ever been releasedon an EMS promotional record.BR> -- A HREFhttp://delia-derbyshire.org/sites/recordings.php.html>delia-derbyshire.org/A>BR>I>I was there in Coventry in the blitz and its come to me, relativelyrecently, that my love for abstract sounds came from the air-raidsirens: thats a sound you hear and you dont know the source of as ayoung child... then the sound of the all clear - that was electronicmusic./I>BR> -- Delia, in the A HREFsites/interview_boa.php.html>Boazine interview/A>SMALL>BR>First broadcast on 4th November 1970 according to A HREFhttp://www.imdb.com/title/tt1349070/>imdb.com/A>BR>Released on promotional LP EMS LP 1 by Zinovieff, circa 1971./SMALL>/P>H3>A NAMEEarlyMorning HREFhttp://wiki.delia-derbyshire.net/wiki/Early Morning>Early Morning/A> (1970/71)/H3>P>Her papers contain three sheets of her score for a piece calledI>Early Morning/I>; one of the sheets is on the back of theprogramme for a performance of classical music by the BBC Symphony Orchestraon the 17th of November 1970.H3 ALIGNCENTER>I>1971/I>/H3>A HREFimages/Duffer-DVD-cover.jpg>IMG ALIGNRIGHT SRCimages/Duffer-DVD-cover.jpg WIDTH146 HEIGHT175 ALTDuffer DVD cover>/A>H3>A NAMEDuffer HREFhttp://wiki.delia-derbyshire.net/wiki/Duffer>Duffer/A> (1971)/H3>P>The sleeve notes for the BFIs DVD release of the 1971 film Duffer say thatDelia provided sound effects for this film.BR>Available on DVD fromA HREFhttp://filmstore.bfi.org.uk/acatalog/info_18554.html>the BFI filmstore/A>,A HREFhttp://www.amazon.co.uk/Duffer-Moon-Over-Alley-Blu-ray/dp/B004CZ6HV0/>Amazon/A>,A HREFhttp://www.moviemail-online.co.uk/film/dvd+blu-ray/Duffer-Moon-Over-the-Alley/>MovieMail/A> andA HREFhttp://www.play.com/DVD/Blu-ray/4-/17681080/Duffer-Moon-Over-The-Alley-Dual-Format-Edition/Product.html>play.com/A>.H3>A NAMEOrpheus HREFhttp://wiki.delia-derbyshire.net/wiki/Orpheus>Orpheus/A> (1971)/H3>P>Her papers contain her annotation to Ted Hughes script for his play Orpheusas well as three VCS3 dope sheets for it.BR CLEARALL>TABLE ALIGNRIGHT BORDER0>TR>TD ALIGNCENTER> A HREFimages/Greenwich Macbeth programme.jpg>IMG SRCimages/Greenwich Macbeth programme-mini.jpg WIDTH96 HEIGHT200 ALTThe Greenwich Macbeth theatre programme>/A>/TABLE>H3>A NAMEMacbeth1971 HREFhttp://wiki.delia-derbyshire.net/wiki/Macbeth (1971)>Music for Macbeth, Greenwich Theatre/A> (1971)/H3>A second score for Macbeth,directed by Ewan Hooper and with Alan Dobie in the lead role,opened at the Greenwich Theatre on the 18th February 1971.The programme merely says “Taped sound by Kaleidophon”.H3>A NAMEIEE100 HREFhttp://wiki.delia-derbyshire.net/wiki/I.E.E.100>I.E.E.100/A> (1971)/H3>P>For the Radiophonic Workshop in Concertevent held on the 3rd May 1971 at the Royal Festival Hall in the presence ofthe Queen to celebrate the 100th anniversary of theInstitute of Electrical Engineers,P>I>I began by interpreting the actual letters, I.E.E. one hundred,in two different ways. The first one in a morse code version using themorse for I.E.E.100. This I found extremely dull, rhythmically, and so Idecided to use the full stops in between the I and the two Es becausefull stop has a nice sound to it: it goes di-dah di-dah di-dah./I>BR>I>I wanted to have, as well as a rhythmic motive, to have musicalmotive running throughout the whole piece and so I interpreted the lettersagain into musical terms. I becomes B, the E remains and 100 Iveused in the roman form of C./I>BR> -- from recordings used in Sculptress of SoundP>A copy exists in the tapes from her attic and two short excerpts werebroadcast in the the Sculptress of Sound documentary on BBC Radio./P>H3>A NAMEDanceFromNoah HREFhttp://wiki.delia-derbyshire.net/wiki/Dance from Noah>Dance from Noah/A> (1971) (0:54)/H3>P>A short sample of the backing track is included in the BBC News articleA HREFhttp://news.bbc.co.uk/2/hi/entertainment/7512072.stm>Lost Tapesof the Dr Who composer/A>,which is discussed A HREFhttp://createdigitalmusic.com/2008/07/delia-derbyshire-recordings-found-including-ahead-of-its-time-dance-track/>on theCreate Digital Music forum/A>.SMALL>BR>Released on promotional LP EMS LP 1 by Zinovieff, circa 1971.BR>Released on Flexidisc EMS FLEXI 1 given away with EMS Synthi brochures.BR>Stereo remix on BBC Radiophonic Workshop - a Retrospective./SMALL>/P>P>TABLE WIDTH100% BORDER0>TR>TD VALIGNTOP>H3>A NAMETutenkhamunsEgypt>/A>A NAMETutankhamunsEgypt HREFhttp://wiki.delia-derbyshire.net/wiki/Tutankhamuns Egypt>Tutankhamuns Egypt/A> (1971) (2:16)/H3>P>Music for the series Tutankhamuns Egypt written by Cyril Aldred,A HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/LGF9028L>firstbroadcast 2 April 1972/A>.BR>Its a full-on Delian trip... starting with trumpet calls from a 1939recording of the silver trumpet found in Tutankhamuns burial chamber,it then enters the mesmerising desert territory Delia mapped out somemorably in Blue Veils & Golden Sands.BR> -- A HREFhttp://delia-derbyshire.org>delia-derbyshire.org/A>BR>isolationist ambience some 25 years ahead of its time.BR> -- A HREFhttp://www.bbc.co.uk/music/experimental/reviews/radiophonic_music.shtml>Peter Marsh/A>SMALL>BR>Released on The Music of Africa, BBC Record REC130M (1971)/SMALL>/P>TD VALIGNTOP WIDTH175> IMG SRCimages/musicofafrica.jpg WIDTH175 HEIGHT183 ALTThe Music of Africa record sleeve>/TABLE>A HREFimages/OFatWhiteWoman.jpg>IMG ALIGNRIGHT SRCimages/OFatWhiteWoman-mini.jpg WIDTH175 HEIGHT175 ALTO Fat White Woman opening title>/A>H3>A NAMEOhFatWhiteWoman>!-- Old name in case of links -->/A>A NAMEOFatWhiteWoman HREFhttp://wiki.delia-derbyshire.net/wiki/O Fat White Woman>Music for O Fat White Woman/A> (1971)/H3>P>She did the music for the film O Fat White Womanwritten by William Trevor and directed by Philip Saville,with the following tracks (the names are invented by me):UL>LI>B>Wifty theme with O Fat White Woman poem)/B> (0:48)LI>B>Wifty theme with marching orders/B> (0:39)LI>B>Wifty theme/B> (0:28)LI>B>Wifty theme with Speed Bonny Boat/B> (0:40)LI>B>Chanting Latin verbs/B> (1:25)LI>B>Jolly Boating Weather/B> (0:15)LI>B>Dormitory theme/B> (0:18)LI>B>Dormitory theme with tooth brushing/B> (0:17)LI>B>Dormitory theme fragment/B> (0:10)LI>B>Marching, chanting, gossip, Perfect Love/B> (1:33)LI>B>Seeing double/B> (1:13)LI>B>Dormitory theme and seeing double/B> (0:21)LI>B>Seeing double, Raggett speaking to Mrs Digby Hunter/B> (1:13)LI>B>Your husband takes pleasure from hurting people/B> (0:54)LI>B>Raggett dies/B> (0:19)LI>B>Death knell/B> (0:53)LI>B>Death changes everything/B> (0:49)LI>B>Boys And Girls Come Out To Play/B> (1:55)/UL>A HREFhttp://www.facebook.com/photo.php?fbid225041764219014>An alternative analysis of this music/A> identifies and names six themes:UL> LI>Title (03:25) (the four Wifty theme entries) LI>Amo Amas Amat (01:29) (Chanting Latin verbs) LI>The Majors Perspective (06:26) (Jolly Boating Weather to Dormitory theme and seeing double) LI>Injury (02:52) (Seeing double, Raggett speaking to Raggett dies) LI>Consequences (01:59) (Death knell and Death changes everything) LI>End Credits (01:55) (Boys and Girls)/UL>SMALL>BR>Running time: 80 minutes.BR>Broadcast by the BBC as A HREFhttp://catalogue.bbc.co.uk/catalogue/infax/programme/LDP9157X>Play For Today: 4 November 1971/A>./SMALL>!-- Right-aligned pile of images, text should flow down the left -->TABLE ALIGNRIGHT BORDER0 CELLPADDING4 CELLSPACING0> TR>TD> A HREFimages/electrosonicKLP.jpg> IMG SRCimages/electrosonicKLP-mini.jpg WIDTH175 HEIGHT175 ALTElectrosonic KPM1104 record sleeve front>/A> BR CLEARALL> P> IMG SRCimages/kpm.jpg WIDTH175 HEIGHT168 ALTElectrosonic KPM1104 record sleeve reverse> BR CLEARALL> P> A HREFimages/electrosonicRE.jpg> IMG SRCimages/electrosoniclp_main.gif WIDTH174 HEIGHT174 ALTElectrosonic GLOSPOT1104 record sleeve>/A>/TABLE>H3 ALIGNCENTER>I>1972/I>/H3>H3>A NAMEElectrosonic HREFhttp://wiki.delia-derbyshire.net/wiki/Electrosonic>Electrosonic/A> album (1972)/H3>P>Library samples of electronic music for radio, TV and film industryBR>All tracks are credited to Harper/Russe/St George.BR>Harper Don Harper, Li De La Russe Delia Derbyshire, Nikki St George Brian Hodgson.BR>Read A HREFelectrosonic-glospot-notes.html>the sleeve notes byJohn Cavanagh/A> for a loving and entertaining portrait of Deliaand the circumstances surrounding the albums creation.BR>It used to be available fromA HREFhttp://www.apexonline.com/melodybar/>Boa Melody Bar/A>but they only haveA HREFimages/electrosonic-tshirt.jpg>the T-shirt/A> now.BR>You can order the vinyl and hear some samples at A HREFhttp://boomkat.com/vinyl/24985-delia-derbyshire-electrosonic-very-limited-edition-green-vinyl>Boomkat/A>./P>UL> LI>A NAMEQuest HREFhttp://wiki.delia-derbyshire.net/wiki/Quest>B>Quest/B>/A> (1:44) BR>A HREFaudio/Electrosonic/Electrosonic - 01 Quest.ogg>Ogg@139.3kbps/44100Hz(1.7MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 01 Quest.mp3>MP3@130.4kbps/44100Hz(1.6MB)/A> LI>A NAMEQuestFast HREFhttp://wiki.delia-derbyshire.net/wiki/Quest - Fast>B>Quest - fast/B>/A>/A> (1:09) BR>A HREFaudio/Electrosonic/Electrosonic - 02 Quest - fast.ogg>Ogg@150.0kbps/44100Hz(1.3MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 02 Quest - fast.mp3>MP3@135.3kbps/44100Hz(1.1MB)/A> LI>A NAMEComputermatic HREFhttp://wiki.delia-derbyshire.net/wiki/Computermatic>B>Computermatic/B>/A> (1:15) BR>A HREFaudio/Electrosonic/Electrosonic - 03 Computermatic.ogg>Ogg@158.3kbps/44100Hz(1.4MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 03 Computermatic.mp3>MP3@172.8kbps/44100Hz(1.6MB)/A> LI>A NAMEFrontierOfKnowledge HREFhttp://wiki.delia-derbyshire.net/wiki/Frontier of Knowledge>B>Frontier of Knowledge/B>/A> (2:06) BR>A HREFaudio/Electrosonic/Electrosonic - 04 Frontier of Knowledge.ogg>Ogg@134.0kbps/44100Hz(2.0MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 04 Frontier of Knowledge.mp3>MP3@131.0kbps/44100Hz(2.0MB)/A> LI>A NAMEThePatternEmerges HREFhttp://wiki.delia-derbyshire.net/wiki/The Pattern Emerges>B>The Pattern Emerges/B>/A> (2:56) BR>A HREFaudio/Electrosonic/Electrosonic - 05 The Pattern Emerges.ogg>Ogg@112.0kbps/44100Hz(2.4MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 05 The Pattern Emerges.mp3>MP3@120.7kbps/44100Hz(2.5MB)/A> LI>A NAMEFreezeFrame HREFhttp://wiki.delia-derbyshire.net/wiki/Freeze Frame>B>Freeze Frame/B>/A> (1:42) BR>A HREFaudio/Electrosonic/Electrosonic - 06 Freeze Frame.ogg>Ogg@129.5kbps/44100Hz(1.6MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 06 Freeze Frame.mp3>MP3@121.7kbps/44100Hz(1.5MB)/A> LI>A NAMEPloddingPower HREFhttp://wiki.delia-derbyshire.net/wiki/Plodding Power>B>Plodding Power/B>/A> (1:52) BR>A HREFaudio/Electrosonic/Electrosonic - 07 Plodding Power.ogg>Ogg@124.5kbps/44100Hz(1.7MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 07 Plodding Power.mp3>MP3@135.9kbps/44100Hz(1.8MB)/A> LI>A NAMEBusyMicrobes HREFhttp://wiki.delia-derbyshire.net/wiki/Busy Microbes>B>Busy Microbes/B>/A> (1:40) BR>A HREFaudio/Electrosonic/Electrosonic - 08 Busy Microbes.ogg>Ogg@149.5kbps/44100Hz(1.8MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 08 Busy Microbes.mp3>MP3@172.3kbps/44100Hz(2.1MB)/A> LI>A NAMELiquidEnergyA HREFhttp://wiki.delia-derbyshire.net/wiki/Liquid Energy (a)>B>Liquid Energy (a)/B>/A> (1:56) BR>A HREFaudio/Electrosonic/Electrosonic - 10 Liquid Energy (a).ogg>Ogg@144.0kbps/44100Hz(2.0MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 09 Liquid Energy (a).mp3>MP3@138.9kbps/44100Hz(1.9MB)/A> LI>A NAMELiquidEnergyB HREFhttp://wiki.delia-derbyshire.net/wiki/Liquid Energy (b)>B>Liquid Energy (b)/B>/A> (rhythm only) (0:58) BR>A HREFaudio/Electrosonic/Electrosonic - 10 Liquid Energy (b).ogg>Ogg@108.5kbps/44100Hz(784KB)/A> / A HREFaudio/Electrosonic/Electrosonic - 10 Liquid Energy (b).mp3>MP3@73.3kbps/44100Hz(528KB)/A> LI>A NAMENoMansLand HREFhttp://wiki.delia-derbyshire.net/wiki/No Mans Land>B>No Mans Land/B>/A> (1:52) BR>A HREFaudio/Electrosonic/Electrosonic - 11 No Mans Land.ogg>Ogg@157.3kbps/44100Hz(2.1MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 11 No Mans Land.mp3>MP3@164.4kbps/44100Hz(2.2MB)/A> LI>A NAMEDepression HREFhttp://wiki.delia-derbyshire.net/wiki/Depression>B>Depression/B>/A> (1:28) BR>A HREFaudio/Electrosonic/Electrosonic - 12 Depression.ogg>Ogg@123.9kbps/44100Hz(1.3MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 12 Depression.mp3>MP3@138.7kbps/44100Hz(1.5MB)/A> LI>A NAMENightWalker HREFhttp://wiki.delia-derbyshire.net/wiki/Nightwalker>B>Nightwalker/B>/A> (2:00) BR>A HREFaudio/Electrosonic/Electrosonic - 13 Nightwalker.ogg>Ogg@118.4kbps/44100Hz(1.7MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 13 Nightwalker.mp3>MP3@74.3kbps/44100Hz(1.1MB)/A> LI>A NAMEElectrostings HREFhttp://wiki.delia-derbyshire.net/wiki/Electrostings>B>Electrostings/B>/A> (0:21) BR>A HREFaudio/Electrosonic/Electrosonic - 14 Electrostings.ogg>Ogg@119.9kbps/44100Hz(332KB)/A> / A HREFaudio/Electrosonic/Electrosonic - 14 Electrostings.mp3>MP3@117.8kbps/44100Hz(320KB)/A> LI>A NAMEElectrobuild HREFhttp://wiki.delia-derbyshire.net/wiki/Electrobuild>B>Electrobuild/B>/A> (0:22) BR>A HREFaudio/Electrosonic/Electrosonic - 15 Electrobuild.ogg>Ogg@130.0kbps/44100Hz(368KB)/A> / A HREFaudio/Electrosonic/Electrosonic - 15 Electrobuild.mp3>MP3@111.5kbps/44100Hz(312KB)/A> LI>A NAMECelestialCantabile HREFhttp://wiki.delia-derbyshire.net/wiki/Celestial Cantabile>B>Celestial Cantabile/B>/A> (3:30) BR>A HREFaudio/Electrosonic/Electrosonic - 16 Celestial Cantabile.ogg>Ogg@114.9kbps/44100Hz(2.9MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 16 Celestial Cantabile.mp3>MP3@87.2kbps/44100Hz(2.2MB)/A> LI>A NAMEEffervescence HREFhttp://wiki.delia-derbyshire.net/wiki/Effervescence>B>Effervescence/B>/A> (2:04) BR>A HREFaudio/Electrosonic/Electrosonic - 17 Effervescence.ogg>Ogg@137.1kbps/44100Hz(2.0MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 17 Effervescence.mp3>MP3@148.9kbps/44100Hz(2.2MB)/A> LI>A NAMETheWizardsLaboratory HREFhttp://wiki.delia-derbyshire.net/wiki/The Wizards Laboratory>B>The Wizards Laboratory/B>/A> (2:06) BR>A HREFaudio/Electrosonic/Electrosonic - 18 The Wizards Laboratory.ogg>Ogg@151.9kbps/44100Hz(2.3MB)/A> / A HREFaudio/Electrosonic/Electrosonic - 18 The Wizards Laboratory.mp3>MP3@162.6kbps/44100Hz(2.5MB)/A> LI>A NAMEShockChords HREFhttp://wiki.delia-derbyshire.net/wiki/Shock Chords>B>Shock Chords/B>/A> (0:33) BR>A HREFaudio/Electrosonic/Electrosonic - 19 Shock Chords.ogg>Ogg@95.5kbps/44100Hz(400KB)/A> / A HREFaudio/Electrosonic/Electrosonic - 19 Shock Chords.mp3>MP3@62.0kbps/44100Hz(260KB)/A>/UL>P>SMALL>Released on vinyl by KPM Music Library as KPM1104 (1972)BR>Reissued in limited editions of 500 copies on 180gm audiophile green vinylby Glo-spot as GLOSPOT1104.BR>Available as A HREFhttp://rapidshare.com/files/19103716/delia_derbyshire_-_electrosonic_lp.rar>a 40MB RAR archive at RapidShare/A>./SMALL>/P>TABLE WIDTH100% BORDER0>TR>TD VALIGNTOP>H3>A NAMEOhDear HREFhttp://wiki.delia-derbyshire.net/wiki/Oh Dear What Can The Matter Be>Oh Dear What Can The Matter Be/A> (1:18) (1972)/H3>P>A track from an unreleasedA HREFhttp://experian.alacrastore.com/storecontent/experian/00708888>SouthernLibrary of Recorded Music/A> record,created under the pseudonym Doris Haze (or Doris Hayes?), according toJustin Spear on the radio programmeA HREFhttp://www.bbc.co.uk/6music/shows/freakzone/tracklisting_20050612.shtml>Stuart Maconies Freak Zone on Sunday 12 June 2005/A>.TD VALIGNTOP WIDTH174> A HREFimages/SouthernLibrary-maxi.jpg>IMG ALIGNRIGHT SRCimages/SouthernLibrary.jpg WIDTH174 HEIGHT117 ALTA Southern Library of Music record>/A>/TABLE>H3>A NAMECircleOfLight HREFhttp://wiki.delia-derbyshire.net/wiki/Circle of Light>Music for Circle of Light/A> (30:52) (1972)/H3>P>This is the electronic soundtrack realised with Elsa Stansfieldfor the 32-minute film Circle of Light: The Photography of Pamela Bonedirected by Anthony Roland, which won the Short Film Art Section of theA HREFhttp://www.corkfilmfest.org/awardwinners/awards/award-17.html>17thCork Film Festival in 1972/A>.BR>The music is a gentle half hour of real and electronic seascapes and birdsongon a evolving background of shaped noise, introducedand signed off by variants of the lampshade sound used in Golden Veils.BR>(The accompanying film is a sequence of wobbly zooms and pans on bleakseaside and woodland photographs, some of them beautiful.)BR>This is by far the longest surviving single piece of her music./P>H3 ALIGNCENTER>I>1973/I>/H3>A HREFimages/Ascent-of-Man-chalice.jpg>IMG ALIGNRIGHT SRCimages/Ascent-of-Man-chalice-mini.jpg WIDTH200 HEIGHT150 ALTA computer graphic of a chalice from The Ascent Of Man>/A>H3>A NAMEMusicOfTheSpheres HREFhttp://wiki.delia-derbyshire.net/wiki/Music of the Spheres>Music for The Ascent of Man: Music of the Spheres/A> (1973) (2:08)/H3>Delia created a piece as backing music to simple computer graphics for Bronowskis 1973 BBC TV series I>The Ascent of Man/I> episode 5: Music of the Spheres.BR CLEARALL>P>!-- Pile of images on the right, text should flow down the left -->TABLE ALIGNRIGHT BORDER0>TR>TD ALIGNCENTER> A HREFimages/LegendOfHellHouse-DVD.jpg> IMG WIDTH99 HEIGHT140 SRCimages/LegendOfHellHouse-cover-mini.jpg ALTCover from Legend of Hell House DVD>/A>/TABLE>H3>A NAMELegendOfHellHouse HREFhttp://wiki.delia-derbyshire.net/wiki/The Legend of Hell House>Music for The Legend of Hell House/A> (1973)/H3>P>Brian Hodgson and Delia Derbyshire recorded the music for this1973 horror movie at Electrophon in London.BR>One recognisably Delian element in the soundtrack is a rhythmic tamtam backing.BR>A HREFhttp://www.imdb.com/title/tt0070294>Details at imbd.com/A>.BR>The musical parts of the film score are availableA HREFhttp://www.mediafire.com/?reekm3yje8v50fe>at mediafire/A>./P>H3>A NAMEEenVanDieDagen HREFhttp://wiki.delia-derbyshire.net/wiki/Een Van Die Dagen>Music for Een Van Die Dagen/A> (1973) (00:30)/H3>P>According toA HREFhttp://www.imdb.com/name/nm0220262>her entry in the Internet Movie Database/A>,she did the music for the short film Een van die Dagen(One of These Days)written and directed by Else Madelon Hooykaas and Elsa Stansfield.BR>IMDB dates this film 1974, but Madelon says 1973.BR>Running time: 30 minutes./P>H3 ALIGNCENTER>I>1975/I>/H3>H3>A NAMEAboutBridges HREFhttp://wiki.delia-derbyshire.net/wiki/About Bridges>Music for About Bridges/A> (1975) (00:22)/H3>P>Madelon Hooykaas tells me that Delia made the music for a second film byHooykaas and Stansfield,BR>The only surviving copy of the music for both of these films is MadelonHooykaas copy on half inch tape which will shortly be given forconservation and distribution to theA HREFhttp://www.eyefilm.nl>Filmmuseum in Amsterdam/A>.BR>The films were shown at the A HREFhttp://www.cca-glasgow.com/page236B7D10-868E-4F86-A306909B378E5655&eventidA24FC92E-8B7C-4BD0-A252DAA9D5380C61>CCA in Glasgow on 27th January 2011/A>./P>H3 ALIGNCENTER>I>2001/I>/H3>TABLE WIDTH100% BORDER0>TR>TD VALIGNTOP>H3>A NAMESynchrondipityMachine HREFhttp://wiki.delia-derbyshire.net/wiki/Synchrondipity Machine>Synchrondipity Machine (an unfinished dream)/A> /H3>P>In 2001 she returned to sound with Sonic Booms Experimental Audio Research.P>The credits for this track read:UL>LI>Sonic Boom - Editing, mixing & effects inc. SMS tools 0.8 analysis/resynthesis software.LI>Delia Derbyshire - liquid paper sounds generated using fourier synthesisof sound based on photo/pixel info (B2wav - bitmap to sound programme)./UL>SMALL>Released as track 37 ofA HREFhttp://dotdotdotmusic.com/fulltrack1.html>Grainby Dot Dot Dot Music/A>.BR>Released onA HREFhttp://www.amazon.co.uk/The-Electronic-Bible-chapter-1/dp/B00452WNSG>The Electronic Bible - Chapter 1/A>(A HREFhttp://www.wlmusic.co.uk>White Label Music/A>, WLM 004).BR>Available here as anA HREFaudio/Delia Derbyshire & EAR - Synchrondipity Machine.mp3>MP3 audio download/A>courtesy of Sonic Boom./SMALL>TD VALIGNTOP WIDTH127> IMG SRCimages/R-517175-1126585112.jpeg WIDTH127 HEIGHT126 ALTGrain album cover>/TABLE>HR>P>She was badly treated by the BBC, repeatedly turned down forpromotions that should have been hers. Her name was never recognised onrecordings of her works because that was BBC policy and, as an employee,she never received a penny in royalties for Dr Who.The money was never the issue with Delia so long as she had enough tolive on, but the lack of recognition was.BR> -- Clive Blackburn, in A HREFsites/mailonsunday.html>the Mail on Sunday article/A>P>I>Something serious happened around 72, 73, 74: the world went out of tunewith itself and the BBC went out of tune with itself... I think, probably, whenthey had an accountant as director general.I didnt like the music business./I>BR> -- Delia, in the A HREFsites/interview_boa.php.html>Boazine interview/A>P>I>I still havent worked out why I left - self preservation I think./I>BR> -- Delia, in the A HREFsites/ARTICLE2000JoHutton.html>Hutton interview/A>, 24 Feb 2000P>She has also mentionedUL> LI>doing special works and soundtracks for the Hampstead Theatre. LI>collaborations with Sir Peter Maxwell Davies and with Ianni Christou./UL>P>and, according toA HREFsites/ex-sounds.html>www.ex-sounds.net/A>,she is given special thanks on Sonic Booms albums:UL> LI>Forever Alien by Spectrum (track 4: Delia Derbyshire) BR>(Space Age Recordings, ORBIT 008, 1997, LPx2, CD) BR>(Reprise Records, 9 46352-2, 1997, CD) LI>Death of a Robot by Experimental Audio Research credits her (or has a photo of her - it is unclear to me). BR>(Ochre Records, OCH025, 9, 1998) LI>The Imajinary Friends by Spectrum or Come Out To Play by Interface BR>(Space Age Recordings, ORBIT 017, CD, 1999) LI>Vibrations E.P. by Experimental Audio Research, including the track Synchrondipity. BR>(Rocket Girl, RGIRL 18, 12, CD, 2000) LI>Continuum by E.A.R. BR>(Space Age Recordings, ORBIT 026, CD, 2001)/UL>P>A number of recordings by Delia Derbyshire and Maddalena Fagandini areavailable on the Cadenza catalogue at the National Sound Archive ListeningDepartment, at the British Library.BR> -- the A HREFsites/ARTICLE2000JoHutton.html>Hutton interview/A>.P>Apart from the Doctor Who Theme and the tracks from the Electric Storm album,the Archive catalogue lists:UL> LI>B>Great Zoo/B> BR>Track 4 on The Space Between, a stereo miscellany of music, sound and words from the BBC Radiophonic Workshop. BR>BBC recording broadcast Radio 3 October 4th 1973. BR>FIND FORMAT: T634BW, track 4 BR>See also the article at A HREFhttp://www.mb21.co.uk/ether.net/radiophonics/space_between.shtml>mb21.co.uk/A>/UL>P>Delia died on the 3rd of July 2001 in hospital of liver/kidney failure./P>H2>A NAMEMusicalTributes>Musical Tributes/A>/H2>P>Several musical tributes have been made to her:/P>UL> LI>King of Woolworths: B>Delia Derbyshire/B> from LIllustration Musicale (6:10) LI>Spectrum: B>Delia Derbyshire/B> (4:29) LI>Acidage: B>Tribute To Delia Derbyshire/B> (7:25) LI>Pippa Murphy: B>Standing Waves/B> (0:40) LI>Iddod: A HREFhttp://iddod.co.uk/fordelia.htm>B>For Delia/B>/A> (4:52) (A HREFaudio/Tributes/bobbi%20bagi%20-%20for%20delia%20%28delian%20mix%20-%20myspace%20edit%29%20-%20iddod.mp3>Download MP3/A>) LI>The Psychedelic Manifesto: B>Delia Derbyshire/B> on the album Sometimes You Can Hear The Angels Cry/UL>P>H2>A NAMEBiographicalPlays>Biographical Plays/A>/H2>IMG ALIGNRIGHT SRCimages/luisaprosser.jpg WIDTH144 HEIGHT263 ALTLuisa Prosser as Delia holding a tape>H3>Standing Wave: Delia Derbyshire in the 60s/H3>P>A theatrical production by Nicola McCartney, based on Delias life,was put on 7-23 October 2004 at the Tron theatre in Glasgow.P>The A HREFhttp://reelingwrithing.com/archive7.html>review site forthe production/A> contains a few biographical snippets: a brief anddisastrous marriage to a striking Yorkshire miner in 1974 when at only 37,she was beginning the long battle with alcohol and depressionthat would shadow the remaining three decades of her life.P>The prodction was also reviewed inA HREFsites/scotsman.html>an article on news.scotsman.com/A> on 25 Sep 2004./P>H3>Blue Veils and Golden Sands/H3>P>A radio play based on her life, written by Martyn Wade, directed byCherry Cookson and featuring Sonic Boom as himself, was broadcast onBBC Radio 7 on 8 November 2005and is included on the CD Doctor Who at the BBC: The Plays, ISBN 18460 70440,from the BBC Radio Collection series./P>A HREFimages/Kara Blake - The Delian Mode cover.jpg>IMG ALIGNRIGHT SRCimages/Kara Blake - The Delian Mode cover-mini.jpg WIDTH200 HEIGHT194 ALTThe cover of the DVD of Kara Blakes film The Delian Mode>/A>H3>The Delian Mode/H3>P>A HREFhttp://karablake.com/information.html>Kara Blake/A>shalf-hour documentary about Deliaa life and work is described inA HREFhttp://www.montrealmirror.com/2008/010308/film1.html>an article inthe Montreal Mirror/A> and has A HREFhttp://thedelianmode.com>itsown website/A>.BR CLEARALL>H2>A NAMEVideoClips>Video clips/A>/H2>P ALIGNCENTER>IMG SRCimages/aosclip03.jpg WIDTH636 HEIGHT352 ALTDelia Derbyshire twiddling a knob at the BBC>BR CLEARALL>Delia in aA HREFvideo/Alchemists_of_Sound_-_Delia_Derbyshire_clip.avi>3.4-second video clip from the BBCs Alchemists of Sound (DivX5, 600KB)/A>BR CLEARALL>If you only have Windows Media Player, useA HREFvideo/Alchemists_of_Sound_-_Delia_Derbyshire_clip.m1v>this version(MPEG1, 900KB)/A>P ALIGNCENTER>IMG SRCimages/tape_loops.jpg WIDTH475 HEIGHT286 ALTDelia Derbyshire synchronising tape loops>BR CLEARALL>Delia putting Pot au Feu together from tape loops in aBR>A HREFvideo/Alchemists_of_Sound_-_Delia_Derbyshire_tape_loops.avi>77-second video clip from the BBCs Alchemists of Sound (XviD, 9.4MB)/A>BR>If you only have Windows Media Player, useA HREFvideo/Alchemists_of_Sound_-_Delia_Derbyshire_tape_loops.mpeg1.avi>this version (MPEG1, 8.8MB)/A>/P>P ALIGNCENTER>IMG SRCimages/unreal_time.jpg WIDTH498 HEIGHT288 ALTDelia Derbyshire close up with long hair>BR CLEARALL>Hardly anything of it was done in real time. It was done either at half-speed or chopped together from little bits of tape...BR>A HREFvideo/Alchemists_of_Sound_-_Delia_Derbyshire_unreal_time.avi>28-second slow-motion video clip from the BBCs Alchemists of Sound (XviD, 3.0MB)/A>BR>If you only have Windows Media Player, useA HREFvideo/Alchemists_of_Sound_-_Delia_Derbyshire_unreal_time.mpeg1.avi>this version (MPEG1, 2.9MB)/A>/P>P ALIGNCENTER>A HREFvideo/0093fix-2.avi>IMG SRCvideo/0093fix-2.jpg WIDTH500 HEIGHT360 ALTDelia Derbyshire explaining waveforms>/A>BR CLEARALL>A HREFvideo/0093fix-2.avi>A 98MB AVI file/A> containing 289.0 seconds of:BR> Desmond Briscoe talking;BR> Delia explaining waveforms;BR> Delia making Pot Au Feu (long version);BR> Delia talking, with glimpses of John Baker and others./P>P ALIGNCENTER>A HREFvideo/0096fix.avi>IMG SRCvideo/0096fix.jpg WIDTH610 HEIGHT450 ALTDelia Derbyshires tapping feet>/A>BR CLEARALL>A HREFvideo/0096fix.avi>A 35 MB AVI file/A> containing only the first61.4 seconds of Delias 1st bit in the above clip, with a larger image.P>A HREFhttp://web.archive.org/web/20081120184154/http://www.b-music.co.uk/girls_cry_2.html>Andy Votel says/A>:A HREFhttp://www.nationalmediamuseum.org.uk>Bradford Museum of Filmand Television/A> has a vintage episode of Tomorrows World featuringDelia Derbyshire explaining the musique-concrete methods adopted at theRadiophonic Workshop when creating those inimitable TV soundtracks. DDalmost started dancing at one point. It was incredible...P>The Museums TV Heaven archive used to list this item asTomorrows World (Radiophonic Workshop), 1965, 30 minsbut it doesnt any more.However, there is A HREFsites/tvdetails.asp.html>a local copyof the index card/A> here.To book a viewing, call the TV Heaven desk directly on (01274) 203433,although booking is not always necessary.H2>A NAMEArticlesInterviews>Articles and Interviews/A>/H2>UL> LI>Local copies of pages from A HREFhttp://www.delia-derbyshire.org>delia-derbyshire.org/A>: UL> LI> A HREFsites/Delia Derbyshire (delia-derbyshire.org).html> Delian introduction/home/A> LI>A HREFsites/recordings.php.html>Recordings/A> /UL> LI>A HREFMorse code musician/>Morse code musician/A> newspaper article by Christine Edge published in the Sunday Mercury, April 12, 1970. LI>A HREFDial a tune/>Dial a Tune/A> newspaper article by Kirsten Cubitt published in The Guardian, September 3, 1970. LI> Delia Derbyshire once spoke (in a radio documentary on the history of the Workshop, broadcast in April 1979 on Radio 3) of the antiquated chaos and DIY bodge-jobs that was the Workshops equipment base in the 1960s, and how enormously long tape loops could frequently be seen trailing out into the corridor. BR> -- A HREFhttp://www.mb21.co.uk/ether.net/radiophonics/mixers.shtml>Mike Brown/A> LI> A HREFBBCScotlandInterview.html>BBC Scotland Original Masters/A>, a lengthy radio interview about her work, recorded in 1997 LI> She was on Radio Fours Womens Hour 1999 talking about breast cancer a week before the A HREFsites/interview_surface.php.html>Boazine interview/A>. LI>A HREFsites/interview_boa.php.html>The Boazine interview by John Cavanagh/A> LI>A HREFsites/interview_surface.php.html>Surface magazine / Sonic Boom, December 1999/A> BR>This article was also published in the now-deleted web magazine pansiecola in 2000 as www.pansiecola.com/space/delia, along with an A HREFsites/pansiecola-sonic.html>Interview with Sonic Boom/A> which mentions her twice in passing. The copy here was recovered from the A HREFhttp://www.archive.org>Internet Archive Wayback Machine/A> but even that site has now blocked access to it. LI>A HREFsites/ARTICLE2000JoHutton.html>Interview Radiophonic Ladies by Jo Hutton/A>, recorded 24 February 2000. LI>A HREFaudio/Brian%20Hodgson%20-%20Delia%20Derbyshire%20Remembered.mp3>Delia Derbyshire Remembered/A>: Brian Hodgson interviewed on the radio immediately after her death (MP3 audio from Gnutella) LI>The A HREFcmj-obit.html>Computer Music Journals obituary/A>, Winter 2001. LI>A HREFsites/observer.html>Queen of the Wired Frontier/A>, The Observer, Sunday March 17, 2002. LI> A HREFhttp://www.bbc.co.uk/bbcfour/music/features/alchemists.shtml>Alchemists of Sound/A>, an hour-long television documentary about the Radiophonic Workshop, was broadcast on BBC Four on October 19, 2003 and was repeated several times including the 26 June and 2 July 2004. One of the co-producers was Victor Lewis-Smith and the programme was narrated by Oliver Postgate. BR> -- A HREFhttp://en.wikipedia.org/wiki/BBC_Radiophonic_Workshop>The Wikipedia/A> LI>A HREFsites/mailonsunday.html>Article in the Mail on Sunday, 20 Mar 2005./A> LI> The BBC A HREFhttp://www.bbc.co.uk/music/classicbritannia/episodes/2/>lists/A>PRE> BBCs Classic Britannia EPISODE 2: MODERNISM AND MINIMALISM, 1962 to 1980 Archive Interviews: DAPHNE ORAM & DELIA DERBYSHIRE - Composers, BBC Radiophonic Workshop/PRE> First broadcast 29 June 2007./UL>H2>A NAMEReferences>References (links to the original sites)/A>/H2>UL> LI>A hrefhttp://www.delia-derbyshire.org>www.delia-derbyshire.org/a> LI>A HREFhttp://www.cosmicsurfer.pwp.blueyonder.co.uk/Delia.html>www.cosmicsurfer.pwp.blueyonder.co.uk/Delia.html/A> LI>A hrefhttp://www.elidor.freeserve.co.uk/radiophonic.htm>www.elidor.freeserve.co.uk/radiophonic.htm/A> LI>A HREFhttp://www.bbc.co.uk/music/experimental/reviews/radiophonic_music.shtml>Peter Marshs review of BBC Radiophonic Music/A> LI>Ray Whites A HREFhttp://whitefiles.org/rws>Radiophonic Workshop: An Engineering Perspective/A>, article A HREFhttp://whitefiles.org/rws/r02.htm>2. Early Days 1957-1965/A> and A HREFhttp://whitefiles.org/rwg>Radiophonic Gallery/A> of photos. LI>A HREFhttp://www.guardian.co.uk/news/2001/jul/07/guardianobituaries1>Brian Hodgsons obituary in The Guardian/A> LI>A HREFhttp://www.discogs.com/artist/Delia+Derbyshire>www.discogs.com/A>: A discography site LI>A HREFhttp://www.mb21.co.uk/ether.net/radiophonics/>www.mb21.co.uk: Mike Browns history of the BBCRW/A> LI>A HREFsites/scotsman.html>Article in news.scotsman.com, 25 Sep 2004/A> LI>Article A HREFhttp://www.guardian.co.uk/theobserver/2002/mar/17/featuresreview.review> Queen of the Wired Frontier/A> in The Observer, 17 March 2002, LI>A HREFhttp://www.britishtheatreguide.info/news/standingwave.htm> The British Theatre Guides page on Reeling and Writhings Standing Wave production/A> LI>A HREFhttp://dotdotdotmusic.com/fulltrack1.html>dotdotdotmusic.com s track listing of the Grain album/A>. A HREFhttp://web.archive.org/web/20041029051728/http://www.ex-sounds.net/esa/sonicboom.shtml>preserved at archive.org/A> LI>Clive Blackburn has put up a site A HREFhttp://www.cblackburn.fslife.co.uk/about_delia.htm>about Delia/A> with A HREFhttp://www.cblackburn.fslife.co.uk/delias_photos.htm>some photos/A> and A HREFhttp://www.cblackburn.fslife.co.uk/poem.htm>her favourite poem/A>. LI>A HREFhttp://www.archive.org>archive.org/A>: The Internet Archives wonderful Wayback Machine./UL>H2>A NAMEResources>Community resources/A>/H2>UL> LI>A HREFhttps://www.facebook.com/pages/The-Electronic-Church-of-St-Delia/169766083079916>The Electronic Church of St Delia on facebook.com/A>/UL>H2>A NAMEThanks>Thanks/A>/H2>P>This site was created with the logistical support ofA HREFhttp://medien.kunstlabor.at>medien.kunstlabor.at/A>and the personal kindness ofA HREFhttp://xav.net>Franz Xaver/A>.BR>The research was made possible by the hard work involved in the making ofthe sites listed above, as well as the various sources listed throughoutthe chronology. The research was aided by information, leads and personaleffort from Sonic Boom, Mark the Bus, Ian Burdon, Mike Brown, Peter Marsh,Ray White, Dick Mills and Andrew Harrison as well as numeroussubscribers to the A HREFhttp://lists.topica.com/lists/delia>DeliaDerbyshire mailing list/A>.P>Thanks also to you if you A HREFhttp://martinwguy.net/donate.html>make a donation/A>./P>hr>!-- Content ends; final author attribution and buttons -->table border0 width100%>tr>td alignleft valigntop>Compiled by Martin Guy <martinwguy@gmail.com>/table>/body>/html>
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