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| - Delia Derbyshire was born in 1937 and joined the BBC Radiophonic Workshop in 1960. She was the first qualified musician there (she had a degree in Mathematics and Music; earlier employees were oriented towards sound effects for radio drama). Although marginalized and uncredited during the time she worked there, Delia has retrospectively been hailed as a pioneer of electronic music. She is best known for creating the theme tune for Doctor Who, based on a rough compositional idea by Ron Grainer. Other well-known works include "Blue Veils, Golden Sands" and "the Delian Mode".
- Her best-known single work was her arrangements of the Doctor Who theme by Ron Grainer. While Grainer composed the basic melody, it is Derbyshire who provided the iconic sounds and form of the theme. Grainer attempted to secure co-writing credit for Derbyshire, but due to rules in place at the time she was not allowed to receive a songwriting credit, although the Workshop and she would be regularly credited on the series.
- Derbyshire went to Cambridge in the 1950s, back when it was only 9% female and 1% working-class, and they didn't teach what she really wanted to learn because she hadn't invented it yet. She eventually got a job with the BBC and got herself assigned to the Radiophonic Workshop, which at the time was considered more of a punishment detail than a place to build your career.
- Son travail le plus connu est son arrangement du thème de Doctor Who composé par Ron Grainer. Celui-ci composa la mélodie mais c'est Delia Derbyshire qui créa le son et la forme qui sont aujourd'hui célèbre. Grainer essaya d'obtenir pour elle qu'elle soit créditée comme co-compositrice mais à cause des règles en place à l'époque, elle ne put être créditée. Cependant, elle et le BBC Radiophonic Workshop apparurent souvent au générique par la suite.
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| abstract
| - Derbyshire went to Cambridge in the 1950s, back when it was only 9% female and 1% working-class, and they didn't teach what she really wanted to learn because she hadn't invented it yet. She eventually got a job with the BBC and got herself assigned to the Radiophonic Workshop, which at the time was considered more of a punishment detail than a place to build your career. Among the other things she did at Radiophonics was an electronic arrangement of a decent but somewhat generic theme song by Ron Grainer, which you may have heard in seasons 1-17 of Doctor Who. Grainer tried to get her co-composer credit, but BBC policy is that Radiophonics employees are anonymous so fuck Delia. Besides her Radiophonics work, she co-created the first rave in 1966 (which the Beatles begged to be involved with), started one of the first electronic music bands, and wrote half of the incidental pieces in the Standard Music Library that got used on every ITV sci-fi show for the next 15 years or so. By the mid-70s, even after Kraftwerk and Human League and Throbbing Gristle, she was still basically two decades ahead of her time, so she retired from music to do odd jobs and drink a lot until the world caught up with her. When it finally did in the late 90s, she stopped drinking and began work on a solo album and a couple albums with Peter Kember, but died of renal failure before she finished. At least Kember gave her producer credits on the albums he finished without her.
- Son travail le plus connu est son arrangement du thème de Doctor Who composé par Ron Grainer. Celui-ci composa la mélodie mais c'est Delia Derbyshire qui créa le son et la forme qui sont aujourd'hui célèbre. Grainer essaya d'obtenir pour elle qu'elle soit créditée comme co-compositrice mais à cause des règles en place à l'époque, elle ne put être créditée. Cependant, elle et le BBC Radiophonic Workshop apparurent souvent au générique par la suite. Derbyshire créa trois arrangements différents. Le premier fut uniquement utilisé pour l'épisode pilote jamais diffusé, et était presque identique à celui qui servit de An Unearthly Child to The Moonbase. Lorsqu'un nouveau générique fut introduit dans The Macra Terror, Delia créa un nouvel arrangement qui perdura, avec parfois quelques modifications, jusqu'à The Horns of Nimon (il était censé être utilisé pour Shada, mais cet épisode ne fut jamais terminé ou diffusé). En 1980, l'arrangement de Derbyshire fut remplacé par un nouveau composé par Peter Howell. Des éléments des arrangements de Delia Derbyshire ont été réutilisés en 2005 puis 2007 par Murray Gold. L'arrangement original a été réutilisé lui-même à plusieurs reprises: il fut utilisé pour le générique de fin de Music of the Spheres, produit pour le concert des BBC Proms (il n'est cependant pas présent sur la version télévisée ou sur le DVD), et il fut joué lors de l'édition 213 du concert. La même année, ce même arrangement accompagné du générique originel apparut au début de l'épisode des 50 ans, The Day of the Doctor, donnant ainsi pour la première fois l'occasion de créditer Delia Derbyshire pour la nouvelle série. En 2008, la BBC a annoncé la découverte de 267 enregistrements expérimentaux de Derbyshire durant les années 60-70, parmi lesquels des tests sonores pour Doctor Who et une musique expérimentale très similaire à la musique de danse à la mode des années plus tard. Derbyshire a également composé plusieurs musiques de stock pour la BBC qui furent parfois utilisées dans Doctor Who comme musique de fond, dont "Chromophone Band" (apparue dans The Macra Terror), "Blue Veils and Golden Sands" et "The Delian Mode" (utilisées toutes les deux dans Inferno). en:Delia Derbyshire Catégorie:Arrangeurs de thème pour Doctor Who
- Delia Derbyshire was born in 1937 and joined the BBC Radiophonic Workshop in 1960. She was the first qualified musician there (she had a degree in Mathematics and Music; earlier employees were oriented towards sound effects for radio drama). Although marginalized and uncredited during the time she worked there, Delia has retrospectively been hailed as a pioneer of electronic music. She is best known for creating the theme tune for Doctor Who, based on a rough compositional idea by Ron Grainer. Other well-known works include "Blue Veils, Golden Sands" and "the Delian Mode". Working with primitive equipment such as manual oscillators, tape decks, and improvised mixers, much of her work was done by tape manipulation (music concrete) and additive synthesis. In addition to commercial work for the BBC, and music created by herself and Brian Hodgson as the BBC under pseudonyms, she also worked in the Kaleidophon and Unit Delta Plus studios with a variety of musicians, including Peter Zinovieff of EMS, Stockhausen, Pink Floyd and the Beatles. As a member of the group White Noise, she contributed to the album "An Electric Storm". Disillusioned with the BBC attitude to electronic music, she left the music field in 1975. Towards the end of her life, in the mid 1990s, she once again started to work on electronic collaborations with artists such as Sonic Boom. She died in 2001. Following her death, a cache of early tape recordings of electronic music was found in her flat. It has yet to be published.
- Her best-known single work was her arrangements of the Doctor Who theme by Ron Grainer. While Grainer composed the basic melody, it is Derbyshire who provided the iconic sounds and form of the theme. Grainer attempted to secure co-writing credit for Derbyshire, but due to rules in place at the time she was not allowed to receive a songwriting credit, although the Workshop and she would be regularly credited on the series. Derbyshire created three theme arrangements. The first was used only for the pilot version of An Unearthly Child and was almost identical to the version used in the televised version, except for additional sound effects such as a thunderclap. The second version was the televised version used from An Unearthly Child to The Moonbase. When a new title sequence was introduced with The Macra Terror, Derbyshire revised the arrangement and, with some minor refinements over the years, this version was used through The Horns of Nimon (it was to be used for the last time in Shada, but that story was never completed or televised). In 1980, Derbyshire's arrangement was retired and replaced by a new one by Peter Howell. Elements of Derbyshire's arrangement have reemerged in the arrangements introduced by Murray Gold in 2005 and late 2007. Derbyshire's original arrangement from 1963 has been brought back into service several times in recent years: in 2008, it was used for the closing credits to the minisode Music of the Spheres, produced for the 2008 Doctor Who at the Proms concert. The televised and DVD releases of the concert and the minisode, however, omit the closing credits. The 2013 edition of the concert featured members of the BBC Radiophonic Workshop performing a live version of the theme incorporating Derbyshire's sound effects. Also in 2013, the 1963 arrangement and original opening sequence was used to open the 50th anniversary special, The Day of the Doctor, giving Derbyshire her first televised on-screen credit of the revival era. In 2008, the BBC announced the discovery of 267 tapes of experimental and demo recordings made by Derbyshire in the 1960s and 1970s. Their existence were not known until after her death. Among the recordings found were Doctor Who-like special effects, as well as an experimental electronic music track that has been noted for its astonishing similarity to the electronic dance music of later decades. Derbyshire also composed some pieces for the BBC's stock music library, some of which were eventually used in Doctor Who as incidental music. Such contributions to the stock library include "Chromophone Band" (appearing in The Macra Terror), "Blue Veils and Golden Sands" and "The Delian Mode" (both of which were used in Inferno). [1]
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