WikiDelia - User contributions [en]

Get Out and Get Under

2014-02-18T16:45:40Z

Admin: Redirected page to Know Your Car

#REDIRECT [[Know Your Car]]

File:The Ultimate Shakespeare-on-Screen Archive (v1.0).torrent

2014-02-18T16:43:53Z

Admin: Admin uploaded a new version of "File:The Ultimate Shakespeare-on-Screen Archive (v1.0).torrent"

File:Petya's Dream.ogg

2014-02-18T16:42:21Z

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File:Hamlet DVD cover image.jpg

2014-02-18T16:38:08Z

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File:Chronicle title.jpg

2014-02-18T16:37:03Z

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File:Chronicle - Pompeii.jpg

2014-02-18T16:35:55Z

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Category:Video

2014-02-18T15:52:28Z

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If photographs of Delia are rare, video footage is even rarer.

In this category we collect known film footage of Delia.

* 1965: The [[Tomorrow's World video]] in which Delia explains her techniques for a BBC science programme.
* 1968: Delia on stage at the [[Queen Elizabeth Hall]] on the 15th of January.
* 1998: [[Delia at Panopticon '98]] and [[Delia interviewed at Panopticon '98]] at a Doctor Who conference.

There is further black-and-white BBC footage from the 60s in which Delia is seen with long hair.

BBC Radiophonic Workshop

2014-02-18T15:48:02Z

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{{Thumb|1965 Radiophonic Workshop team in room 12|[[Desmond Briscoe]], [[Dick Mills]], Delia, [[Keith Salmon]] and [[Brian Hodgson]] in May 1965}}

Delia worked at the [[BBC Radiophonic Workshop]] from April 1962 to 1973, composing pieces of music for BBC radio and TV programmes and at some times acting as the Workshop's organiser.

Delia learned tape editing and electronics at the BBC and most of her professional contacts were made through her position at the BBC.

However, in programme credits, the BBC always attributed her work to "BBC Radiophonic Workshop", denying her both royalties for her compositions and the public recognition that she craved.

The working conditions there were cramped and airless and the equipment delapidated, but even so Delia's musical genius flowered there.

In 1970, [[Desmond Briscoe]] went on "extended leave", leaving Delia to manage the Workshop.<ref>[[Dial a tune]]</ref> By this time she was drinking constantly<ref>[[Elizabeth Parker]]</ref> and left in 1973, in her words, for “''self-preservation''”.

=References=
<references/>

[[Category:Studio]]

F. Y. in T.

2012-10-27T08:54:55Z

Admin: moved F. Y. in T. to Francis Younghusband in Tibet

#REDIRECT [[Francis Younghusband in Tibet]]

DD110156

2012-09-16T17:44:13Z

Admin: /* Transcript */

[[Image:DD110156.jpg|thumb|right]]

[[DD110156]] is a newspaper review of [[Douglas Cleverdon]]'s production [[The Man Who Collected Sounds]] for which the Radiophonic Workshop provided sound.
 
=Transcript=

<BIG><BIG><BIG>The sound barrier</BIG></BIG></BIG>

<BIG>RADIO/JEREMY RUNDALL</BIG>

THERE IS a school of thought--attractive but not terribly practical--which holds that radio as an art form should work wholly in terms of pure sound. That, like music, it should be both abstract and self-sufficient: that narrative is extraneous.

Douglas Cleverdon's excellent production of '''The Man Who Collected Sounds''' (Third, Wednesday) did not quote come off because Leonard Smith's idea, good in itself, did not have enough steam to keep it going. Conceived as a piece of “laboratory” radio, a fantasy of a millionaire with a coolection of vitrified sounds, it tailed off into a kind of morality play, echoing “The Dog Beneath The Skin” on the one hand and “Mahogany” on the other, pleasurable to listen to but failing to exploit its own terms of reference. The hero, armed with the sounds of Good Government and Perfect Love, pursues pre-Raphaelite, mystical Avalon among the fascist politics of small-town California. Result: disillusionment and surrender. There were some effective crowd noises; the B B C Radiophonic Workshop was put to thoughtful use; George Newson's duets for Denis Quilley and Dorothy Dorow were lovely. The music, in fact, was the most exciting element in a slightly confused programme -- sinewy, Menotti-ish and (I imagine) remarkably difficult to sing. One could have done with more of it. But herein, perhaps lay the trouble: the piece was not quite opera, not quite dramatic allegory, and least of all an experience in pure sound.

[...]

[[Category:Paper]]

Masters of Sound

2012-09-16T17:10:18Z

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''Masters of Sound'' is a 10-minute BBC TV documentary about the Radiophonic Workshop with a section on Delia and featuring extracts from a video interview with Delia and [[Brian Hodgson]] recorded for the 1993 BBC documentary ''Doctor Who: 30 Years In The TARDIS'' but not used in it<ref>[http://www.imdb.com/title/tt0175926/fullcredits Full cast and credits for ''Doctor Who: Thirty Years In The TARDIS'' at imdb.com]</ref>, nor in its 1994 extended sequel ''Doctor Who: More Than 30 Years In The Tardis''.<ref>[[File:Doctor Who - More Than 30 Years In The TARDIS.torrent]]</ref>

=Extracts=
==0:25-0:31==
Delia's voice: Once I heard that the BBC Radiophonic Workshop existed I was thrilled to bits.

==1:07-6:29==
Cuts between Delia and [[Brian Hodgson]] interviewed in 1993, [[Verity Lambert]] interviewed in 1993 and an interview with [[Dick Mills]].

'''Delia:''' When [[Verity Lambert]] and [[Warris Hussein]] came, they sat in what I assume must have been the offices or the changing rooms, which was our office, and literally flakes of plaster were falling on their shoulders and they were so elegantly dressed. Brian remembers that.

'''Brian:''' Verity's dress was this beautiful purple hessian dress. It was stunning. But they were both stunning. They were like two sort of Gods came from Television and we were all the scruffs at Maida Vale.

'''Verity:''' I spoke to [[Ron Grainer]] who'd written all these wonderful signature tunes like ''Steptoe and Son'' and I thought it would be interesting to try to get a melody out of radiophonic music, something that no one had really tried to do at that point and Ron absolutely sort of fell on this and thought it was wonderful, was terribly enthusiastic about it.

'''Delia:''' He was the Quiet Australian and he had beautiful ears, I mean brilliant ears, the way his ear-brain function worked. Very good. Very good. He was very creative. He loved new sounds. He loved all sorts of new sounds.

'''Verity:''' Ron spent masses and masses of time. I used to go from time to time and they would play me things called white noise and things and I would say “Well, I think I want a bit more tune in it.”

'''Delia:''' I saw the graphics at the same time that Ron Grainer did and then I was given his score.

'''Voice of Dick Mills:''' So Ron actually wrote the tune on a piece of apper, a single piece of paper, and then left us to it.

'''Delia:''' When I saw Ron Grainer's score, there were some swoops indicated and I assumed those were sine waves.

'''Dick:''' The bass line that everybody thinks they know, they're actually made in two tracks within themselves.

'''Delia:''' I think he might have described [us?] as a guitar, plus, oh, I don't know, something like a bass bassoon or something.

'''Dick:''' We did a whole string of "meep" "meep" "meep" which, when we played with the "dun-da-dun" dun-da-dun", they went together as a pair.

'''Delia:''' But then, apart from that, fitting in with the graphics, he used words like "clouds" and "wind bubble".

'''Dick:''' But it's that kind of detail that people who create a Doctor Who signature tune by ear don't know that that's how it was done or how Ron actually scored it because the score has never left the building as far as I know. Don't ask me where it is. It's somewhere.

'''Delia:''' "Clouds", obviously one thinks of as filtered white noise and "wind bubble" I think we used the [[wobbulator]].

'''Dick:''' Delia and I got to work using sound-generating equipment. There are no musicians, there are no synthesisers and in those days we didn't even have a two-track or a stereo tape machine; it was always mono.

'''Delia:''' It was constructed, literally, on quarter-inch mono tape, inch by inch by inch.

'''Dick:''' And, literally, we built up the orchestra with individual notes and Delia would say “I think we need about sixty-four B flats and twenty-five E's and B's” and things like that and we cut them all out physically.

'''Delia:''' What I would like to say is that hardly anything of it was done in real time. It was done either at half speed or chopped together in little bits of tape. For example, the swoops at the beginning, they were done on the old valve oscillators.

'''Dick:''' Now, most tunes have got a three-part structure: you've got a rhythm, you've got a melody and you've got the twiddly bits on top so we created three separate tapes, put them onto three machines and stood next to them and said “Ready, steady, go!” and pushed all the ‘start’ buttons at once. It seemed to work. In those days it was obvious this was a wrong note. How to find out: you simply unrolled all the tape down the floor, walked along the sticky tape joins and where two sticky-tape joins weren't next to each other, that was the wrong note. So that was that! And we played it to Ron and, yes, lovely, and it became a theme that we grew to love.

'''Delia:''' Ron was so thrilled with the sound of the Doctor Who first mix that he said “Give Delia half the royalties! I was so pleased with it because I was going to book a band.” Literally, he didn't think that that what he'd written on his score could be so well done with the equipment we had and he was a very generous person. But, of course, that wasn't allowed as I was only a studio manager or something.

==8:42-9:16==
'''Delia:''' I would like to say that when new producers came along they always wanted to change the graphics a bit and have it a bit more sparkly, so we put on a bit of feedback and a bit of something, some high frequencies and it used to distress me. And they wanted another bar here and another two bars there just to fit their new graphics whereas, to me, the music itself was sacred and beautiful as it was and I though it was very disrespectful to tart it up like that.

=Availability=
* It is included as an "extra" on the BBC DVD "Doctor Who - The Beginnings"
* [[File:Doctor Who - The Beginnings Extras.torrent]]

=References=
<references/>

[[Category:Documentary]]

File:Doctor Who - More Than 30 Years In The TARDIS.torrent

2012-09-16T17:09:20Z

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File:DD101229.jpg

2012-09-10T17:45:41Z

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DD101229

2012-09-10T17:45:08Z

Admin: Created page with "{{Thumb|DD101229}} DD101229 is a sheet of Delia's handwritten notes for The Coloured Wall in including a list of pieces to use. =Transcript= <PRE> - 1. P…"

{{Thumb|DD101229}}

[[DD101229]] is a sheet of Delia's handwritten notes for [[The Coloured Wall]] in including a list of pieces to use.

 
=Transcript=
<PRE>
- 1. Pop_ - Love without sound [3 ]

- 2. ICI sh. "On the level" [1 ]
---------
Beach - Not Hawaian or Sea | Way Out
[4'45"]+? |
- bloopy extended _ | Newley
| bloopy
Lazy rain [2 mins]_ ----- +
3'15" | 4'25" bloopy + Newley - 7'35"
+ 1'30" | end way out
-----
Work 35 end 1'30" 4 45 /+ 2'40 - 3'35 sea + bloopy

------- 8 bars intro 19
| 10-12 | 8 bars waltz 19
-------
poss[?]: End of clickety
into POP

RSof[?]
Clickety main up 4 -1 +2 ,1.4 , 2

[Pop] main up 4

bloopy + sea

Beach " " " " [ low bloopy x Way Out sh.

- lazy rain

- work <---------------------| pipey | [score notation] + sh.

" | [score notation]

19 +2-[?] | [score notation] + sh.
35
-- R T. S.
54
1 1 4 )19 19
4 ) 19
2 1 --
sh. 4 )19 38
4 ) + 38
--
2 2 10 76
+ 35
---
1 1 2 111
2 1
2 1
</PRE>

[[Category:Paper]]

DD101131

2012-09-10T10:49:32Z

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{{Thumb|DD101131}}

[[DD101131]] is a sheet of Delia's handwritten notes for [[The Coloured Wall]], giving a list of some pieces she was thinking of using to make the soundtrack.

They are on the back of [[DD101200]], a concert flyer for a David Bedford Ensemble concert on 20th March 1968, which might help date the event.

 
=Transcript=
<PRE>
Electrosonics Ltd
R. Simpson
| 858 4784 /
---------------
20th

M

Way Out
ICI Fashion Show
Work is a 4 letter
Pop song
</PRE>

[[Category:Paper]]

File:DD101200.jpg

2012-09-10T10:48:22Z

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DD101200

2012-09-10T10:46:08Z

Admin:

{{Thumb|DD101200}}

[[DD101200]] is a printed flyer for a David Bedford Ensemble concert on Wednesday 20th March 1968.

The other side, [[DD101131]], has some of Delia's handwritten notes for [[The Coloured Wall]], which might help date that event.

[[Category:Paper]]

File:DD101131.jpg

2012-09-10T10:38:36Z

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DD101032

2012-09-10T10:26:21Z

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{{Thumb|DD101032}}

[[DD101032]] is a sheet of Delia's handwritten notes for [[The Coloured Wall]] event, giving the name of the Exhibitions's publicity agent and an appointment for them to attend the press preview. In the bottom right corner is a provisional list of pieces to be reused to create the sound track.

 
=Transcript=
<PRE>
Wed.
--------

Mr. McCracken
Universal News Services - handling all
exhibition publicity
FLE1633 EX.15

Press preview 26th, 2 p.m. Earl's Court.
meet there 1.30 --- 2.

Will we phone him tomorrow --

Violence Kingswood Warren[?]
[? ????] Mark Britain Initial visit -
Long Live the Queen books -
Towards Tomorrow BAS - talk -

At home this afternoon
</PRE>

=Notes=
"FLE1633 EX.15" is the code used at the time for a London phone number (which would now be 0207 353 1633) and the internal extension line number. "FLE" is derived from the local telephone exchange serving the subscriber and may stand for Fleet Street, the main street for newspaper journalists in London.<ref>[http://en.wikipedia.org/wiki/List_of_telephone_exchanges_in_London Wikipedia's List of telephone exchanges in London]</ref>

[[Category:Paper]]

DD101110

2012-09-10T10:25:51Z

Admin:

{{Thumb|DD101110}}

[[DD101110]] is a page of Delia's handwritten notes for [[The Coloured Wall]], planning the moods and progression of pieces in the sound track.

 
=Transcript=
<PRE>
734.0535.

how long tape loop
-------------
EX in 3½ wks - org. for 1½ wks
Broken in rhythm
wide range high & low
Not too way out _
element of tune -
opens 26th.

at one point 1'
bombardment of
full works, but not
too much ___
then lyrical "Beachcomber"
</PRE>
=Notes=
* "734.0535" is a London telephone number, currently 0207 743 0535.
* "1'" would be "one minute of".

[[Category:Paper]]

File:DD101110.jpg

2012-09-10T10:24:59Z

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File:DD101032.jpg

2012-09-10T09:27:34Z

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File:DD100945.jpg

2012-09-10T09:21:32Z

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Sound on Sound

2012-09-10T08:45:47Z

Admin: moved Sound on Sound to The New Atlantis (article)

#REDIRECT [[The New Atlantis (article)]]

File:DD100908.jpg

2012-09-10T08:13:49Z

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Electrophon

2012-09-10T08:01:48Z

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In 1973, [[Brian Hodgson]] cashed in his pension and left the BBC to set up the '''Electrophon''' studio in Covent Garden<ref>[[Guardian obituary]]</ref> with his friend John Lewis<ref>[[Special Sound]], p.139</ref>, where he was later joined by Delia<ref>[http://en.wikipedia.org/wiki/Brian_Hodgson Brian Hodgson's entry on Wikipedia]</ref>. She contributed to the soundtrack for [[The Legend of Hell House]] there, but left within a year.

“After leaving the BBC in 1973, she worked for a time with Hodgson at Electrophon, helping to produce a series of radio commercials and music for theatrical productions.”<ref>[[Special Sound]], pp.141-2</ref>

A fragment of headed notepaper in her papers names the company directors as D. A. Derbyshire, B. G. Hodgson, P. Kingsland, G. P. Rodgers and I. R. Smithers and gives the company's registered address as Lynwood House, 24-32 Kilburn High Rd, London NW6<ref>[[DD154536]]: Fragment of Electrophon headed notepaper</ref>

=References=
<references/>

[[Category:Studio]]

GLOSPOT1104

2012-09-10T07:46:21Z

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[[Image:GLOSPOT1104 album cover.jpg|thumb|right|GLOSPOT1104 album cover]]

[[GLOSPOT1104]] is the Glo-Spot catalogue number of their 2006 reissue of the [[Electrosonic]] album on green (2006), pink (2007) and blue (2008) vinyl and on CD (2008)<ref>[http://www.discogs.com/Li-De-La-Russe-Nikki-St-George-Don-Harper-Electrosonic/release/1491288 Electrosonic's entry on discogs.com]</ref>

=References=
<references/>

[[Category:Album]]

Early Morning

2012-08-28T18:31:07Z

Admin:

Her papers contain [http://delia-derbyshire.net/papers/#EarlyMorning three pages of her notes] for a piece called ''Early Morning''. One of these sheets is written on the back of a programme for a classical music performance by the BBC Symphony Orchestra in Maida Vale on 17th November 1970.

=Papers=
* [[DD163659]] Diagrammatic scores and tempo
* [[DD163732]] Sequences of notes or chords
* [[DD163744]] Timing diagram and more score

[[Category:Piece]]

Synchrondipity Machine

2012-08-28T18:25:33Z

Admin:

Delia collaborated with [[Sonic Boom]]'s [[Experimental Audio Research]] to create the track ''Synchrondipity Machine (an unfinished dream)''.

=Credits=
Sonic Boom - Editing, mixing & effects inc. SMS tools 0.8 analysis/resynthesis software.

Delia Derbyshire - liquid paper sounds generated using fourier synthesis of sound based on photo/pixel info (B2wav - bitmap to sound programme).

=Copyright=
The Performing Right Society's list of works by Delia Ann Derbyshire has:
<PRE>
Title: Synchrondipity Machine
Writer(s): Derbyshire, Delia Ann; Kember, Peter John
Publisher: Zomba Music Publishers Ltd.
Creation date: 16 February 2005
</PRE>

=Availability=
{{Listen
| filename=Synchrondipity Machine.ogg
| title=Synchrondipity Machine (an unfinished dream)
| description=courtesy of Sonic Boom
| pos = right
}}
* Released as track 37 of "Grain" by Dot Dot Dot Music.
* Released on "The Electronic Bible - Chapter 1" (White Label Music, WLM 004).

[[Category:Piece]]

Slow Train to Outer Space

2012-08-28T18:23:49Z

Admin: Created page with "The Performing Right Society's list of works by Delia Ann Derbyshire includes: <PRE> Title: Slow Train to Outer Spac Writer(s): Derbyshire Delia Ann Creation date: 19 July 1997 <…"

The Performing Right Society's list of works by Delia Ann Derbyshire includes:
<PRE>
Title: Slow Train to Outer Spac
Writer(s): Derbyshire Delia Ann
Creation date: 19 July 1997
</PRE>

=Availability=
Unknown

[[Category:Piece]]

Wildlife Showcase

2012-08-28T18:08:14Z

Admin:

The Performing Right Society's list of works by Delia Ann Derbyshire includes:
<PRE>
Title: Wildlife Showcase
Writer(s): Derbyshire Delia Ann
Publisher: MS
Creation date: 20 July 1997
</PRE>

[[Category:Piece]]

Unknown Title

2012-08-28T17:54:01Z

Admin: Created page with "The Performing Right Society's list of works by Delia Ann Derbyshire lists: <PRE> Title: Unknown Title Writer(s): Derbyshire Delia Ann Publisher: MS Creation date: 22 March 2002 …"

The Performing Right Society's list of works by Delia Ann Derbyshire lists:
<PRE>
Title: Unknown Title
Writer(s): Derbyshire Delia Ann
Publisher: MS
Creation date: 22 March 2002
</PRE>

[[Category:Piece]]

Traitor

2012-08-28T17:47:56Z

Admin: Created page with "The Performing Right Society's list of works by Delia Ann Derbyshire lists: <PRE> Title: Traitor Writer(s): Derbyshire Delia Ann Publisher: MS Creation date: 20 July 1997 </PRE> …"

The Performing Right Society's list of works by Delia Ann Derbyshire lists:
<PRE>
Title: Traitor
Writer(s): Derbyshire Delia Ann
Publisher: MS
Creation date: 20 July 1997
</PRE>

[[Category:Piece]]

Lowell

2012-08-28T16:41:49Z

Admin: moved Lowell to Robert Lowell

#REDIRECT [[Robert Lowell]]

Electronic

2012-08-28T15:53:20Z

Admin:

The Performing Right Society list of works by Delia Ann Derbyshire includes:
<PRE>
Title: Electronic
Writer(s): Derbyshire Delia Ann
Publisher: MS
Creation date: 6 July 1997
</PRE>

as distinct from "Electronic Music", which is another title for [[Electrostings]]

[[Category:Piece]]

File:Electrostings.ogg

2012-08-28T15:51:56Z

Admin: moved File:Electrostrings.ogg to File:Electrostings.ogg

File:Electrostrings.ogg

2012-08-28T15:51:56Z

Admin: moved File:Electrostrings.ogg to File:Electrostings.ogg

#REDIRECT [[File:Electrostings.ogg]]

DD115523

2012-08-27T17:47:42Z

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{{Thumb|DD115523}}
[[DD115523]] is a half-page manuscript entitled "[[Arctic|ARCTIC?]]" on the back of her score for Environmental Studies.

[[Category:Paper]]
[[Category:Score]]

Listeners' Corner interview

2012-08-22T21:18:27Z

Admin: /* Availability */

Delias [[Attic Tapes]] contain a recording of an interview for BBC Short Wave programme ''Listeners' Corner'', introduced by Dorothy Logan, in which [[Laurence Spicer]] interviews Delia Derbyshire.<ref>The [[Initial Catalogue]] description for [[DD085]].</ref>

The programme ''Listeners Corner'' ran from 1961 to 1967.<ref>[http://books.google.it/books?id=ZjP978PYo0MC&pg=PA249 Jerome S. Berg, ''Listening on the Short Waves, 1945 to Today'' (McFarland & Company, North Carolina, 2008), p.249: "Shortwave Listeners' Corner"]</ref>

=Availability=
* On Delia's tape [[DD085]] in Manchester.

=References=
<references/>

[[Category:Interview]]

DD110056

2012-08-22T17:19:45Z

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[[Image:DD110056.jpg|thumb|right]]

[[DD110056]] is a newspaper clipping of an article in ''The Observer Review'' on March 21, 1965 about the Radiophonic Workshop and announcing the first broadcast of [[The Afterlife]] on the 1st April.

The top half of the same page, giving the date, is [[DD110042]].

For the transcript. see [[Square wave, hip sound]].

[[Category:Paper]]

DD110042

2012-08-22T17:18:20Z

Admin:

{{Thumb|DD110042}}

[[DD110042]] is the top half of a page of ''The Observer'' newspaper for March 21, 1965. [[DD110056|The bottom half]] contains the article [[Square wave, hip sound]].

[[Category:Paper]]

File:DD110042.jpg

2012-08-22T17:17:46Z

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Square wave, hip sound

2012-08-22T17:12:07Z

Admin:

[[Image:DD110056.jpg|thumb|right|[[DD110056]]]]

[[Square wave, hip sound]] is an article about the Radiophonic Workshop which appeared in ''The Observer Review'' on 21st March 1965<ref>[[DD110042]]</ref> announcing the first broadcast of [[The Afterlife]].

=Transcript=
<BIG>Square wave, hip sound</BIG>

Frequent credit after TV and radio feature: “Sound Effects by the BBC Radiophonic Workshop.”

They've been producing electronic sounds for the past six years, mainly for plays and features, but sometimes go “pop”—biggest triumph “Dr Who.” This week you can hear the kind of thing they are up to in Dino Buzzati's play, “Zone 36,” on the Home Service tomorrow and on BBC-2 on Friday in the much heralded Hugh Burnett religious programme “The Cauldrons of Hell.”

Radiophonic Workshop has three studios, £100,000 worth of equipment and a permanent staff of nine headed by Desmond Briscoe, BBC's pioneer in the creative use of electronics. Composing is largely shared by three regulars—all under 30—Delia Darbyshire, modern sclassical-slanted musician and mathematician; John Baker, composer of the more catchy tunes; Brian Hodgson, who handles the dramatic non-musical pieces.

A lot of jargon floats around the Workshop—such as sine and square waves, white and pink sound (white sounds like steam—remove some of the frequencies and it becomes pink). The raw material is any kind of sound which is altered or distorted by being filtered, modulated, speeded up, slowed down, and generally messed about with, especially in tape, or a complately original sound can be produced (electronic organs, guitars). Then the creative bit begins, composing the processed sound into aesthetically satisfying patterns. In the end it's art, not science, that counts.

The Workshop people admit that with manipulated sound it's hard to be beautiful or even pleasant, but easy to convey a feeling of horror.

Briscoe says that their only complaint is that not much air time is given over to creative electronics per se—other countries give more. But they get an opportunity on April 1 (Third) with the third in a series of “Inventions,” joining electronic music and people talking on certain subjects. In collaboration with the writer Barry Bermange, they've already done programmes on dreams and God. This one is on Afterlife.

=References=
<references/>

[[Category:Article]]

Third words: The Radio Feature

2012-08-22T17:08:12Z

Admin: Redirected page to Third Words: The Radio Feature

#REDIRECT [[Third Words: The Radio Feature]]

Copyright

2012-08-21T17:46:13Z

Admin:

<BLOCKQUOTE>
To the devout reader 
If it is true that the common good is damaged by those who find a treasure and
do not share it, but hide it away and do not enrich the world with it as they should, then I would have made a greater error if I, having in my hands the
papers of Delia Derbyshire, which are a musical treasure, had not brought them to light to be seen by many people who, by means of this work, are sure to be enlightened and enriched. Thus, to avoid this sin, I have resolved to publish
these papers which until now have been hidden away merely because their custodian, out of modesty and humility, shuns the glare of publicity.
Thus I have become his intermediary, out of love for humanity and respect for
their author, in such a way that he might remain in his privacy and at the
same time the world might not be defrauded of so much good.
</BLOCKQUOTE>
[paraphrased from [http://www.freaknet.org/martin/libri/Trattato Trattato della Religione], 1592]
----
All of Delia's work that was specifically commissioned by the BBC will be in BBC copyright for eternity.<ref>Since 1955, copyright terms have been extended by 20 years once every 20 years.</ref>

I am told that the BBC is claiming that other pieces of Delia's, in which she used a sound originally created for a BBC piece, or that were realised using BBC equipment, are also covered by BBC copyright, both of which are absurd.

Works commissioned by other entities, such as theatre effects and film music, is copyright to whoever paid of it or, in some cases, the eternal rights were retained by [[Kaleidophon]], [[Unit Delta Plus]] or [[Electrophon]]. Recent EU legislation<ref>[http://ec.europa.eu/internal_market/copyright/orphan_works/index_en.htm EU Proposal for a Directive on Orphan Works (2009)]</ref> puts them into the public domain as "orphan works" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".

Delia's unpublished music belongs to her and hence to her heir [[The Delia Derbyshire Estate]], currently [[Clive Blackburn]].<ref>[[77_Cambridge_Street]]</ref>

=EU law=
==EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society==
The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001'' <ref name=EU2001>[http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:32001L0029:EN:NOT EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>
affords to authors, performers, phonogram producers, film makers and broadcasting organisations:
<BLOCKQUOTE>
the exclusive right to authorise or prohibit reproduction by any means and in any form, in whole or in part: for authors, of their works; for performers, of fixations of their performances; for phonogram producers, of their phonograms; for the producers of the first fixations of films and copies of them; for broadcasting organisations, of fixations of their broadcasts by wire or over the air.<ref name=EU2001/>
</BLOCKQUOTE>
and, to the same five groups
<BLOCKQUOTE>
the exclusive right to authorise or prohibit (authors:) communication or (the other four:) the making available to the public of their works.
</BLOCKQUOTE>

The makeup sounds that Delia made at the BBC during the preparation of her pieces may be covered by Article 5, 2.(d):
<BLOCKQUOTE>
in respect of ephemeral recordings of works made by broadcasting organisations by means of their own facilities and for their own broadcasts; the preservation of these recordings in official archives may, on the grounds of their exceptional documentary character, be permitted;
</BLOCKQUOTE>

The rest of the WikiDelia hides under the broad exceptions in Article 5, paragraphs 2(c):
<BLOCKQUOTE>
in respect of specific acts of reproduction made by publicly accessible libraries or archives, which are not for economic or commercial advantage
</BLOCKQUOTE>
3(a):
<BLOCKQUOTE>
use for the sole purpose of illustration for teaching or scientific research, as long as the source, including the author's name, is indicated
</BLOCKQUOTE>
and 3(d):
<BLOCKQUOTE>
quotations for purposes such as criticism or review, provided that they relate to a work or other subject-matter which has already been lawfully made available to the public, including the author's name, provided that the use is in accordance with fair practice, and to the extent required by the specific purpose
</BLOCKQUOTE>

As far as accessing Delia's tapes is concerned, the John Rowlands Library at Manchester University is covered by the exception in Article 5 paragraph 3(n):
<BLOCKQUOTE>
communication or making available, for the purpose of research or private study, to individual members of the public by dedicated terminals on the premises of establishments referred to in paragraph 2(c) of works and other subject-matter not subject to purchase or licensing terms which are contained in their collections
</BLOCKQUOTE>
and can let you sit and listen to her tapes.

=References=
<references/>

File:DD075451.jpg

2012-08-19T23:59:27Z

Admin:

Random Together 1

2012-08-19T23:55:32Z

Admin:

With [[Peter Zinovieff]], Delia helped create a piece called ''Random Together 1'', which was played at the [[Unit Delta Plus Concert of Electronic Music]] in 1966.

The concert programme entry<ref>http://www.delia-derbyshire.org/unitdeltaplus.php</ref> for it reads:
<BLOCKQUOTE>
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.
</BLOCKQUOTE>

=Papers=
* [[DD075451]]: Settings for [[Vortexion]] and [[Binson]]

=Availability=
Unknown.

=References=
<references/>

[[Category:Piece]]

DD115500

2012-08-18T17:29:00Z

Admin:

{{Thumb|DD115500}}
[[DD115500]] is a page of Delia's handwritten score for [[Environmental Studies]], annotated "Electronic fairground sh. / Botany Bay".

[[Category:Paper]]
[[Category:Score]]

File:DD115500.jpg

2012-08-18T17:28:24Z

Admin: moved File:DD115550.jpg to File:DD115500.jpg

DD115652

2012-08-18T16:31:51Z

Admin: Redirected page to DD115632

#REDIRECT [[DD115632]]