Difference between revisions of "Delia Derbyshire"
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But much of her time was spent working with composers and acoustic innovators, particularly in the world of ''musique concrete''. She was Luciano Berio's assistant at the Dartington Summer School in 1962 and worked in the mid-1960s with Peter Zinovieff, bringing electronic music to the fore in advertising and film music. | But much of her time was spent working with composers and acoustic innovators, particularly in the world of ''musique concrete''. She was Luciano Berio's assistant at the Dartington Summer School in 1962 and worked in the mid-1960s with Peter Zinovieff, bringing electronic music to the fore in advertising and film music. | ||
| − | In 1966 she worked with Paul McCartney and George Harrison at an event called "The Carnival of Light" at the Chalk Farm Roundhouse, and later that year she produced what she later called a "bloopy track" of almost psychedelic music for Anthony Newley. | + | In 1966 she worked with Paul McCartney and George Harrison at an event called "[[wikipedia:Carnival of Light|The Carnival of Light]]" at the Chalk Farm Roundhouse, and later that year she produced what she later called a "bloopy track" of almost psychedelic music for Anthony Newley. |
Meanwhile, she continued to work at the BBC, and although nothing else quite achieved the international fame of the insistent and menacing Dr Who theme, the Radiophonic Workshop and Derbyshire were inseparable, particularly when there was a call for music to accompany programmes set in the distant past, the far future or deep in the human psyche. | Meanwhile, she continued to work at the BBC, and although nothing else quite achieved the international fame of the insistent and menacing Dr Who theme, the Radiophonic Workshop and Derbyshire were inseparable, particularly when there was a call for music to accompany programmes set in the distant past, the far future or deep in the human psyche. | ||
