Delia Derbyshire: Difference between revisions
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|birth date = [[5 May (people)|5 May]] [[1937 (people)|1937]] | |birth date = [[5 May (people)|5 May]] [[1937 (people)|1937]] | ||
|death date = [[3 July (people)|3 July]] [[2001 (people)|2001]] | |death date = [[3 July (people)|3 July]] [[2001 (people)|2001]] | ||
|job title= [[Composer]] | |job title = [[Composer]] | ||
|time = 1963, 1967, 1970 | |time = 1963, 1967, 1970 | ||
|story = [[#Credits|see filmography section]] | |story = [[#Credits|see filmography section]] | ||
|non dwu = ''The Delian Mode'', ''Blue Veils and Golden Sands'', ''Ways of Seeing'', ''Omnibus'', ''The Ascent of Man'' | |non dwu = ''The Delian Mode'', ''Blue Veils and Golden Sands'', ''Ways of Seeing'', ''Omnibus'', ''The Ascent of Man'' | ||
|imdb = 0220262 | |imdb = 0220262 | ||
|clip = How DELIA DERBYSHIRE made the DOCTOR WHO theme I Tomorrow's World I Music I BBC Archive | |||
}} | }} | ||
'''Delia Ann Derbyshire''' ([[5 May (people)|5 May]] [[1937 (people)|1937]]-[[3 July (people)|3 July]] [[2001 (people)|2001]]<ref>[https://www.theguardian.com/news/2001/jul/07/guardianobituaries1 The Guardian]</ref>) was a British [[composer]] who oversaw the [[BBC Radiophonic Workshop]] beginning in the 1960s. She was considered a visionary in her use of sound and voice and her early works are pioneering efforts in what is now known as electronica. Groups from this genre such as [[Orbital]] and Portishead have acknowledged her influence. | '''Delia Ann Derbyshire''' ([[5 May (people)|5 May]] [[1937 (people)|1937]]-[[3 July (people)|3 July]] [[2001 (people)|2001]]<ref>[https://www.theguardian.com/news/2001/jul/07/guardianobituaries1 The Guardian]</ref>) was a British [[composer]] who oversaw the [[BBC Radiophonic Workshop]] beginning in the 1960s. She was considered a visionary in her use of sound and voice and her early works are pioneering efforts in what is now known as electronica. Groups from this genre such as [[Orbital]] and Portishead have acknowledged her influence. | ||
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Her best-known single work was her arrangements of the [[Doctor Who theme|''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. | Her best-known single work was her arrangements of the [[Doctor Who theme|''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 | Derbyshire created four theme arrangements. The first was used only for the pilot version of ''[[An Unearthly Child (TV story)|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 Faceless Ones (TV story)|The Faceless Ones]]''. A new title sequence was introduced with ''[[The Macra Terror (TV story)|The Macra Terror]]'' however the televised theme was used during that story. It wasnt until ''The Faceless Ones'' Episode Two that an updated arrangement was introduced that was used from ''[[The Faceless Ones (TV story)|The Faceless Ones]]'' to '' [[The War Games (TV story)|The War Games]]'', Derbyshire revised the arrangement further in 1970 and this version was used from ''[[Spearhead from Space (TV story)|Spearhead From Space]]'' to ''[[The Horns of Nimon (TV story)|The Horns of Nimon]]'' (it was to be used for the last time in ''[[Shada (TV story)|Shada]]'', and although that story was cancelled the 2017 release eventually did). | ||
In [[1980 (production)|1980]], Derbyshire's arrangement was | In [[1980 (production)|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 (TV story)|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. | 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 (TV story)|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 (TV story)|The Day of the Doctor]]'', giving Derbyshire her first televised on-screen credit of the revival era. | Also in 2013, the 1963 arrangement and original opening sequence was used to open the 50th anniversary special, ''[[The Day of the Doctor (TV story)|The Day of the Doctor]]'', giving Derbyshire her first televised on-screen credit of the revival era. | ||
Derbyshire's arrangement is also routinely used for [[Big Finish Doctor Who audio stories|Big Finish ''Doctor Who'' audio stories]] taking place during the eras of the programme in which her theme originally appeared. It was initially used for all ''Doctor Who'' audio stories by Big Finish, before stories set in [[Season 18 (Doctor Who 1963)|Season 18]] and onward switched to era-appropriate versions as needed. | |||
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. | 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. | ||
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== Footnotes == | == Footnotes == | ||
{{reflist}} | {{reflist}} | ||
{{NameSort}} | {{NameSort}} | ||
[[fr:Delia Derbyshire]] | |||
[[Category:Doctor Who theme arrangers]] | [[Category:Doctor Who theme arrangers]] | ||
Latest revision as of 19:26, 3 November 2024
Delia Ann Derbyshire (5 May 1937-3 July 2001[1]) was a British composer who oversaw the BBC Radiophonic Workshop beginning in the 1960s. She was considered a visionary in her use of sound and voice and her early works are pioneering efforts in what is now known as electronica. Groups from this genre such as Orbital and Portishead have acknowledged her influence.
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 four 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 Faceless Ones. A new title sequence was introduced with The Macra Terror however the televised theme was used during that story. It wasnt until The Faceless Ones Episode Two that an updated arrangement was introduced that was used from The Faceless Ones to The War Games, Derbyshire revised the arrangement further in 1970 and this version was used from Spearhead From Space to The Horns of Nimon (it was to be used for the last time in Shada, and although that story was cancelled the 2017 release eventually did).
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.
Derbyshire's arrangement is also routinely used for Big Finish Doctor Who audio stories taking place during the eras of the programme in which her theme originally appeared. It was initially used for all Doctor Who audio stories by Big Finish, before stories set in Season 18 and onward switched to era-appropriate versions as needed.
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]
External links[[edit] | [edit source]]
- Delia Derbyshire at the Internet Movie Database
- Delia Derbyshire.org, website created with Delia Derbyshire, includes biography, examples or work, interviews and other information
