Maddalena Fagandini - BBC Radiophonic Workshop
With the Second World War, women have access to jobs hitherto considered male domains. Employ young girls as radio engineers and technicians allows institutions to bridge the gaps left by men called to arms:
"There Was a tradition of using women as engineers and technical people in radio. This Happened During the War When All the gentlemen Went off to fight the war. There was quite a cut back after the war Surviving When The gentlemen Came back and wanted Their jobs, of course, naturally, But It Was That women still thought HAD done well. "
Il Radiophonic Workshop è uno dei migliori esempi di questa rivoluzione: qui sono impiegate lungo gli anni Daphne Oram, fondatrice del dipartimento nell’aprile del 1958, Maddalena Fagandini, Delia Derbyshire e Elizabeth Parker. Le prime esperienze realizzate dalle Signore della radio devono molto alla musique concrète, partorita nel 1948 dalla mente di Pierre Schaeffer. Alla BBC tale influenza ha l’occasione di radicarsi e di divenire molto forte soprattutto a causa della mancanza di strumentazione adatta alle nuove composizioni elettroniche. Per generare musica concreta sono sufficienti solo registrazioni ambientali su bobina manipolate in un secondo tempo per mezzo di filtri. All’epoca in cui i sintetizzatori non avevano ancora visto la luce, the Maida Vale studios were equipped with old tape recorders, oscillators of 12 tests taken from other departments of the BBC and little other equipment capable of producing noise. With meager funds for the workshop engineers are anxious to expand the equipment of studios buying kit post-conflict to Portobello Market, and only in 1970, thanks to Peter Zinovieff, the BBC acquires three VCS3 EMS Synthi 100 and a modular system. The lack of willingness to engage in the expansion of BBC equipment was born from a part of the great success that the authors were unable to obtain the RW with the few resources available, the other part on concerns that the new and strange noises generated in the mentality of the years Fifty, some doctors did note the leaders of the BBC and the workers had recommended a stay at the workshop up to three continuous months. Exposure to the sounds over a long period could lead to madness. The technical backwardness of the Workshop stimulates certain composers and is throwing in the towel to others. In 1959, Daphne Oram left the workshop and Maddalena Fagandini takes its place. After a secondment to the Italian ranks past the BBC, Maddalena is transferred to the Maida Vale Studio. Here composes jingles and simple interval signals creating the effects required by scripts with what he has available to it, she inevitably ends up inspired by the musique concrete. Through some oscillators built effects and a soundtrack for the adaptation of Cocteau dell'Orphée. With the arrival of Delia Derbyshire, who knew mathematics and the possibility of use of sound, the activities of the Workshop undergoes a great change and its experimental production increased exponentially. In 1962, George Martin, at the time the BBC Music Library, register with Mary Magdalene "Bit Time" under the pseudonym Ray Cathode. This is the first single released from RW composed using a signal created from the same range of Maddalena. A few months after Martin discovered the Beatles. Revolver strongly affected by the experience of Martin at the Radiophonic Workshop. Between 1965 and 1966, after the revolution scope of the early Moog synthesizer, Maddalena his attention to television production. It was clear that the electronics would soon become a true discipline, with a particular instrument, which was to provide more training for its musicians.
"Interestingly But It Was not Me The Sounds That Were Themselves suggesting what to do. That you learn the secret is in the material and not in Itself Mathematical calculation in your head. Its there somewhere for you to listen and find it. It has ITS own rhythm. You push it around at your peril. You have to let it happen, let it be. Then you can play around with what you know about music to help construct musical sound Which Makes sense to people listening. "Maddalena Fagandini
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