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SPEAKER_01: Hello.From Wonder Media Network, I'm Jenny Kaplan, and this is Womanica.This month, we're talking about women of sound.These women dominated the airwaves, innovating, documenting, and creating the audio landscape we live in today.Today, we're talking about the woman who could draw music.A pioneering electronic musician, she developed her own musical technique called Oramix, which involved drawing on film strips to produce sounds never heard before. Please welcome Daphne Oram.Daphne was born in 1925.She grew up in Wiltshire, England, and was extremely bright.Her musical journey began unconventionally, not as a hobby, but as a divine calling.
As the story goes, when she was 17 years old, Daphne's father invited a famous medium to their home.The medium told Daphne that a voice from the beyond stated she would become a great musician one day. Daphne's father trusted this otherworldly advice and allowed his daughter to pursue music.But when she was offered a place at the Royal College of Music, she turned it down and got a job as a music balancer for the BBC instead.As part of her job, she stood by with prerecorded versions of on-air orchestral concerts on a turntable.If the live show was interrupted, the prerecorded version ensured the radio broadcast could continue. When she wasn't working with the orchestra, Daphne was composing her own music.She took advantage of the newly invented commercial tape recorder to experiment with unconventional sounds.These early tape recorders aren't the pocket-sized devices we know today.They were the size of industrial gas cookers.
Daphne would stay at the BBC late into the evening to play around.She recorded random sounds and then played them back. cutting them, splicing them, slowing them down, speeding them up, and playing them in reverse just to see what they would sound like.Daphne put some of those new sounds together and wrote a song called Still Point.It's considered to be the first musical composition that manipulates electronic sounds in real time alongside acoustic orchestration.Despite its innovation, the song was rejected by the BBC. It went unheard for nearly 70 years until the London Contemporary Orchestra performed it in 2016.By the 1950s, Daphne had become music studio manager.She begged her higher-ups at the BBC to start an experimental sound department.They told her they didn't need machine-made music.
They had plenty of orchestras that made music just fine. Still, the studio set up a committee involving electrophonic effects.They asked for the results of Daphne's experiments, but didn't ask her to be involved.In 1958, Daphne finally got the opportunity to make electronic music like she'd hoped.She teamed up with another recording engineer, Desmond Briscoe.The pair were given a spare office room, some out-of-date equipment, and time to experiment. They weren't allowed to use the word music in their department name to avoid confusion with other offices.So, the BBC Radiophonic Workshop it would be.Unfortunately, the job was less adventurous work than Daphne expected.The workshop was mainly tasked with creating sound effects for radio dramas and bouncy commercial jingles.
What Daphne wanted was to craft avant-garde electronic orchestras. Just a few months after founding what would eventually become one of the most famous music studios in the world, Daphne left the BBC.She decided to set up her own studio in an old barn in Kent.There, she kept working as a commercial composer, producing music for television, film, commercials, theater, and sound installations and exhibitions.Her sounds can also be heard in early James Bond films, though she went uncredited. But Daphne's old barn was also the site of her biggest invention yet.There, she built her own ceramics machine for making music.It was modeled after a machine she'd seen at the BBC, the oscilloscope, which visualized the sound it played via sound waves.Daphne was interested in the machine's reverse.If music could create images, could images create music?
Daphne created a machine the size of a chest of drawers made from metal shelves.Motors in the machine pulled eight parallel pieces of 35-millimeter film across a scanner.Daphne drew on the film curves, dots, wiggles, shapes, and zigzags.Each shape created a different sound as it traveled through the machine.Aramex combined the mechanization of electronic music with the organic nature and joy of human-made art. In the 1970s, Daphne also wrote a book, a manifesto of sorts, titled An Individual Note of Music, Sound, and Electronics.She began a second book, The Sound of the Past, A Resonating Speculation, but never finished it.It's rumored that the likes of The Beatles, The Who, and The Rolling Stones visited Daphne's home studio to get a peek at her groundbreaking ceramics machine and into her musical process. Even so, Daphne never enjoyed mainstream success.She passed away in 2003.
These days, Daphne and her contributions to music are gaining more recognition.Goldsmiths College at the University of London has a catalog of her archive.In 2017, the PRS Foundation and the new BBC Radiophonic Workshop launched the Aurum Award to honor women innovating in sound and music. Daphne's remembered as the godmother of electronic music, a woman who innovated and overcame in a male-dominated field.All month, we're talking about women of sound.For more information, find us on Facebook and Instagram at Womanica Podcast.Special thanks to Liz Kaplan, my favorite sister and co-creator.Talk to you tomorrow.
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SPEAKER_07: What's up, y'all?Janice Torres here.
SPEAKER_08: And I'm Austin Hankowitz.
SPEAKER_07: We're the hosts of Mind the Business, Small Business Success Stories, a podcast presented by iHeartRadio's Ruby Studios and Intuit QuickBooks.Join us as we speak with small business owners about the tools they use to turn their ideas into success.
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