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    If you do not agree to these changes, you will be logged out and your account will be deactivated.Some pro accounts may receive partial refunds - please visit support.to start a refund ticket.Throughout this period she devoted her attention to developing her Oramics ‘drawn sound’ system, which consisted of a large machine that enabled patterns drawn on transparent 35mm film to be converted into sound.This system was eventually fully realised in the late 60’s and several pieces here incorporate its use.Also included are 4 mini compositions that resulted from an experimental music course given by Oram at a high school in Yorkshire in 1967.Boomkat Daphne Oram might not be a name as familiar as, say Delia Derbyshire or Raymond Scott, but she is one of the unsung heroes of the early electronics movement, and even more interestingly was the founder of the BBC Radiophonic Workshop! Well you should be, Daphne joined the BBC at a mere 17 years of age back in 1942 (turning down a place at the Royal Academy of Music) and from there on she badgered the company endlessly to start investing in electronic music.It was an incredibly original way to think about sound creation, and her work was totally pioneering in the genre - allowing her to make sounds and compositions totally unlike anything heard before.Daphne continued to experiment with music using the Oramics system and then an Apple II computer until she had a stroke in 1994, and was up until that time totally dedicated to experimental electronic music.

    This sentiment is clearly evident as we are taken through a journey of devastatingly complex electronic and concrete music, music that would give any number of the more well-known composers a run for their money. Some focus on the avant-garde studios active in Europe, America, Russia and the old eastern bloc countries, and usually mention the work of Karlheinz Stockhausen, Pierre Schaeffer, Luciano Berio, John Cage and others.She was extremely bright, and studied music and electronics – unusual at the time not only because electronics was an exciting new industry, but also because it was a man's world.She went on to join the BBC, and, while many of the corporation's male staff were away fighting in the second world war, she became a balancing engineer, mixing the sounds captured by microphones at classical music concerts.There was also a 7” EP from 1962 on HMV, released as part of the ‘ Listen, Move and Dance’ series that was specifically designed to help children dance.Although the short pieces on this record are very basic it could be argued that this was the first ever electronic dance record!

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