Editing Delia Derbyshire (section)

===BBC Radiophonic Workshop===
In November 1960, she joined the BBC as a trainee assistant studio manager<ref name=Brennan/> and worked on ''Record Review'', a magazine programme where critics reviewed classical music recordings. She said: "Some people thought I had a kind of second sight. One of the music critics would say, 'I don't know where it is, but it's where the trombones come in', and I'd hold it up to the light and see the trombones and put the needle down exactly where it was. And they thought it was magic."<ref name=Brennan/> She then heard about the [[BBC Radiophonic Workshop|Radiophonic Workshop]] and decided that was where she wanted to work. This news was received with some puzzlement by the heads in Central Programme Operation because people were usually "assigned" to the Radiophonic Workshop. But in April 1962, she was assigned there<ref name="About Delia"/> in [[Maida Vale]], where for eleven years she would create music and sound for almost 200 radio and television programmes.<ref name="CMJ obituary">{{cite web |url=http://muse.jhu.edu/login?uri=/journals/computer_music_journal/v025/25.4news.pdf |title=obituary |work=[[Computer Music Journal]], Vol 25, No. 4, Winter 2001, p. 13 |publisher=[[MIT Press]]/[[Project MUSE]] |access-date=26 July 2011}}</ref>

In August 1962, she assisted composer [[Luciano Berio]] at a two-week [[Dartington International Summer School|summer school]] at [[Dartington Hall]], for which she borrowed several dozen items of BBC equipment.<ref name=Papers>Delia Derbyshire's papers at Manchester University.</ref> One of her first works, and most widely known, was her 1963 electronic realisation of a score by [[Ron Grainer]] for the [[Doctor Who theme music|theme of the ''Doctor Who'' series]],<ref name="BBC28112016" /> one of the first television themes to be created and produced entirely with electronics.

When Grainer heard it, he was so amazed by her arrangement of his theme that he asked: "Did I really write this?", to which Derbyshire replied: "Most of it".<ref>{{cite web |title=Delia Derbyshire Electronic Music Pioneer |work=Official Delia Derbyshire website |url=http://www.delia-derbyshire.org |access-date=30 January 2010}}</ref> Grainer attempted to credit her as co-composer, but was prevented by the [[BBC]] bureaucracy because they preferred that members of the workshop remain anonymous.<ref>{{cite web |last=Ayres |first=Mark |author-link=Mark Ayres |title=Doctor Who—The Original Theme |work=A History of the Doctor Who Theme |url=http://markayres.rwsprojects.co.uk/DWTheme.htm#Original |quote=The story goes that on listening to playback, he enquired of Delia, "Did I write that?". To which she replied, "Most of it!". |access-date=15 January 2010}}</ref> She was not credited on-screen for her work until ''Doctor Who''<nowiki/>'s 50th anniversary special, ''[[The Day of the Doctor]]''. Derbyshire's original arrangement served as the Doctor Who main theme for its first seventeen series, from 1963 to 1980. The theme was reworked over the years, to her horror, because the only version that had her approval was the original.<ref name="Delia Derbyshire Radio Scotland interview 1997">{{cite web |title=Delia Derbyshire Radio Scotland interview 1997 |website=[[YouTube.com]] |date=13 May 2019 |url=https://www.youtube.com/watch?v=2-Fw5aTz_2I&si=bwt2QUPU0xf4irjx&t=490 |access-date=11 November 2023}}</ref> Delia also composed music for other BBC programmes, including ''Blue Veils and Golden Sands'' and ''The Delian Mode''.<ref>{{cite web |url=https://www.bbc.co.uk/music/articles/e71ca197-4808-4132-b1cc-0078d8066fee |title=BBC Music – Classic photos from the golden days of the BBC Radiophonic Workshop |date=20 July 2018 |website=BBC |access-date=14 December 2018}}</ref> The Doctor Who story Inferno reused some of Derbyshire's music originally composed for other productions.<ref>{{Cite web|url=https://www.denofgeek.com/tv/top-10-classic-doctor-who-scores/|title = Top 10 classic Doctor Who scores|date = 28 June 2010}}</ref>

In 1964–65, she collaborated with the British artist and playwright [[Barry Bermange]] for the BBC's [[Third Programme]] to produce four ''[[Inventions for Radio]]'', a series of collages of people describing their thoughts on dreams, belief in God, the possibility of life after death, and the experience of old age, voiced over an electronic soundscape.<ref>{{cite web |last=Deacon |first=Nigel |title=Barry Bermange Plays |url=http://www.suttonelms.org.uk/BB.HTML |access-date=25 July 2008}}</ref><ref>{{cite web |last=Guy |first=Martin |title=Delia Derbyshire – An audiological chronology |date=10 November 2007 |url=http://delia-derbyshire.net/#TheDreams |access-date=25 July 2008 }}</ref> 
In 1966, working with composer [[George Newson]], she collaborated on the BBC experimental radio drama, ''The Man Who Collected Sounds'' with producer [[Douglas Cleverdon]].<ref>[https://genome.ch.bbc.co.uk/289e0e9244204242bfbc539baf3edf16 ''Radio Times'' Issue 2224, 25 June 1966]</ref><ref>'Games for players and spectators', ''The Times'', 11 June 1966, p. 7</ref>