Stories from the stores

The Closure of the BBC Radiophonic Workshop

April 5th, 2012 | by | meta, music, sound, women in science

Apr
05

This artice was written by Ellie West-Thomas, Research Assistant for Electronic Music  

Fourteen years ago the BBC Radiophonic Workshop, who created innovative music and techniques that made it one of the most significant influences on electronic music today, closed its doors for the last time. Maida Vale Studios, the home to the workshop, was a place once filled by people brimming with ideas that changed the course of Electronic Music.

The Workshop was set up to satisfy the growing demand in the late 1950s for “radiophonic” sounds from a group of producers and studio managers at the BBC, including Daphne Oram.

For some time there had been much interest in producing innovative music and sounds to go with the pioneering programming of the era. Much of The Radiophonic Workshop’s early work was in effects for radio, in particular experimental drama and “radiophonic poems”.

New sounds were created using recordings of everyday sounds such as voices, bells or even gravel as the raw materials for “radiophonic” manipulations. In these manipulations, audio tape could be played back at different speeds (altering a sound’s pitch), reversed, cut and joined, or processed using reverb or equalisation.

Sounds being made at the BBC Radiophonic Workshop (Science Museum)

Perhaps the most significant recording in Radiophonic Workshop history came in 1963 when they were approached by composer Ron Grainer to record a theme tune for an upcoming BBC television series called Doctor Who. Presented with the task of “realising” Grainer’s score, complete with its descriptions of “sweeps”, “swoops”, “wind clouds” and “wind bubbles”, it has become one of television’s most recognisable themes. Delia Derbyshire created it by using a plucked string, 12 oscillators and a lot of tape manipulation.

The sound of the TARDIS materialising and dematerialising was made in an even less conventional way. It was created by running keys along the rusty bass strings of a broken piano, with the recording slowed down to make an even lower sound. It may not sound like it but look back at some old Who and see if you can hear those keys. Why not try it yourself – grab your house keys and take them to some rusty strings of a piano.

On display in The Oramics to Electronica Exhibition are some of the objects used by the BBC Radiophonic Workshop to create sounds. Here is an example.

A Lampshade used by Delia Derbyshire (Credit: Science Museum)

This lamp shade was used by Delia Derbyshire as a sound source for ‘Blue Veils & Golden Sands’ in 1967.

For a more contemporary performance, here’s a link to Coldcut who performed classic compositions at the Electric Proms in 2008, in an evening which was devoted to the Workshop . 

 

No Comments »

The addictive history of medicine: Opium, the ancient drug of choice

March 29th, 2012 | by | meta

Mar
29

Here’s our next installment in the addictive history of medicine…

Medicinal preparations of opium are usually associated with the Victorians, but their origins are much more ancient. References to poppy juice are mentioned on 7th century BC medical tablets from the Assyrian civilizations, and the Sumerians called the poppy the ‘plant of joy’. The Greeks used poppy preparations widely in their medicine, although most famously in the mixture called Theriac or Mithrate which was invented in the 1st century AD. The concoction which had up to 64 ingredients including opium, cinnamon, myrrh, honey and ‘viper’s flesh’ was used to treat poisonous snake bites among other complaints. Theriac was widely traded as far as China, and arrived in England in the 14th century where it was called ‘Venice Treacle’ for its sticky and sweet consistency. It became known almost immediately as a cure for the Black Death, and parents rubbed the stuff on their children to keep them safe. Much like smelling sweet spices kept in ‘pomanders’, this technique probably did not work very well against the highly infectious plague.

French polychrome faience storage jar for theriac

French pharmacy storage jar for storing theriac. This jar dates from between 1725-1775, and was made by the Hustin Factory in Bordeaux. Credit: Science Museum.

Opium was widely used in Englandby the 14th century for its ability to induce sleep. William Shakespeare famously wrote in his play Othello:

‘Not poppy, nor mandragore,

Nor all the drowsy syrups of the world,

Shall ever medicine thee to that sweet sleep,

Which thou ow’dst yesterday.’

Laudanum, a mixture of opium, water and alcohol, eventually became the most widely used preparation of opium, and the most abundant in the Science Museum’s collections. The term was first coined in the 16th century by the Italian botanist Paracelsus, who called his own pill-like laudanum preparation ‘the stone of immortality’. The drug was made famous by the English physician John Sydenham in 1660. Sydenham’s liquid laudanum, opium combined with sherry, instantly became popular as a cure-all for pain and other complaints. As Sydenham himself said of the drug, ‘Medicine would be a cripple without it…’

 

Glass dispensing bottle for Sydenham's Laudanum

19th Century glass dispensing bottle for Sydenham's Laudanum, possibly German. Credit: Science Museum.

 

In early medicine, opium was an indispensable tool in the doctor’s and surgeon’s arsenal, used to treat insomnia, pains, diarrhoea and even cholera. In the Science Museum’s collections of medicine chests, you can find a small bottle of some opium mixture, usually laudanum, in almost every one. It is worth remembering that unlike today, most people in earlier times would probably never have seen a doctor in their life. They often had to rely on drugs like opium for pain relief instead of proper medical care. As you can imagine, pain-relief and addiction went hand-in-hand.

 This article was written by Kristin Hussey and Luke Pomeroy, Collections Information Officers.

 

 

3 Comments »

Making rules for family historians

March 26th, 2012 | by | meta

Mar
26

 

This article was written by Bruce Eadie, intern on the Family History project.

Front of nineteenth century trade card for Dring & Fage. The Science Museum Library and Archives at Wroughton (Archive ref: D&F 5/8)

You wouldn’t happen to be called Bushby would you? Well, down at the Science Museum we know something about your great-great grandfather that you might like to know.

 With the huge and growing popularity of genealogy, the Science Museum is keen to make its collections and archives available to family historians. Many family historians begin by hearing family stories told by older relatives, by leafing through photograph albums and then progress to the more accessible public records: national censuses, army records, wills, immigration records. Some may even be lucky enough to own a treasured object of a forebear, like a watch or a family bible.

 The Science Museum may be able to help extend your knowledge further. At Wroughton near Swindon, the Science Museum holds the historic archives of many British companies both great and small: the civil engineering company Pearson; the tyre-maker Dunlop; coach builders Hooper and Co. These company archives are full of names that might include that of a family member.

 That’s where the Bushbys come in. On a recent trip to Wroughton, I was looking through the archive of Dring & Fage or as the company would have it “The HOUSE of DRING & FAGE at the sign of the Half Moon and Dagger in Blackfriars – the oldest makers of Hydometers and Scientific Instruments inEngland”.

 

Back of nineteenth century trade card for Dring & Fage. The Science Museum Library and Archives at Wroughton (Archive ref: D&F 5/8)

Amongst the mass of papers and trade cards was the apprenticeship indenture of one Charles Bushby of Albany Place, Neate Street, Camberwell in the County of Surrey. As the document – signed by Charles’ father Thomas and dated 31 March 1877 – went on to say, Charles was indentured as an apprentice to Alfred Jones master rule maker at Dring & Fage.

Apprenticeship indenture of Charles Bushby. The Science Museum Library and Archives at Wroughton (Archive ref: D&F 2/2)

So if you are the great-great grandson or daughter of the young and hopeful Charles Bushby, who started out in his profession that March day in 1877 then you could come to the Science Museum in London and see the extensive collection of slide rules, gauging rods, circular rules and weird and wonderful objects like the “Ewart cattle guage with ivory slide” which were all beautifully crafted at Dring & Fage by men like the young Charles Bushby under the watchful eye of master Alfred Jones.

Detail of timetable or rent rule made by Dring and Fage. The Science Museum, London. Rent rules, such as this example made by Dring and Fage of Tooley Street, London, were used by dock companies to calculate the number of days for storage charges. (Object No. 1954-305)

And, by the way, you don’t need to be called Bushby to find objects and documents that relate to your family history down at theScienceMuseum. If you are interested in researching your family history through the Science Museum’s Archives or Collections, visit the Library & Archive webpage or contact us via PublicHistory@ScienceMuseum.org.uk

 

No Comments »

The Addictive History of Medicine: An Introduction

March 19th, 2012 | by | medicine

Mar
19

If you’ve ever been in hospital, there’s a good chance your doctor gave you morphine to help with the pain when recovering from a procedure. If you have ever had a bad cough, you might have been given a cough syrup with codeine in it. We don’t usually think of addictive substances as playing an important role in medicine, but the Science Museum’s pharmaceutical collection shows that these drugs have been widely used by doctors since ancient times. Opium in various forms has been used since the Greeks, although it rose to notoriety with the Victorians. From beautiful glassware, to the patent medicines which ushured in a new age of advertising, addicive drugs can be found throughout medical history.

An advertisement from 1935 extols the virtues of Chlorodyne, a medicine containing chloroform and morphine. (Credit: The Virtual Dime Museum)

In this blog series, we will be delving into the ‘Addictive History of Medicine’. That is, how addictive drugs played an important role in the evolution of medical practice. We will look at a range of topics from ancient drug preparations to the use of opiates for children, how to spot opium in 19th century pharmacy bottles and even consider Sherlock Holmes and his cocaine habit using the lens of our collections.

Late Victorian hypodermic syringe case for administering cocaine. (Credit: The Science Museum)

As Collections Information Officers, we spend much of our time working with the medical collections here at the Science Museum. We are currently carrying out a documentation project on the pharmaceutical collections we have in our small objects storage, and we became interested by the variety of addictive drugs from different time periods. We hope you are as fascinated as we are by these objects and their addictive history.

Rows of ceramic pharmacy jars in the Science Museum's stores. (Credit: The Science Museum)

This article was written by Kristin Hussey and Luke Pomeroy, Collections Information Officers.

1 Comment »

Lily Pavey’s Musikriter

March 14th, 2012 | by | music, sound, women in science

Mar
14

This article was written by Ellie West-Thomas, Research Assistant for Electronic Music.

Whilst exploring the Science Museum’s Stores at Blythe House, I came across something rather unusual. Being classically trained in music and music theory I have had to write a score and use musical notations on many occasions, but I never knew that a typewriter could be used to write sheet music.

The Musicgraph or Musikriter, was invented by Lily Pavey, patented in 1961 and completed in 1963. Pavey was the first inventor to receive National Assistance to enable her to continue working on this project.

It is a typewriter that when you strike the key, as on any normal typewriter, it sounds a note of music and prints the note in the proper place on music paper. The machine could write vertically as well as horizontally, meaning that anyone could fundamentally teach themselves the basics of music theory.           

Lily Pavey knew that other people had tried to perfect a musical typewriter but failed, however she was not a trained engineer. She studied music and mathematics and the mechanisms of the typewriter and electronics. She figured out how to give vertical elevation with moving the paper and how to create 8000 combinations with 46 keys.

The typewriter Lily Pavey tinkered with to make her prototype (Science Museum, Credit: Charlotte Connelly)

She hoped that more and more composers would be more encouraged to set down their new inspirations and ideas instead of following what had already been written.

It then was put in to production and called the Imperial Pavey Musigraph.

She developed the Musicgraph in to a device called the Spherigraph. Not only was it able to add words to music but it could be used for complicated maths, chemistry symbols and even ballet choreography notation.

The production model Pavey Musigraph (Science Museum, Credit: Charlotte Connelly)

2 Comments »