{"id":72807,"date":"2025-12-15T07:30:27","date_gmt":"2025-12-15T06:30:27","guid":{"rendered":"https:\/\/a-desk.org\/?p=72807"},"modified":"2026-02-19T13:46:18","modified_gmt":"2026-02-19T12:46:18","slug":"damas-de-la-electronica","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/damas-de-la-electronica\/","title":{"rendered":"Dames de l\u2019electr\u00f2nica"},"content":{"rendered":"<blockquote><p><strong><i>Boing peng boom tschak peng boing peng boom tschak tscha-tschak <\/i><\/strong><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_72807_1('footnote_plugin_reference_72807_1_1');\" onkeypress=\"footnote_moveToReference_72807_1('footnote_plugin_reference_72807_1_1');\" ><sup id=\"footnote_plugin_tooltip_72807_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_72807_1_1\" class=\"footnote_tooltip\">Extracte de la lletra del tema <a href=\"https:\/\/www.youtube.com\/watch?v=jYMIkq3NIgE\" target=\"_blank\" rel=\"noopener\"><i>Boing Boom Tschak<\/i> <\/a>de Kraftwerk (Kling Klang, EMI, 1986). <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_72807_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_72807_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p><\/blockquote>\n<p>1958, els sons electr\u00f2nics comen\u00e7aven a emplenar les ones hertzianes brit\u00e0niques. Algun alt c\u00e0rrec de la BBC va rebre l\u2019advert\u00e8ncia d\u2019un metge aprensiu: s\u2019haurien de fer rotacions amb els torns de treball del Taller Radiof\u00f2nic a causa del risc de malaltia mental que els nous sons podrien provocar.<\/p>\n<p>El Radiophonic Workshop de la BBC es va posar en marxa per produir els efectes especials i la m\u00fasica incidental dels seus programes de r\u00e0dio i televisi\u00f3. Actualment, es considera que va tenir una influ\u00e8ncia decisiva en la m\u00fasica brit\u00e0nica i, concretament, en els aven\u00e7os i difusi\u00f3 de l\u2019electr\u00f2nica. Despr\u00e9s de quasi setanta anys, han deixat de publicar-se not\u00edcies alarmistes sobre els efectes de la m\u00fasica en l\u2019o\u00efda, el cervell o el cor dels oients. I la m\u00fasica electr\u00f2nica \u00e9s pr\u00e0cticament mainstream.<\/p>\n<p>L\u2019experimentaci\u00f3 amb l\u2019electr\u00f2nica musical es va iniciar dos segles abans, quan van apar\u00e8ixer diversos prototips d\u2019instruments estrafolaris que utilitzaven l\u2019electricitat per emetre sons musicals. Els seus inventors els van presentar en salons envoltats de jocs de societat i bromes per passar l\u2019estona. L\u2019experimentaci\u00f3 va continuar al segle XIX entre frustracions i fracassos. A inicis del XX, els experiments, patents i partitures que feien servir l\u2019electricitat per la m\u00fasica, constitu\u00efen una cascada imparable. Fins i tot els fabricants d\u2019electrodom\u00e8stics invertien en patents d\u2019instruments el\u00e8ctrics. Avui en dia es continua fent servir el <a href=\"https:\/\/en.wikipedia.org\/wiki\/Ondes_Martenot\" target=\"_blank\" rel=\"noopener\">Theremin<\/a> de 1922 i les <a href=\"https:\/\/en.wikipedia.org\/wiki\/Ondes_Martenot\" target=\"_blank\" rel=\"noopener\">Ondas Martenot<\/a> de 1928. Quan van arribar els anys seixanta, setanta i vuitanta del segle passat, sintetitzadores, caixes de ritmes i seq\u00fcenciadors van sortir de la fase experimental i es van integrar de ple en les can\u00e7ons estiuenques, la m\u00fasica de discoteca, el funk, el soul i el rock. La irrupci\u00f3 dels fabricants japonesos i coreans va abaratir i simplificar el que fins aquell moment havia estat un entorn cient\u00edfic, prohibitiu i pr\u00e0cticament artesanal.<\/p>\n<blockquote><p><strong><i>Boing peng boom tschak peng boing peng boom tschak tscha-tschak.<\/i><\/strong><\/p><\/blockquote>\n<p>La creaci\u00f3 m\u00e9s c\u00e8lebre i atemporal del Radiophonic Workshop de la BBC \u00e9s la sintonia de la s\u00e8rie <em><a href=\"https:\/\/www.youtube.com\/watch?v=75V4ClJZME4\" target=\"_blank\" rel=\"noopener\"><i>Doctor Who<\/i><\/a><\/em>, l\u2019alien\u00edgena que viatja pel temps i lluita contra malvats pertorbats i esfere\u00efdors. La partitura del compositor Ron Grainer fou interpretada per les m\u00e0quines del Taller sota la direcci\u00f3 de les mans i l\u2019o\u00efda de Delia Derbyshire. El reglament intern de la BBC no va permetre que la seva firma aparegu\u00e9s amb la de Grainer i la seva coautoria nom\u00e9s es va recon\u00e8ixer oficialment en 2013, per celebrar el 50\u00e8 aniversari de la s\u00e8rie.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/75V4ClJZME4?si=XgKHbI7dpZaktCgn\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>A Internet circula informaci\u00f3 abundant sobre el labori\u00f3s proc\u00e9s que va suposar la creaci\u00f3 dels dos minuts i mig de la sintonia. Delia va haver de gravar en cinta magnetof\u00f2nica notes individuals de diversos instruments reals i va col\u00b7leccionar un banc de sons amb soroll blanc i diferents ones. Una a una, aquelles notes i sons es van accelerar, alentir o tractar seguint la partitura. Finalment, van haver de retallar les cintes i unificar-les a m\u00e0 en l\u2019ordre que demanava la melodia. La mateixa tasca minuciosa es va fer amb els baixos i amb tots els contrapunts, arrenjaments i efectes. Tots aquests collages s\u2019emmagatzemaven anal\u00f2gicament en diferents cintes magnetof\u00f2niques per despr\u00e9s posar-les en la cinta m\u00e0ster. Aix\u00ed es treballaven di\u00e0riament totes les sintonies, efectes i cortineta. Potser la part m\u00e9s tediosa del proc\u00e9s \u00e9s el que va fer que es don\u00e9s a les dones de l\u2019equip la tasca de tirar-ho endavant.<\/p>\n<div id=\"attachment_72855\" style=\"width: 910px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-72855\" decoding=\"async\" class=\"wp-image-72855 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2025\/12\/Pioneras-musica-electronica-2.jpeg\" alt=\"Pioneras musica electronica\" width=\"900\" height=\"692\" \/><p id=\"caption-attachment-72855\" class=\"wp-caption-text\">Delia Derbyshire al Taller Radiof\u00f2nic de la BBC, 1965<\/p><\/div>\n<p>Delia Derbyshire va ser una nena preco\u00e7 que tocava el piano des dels vuit anys. Va aconseguir una beca per estudiar matem\u00e0tiques, per\u00f2 ho va deixar per continuar amb la m\u00fasica: una formaci\u00f3 perfecta per una futura investigadora de l\u2019electroac\u00fastica m\u00fasical. Va ser rebutjada per Decca, qui no acceptava dones per treballs t\u00e8cnics. En canvi, va trobar treball en la BBC el 1960 i va treballar en el Taller Radiof\u00f2nic durant dotze anys.<\/p>\n<p>Tot i l\u2019anonimat obligat del seu treball, Paul McCartney li va demanar un acompanyament electr\u00f2nic per <em>Yesterday<\/em> que per desgr\u00e0cia no es va realitzar. Les seves m\u00fasiques per la s\u00e8rie <em>Inventions for Radio<\/em> van ser acreditades al guionista dels programes, per\u00f2 va col\u00b7laborar amb Yoko Ono i Luciano Berio, va participar en fires i esdeveniments avantguardistes i va posar en marxa formacions experimentals. White Noise, un d\u2019aquests grups, ha estat reconegut com una gran influ\u00e8ncia per artistes com Aphex Twin, Orbital o Chemical Brothers. Va compondre bandes sonores per cinema i teatre, per\u00f2 va deixar la m\u00fasica -amb algunes petites excepcions- quan els sintetitzadors comercials van eliminar el treball artesanal i matem\u00e0tic que li agradava.<\/p>\n<p>Delia va tenir un final trist per culpa del seu alcoholisme. Potser la falta de reconeixement del seu treball tamb\u00e9 hi va tenir a veure. Els temps han canviat i actualment la seva obra est\u00e0 degudament preservada en els arxius de la BBC i en la Universitat de Manchester i existeixen dos documentals dedicats a difondre el seu llegat <em>The Delian Mode <\/em>de Kara Blake, 2009, i <em>Delia Derbyshire: The Myths And The Legendary Tapes <\/em>de Caroline Catz, 2020.<\/p>\n<blockquote><p><strong><i>Boing peng boom tschak peng boing peng boom tschak tscha-tschak.<\/i><\/strong><\/p><\/blockquote>\n<p>Durant la Segona Guerra Mundial, la BBC es va veure obligada a tenir preparada una gravaci\u00f3 dels concerts retransmesos per no interrompre l\u2019emissi\u00f3 en cas d\u2019atac alemany. Qui s\u2019encarregava de tenir el disc a punt era una pianista, organista i compositora de disset anys. Es deia Daphne Oram, preparava efectes especials pels programes dram\u00e0tics i equalitzava emissions.<\/p>\n<p>Creadora de la primera banda sonora completament electr\u00f2nica de la BBC, va ser testimoni de l\u2019estrena del <a href=\"https:\/\/en.wikipedia.org\/wiki\/Po%C3%A8me_%C3%A9lectronique\" target=\"_blank\" rel=\"noopener\"><i>Po\u00e8me \u00e9lectronique <\/i>de Edgard Var\u00e8se<\/a> en l\u2019Expo de Brusel\u00b7les, 1958. Quan va tornar, va proposar la creaci\u00f3 del Taller de Radiofusi\u00f3, per\u00f2 no va aconseguir conv\u00e8ncer els directius d\u2019utilitzar l\u2019electr\u00f2nica m\u00e9s enll\u00e0 dels efectes especials i cortinetes. Un any m\u00e9s tard va deixar l\u2019emissora i es va convertir en la primera dona que va obrir i dirigir el seu propi estudi de gravaci\u00f3: Oramics Studios for Electronic Composition on va continuar treballant en noves sonoritats. Amb una finalitat merament aliment\u00e0ria, va compondre pel cinema, la televisi\u00f3, el teatre, etc.<\/p>\n<p>Oramics era tamb\u00e9 la marca registrada d\u2019un aparell de la seva invenci\u00f3 per compondre m\u00fasica a trav\u00e9s de dibuixos fets en film de 35 mm, una t\u00e8cnica destinada a donar al compositor una visi\u00f3 pl\u00e0stica de la seva obra. El complex aparell original es troba des del 2011 al Science Museum de Londres. Seva \u00e9s la part electr\u00f2nica de la banda sonora del film de terror <em><a href=\"https:\/\/www.imdb.com\/es-es\/title\/tt0055018\/\" target=\"_blank\" rel=\"noopener\">The Innocents<\/a> <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_72807_1('footnote_plugin_reference_72807_1_2');\" onkeypress=\"footnote_moveToReference_72807_1('footnote_plugin_reference_72807_1_2');\" ><sup id=\"footnote_plugin_tooltip_72807_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_72807_1_2\" class=\"footnote_tooltip\">The Innocents (Jack Clayton, 1961) cl\u00e0ssic de terror psicol\u00f2gic de 1961 dirigida i produ\u00efda per Jack Clayton. Gui\u00f3 de Truman Capote basat en la novel\u00b7la The Turn of the Screw d&#8217;Henry james&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_72807_1('footnote_plugin_reference_72807_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_72807_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_72807_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, per\u00f2 no va aconseguir estrenar mentre vivia les seves creacions m\u00e9s personals.<\/p>\n<p>Nom\u00e9s el 2016, la London Contemporary Orchestra va estrenar el seu <em>Still Point,<\/em> la primera i potser \u00fanica composici\u00f3 per a orquestra real i tocadiscs, composta seixanta quasi quaranta abans que els platerets es consideressin un instrument de creaci\u00f3 musical. A vegades la just\u00edcia triga massa a arribar.<\/p>\n<blockquote><p><strong><i>Boing peng boom tschak peng boing peng boom tscha ktscha-tschak.<\/i><\/strong><\/p><\/blockquote>\n<p>Incre\u00efble que es mantinguessin a Delia i Daphne en l\u2019anonimat durant tants anys. Els seus noms s\u00f3n actualment representatius del Radiophonic Workshop, per\u00f2 la llei del silenci que pesa sobre el treball i el <a href=\"https:\/\/a-desk.org\/ca\/magazine\/festival-she-makes-noise-un-viaje-por-las-disidencias-she-they-them\/\" target=\"_blank\" rel=\"noopener\">m\u00e8rit femen\u00ed<\/a> ha esborrat a altres creadores que van treballar all\u00e0.<\/p>\n<div id=\"attachment_72829\" style=\"width: 860px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-72829\" decoding=\"async\" class=\"wp-image-72829 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2025\/12\/Pioneras-musica-electronica-1-e1765537433462.jpeg\" alt=\"Pioneras musica electronica\" width=\"850\" height=\"478\" \/><p id=\"caption-attachment-72829\" class=\"wp-caption-text\">Elizabeth Parker al Taller Radiof\u00f2nic de la BBC, 1982<\/p><\/div>\n<p>Maddalena Fagandi procedia del servei itali\u00e0 de la BBC. Es va incorporar al Radiophonic Workshop el 1959 gr\u00e0cies als seus coneixements d\u2019electroac\u00fastica i m\u00fasica concreta. Posteriorment, va tenir a c\u00e0rrec seu els serveis televisius d\u2019ensenyament de llengua italiana. El 1962 va gravar amb George Martin dos discs electr\u00f2nics amb el pseud\u00f2nim <a href=\"https:\/\/www.youtube.com\/watch?v=pxVZaRzY0wU\" target=\"_blank\" rel=\"noopener\">Ray Cathode<\/a>. Com ella, Glynis Jones <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_72807_1('footnote_plugin_reference_72807_1_3');\" onkeypress=\"footnote_moveToReference_72807_1('footnote_plugin_reference_72807_1_3');\" ><sup id=\"footnote_plugin_tooltip_72807_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_72807_1_3\" class=\"footnote_tooltip\">No confondre amb l&#8217;actriu anglesa <a href=\"https:\/\/www.imdb.com\/es-es\/name\/nm0424318\/.\" target=\"_blank\" rel=\"noopener\">Glinys Johns<\/a><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_72807_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_72807_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> va formar part del Taller durant els anys setanta i va ser responsable d\u2019algun dels discs comercials que van sortir amb el seu arxiu de sons i m\u00fasiques. Elizabeth Parker no va haver de descobrir el que era la m\u00fasica electr\u00f2nica com les seves antecessores. Als anys setanta ja es podia estudiar a la universitat. Va formar part de l\u2019equip que va haver de clausurar el Taller el 1998.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/pxVZaRzY0wU?si=BI_i0jbEylmmtZ6R\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div id=\"attachment_72848\" style=\"width: 860px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-72848\" decoding=\"async\" class=\"wp-image-72848 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2025\/12\/Pioneras-musica-electronica-3-1-e1765537507559.jpeg\" alt=\"\" width=\"850\" height=\"808\" \/><p id=\"caption-attachment-72848\" class=\"wp-caption-text\">Maddalena Fagandi al Taller Radiof\u00f2nic, 1965<\/p><\/div>\n<p>&nbsp;<\/p>\n<p>[Imatge de portada: Daphne Oram al al Taller Radiof\u00f2nic de la BBC, 1958]<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_72807_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_72807_1();\">[<a id=\"footnote_reference_container_collapse_button_72807_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_72807_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_72807_1('footnote_plugin_tooltip_72807_1_1');\"><a id=\"footnote_plugin_reference_72807_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">Extracte de la lletra del tema <a href=\"https:\/\/www.youtube.com\/watch?v=jYMIkq3NIgE\" target=\"_blank\" rel=\"noopener\"><i>Boing Boom Tschak<\/i> <\/a>de Kraftwerk (Kling Klang, EMI, 1986). <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_72807_1('footnote_plugin_tooltip_72807_1_2');\"><a id=\"footnote_plugin_reference_72807_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\"><i>The Innocents <\/i><\/em>(Jack Clayton, 1961) cl\u00e0ssic de terror psicol\u00f2gic de 1961 dirigida i produ\u00efda per Jack Clayton. Gui\u00f3 de Truman Capote basat en la novel\u00b7la <i>The Turn of the Screw<\/i> d&#8217;Henry james (1898) i la seva adaptaci\u00f3 teatral (William Archibald, 1950). Amb Deborah Kerr com a protagonista i m\u00fasica de George Auric i W. Lambert Williamson amb electr\u00f2nica de Daphne Oram. <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_72807_1('footnote_plugin_tooltip_72807_1_3');\"><a id=\"footnote_plugin_reference_72807_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">No confondre amb l&#8217;actriu anglesa <a href=\"https:\/\/www.imdb.com\/es-es\/name\/nm0424318\/.\" target=\"_blank\" rel=\"noopener\">Glinys Johns<\/a><\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_72807_1() { jQuery('#footnote_references_container_72807_1').show(); jQuery('#footnote_reference_container_collapse_button_72807_1').text('\u2212'); } function footnote_collapse_reference_container_72807_1() { jQuery('#footnote_references_container_72807_1').hide(); 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}<\/script>","protected":false},"excerpt":{"rendered":"<p>Boing peng boom tschak peng boing peng boom tschak tscha-tschak [1]Extracte de la lletra del tema Boing Boom Tschak de Kraftwerk (Kling Klang, EMI, 1986). 1958, els sons electr\u00f2nics comen\u00e7aven&#8230;<\/p>\n","protected":false},"author":2975,"featured_media":72780,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[7110],"tags":[7423,7439,7442,7441,7446,7434,7444,7437,7443,7432,7445,7438,7451,7440,5898],"coauthors":[7116],"acf":[],"yoast_head":"<!-- This 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