Episode 48 – Carey Blyton Goes Subterranean with the Crumhorn & the Recorder in Doctor Who and the Silurians
Summary: <br> In this episode we’ll be looking at the musical contribution by one of Doctor Who’s more controversial musical figures – that of composer Carey Blyton. In this episode we will look at his work on Serial BBB – Story 52: Doctor Who and the Silurians , a 7-part story which originally aired between the 31st of January and the 14th of March 190 on BBC One. In addition to composer Carey Blyton, we will look at the contributions to his score by a group of musicians whose stories have often gone untold in Doctor Who history – the stories of musicians Paul Harvey, Michael Oxenham, Neil Sanders, Vivian Joseph, Gordon Kember, and Stephen Whittaker.<br> NOTE: This episode aired as a segment on the HOO ON WHO PODCAST on Wednesday 19, December, 2012 – <a href="http://hooonwho.libsyn.com/episode-60-enhanced-the-silurians">http://hooonwho.libsyn.com/episode-60-enhanced-the-silurians</a><br> Doctor Who & The Silurians<br> Carey Blyton, composer & conductor<br> Paul Harvey, clarinets<br> Michael Oxenham, clarinets, crumhorns & recorders<br> Neil Sanders, horn<br> Vivian Joseph, violoncello<br> Gordon Kember, piano & prepared piano<br> Stephen Whittaker, percussion<br> DEDICATION – Dr. Phill – I would like to dedicate this episode to my brother Fred Serna, in honour of his birthday, to whom has had a great influence on my career in Early Music. Cheers to you on your birthday, and may you always enjoy this small gift each and every year on your birthday.<br> ADVENTURES IN TIME, SPACE AND MUSIC IS A PROUD MEMBER OF THE DOCTOR WHO PODCAST ALLIANCE: <a href="http://www.doctorwhopodcastalliance.org/">http://www.doctorwhopodcastalliance.org/</a><br> ABOUT YOUR HOSTS – DR. LOU: I am an Associate Professor of Musicology at the University of Nevada, Reno, where I write about and teach classes on avant-garde and popular music of the post-war era, focusing on musics that bridge the categories of high and low culture in society through media technology. In other words, I write about pretty music made on complicated equipment used in television and radio. Most of my stuff tends to be about music in the UK, although I have also written about American science fiction. My most recent publication is a history of the BBC’s electronic music studio, the Radiophonic Workshop, for Oxford University Press. Before becoming chair of the music department in Reno, I taught classes about television music, film music, music and gender, and popular music, as well as the more standard classical music history courses. After getting my undergraduate degree in singing from the University of Iowa, I spent a few hazy years bartending in nightclubs, listening to lots of dance music, and traveling as much as possible to England. Eventually, I decided I needed a career and did a Masters degree in musicology at the University of Texas at Austin, writing a thesis on music in Doctor Who. After that I moved to Los Angeles and did a PhD at UCLA in musicology, studying with Susan McClary and Philip Brett, among other amazing scholars. At UCLA I wrote what would become the first half of my Radiophonic history as my dissertation.<br> I also, like Dr. Phil, am a performer of early music. But unlike him, for me it is purely a dilettante pursuit. I have sung early music since 1989, and at UCLA was the director of their early music ensemble, Musica Humana. Upon moving to Reno, I founded REM (Reno Early Music), Reno’s premiere early music group. Actually, we are Reno’s only early music group. But it’s fun. I also run the Reno Time Team, a local group making our way through all of classic Doctor Who. For more information on Louis Niebur, visit <a href="http://www.unr.edu/cla/music/pages/bios/niebur.htm">http://www.unr.edu/cla/music/pages/bios/niebur.htm</a>, and for information on Reno Early Music, visit <a href="http://wolfweb.unr.edu/homepage/boardman/music_REM.htm">http://wolfweb.unr.</a>
