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It really wasn't that long ago that if you didn't know what a BBC programme's theme tune was, your options were basically four-fold: ask a mate who might know about such things, look it up in the Encyclopedia Britannica, ring the BBC, or write to them.Before the days of automated song recognition services, documentary series received countless letters from viewers asking what their theme tune was (and still is): Brian Eno's Another Green World from 1975. They collected them and when they moved from their offices in BBC's Television Centre in 2013 they shared some in a lovely six-minute film (above) that makes you pine for the days when people still put pen to paper. Above, you can enjoy a choir of dogs barking the theme on in 2007. The tune with it's classic 'doof doof' opening is one of the most recognisable pieces of music in the UK, if not the most recognisable (a by PRS for Music suggested it was - it beat God Save the Queen).Officially, it was composed by in 1984, ahead of the soap launching in February 1985.

In an with BBC News last year, however, May suggested the genesis of the tune goes much further back in time - to when the songwriter, now 71, was just seven. His piano teacher was teaching him scales, and from those scales he came up with its melody. 's is the world's longest-running current affairs television programme and, since it was first broadcast in 1953, it's used three different theme tunes. The current one, which has been in use since the late-60s in different forms (it was most recently adapted by David Lowe), is a track called Aujourd'hui C'est Toi (Today It's You) by French composer (above).Rather than being written exclusively for Panorama, Aujourd'hui C'est Toi is taken from A Man and a Woman, a classic 1966 French film for which Lai wrote the score. Lai, who's 84, is a celebrated composer for film and TV with a long CV, including writing the music for the softcore erotica flick Emmanuelle 2 with.Bonus Aujourd'hui C'est Toi factoid: the tune was remixed in 2001 for a Panorama special on Jeffrey Archer with.

The theme is perhaps the most significant piece of electronic music ever composed. It was written in 1963 by an Australian, and famously taken to the to be reimagined in a structures sonore ('sonorous sculptures') style, as former employee Brian Hodgson explains above.The job was handed to, who worked with sound engineer Dick Mills on Grainer's vague idea to add spacey-sounding 'wind bubbles and cloudy things' to his melody. It took Delia as long as a month to perfect the tune, to the delight of Grainer. 'Jeez Delia, did I write that!?'

He asked, to which Delia replied, 'Most of it, Ron.' Graciously, Grainer suggested that Derbyshire should receive half of the royalties, but that wasn't allowed - because she was a BBC staffer on a salary. 'She never got her half,' Hodgson says, 'otherwise she would have been a very rich woman.' 's current theme debuted in 1970 (see above) to much controversy: viewers weren't happy with the original tune - Drum Majorette, written by Major Leslie Statham, band leader of the Welsh Guards - being replaced. But it quickly became iconic and is used today largely unchanged from the version writer recorded in the basement of his house with just two other musicians.In 2014, as Match of the Day celebrated 50 years on the air, Stoller spoke about his enduring theme for the first time to the and also the. Sony ps lx300usb driver for mac. He told the latter that his tune was recorded professionally after it was selected from a list of six, but the demo sounded better and ended up on the programme.Also, he admitted that he's no football fan: 'In general, I'm not really a sports-minded person, but I thought about the crowds, all the thousands and millions of people that go to matches.

There's excitement, there's joy, there's a euphoria in the air. It's electrifying and I thought if I can catch that energy - that magic of the people - and get it into the music then that would be it. That's what I wanted to do and somehow it got in there.' Bonus Barry Stoller factoid: he also wrote some of the music used in 1978 horror flick Dawn of the Dead.

Mansfield's songs - some of the best library music ever recorded, often with crack bands - has slipped out into the public domain in other ways. Funky Fanfare, from 1969, was licensed by Quentin Tarantino for Kill Bill and Grindhouse, and it was also sampled by on the Danger Doom track Old School. Danger Mouse (above) has used other Mansfield songs (Junior Jet Set for the 's Run and Morning Broadway for another Danger Doom track, Space Ho's), as have (KPM 1190) and, who sampled Party Time in 2014, the music that Chris Evans uses for sports reports on his.

PromotionFor an entire generation, the radio and the All India Radio hold a very cherished place. I remember my grandfather tuning it each evening listening to the news.

My mother tells me stories of how she and her sister would huddle around the device to hear the latest songs.What strings all these memories together is the signature tune that would play at the break of dawn.Based on raag Shivaranjini, the lilting violin notes playing to the background of a tambura evokes a sense of nostalgia – almost eight decades since its composition. While millions are familiar with the tune, few are aware that it was created by the most improbable source – a Czech Jewish refugee fleeing the Nazis in Europe! Shown here performing at the Willingdon Gymkhana with Kaufmann at the piano, Edigio Verga on cello and Mehli Mehta playing the violin.A Czech national, Walter was born in 1907 in Karlsbad, today known as Karlovy Vary.

His father, Julius Kaufmann, was Jewish while his mother had converted to Judaism. Julius died near the Czech border after they fled Karlsbad under the Nazis.In 1934, after Hitler’s invasion of Prague, 27-year-old Walter Kaufmann arrived in Mumbai. A refugee, Walter perhaps did not intend to stay on in India for as long as he did. He was in India’s city of dreams for fourteen years.One may wonder why he landed in Mumbai of all places in the world. In one of the letters that were later published, he even says, “I could easily get a visa.” Early daysHowever, having come to India, his initial years were not easy. As a trained musician, he was hoping to find takers for his talent, but his initial tryst with Indian music was not pleasant. He found it beyond comprehension.Undeterred, he founded the Bombay Chamber Music Society within months of his arrival, which performed every Thursday at the Willingdon Gymkhana.

Walter’s correspondence with his family back home confirmed that he stayed at Rewa House, a two-storied bungalow off Warden Road (now Bhulabhai Desai Road) towards Mahalaxmi temple. In one year, the society had performed more than 130 times, while the audience at these performances kept increasing. Walter KaufmannAccording to, in the same letter, Walter is disarmingly honest in describing his initial reactions to Indian music. The first records he heard were “alien and incomprehensible.”But he wasn’t willing to give up.“As I knew that this music was created by people with heart and intellect, one could assume that many, in fact, millions would be appreciating or in fact loving this musicI concluded that the fault was all mine and the right way would be to undertake a study tour to the place of its origin,” he wrote. Walter’s stint with All India Radio (AIR)From 1936 to 1946, Walter worked at AIR as the director of music, and it was here that he composed the iconic signature tune with noted Indian orchestra conductor Mehli Mehta, who played the violin for it.It is amazing that the tune that generations of Indians grew listening to was created by a European – proving that music knows no boundaries, and is truly a universal language. Connection to the Hindi film industryWalter moved to Mumbai at a time when there was a shift from silent movies.

His adept mastery over western music helped him in the Indian film industry as well. He composed the background score for several films by Mohan Bhavnani (a friend he had met in Berlin). Recommendation from Einstein Albert Einstein’s letter recommending Walter KaufmannAlbert Einstein, in a letter dated 23 January 1938, wrote a recommendation letter for Walter Kaufmann. PromotionIn that letter in German, he wrote, “Mr Walter Kaufmann of Prague, currently in Bombay (India), has been known to me for years as an inventive and gifted musician.

He has already written many compositions, he is an authority on Eastern music, and he has had extensive experience as a teacher as well. With his youthful energy and likeable nature, he would be eminently suited for the position of director of choirs and orchestras in schools or universities.” After IndiaIn 1946, Walter left India and went on to spend a year in England, where he was a guest conductor at the BBC. From 1948 to 1957, he was the Musical Director and Conductor of the Winnipeg Symphony Orchestra, Winnipeg, Manitoba, Canada. It was in 1957 that Walter moved to the United States permanently with his second wife, Freda. Freda and KaufmannHe joined the School of Music at Indiana University in Bloomington as Professor of Music in the Department of Musicology, where he taught till 1977. He died there in 1984.While it has been over three decades to Walter Kaufmann’s demise, he has been immortalised through his signature tune that millions of Indians continue to wake up to.(Edited by Shruti Singhal)You May Also Like.