This week’s Column 8 revisits the intriguing discussion sparked by Tom Baker’s observation about the ABC’s use of Morse code in its theme music, a topic that was momentarily overshadowed by the deluge of choko-related anecdotes in the previous edition. Mary Carde of Parrearra, Queensland, posits that the opening beats of the remixed 1980s theme are indeed a rendition of “ABC” in Morse code, albeit without the letters “T” and “V.” She further reveals, based on information gleaned from the ABC itself, that the resonant bassline enriching the theme was achieved using a four-year-old’s drum kit, lending an unexpected “oomph” to the composition. This particular detail adds a touch of whimsy to the otherwise technical discussion of Morse code, highlighting the innovative and sometimes unconventional approaches to sound design. Carde’s observation also acknowledges the ongoing debate surrounding the authenticity of the Morse code sequence, with some listeners questioning the inclusion or exclusion of certain letters.
Shirley Gill of Normanhurst, whose husband Ted is now 94, offers a unique perspective on the potential confusion between “VE” and “TV” in Morse code. Her experience as a girl guide and ranger, which included learning Morse and semaphore from sailors at Garden Island, lends credibility to her observation. She recalls that all messages were conventionally prefaced with “VE,” a sequence easily mistaken for “TV” by an untrained ear. This insight highlights the subtle nuances of Morse code and the potential for misinterpretation, even among those familiar with the system. Gill’s contribution underscores the importance of precision and context in deciphering Morse code transmissions. The anecdote also adds a historical dimension to the discussion, connecting the present-day debate to the practical applications of Morse code in the past.
Graeme Collett of Tamworth shifts the focus to the remarkable skill of Morse code operators, recounting his memories of his father, a Victorian Railways station master, effortlessly interpreting incoming messages while simultaneously attending to customers. This anecdote paints a vivid picture of the demanding multitasking abilities required of station masters in the era of Morse code communication. Collett highlights the seamless integration of Morse code into the daily operations of the railway, with station masters deftly deciphering messages amidst the hustle and bustle of the station environment. This narrative emphasizes the practicality and efficiency of Morse code as a communication tool in a fast-paced professional setting. Collett’s admiration for the operators’ skills underscores the significance of Morse code in maintaining the smooth functioning of essential services like the railway system.
Richard Murnane of Hornsby, an authority from amateur radio station VK2SKY, confirms Tom Baker’s initial observation about the extra symbol following the “ABC” sequence in the theme music. He reveals that the placement of this extra symbol, directly adjacent to the “C,” sparked heated debate among radio enthusiasts at the time. The ultimate consensus, Murnane explains, attributed this anomaly to “artistic license,” a decision that allowed for creative interpretation while acknowledging the deviation from standard Morse code practice. Murnane’s contribution adds another layer to the ongoing discussion, revealing the behind-the-scenes deliberations that often accompany creative decisions in music production.
Shifting away from the ABC theme, Greg Oehm of Western Creek, Tasmania, introduces a fascinating tidbit about the theme music for the television series “Inspector Morse,” composed by the late Australian composer Barrington Pheloung. Oehm points out that the theme incorporates the word “MORSE” in Morse code as a recurring motif, a clever and subtle tribute to the show’s eponymous character. This observation adds a layer of appreciation for the intricacies of musical composition and the use of embedded codes as artistic expressions. Oehm’s contribution expands the scope of the discussion beyond the ABC theme, highlighting the broader use of Morse code in popular culture and the creative ways in which it can be integrated into musical works.
Finally, the column circles back to the ongoing saga of choko-related anecdotes, with Mike Hirschhorn of North Rocks providing further evidence to support the existence of “Choko Maths.” He recounts a conversation from his time serving on the HSC exam committee in 1985, where a committee member explained “Choko Maths” as “Veggie Maths without the flavour.” This humorous anecdote adds another dimension to the “Choko Maths” phenomenon, suggesting its recognition and discussion within academic circles. Hirschhorn’s contribution reinforces the playful and lighthearted nature of the column, offering a final touch of humor after the more technical discussions of Morse code. This blend of serious discussion and humorous anecdotes creates a dynamic and engaging reading experience, appealing to a wide range of interests.
