He went on to build up one of the largest and (at the postgraduate level) most powerful departments of history in the UK, introducing new courses and methods of teaching and shaping the direction of research into Asian and African history. He entered the Army as a rather diffident, uncertain young private and emerged as a lieutenant-colonel who had had a most successful career in army education and who knew what he wanted to do.Soon after his return to the school he was appointed to the Chair of Oriental History with the headship of the Department of History. Fortunately for the school he persevered and in the course of time was appointed to the academic staff.The Second World War was the making of Philips. There were very few full-time students and many of those were from overseas; the staff, he decided, consisted of some brilliant scholars and "the biggest single bunch of eccentrics in Europe", and Philips began to wonder if he had wandered into a blind alley. In 1921 his father, attracted by the high wages offered, had taken a job as a railway driver in India and Philips had spent four years in Bihar.His experience of India guided his choice of subject for postgraduate research: he selected that of 18th-century Indian politics in London and he chose the then small and struggling School of Oriental Studies ("African" was added to the title only in 1938). His mother was an alcoholic and his father a railwayman, and his early life was a contest with adversity from which he did not begin to escape until his academic talents blossomed at Liverpool University. Cyril Philips was an academic leader of exceptional ability who made an important contribution to the promotion of the study of the societies of Asia and Africa, in Britain and elsewhere, particularly in his position as Director of the School of Oriental and African Studies of London University from 1957 until 1977. He also served as the university's Vice-Chancellor, from 1972 to 1976, and subsequently as chairman of the Royal Commission on Criminal Procedure and in other public offices until his final retirement in 1990.Philips (known as "Phil", even to his wives) was born in 1912 at Worcester of Welsh descent He was brought up chiefly in Liverpool and Birkenhead.

Cyril Henry Philips, historian and university administrator: born Worcester 27 December 1912; Assistant Lecturer, School of Oriental Studies (later School of Oriental and African Studies), London 1936, Director 1957-76; Chief Instructor, Department of Training, HM Treasury 1945-46; Professor of Oriental History, London University 1946-80, Deputy Vice-Chancellor 1969-70, Vice-Chancellor 1972-76; Kt 1974; Chairman, Royal Commission on Criminal Procedure 1978-80; Chairman, Police Complaints Board 1980-85; Chairman, Council on Tribunals 1986-89; married 1939 Dorcas Rose (died 1974; one daughter, and one son deceased), 1975 Joan Marshall; died Swanage, Dorset 29 December 2005. The pair remixed Alex Lee's "Age of Love", Moby's "Go" and a reissue of Frankie Goes To Hollywood's "Relax" and in 1992 issued their own EP, "Tales from a Danceographic Ocean", a knowing nod in the direction of Tales from Topographic Oceans, the much-maligned Yes double album of 1973.Voted Best Remixers of the Year by the British dance magazine Mixmag in 1994, over the next five years Jam & Spoon reworked singles by Deep Forrest, Enigma, New Order, the Pet Shop Boys, Simple Minds and Stereo MCs.Despite the declining appeal of dance music, Ellmer and L?l reverted to their Jam & Spoon personas and released the single "Be Angeled" and the album Kaleidoscope in 2002.Pierre Perrone. In 1991, Spoon signed up Alban Nwapa, a Nigerian dental student who had made his name rapping in Sweden as Dr Alban and charted across Europe with the naggingly catchy "It's My Life" the following year.By then, Spoon had already teamed up with the classically trained guitarist turned producer Rolf Ellmer, who took up the alias Jam El Mar. By the early Nineties, his growing reputation on the German dance scene had secured him a position as A&R man at Logic Records. Tripomatic Fairytales (2001), the duo's d?t album, also made the British charts in 1994 while two follow-up singles, "Find Me (Odyssey to Anyoona)" and "Angel (Ladadi O-Heyo)", reached the UK Top Forty.Ellmer and L?l also recorded under the names Tokyo Ghetto Pussy and Storm and created dance-floor fillers with "Everybody on the Floor (Pump It)" in 1995, as well as "Time to Burn" and "Storm Animal" in 2000.Born in Frankfurt in 1966, Markus L?l simply translated his name to become Mark Spoon when, to supplement his income as a cook, he began DJ-ing in the mid-Eighties. In the early Seventies, German groups like Tangerine Dream and Kraftwerk and the Italian-born producer Giorgio Moroder pioneered various forms of electronic music, such as ambient, robotic pop and disco, which influenced the next two generations of soundtrack composers and rap and dance artists around the world. Twenty years later, the German duo Jam & Spoon (respectively Rolf Ellmer and Markus L?l) put a new spin on house music from Chicago and techno from Detroit - two genres heavily indebted to Kraftwerk and Moroder - and created a mellower hybrid called "trance" after the hypnotic, trance-like effect it had on club-goers.In 1993, Jam & Spoon scored a hit across Europe with "Right in the Night (Fall in Love with Music)" featuring the female vocalist Plavka, a tune so infectious it charted in Britain twice and became a club favourite over the next two years. Markus L?l (Mark Spoon), DJ, producer and remixer: born Frankfurt 27 November 1966; died Berlin 11 January 2006.

[He] is free of the ambition and vanity of many of his colleagues.In a visit to Vogg's office in 1959, Tak? showed both sides of his character, walking up and down as he volubly insisted the cash-strapped Doblinger take on his Concerto for Piano, Strings and Percussion Eventually, Vogg gave way before the onslaught and agreed. Tak? stopped his peripateia, leant over Vogg's desk and said, slowly, with an ironic twinkle, "You know, the first movement - is not good."Martin Anderson. Purcell, too, was acknowledged in the suite for strings Purcelliana (1993-94) and the Hommage ?enry Purcell for brass quintet (1994).For Herbert Vogg, former director of Doblinger, his Viennese publisher,Tak? is in his music what he is also as a human being: noble, sensitive, sure, not always accommodating, but also never hurtful. He nodded his head also to earlier colleagues, writing a Sinfonia breve (1981) in tribute to Haydn, rather as Prokofiev had in his Classical Symphony.