1 10 8 https://omeka.cloud.unimelb.edu.au/grainger/files/original/8a5bb43b13940cb8b0d078e7bc1a9b7c.jpg 938ccf8378680bda6cd157764149ce2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Percy and Ella Grainger preparing for Adelaide performances of Percy Grainger’s compositions, August 1934 Description An account of the resource Audience interest in the compositions of Australia’s celebrated composer-pianist Percy Grainger was immense, and his tours in Australia in 1934 and 1935 are typical. His 1934 tour included performances of In a Nutshell Suite, To a Nordic Princess, and Blithe Bells. The innovative use of percussion fascinated local audiences. This photograph was reproduced in the Adelaide Advertiser, 9 August 1934, with the caption: “Mr and Mrs Percy Grainger, who will take part in the concert of the South Australian Orchestra on Saturday, with an aluminium marimba and special set of bells. Mrs Grainger will play both instruments during the concert, while her husband conducts the orchestra.” The concert was a great success, described by local papers as “a thrilling evening, almost like a first night at the theatre”. The Adelaide News noted that “Many unusual effects were introduced by xylophone, marimba, and staff bells, played by Ella Grainger...not often heard, if ever before, by Adelaide audiences.” Creator An entity primarily responsible for making the resource Unknown photographer Source A related resource from which the described resource is derived Grainger Museum Collection Date A point or period of time associated with an event in the lifecycle of the resource 1934 https://omeka.cloud.unimelb.edu.au/grainger/files/original/bb1312f5d8786ede5623161bef0b42ff.jpg de88e2183d2202ffcd7738746ba94442 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Keith Humble at the Grainger Museum with improvisation instruments Subject The topic of the resource Improvisation Description An account of the resource This image of Keith Humble, originally published in Post's World of Entertainment Review, shows him with some of his improvisation equipment, freeing music from traditional constraints. Creator An entity primarily responsible for making the resource Unknown photographer Source A related resource from which the described resource is derived Image courtesy John Whiteoak Date A point or period of time associated with an event in the lifecycle of the resource c. 1970s https://omeka.cloud.unimelb.edu.au/grainger/files/original/9a575cd175186d630cedd1dd1e2a540f.tif f829f3794c31bc81172f511d8a76434a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Detail from University of Melbourne Gazette, December 1971, p.2 Subject The topic of the resource Electronic Music Description An account of the resource Milton Babbitt, American composer and Professor of Music at Princeton University, was invited as the international expert to the seminar 'The State of the Art of Electronic Music in Australia' at the University of Melbourne in 1971. This photograph, from the University of Melbourne Gazette, shows Babbitt, with local artist Stan Ostoja-Kotowski (left) and Keith Humble (right), in the Grainger Centre. Babbitt was hired as a consultant composer to work with the RCA Mark II Synthesizer at the Princeton-Columbia Electronic Music Centre. Babbitt was fascinated by the perceptual possibilities of the new world of electronic sound and human interaction. While Babbitt, was at the 1971 seminar ‘The State of the Art of Electronic Music in Australia’, he gave two extensive lectures on the topic of electronic music. He spoke at length about the unique possibilities of synthesized music. He observed: “Now you sit in front of the synthesizer, you specify something, you are probably extrapolating from your normal experience of music. You ask for something, you hear it, it may be what you expected but very often it is not because we know so little about the perceptual in music that we are scarcely in a position to extrapolate from the available experience from conventional, traditional instruments. And the wonderful thing about the synthesizer and its only advantage over the computer, its sole advantage, is that you do this with your ear at that moment; in other words, you specify something and then you draw this paper roll by hand under these brushes which scan them and you can listen and you can hear it – if you’ve gotten what you thought you wanted to get. If you don’t, you try again, and you try again, and you try again, on the basis of a combination of experience and hope… As a result a great deal of primary research with regard to how we hear music - not how we hear tones, but the testing both of errors, time order errors in the traditional sense, and simply how we hear music - have been accomplished.” Creator An entity primarily responsible for making the resource Unknown photographer Source A related resource from which the described resource is derived University of Melbourne Gazette, December 1971; Grainger Museum Archive 2017/23-4/5 Date A point or period of time associated with an event in the lifecycle of the resource December 1971 https://omeka.cloud.unimelb.edu.au/grainger/files/original/d7461368f56ab974341c9b08149ef192.jpg 6c3776ea939cb3922e048ee70b7ab726 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Felix Werder, Ian Bonighton, Keith Humble and Ron Nagorcka (clockwise from top left) with the LP 'Reverberations' Subject The topic of the resource Electronic Music Description An account of the resource Felix Werder, Ian Bonighton, Keith Humble and Ron Nagorcka with the newly released LP Reverberations, c. 1973. The LP included 'Cathedral Music 1' by Ian Bonighton, 'Toccata' by Felix Werder, 'Theme and Variations' by Ron Nagorcka, and 'Paraphrase ‘In Five’ + Mass = Statico 2' by Keith Humble. Humble’s Mass was the only electronic work in an album of acoustic experimentation. Creator An entity primarily responsible for making the resource Unknown photographer Source A related resource from which the described resource is derived Image courtesy Agnes Dodds Date A point or period of time associated with an event in the lifecycle of the resource 1973 Contributor An entity responsible for making contributions to the resource Agnes Dodds https://omeka.cloud.unimelb.edu.au/grainger/files/original/4480e06e534871dc5833dd7dc1733793.jpg 1e2a6b997483ad3c8d56ecbd8bfbf471 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unknown photographer, Tristram Cary with the EMS Synthi AKS in his studio at Fressingfield Subject The topic of the resource LP Record and Score Description An account of the resource 35mm film This photo shows Tristram Cary adjusting a knob on an EMS Synthi AKS portable synthesizer in the window of his studio. In the background is his Bechstein piano. This photograph was taken while Cary was composing the music for 'Divertimento'. Creator An entity primarily responsible for making the resource Unknown photographer Date A point or period of time associated with an event in the lifecycle of the resource early 1970s Contributor An entity responsible for making contributions to the resource Courtesy John Cary Rights Information about rights held in and over the resource Reproduced with permission from Tristram Cary Estate https://omeka.cloud.unimelb.edu.au/grainger/files/original/a0cc6f192afd567e2ebb3250fb7f2756.jpg b9ce29e56bb3673cddde760db4c6c114 https://omeka.cloud.unimelb.edu.au/grainger/files/original/dc04e3f476e2abbea439ba061fa159f8.jpg bf345a4c165228073e9cbe884699dd43 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Grainger Museum experimental music displays and workshops Subject The topic of the resource The Grainger Museum experimental music displays and workshops Description An account of the resource Unknown photographer, probably Robert Hyner. The Grainger Museum experimental music displays and workshops, c.1966–67 Grainger Museum Collection, Robert Hyner. When he arrived at the Grainger Museum in 1966, Humble worked with Grainger curator Robert Hyner to source and display a rich collection of contemporary music scores. These included music by contemporary Australian composers such as Margaret Sutherland, George Dreyfus and Dorian Le Gallienne, and international avant-garde composers. The display was intended to attract experimental composers and researchers to the Grainger Museum. Hyner noted that the visitors to the Museum in that period ‘were very interested in Percy of course, but they were also interested in [the scores] ... We had an enormous collection’. Humble ran children’s workshops on Saturdays in the Museum in 1967, encouraging young participants to learn about music through experimentation and improvisation. He believed that ‘all education was subversive’, and felt a great responsibility for his students of any age. The children’s workshops were primarily educational, but were also a way of gathering raw sonic material for Humble’s Musique concrète compositions, such as Music for Monuments (1967). Ian Bonighton assisted Humble with the Saturday morning classes, and can be seen in the background of the photograph at the left, while Humble is demonstrating to young students on the right. Creator An entity primarily responsible for making the resource Unknown photographer Date A point or period of time associated with an event in the lifecycle of the resource c.1966–67 Format The file format, physical medium, or dimensions of the resource Photograph https://omeka.cloud.unimelb.edu.au/grainger/files/original/575fb18d7b66fbcde607f9663c02778b.tif 25178d0ff2c6e97cb0b69257310a4a01 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross-Grainger experiments 1950: ‘Sea-Song’ sketch, 3 Solovoxes played by Pianola Roll. Subject The topic of the resource Cross-Grainger experiments Description An account of the resource Unknown photographer, Cross-Grainger experiments 1950: ‘Sea-Song’ sketch, 3 Solovoxes played by Pianola Roll, 1950 Graphic reproduction of original photograph Grainger Museum Archive, 99.5700 Grainger’s experimentation in electronic sound led him to investigate the capacity of the Hammond Solovox, which was manufactured between 1940 and 1948. The Solovox was a monophonic keyboard attachment instrument, which connected to an electronic sound generation box, amplifier and speaker. Grainger rigged up three of these instruments with his Duo-Art piano to explore electronic means of creating Free Music. In this experiment, he hand-cut a piano roll with a fragment of his Sea Song sketch (1907, 1922). The action of the piano keys pulled down the keys on each of the Solovoxes, which were tuned a fraction of a semi-tone apart. The effect, which you can hear on the recording he made of the experiments in February 1950, is quite eerie. In these electronic experiments, Grainger anticipated multitrack recording, sequencing, and interactive performance with sequencers. Electronic keyboard instruments, like the Solovox, sat in a middle ground of electronic music production, being the electronic reproduction of conventional musical sounds. Grainger’s experiments tried to stretch the capabilities of the electronic organ into the realm of the synthesizer, which had a far wider range of possible sounds and sonic textures. Creator An entity primarily responsible for making the resource Unknown photographer Date A point or period of time associated with an event in the lifecycle of the resource 1950 Format The file format, physical medium, or dimensions of the resource Graphic reproduction of original photograph Identifier An unambiguous reference to the resource within a given context 99.5700 https://omeka.cloud.unimelb.edu.au/grainger/files/original/909c21b41b518ef543912bd43f5e58cf.TIF e34357e1cf2be34e5523495d4b4702aa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kangaroo-pouch Tone-tool Free Music experiment created by Percy Grainger and Burnett Cross, on display in the Grainger Museum, University of Melbourne Subject The topic of the resource Free Music Description An account of the resource This photograph shows the Grainger and Cross's Kangaroo Pouch Tone Tool Free Music machine installed in the Grainger Museum, probably in the late 1950s. The machine was not fully complete when it was installed, and Cross visited the Grainger Museum after Percy Grainger's death to complete the instrument so that it could make sound. Cross recorded an interview with ABC Weekend television in 1976, which included footage of the instrument being played in the Museum. Creator An entity primarily responsible for making the resource Unknown photographer Date A point or period of time associated with an event in the lifecycle of the resource After 1955 Format The file format, physical medium, or dimensions of the resource Black and white photograph