Ian Bonighton, Ring modulator diagram, 1969 <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+music">Electronic music</a> This is a diagram drawn by composer Ian Bonighton of a ring modulator, used in electronic music. Bonighton's 1969 Master of Music included a section on Electronic Equipment used in composition, and he included circuit diagrams of the ring modulator and theramin in the thesis. <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ian+Bonighton">Ian Bonighton</a> Grainger Museum Archive, 2017/23 Ian Bonighton 1969 Newspaper clipping, John Sinclair, 'Sound in its fury', about Karlheinz Stockhausen, Melbourne Herald, 1970 <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+music">Electronic music</a> German composer Karlheinz Stockhausen (1928–2007), described as the ‘most controversial musical innovator of our time’, has influenced many musicians, inside and outside of the avant-garde music scene. Rock musicians including Frank Zappa, Peter Townshend, Jerry Garcia and Björk, and Jazz musicians including Miles Davis, George Russell, Anthony Braxton and Charles Mingus, all name Stockhausen as a major influence. The Beatles included a portrait of Stockhausen on the front cover of their album, Sgt. Pepper’s Lonely Hearts Club Band, in 1967. Stockhausen visited Australia for ten days in April 1970. He gave concert-lectures on electronic music around the country, including three programs in Wilson Hall, at the University of Melbourne. Delivered through a battery of speakers, Stockhausen’s electronic music ‘transformed Wilson Hall into a vast and sometimes terrifying acoustic cave’, according to a local newspaper. Performances included his Telemusik (1966). The Grainger Centre electronic music enthusiasts, including Keith Humble, Ian Bonighton and Agnes Dodds, helped set up Wilson Hall with the electronic equipment. Stockhausen was apparently very demanding, and Wilson Hall was not the ideal venue, with not enough powerpoints for all the equipment. <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=John+Sinclair%2C+author">John Sinclair, author</a> Grainger Museum Archive, 2017/23-9/8 Melbourne Herald Newspaper 1970 Newspaper clipping of Karlheinz Stockhausen in Australia, 1970 <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+Music">Electronic Music</a> German composer Karlheinz Stockhausen visited Australia for ten days in April 1970. He gave concert-lectures on electronic music around the country, including three programs in Wilson Hall, at the University of Melbourne. Delivered through a battery of speakers, Stockhausen’s electronic music ‘transformed Wilson Hall into a vast and sometimes terrifying acoustic cave’, according to a local newspaper. Performances included his Telemusik (1966). The Grainger Centre electronic music enthusiasts, including Keith Humble, Ian Bonighton and Agnes Dodds, helped set up Wilson Hall with the electronic equipment. Stockhausen was apparently very demanding, and Wilson Hall was not the ideal venue, with not enough powerpoints for all the equipment. <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Unknown+newspaper+and+photographer">Unknown newspaper and photographer</a> Grainger Museum Archive, 2017/23-9/8 Unknown 1970 Tape of electronic music by Val Stephen <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+Music">Electronic Music</a> Tape of electronic music by Val Stephen. University of Melbourne Conservatorium of Music The State of the Art of Electronic Music in Australia Seminar program <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+music">Electronic music</a> This program was an in-house double-sided program for the 1971 seminar at the University of Melbourne, The State of the Art of Electronic Music in Australia <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=University+of+Melbourne">University of Melbourne</a> Grainger Museum Archive, 2017/23-9/8 1971 Karlheinz Stockhausen: Telemusik/Mixtur, 1969, LP record, Deutsche Grammophon, Germany <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+music">Electronic music</a> The cover of the LP "Karlheinz Stockhausen: Telemusik/Mixtur", published in 1969 by Deutsche Grammophon, Germany. German composer Karlheinz Stockhausen (1928–2007), described as the ‘most controversial musical innovator of our time’, has influenced many musicians, inside and outside of the avant-garde music scene. Rock musicians including Frank Zappa, Peter Townshend, Jerry Garcia and Björk, and Jazz musicians including Miles Davis, George Russell, Anthony Braxton and Charles Mingus, all name Stockhausen as a major influence. The Beatles included a portrait of Stockhausen on the front cover of their album, Sgt. Pepper’s Lonely Hearts Club Band, in 1967. Stockhausen visited Australia for ten days in April 1970. He gave concert-lectures on electronic music around the country, including three programs in Wilson Hall, at the University of Melbourne. Delivered through a battery of speakers, Stockhausen’s electronic music ‘transformed Wilson Hall into a vast and sometimes terrifying acoustic cave’, according to a local newspaper. Performances included his Telemusik (1966). The Grainger Centre electronic music enthusiasts, including Keith Humble, Ian Bonighton and Agnes Dodds, helped set up Wilson Hall with the electronic equipment. Stockhausen was apparently very demanding, and Wilson Hall was not the ideal venue, with not enough powerpoints for all the equipment. <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Deutsche+Grammophon%2C+Germany">Deutsche Grammophon, Germany</a> Deutsche Grammophon, Germany 1969 Detail from University of Melbourne Gazette, December 1971, p.2 <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+Music">Electronic Music</a> 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.” <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Unknown+photographer">Unknown photographer</a> University of Melbourne Gazette, December 1971; Grainger Museum Archive 2017/23-4/5 December 1971 Magnetic tapes from the Grainger Archive <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+music">Electronic music</a> Samples of magnetic tape used in the Grainger Centre, c. 1970s. c. 1970s Tristram Cary in his studio at Fressingfield, UK, early 1970s <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+Music">Electronic Music</a> Tristram Cary in his electronic studio at Fressingfield, UK, early 1970s <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Photographer+unknown">Photographer unknown</a> John Cary early 1970s Reproduced with permission from Tristram Cary Estate David Chesworth during his Artist-in-residency at Melbourne Electronic Sound Studio, 2017 <a href="/grainger/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Electronic+Music+">Electronic Music </a> David Chesworth was one of the two inaugural Artists-in-residence at MESS in 2017. David has had a long and rich association with analogue and digital synthesizers. Early in his career, he recorded the iconic '50 Synthesizer Greats', on an Akai 4000 DS reel to reel tape machine, using a monophonic Mini Korg 700 synthesizer. With guitarist Robert Goodge he formed the band Essendon Airport. This group released 'Sonic Investigations of the Trivial' and 'Palimpsest'. All are now reissued on CD and vinyl. Chesworth was coordinator of the Clifton Hill Community Music Centre, renowned as an experimental music venue. He founded the Innocent Records label with Philip Brophy, engineering or producing much of its output. Chesworth has continued his career in the sonic arts to the present, as an artist and composer. Key commissions include 5000 Calls, a sound installation for the Sydney Olympics in 2000 and Zaum Tractor a two screen sonic and video work included in the main program of the 2015 Venice Biennale, both made in collaboration with Sonia Leber. Chesworth's Residency at MESS culminated in a series of performances in late 2017. Courtesy David Chesworth 2017 David Chesworth