14 10 337 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 Sketch for ‘Sea Songs’ style Subject The topic of the resource Sketch for ‘Sea Songs’ style Description An account of the resource Percy Grainger, Sketch for ‘Sea Songs’ style, composed 1907, worked out beatless for pianola, 26 May 1922 Ink on paper Grainger Museum Archive, MG 3/79: 1,2 Creator An entity primarily responsible for making the resource Percy Grainger Date A point or period of time associated with an event in the lifecycle of the resource 1922 Format The file format, physical medium, or dimensions of the resource Ink on paper 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/059afee4baf0126d007715a29e9b0eb8.jpg fd32d042a6fc6403817a46e4009820d0 https://omeka.cloud.unimelb.edu.au/grainger/files/original/bbc0b27d4b138ed43a2a5f4c6ea23cb6.jpg f617f0dad19d698fffa730e523628221 https://omeka.cloud.unimelb.edu.au/grainger/files/original/c9c338458345ccd5e9566e5c4c2f936b.jpg 48577fe9d2d5047c6e369825a37221e1 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 University of Melbourne Gazette, December 1971 Subject The topic of the resource University of Melbourne Gazette Description An account of the resource University of Melbourne Gazette, December 1971 Grainger Museum Archive, 2017/23-4/5 Creator An entity primarily responsible for making the resource University of Melbourne Gazette Date A point or period of time associated with an event in the lifecycle of the resource 1971 Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-4/5 https://omeka.cloud.unimelb.edu.au/grainger/files/original/acfd6fb1aa6587a5213751ec19afba79.tif 861b5a2d3761d4b1c8c883aa3b7cc432 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 Tribute to Grainger conducted by Keith Humble Subject The topic of the resource Music performances Description An account of the resource Tribute to Grainger conducted by Keith Humble, and tickets to the event, 1976 Grainger Museum Archive, HO1196 Date A point or period of time associated with an event in the lifecycle of the resource 1976 Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, HO1196 https://omeka.cloud.unimelb.edu.au/grainger/files/original/6001fe1a3d7a2a0e1d03b59f85272af7.jpg b25ca5d079ac8023741f3b5d9f865cb2 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 International Society for Contemporary Music (Melbourne), First Melbourne Festival of Contemporary Music, flyer Subject The topic of the resource International Society for Contemporary Music (Melbourne), First Melbourne Festival of Contemporary Music, flyer Description An account of the resource International Society for Contemporary Music (Melbourne), First Melbourne Festival of Contemporary Music, flyer, 1967 Grainger Museum Archive, 2017/23-6/28 Bruce Clarke presented the first electronic music workshops for the local branch of the International Society for Contemporary Music (Melbourne), from 1965. The ‘electronic music experience’ in this program occurred during the 1967 festival, with Keith Humble assisting Bruce Clarke, as the ‘first public exposition of electronic music in Australia’. Creator An entity primarily responsible for making the resource International Society for Contemporary Music (Melbourne) Date A point or period of time associated with an event in the lifecycle of the resource 1967 Format The file format, physical medium, or dimensions of the resource First Melbourne Festival of Contemporary Music, flyer Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-6/28 https://omeka.cloud.unimelb.edu.au/grainger/files/original/082b635311e75c4868a199aa31e6028d.tif 7641966717d0bf45943f3cd34e49255f https://omeka.cloud.unimelb.edu.au/grainger/files/original/a897ff26c4d08ac6e80dfa0d9e77567f.tif e8b03ebc4c4458caaf80218cd3ce968a 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 State of the Art of Electronic Music in Australia, program and flyer Subject The topic of the resource The State of the Art of Electronic Music in Australia Description An account of the resource The State of the Art of Electronic Music in Australia, program and flyer, 1971 Grainger Museum Archive, 2017/23/9 Creator An entity primarily responsible for making the resource The State of the Art of Electronic Music in Australia. Date A point or period of time associated with an event in the lifecycle of the resource 1971 Format The file format, physical medium, or dimensions of the resource program and flyer Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23/9 https://omeka.cloud.unimelb.edu.au/grainger/files/original/5ad12aa1ecf9dfb2c91b810805507ede.JPG ddc3a4fee203d2f5d14bf4aba658e5ea https://omeka.cloud.unimelb.edu.au/grainger/files/original/5de58e10b7196cef60f39a657befad07.JPG c6875054cac03d75e9f70354a9bb6393 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 State of the Art of Electronic Music in Australia, seminar proceedings Subject The topic of the resource Electronic Music Seminar Description An account of the resource The State of the Art of Electronic Music in Australia, seminar proceedings, 1971 Grainger Museum 786.740994 STAT REF Humble promoted the discussion of contemporary music aggressively, creating a new climate of excitement in Melbourne around the avant-garde. The most significant event he organised to this end was the national seminar ‘The state of the art of electronic music in Australia’, held at the Conservatorium of Music and the Grainger Centre in 1971. This seminar brought many Australian composers together, focused for the first time in this country on the topic of electronic music. Humble arranged for the distinguished American composer, Milton Babbitt, to participate as a keynote speaker. A performance in Melba Hall of Babbitt’s Philomel for soprano and electronic tape was a highlight of the conference. The papers presented, on topics ranging from the commercial use of electronic music to the value of synthesizers in tertiary musical education, were all recorded on tape. Grainger Curator and composer Ian Bonighton and post-graduate student Agnes Dodds typed up the proceedings on a typewriter in the back office of the Museum. A key aspect of the seminar was the presentation of International Tape Samples, which were played via speakers in the Grainger Museum for six hours each of the three days of the conference. Participants listened to works by well-known composers such as Luciano Berio, Karlheinz Stockhausen, Milton Babbitt and Iannis Xenakis, as well as lesser known musicians. The seminar, in the words of the organisers, ‘did much to remove a popular fallacy, that in electronic music it is the medium above all else which has to be contended with by the listener, a notion which outlaws the music. Date A point or period of time associated with an event in the lifecycle of the resource 1971 Format The file format, physical medium, or dimensions of the resource The State of the Art of Electronic Music in Australia, seminar proceedings Creator An entity primarily responsible for making the resource Faculty of Music, University of Melbourne 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/6411e9ca295917fe388154b491262ebc.jpg df4faff0b6d2d110161f226ad749bdde https://omeka.cloud.unimelb.edu.au/grainger/files/original/9b5a03e79e452d8c0a1396b185391d4c.jpg 14018b16d976293e6c64f98e9e42d5fd 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 In Nomine, for tape, percussion and optional organ Description An account of the resource Ian Bonighton, In Nomine, for tape, percussion and optional organ, first performed 1973 (details) Graphic music score. Grainger Museum Archive, 2017/23-2/11 Composer Ian Bonighton (1942-1975) was appointed Curator of the Grainger Museum in 1970, while also working towards his Doctoral Degree in Music Composition (which he attained in 1972), and teaching at the Conservatorium. Bonighton was a student of Keith Humble, Australia’s most innovative composer in the period, who had returned from a decade in Europe with a passion to expose Melbournians to international Avant-garde music. Humble’s installation of electronic music equipment in the Grainger Centre (as it was known at the time) prompted Bonighton to explore the creation of compositions that amalgamated both acoustic and electronic sound. Sleep (1969), for 16-part choir and tape, was one of the first of these electro-acoustic works. Graphic scores like Sleep use undulating lines, dots, and shapes such as squares and rectangles, sometimes filled with shading or colour, to communicate the new sonic textures. New forms of notation such as these were very challenging for performers, and not well received by traditional instrumentalists. In Nomine was composed for tape, percussion and optional organ, and was first performed in 1973. Bonighton wrote that it was ‘...a piece designed for realisation in a studio with only limited means - one small synthesizer and two 2-track tape recorders’. It was written for performance on a EMS Synthi VCS3, one of the instruments Bonighton had available in the Grainger Electronic Music Studio in 1969, prior to the installation of the infamous Synthi 100. For the score for In Nomine Bonighton included extensive instructions for the original creation of the 4 electronic parts (Sounds A-D). Notation for the new sounds was a challenge for composers, and archival material such as Bonighton’s score gives rich insights into these early years of electronic experimentation. Bonighton’s Sleep, and In Nomine were recorded and published on the Move label on the LP Sequenza. Creator An entity primarily responsible for making the resource Ian Bonighton Date A point or period of time associated with an event in the lifecycle of the resource first performed 1973 Format The file format, physical medium, or dimensions of the resource Graphic music score: paper, ink Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-2/11 https://omeka.cloud.unimelb.edu.au/grainger/files/original/f4c85b2c98e55e0bc86742000bdf8040.jpg c788a68b4a22b2d741e95f3fdf4adf96 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 Ian Bonighton, Sequenza, 1971 Subject The topic of the resource Music manuscript Description An account of the resource Ian Bonighton, Sequenza, 1971 Grainger Museum Archive, 2017/23-2/10 Ian Bonighton (1942-1975) graduated in Music from the University of Melbourne in 1968, studying composition with Keith Humble. He was appointed to the teaching staff of the Conservatorium of Music, and for the next six years he continued his study with Humble, taking Masters and Doctoral degrees in composition. He was part-time Curator of the Grainger Museum from 1970-73, taking every opportunity to study Percy Grainger’s scores and Free Music experiments in the Grainger Archive at first hand. Bonighton’s Doctorate of Music, completed in 1972, focused on electronic music. Bonighton rarely composed purely electronic music, however, typically combining acoustic instruments such as organ or vocal ensembles, with prepared tape sounds. Bonighton’s instruction sheets for the realisation of In Nomine, utilising the EMS VCS3, show just how challenging working with these new instruments was, for both composers and performers. To further his skills and experience in electronic music internationally, Bonighton left Australia in 1974 on a travel grant from the Music Board of the Australia Council. He inspected electronic music studios in Stockholm, Utrecht, York and Cardiff. In London he spent time at the EMS studios, working with Peter Zinovieff, David Cockerell, and Tristram Cary. He was already very familiar with the EMS instruments, from the Grainger Centre. Bonighton’s tragic death in 1975 robbed the Australian experimental music world of a great talent. For the first composers of electronic music, there was a tension between the creation of new sounds never heard before in a musical context, and the necessity to represent these in a way that future musicians could interpret for performance or study. Graphic scores, such as Stockhausen’s Kontakte and Humble’s Music for Monuments and Statico I, are examples of the creative solutions that composers invented for this purpose. Traditional notation systems were replaced by graphic elements, such as undulating lines or circling points, shapes such as squares and rectangles filled with tone, or even colour. Graphic scores were also useful for representing ‘chance’ music, overcoming of the concept of duration by leaving the ordering of different passages indeterminate. American composer Morton Feldman, who spent most of his career trying to erase any sense of metre from his music, used graphic scores in order to make time “less perceptible as movement, more conceivable as image”. Creator An entity primarily responsible for making the resource Ian Bonighton Date A point or period of time associated with an event in the lifecycle of the resource 1971 Format The file format, physical medium, or dimensions of the resource Instrument