15 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/6ce379c7f156b127fe2d14b2332df4d2.jpg ec426deaf261b9bcdd4a3558626f7044 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, Sleep for 16-part choir and tape, 1968–69 Subject The topic of the resource Ian Bonighton, Sleep for 16-part choir and tape, 1968–69 Description An account of the resource Ian Bonighton, Sleep for 16-part choir and tape, 1968–69 Graphic music score (detail) Grainger Museum Archive, 2017/23-2/2 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. 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 1968–69 Format The file format, physical medium, or dimensions of the resource Graphic music score Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-2/2 https://omeka.cloud.unimelb.edu.au/grainger/files/original/aab9857607f4c690348f01c7fae92fff.JPG 10f3ff730958b068c579e6d7514b7f58 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 Philips Electrical Industries Pty Ltd, Australia, Three speed portable twin-track tape recorder Subject The topic of the resource Three speed portable twin-track tape recorder Description An account of the resource Philips Electrical Industries Pty Ltd, Australia, Three speed portable twin-track tape recorder, late 1950s Grainger Museum Collection, 01.3513 This tape recorder was part of Percy Grainger's electronic music equipment, probably used by him in the last few years of his experimentation in Free Music. Creator An entity primarily responsible for making the resource Philips Electrical Industries Pty Ltd, Australia Date A point or period of time associated with an event in the lifecycle of the resource late 1950s Format The file format, physical medium, or dimensions of the resource Recording equipment, Instrument Identifier An unambiguous reference to the resource within a given context Grainger Museum Collection, 01.3513 https://omeka.cloud.unimelb.edu.au/grainger/files/original/c38a9ef6f848be480e282c10ecb0a2fa.jpg 4bb9ceb4f698f5850db09d1e1cf7deb7 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 John Sinclair, Sound in its fury, Melbourne Herald, and two unidentified newspaper clippings, 1970 Subject The topic of the resource John Sinclair, Sound in its fury, Melbourne Herald, and two unidentified newspaper clippings, 1970 Description An account of the resource John Sinclair, Sound in its fury, Melbourne Herald, and two unidentified newspaper clippings, 1970 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’. 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 of the equipment. 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 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 John Sinclair, Sound in its fury, Melbourne Herald, and two unidentified newspaper clippings Format The file format, physical medium, or dimensions of the resource newspaper clippings Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-9/8 https://omeka.cloud.unimelb.edu.au/grainger/files/original/f59242cecf9493b62107458c5b651878.tif 74d91b83853f334ecde494413647b55c 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 Grainger with Dr Earle Kent, and ‘Dr Kent’s Electronic Music Box’, Subject The topic of the resource Percy Grainger with Dr Earle Kent, and ‘Dr Kent’s Electronic Music Box’, Description An account of the resource Percy Grainger with Dr Earle Kent, and ‘Dr Kent’s Electronic Music Box’, USA, c.1951 Reproduction from original 35 mm slide Grainger Museum Archive, 99.6700.1 With his Free Music experiments conducted through the 1940s and 1950s, Grainger had also been searching for ways of producing new sonic environments. He made contact with Dr Earle Kent, an expert in acoustic research who had just completed his PhD in the field at the University of Michigan. Grainger went to Elkhart, Indiana, where Kent ran a Research Engineering Department for the Conn Company, to see Kent’s Electronic Music Box in 1951. Kent’s machine was an analogue ‘beat frequency’ vacuum tube-based synthesizer controlled by a punched paper strip device, similar to the pianola paper reader that Grainger used with his Duo-Art pianola Free Music experiments. Grainger was apparently unsatisfied with the possibilities of Kent’s machine, which was never commercially produced, and went back to his own experimental process. Grainger didn’t lose interest in composition using the new synthesizers: either Grainger, or Burnett Cross, appears to have attended a demonstration of the RCA Electronic Synthesizer at the Julliard School of Music, New York, in 1957, and Grainger attended a lecture entitled ‘New Instruments and Electronic Music’ given by Karlheinz Stockhausen on 3 November 1959, at Columbia University, USA Creator An entity primarily responsible for making the resource ‘Dr Kent’s Electronic Music Box’, USA Date A point or period of time associated with an event in the lifecycle of the resource c.1951 Format The file format, physical medium, or dimensions of the resource Reproduction from original 35 mm slide Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 99.6700.1 https://omeka.cloud.unimelb.edu.au/grainger/files/original/5b920a3300432286e58d617b3efee207.tif 9ac76f156168b82c34a892493d9a0c72 https://omeka.cloud.unimelb.edu.au/grainger/files/original/ac8c47d1121cca67acb33a854eab1a53.jpg d38d9bbea18fb639ad027c55bc786da6 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 Tristram Cary, Trios for Synthi VCS3, synthesizer and turntables Subject The topic of the resource Musical score and LP Description An account of the resource Trios was essentially a musical game of chance, where three performers play a unique musical event, with content drawn from 16 ‘Events’ pre-created by Cary. The game is played by three players, one playing a VCS3, and the other two using DUAL turntables. Tracks on the records are selected and played according to the throw of a pair of dice. One performer would operate the VCS3 synthesiser and mixer as a live treatment. Every performance of the work was uniquely different, typically lasting between nine and 15 minutes, with each performance achieving a different effect – some more dynamic, some more tranquil. Trios was first performed at the Cheltenham Festival, 1971, the VCS3 part taken by the composer and the turntable parts by Cary’s sons John and Robert. This score, supplied with the LP recording of Trios, was also a clever marketing exercise by EMS, encouraging and assisting early users of the VCS3 to exploit the full potential of the instrument. Creator An entity primarily responsible for making the resource Tristram Cary Publisher An entity responsible for making the resource available EMS London Date A point or period of time associated with an event in the lifecycle of the resource 1971 Contributor An entity responsible for making contributions to the resource On loan to the Grainger Museum from David Collins Rights Information about rights held in and over the resource Copyright Tristram Cary Estate and EMS https://omeka.cloud.unimelb.edu.au/grainger/files/original/819d77414860326a680eff504fc42040.jpg e514eb57c232279fe6ef318e17d68ce5 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 Synthesizers: Sound of the Future https://omeka.cloud.unimelb.edu.au/grainger/files/original/245a219b6dc237e1f04490dd288c5060.jpg 5eb57bdf142a2f288391c4400c355191 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 Sequenza and other works by Ian Bonighton Subject The topic of the resource LP record Description An account of the resource Gift of Agnes Dodds. Grainger Museum Archive, 2017/30-1/1 Creator An entity primarily responsible for making the resource Ian Bonighton Publisher An entity responsible for making the resource available Move Records, Melbourne 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/d6e80fef73b981796df464dae3574a93.tif a316d39af7a7df5125a1a66086b56da0 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 Tristram Cary, Divertimento: for Olivetti machines, chorus and percussion Subject The topic of the resource Music score Description An account of the resource Manuscript score, Rare Music, Special Collections, University of Melbourne Divertimento is an example of British composer Tristram Cary’s combination of electronic compositional techniques, including recorded sound, electronic sounds, and traditional acoustic sound in live performance. Cary wrote of this piece: “In 1973 the huge Italian business machine manufacturer Olivetti (headquarters in Milan) planned a grand opening for their new training centre at Haslemere, Surrey... Since they wanted an unmistakable Olivetti element in the concert, I was commissioned to write a piece incorporating the sounds of their business machines, which ranged from small typewriters to large and noisy machines for various purposes.” Cary gathered the sounds in Olivetti's London showroom with a Nagra tape recorder, a mixer and microphones. He then transformed the machine noises with his electronic equipment at his private studio, including softening the sounds, and using them both at normal speed and considerably slowed down. Cary came to Australia to live in the following year. He made a short version of the piece (without voices) called Tracks from Divertimento, for use on a LP record of new Australian computer music. This LP, Full Spectrum (1978), is seen here in this display. Full Spectrum included a realisation of Grainger’s Free Music made on the Music V system at the Conservatorium of Music, University of Melbourne, two years after Les Craythorn first realised the score on the EMS Synthi 100. Creator An entity primarily responsible for making the resource Tristram Cary Date A point or period of time associated with an event in the lifecycle of the resource 1973 Rights Information about rights held in and over the resource Copyright Tristram Cary Estate https://omeka.cloud.unimelb.edu.au/grainger/files/original/e3d644f8014cbbb35ca11ef067531f7f.tif ad77916934e2c91b20312ffb2858c4be 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 Les Craythorn realising Percy Grainger’s Free Music on the Synthi 100 Subject The topic of the resource Electronic Music Description An account of the resource 35mm slide, Grainger Museum Archive, 99.600.1 In 1976, ABC Television made a documentary about Grainger’s Free Music experiments, interviewing Burnett Cross, who was visiting the Grainger Museum in order to restore Percy Grainger’s Kangaroo Pouch Tone Tool in 1976. To give viewers of the documentary an aural understanding of Grainger’s Free Music 1, University of Melbourne technician, Les Craythorn, took on the challenge of realising Grainger’s graphic score on the EMS Synthi 100 synthesizer. The cross-over from Grainger’s graphic score to electronic sound was extremely complex, and Craythorn worked 16 hours a day, for three days, to make the realisation. Craythorn made a sync track on the 8-track tape recorder (2,400 steps), and used the tape sync to control the sequencer. Syncing and DATA entry was very accurate but very tedious. Craythorn said of this experience: “I was experimenting with the [Synthi 100’s] extensive sonic capabilities, microtonal tuning and seamless glissandos that you hear demonstrated in Percy Grainger’s Free Music.” Craythorn’s realisation of Free Music 1 was played to an engrossed audience on 23 March 1976, at the 1976 Percy Grainger Lecture. <br /><br />A short film made by the ABC about Craythorn's work and Grainger's experimentation, <em>Percy Grainger's Synthesisers,&nbsp;</em><a title="ABC Classic Percy Graingers Synthesizers" href="https://youtu.be/tYAaHG4cRkA">can be accessed through uTube courtesy ABC Classic</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1976