20 10 337 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/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/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/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/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/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/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/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 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/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