21 10 337 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/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/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/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/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/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 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/6aec907e8895fb92ed089dff82d7eb0e.jpg 08705cfa7a216a8a3c425260788ab595 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 VCS1 (Don Banks Music Box), c.1968–69, in the Optronics Unit built by Graham Thirkell Subject The topic of the resource VCS1 (Don Banks Music Box), c.1968–69, in the Optronics Unit built by Graham Thirkell Description An account of the resource Electronic Music Studios, Ltd, London, VCS1 (Don Banks Music Box), c.1968–69, in the Optronics Unit built by Graham Thirkell, c. early 1970s. Collection MESS Ltd Metal, plastic, electronic components, wood On loan from MESS Ltd The story of the Don Banks Music Box is a legend in the electronic music world. Australian experimental musician Don Banks was frustrated with the lack of facilities for composers to learn about the new language of electronic music. In 1968 he approached the key figures of the EMS company in London, Peter Zinovieff, David Cockerell and Tristram Cary, asking them to design an affordable instrument that incorporated all the basic features available at the time in sound synthesis. In David Cockerell’s words, Banks was ‘an avant-garde composer who wanted an electronic box of tricks’. The resulting machine was called the ‘Don Banks Music Box’, and retrospectively named the ‘VCS’ or Voltage Controlled Studio, no 1. Only three were made. Banks wrote: ‘Thank heaven for the age of miniaturisation because this was small enough for me to take to bed with headphones, and to start to explore a new world of sound.’ When Keith Humble, with Bank’s advice, ordered the first analogue synthesizer for the Grainger Museum in the late 1960s, one of these three VCS1 instruments was sent to Melbourne. The VCS1 was built into a larger unit by Melbourne audio pioneer Graham Thirkell at his company ‘Optronics’. The VCS1 synthesizer is in the bottom right of the unit, and the unit also contains an early EMS twin ring modulator at top right. Creator An entity primarily responsible for making the resource Electronic Music Studios, Ltd, London (Don Banks, and Graham Thirkell) Date A point or period of time associated with an event in the lifecycle of the resource c. early 1970s Format The file format, physical medium, or dimensions of the resource Instrument Source A related resource from which the described resource is derived Photograph by Amber Haines Publisher An entity responsible for making the resource available Image courtesy MESS Ltd https://omeka.cloud.unimelb.edu.au/grainger/files/original/1cce930ae507fefa1bb2193f0f19a11d.jpg a0797a1e60f34b5ad372424db43fcdf8 https://omeka.cloud.unimelb.edu.au/grainger/files/original/b88109ec9b8030ac8dcb18f619a8362d.jpg ae75e2430cbe572f48963edef70228fd 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 EMS VCS3 synthesizer Subject The topic of the resource EMS VCS3 synthesizer Description An account of the resource Electronic Music Studios, Ltd, London, EMS VCS3 synthesizer, 1970 Metal, plastic, electronic components On loan from MESS Ltd The VCS3 is significant in that it was the first viable commercial European synthesizer. Launched in 1969 by EMS, it had a wide array of sound-producing and sound-modifying devices that could be freely interconnected. Like the VCS1, the VCS3 could process external sounds as well as generate them internally. Importantly for contemporary musicians, the instrument was compact and modestly priced. It cost less than one-fifth of the price of an equivalent Moog synthesizer, the only other real commercial competition. The ‘Pin Panel Matrix’ for patching is one of the VCS3’s most distinctive features. Tristram Cary designed the instrument in the new ‘L-shape’, so that the machine could be used at a desk as a teaching machine, and for demonstrations, as well as composition. This VCS3 was part of the Grainger Centre electronic equipment, bought by Keith Humble in the early 1970s. Creator An entity primarily responsible for making the resource Electronic Music Studios, Ltd, London Date A point or period of time associated with an event in the lifecycle of the resource 1970 Format The file format, physical medium, or dimensions of the resource Instrument Source A related resource from which the described resource is derived Photography by Amber Haines Contributor An entity responsible for making contributions to the resource Image courtesy MESS Ltd https://omeka.cloud.unimelb.edu.au/grainger/files/original/a272f58cc114eafe81466beb3d6eef69.jpg cc753a75d5fc756f83361e747e0db0ce https://omeka.cloud.unimelb.edu.au/grainger/files/original/cc01b62ce0b71d783f7dfba886dd46f9.JPG c86dab00647b0390d343759c447d8020 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 Synthi A (Suitcase VCS3) Subject The topic of the resource Synthi A (Suitcase VCS3) Description An account of the resource Electronic Music Studios, Ltd, London, Synthi A (Suitcase VCS3), 1971 Metal, plastic, electronic components On loan from MESS Ltd The Synthi A was designed for portability, and was built into a Spartanite attaché case with a carry-handle. This instrument allowed musicians to easily take their synthesizer from the studio to the stage. In 1972, EMS added a built-in touch keyboard and sequencer to the instrument, then called the Synthi AKS. Pink Floyd used the Synthi A on the songs ‘Time’ and ‘On the Run’ on their album Dark Side of the Moon (1973). The German band Kraftwerk used the Synthi A on the 1974 album Autobahn. Jean-Michel Jarre featured the Synthi AKS on his albums Oxygène (1976) and Equinoxe (1978). Brian Eno, with his band Roxy Music, used the Synthi A extensively for avant-garde rock as well as ambient music. Creator An entity primarily responsible for making the resource Electronic Music Studios, Ltd, London 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 Source A related resource from which the described resource is derived Photography by Kristoffer Paulsen Contributor An entity responsible for making contributions to the resource Photograph courtesy MESS Ltd