27 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/eb6195c62c0bf607503138e411dbb897.jpg adfdae21111160a0de214b8943e3badf https://omeka.cloud.unimelb.edu.au/grainger/files/original/b6254290cee7e3b40380e10218fcd7ae.jpg 5bd007d03a7a33c9ec9fcc1ee4ec156b 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 Two metallophones, c.1910 Description An account of the resource Percy Grainger visited the musical halls of London in the decade before World War I, experiencing for the first time the sounds of the mallet percussion instruments used in jazz. To enrich his knowledge of these instruments, Grainger developed an arrangement with the London-based instrument making company Hawkes & Son. He would borrow different instruments, including newly developed forms of metal glockenspiels (metallophones), taking them home to experiment with their sound and technical characteristics. Grainger’s first composition that featured tuned percussion, Molly on the Shore, 1911, utilised a Hawkes & Son resonaphone. Creator An entity primarily responsible for making the resource Hawkes & Son, London, UK (instrument makers) Source A related resource from which the described resource is derived Grainger Museum Collection Date A point or period of time associated with an event in the lifecycle of the resource c.1910 Identifier An unambiguous reference to the resource within a given context 00.0064, 00.0067 https://omeka.cloud.unimelb.edu.au/grainger/files/original/bb47f75126c03bdd97c5d72c33bd26f5.jpg e86a5771f3fb12d7cb465e801666d165 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 Box percussion instruments created for the Australian Percussion Ensemble, c.1974 Description An account of the resource Box percussion instruments created by John Seal were used by each APE member in a variety of performances. For the performance of John Seal’s Structures at the Melbourne International Festival of Organ and Harpsichord at St Peter’s Church, East Melbourne, in 1974, the box percussion instruments were arranged in a symbolic cross formation. In Structures, performers are free to choose instrumentation, register and tempi. For the concert at St Peter’s Church, Structures was performed as a fugue in the manner of American composer Steve Reich, with each percussion player in the ensemble equipped with headphones delivering a click-track to maintain the musical structure. Creator An entity primarily responsible for making the resource John Seal (musician, instrument designer) Source A related resource from which the described resource is derived On loan from Wendy Couch Date A point or period of time associated with an event in the lifecycle of the resource early 1970s Identifier An unambiguous reference to the resource within a given context On loan https://omeka.cloud.unimelb.edu.au/grainger/files/original/2fa4a36cbd50cbbe4c25367be44994fc.jpg 4ce5375fd7b2008b26493e7e50d94847 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 GO APE!! Second Multi Media Recital, Union Theatre, University of Melbourne, 10 December 1972, program and related documents,1972 Description An account of the resource This multimedia concert included a selection of works that investigated new timbral qualities possible in experimental music, and satirised traditional dramatic and musical performance practice. It included John Seal’s Attention Joe Brown! Who Stole the Melbourne Cup from the Grainger Museum? (1972), performed by a mime artist and electronic tape prepared by Seal. Source A related resource from which the described resource is derived On loan from Wendy Couch Date A point or period of time associated with an event in the lifecycle of the resource 1970s https://omeka.cloud.unimelb.edu.au/grainger/files/original/004e49e57996b83354b5111c86c9cc27.jpg acc56dec6c5132186cefafe7d01b2d7c 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 Lynch Family Bellringers, Glassophonists, Instrumentalists, Vocalists & Comedians poster, 1920s Creator An entity primarily responsible for making the resource F. W. Niven Pty. Ltd., Melbourne (printer) Source A related resource from which the described resource is derived Grainger Museum Collection, Gift of Christine Fryer, 2000 Identifier An unambiguous reference to the resource within a given context 01.2043 (detail shown) Description An account of the resource The Lynch Family were renowned for using many unusual instruments, including handbells, organ chimes, glasses, and a metallophone (‘the Marimba Resonators’). This latter instrument, described as ‘the only instrument of its kind in the world’, is an example of the innovations that were happening in tuned percussion in this period. The actual metallophone — or one very much like it — is on display in the exhibition. You can see the metallophone being reconstructed for display in the video ‘Percy Grainger’s Tuneful Percussion’, a segment of which can be seen here: <a title="Assembling the Lynch Family metallophone" href="https://vimeo.com/318105947" target="_blank"> </a> <iframe src="https://player.vimeo.com/video/318105947" frameborder="0" width="640" height="360"></iframe> Date A point or period of time associated with an event in the lifecycle of the resource 1920s https://omeka.cloud.unimelb.edu.au/grainger/files/original/8ec13667b63e2fdb21fb016002631f1c.jpg cdb97f97cc573555469e2b7f9e0eae23 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 How it plays: innovations in percussion exhibition https://omeka.cloud.unimelb.edu.au/grainger/files/original/614b56e06cdc9442a7e5c535e4e1ff55.jpg 49ff87d50d0acfa8519f503a32e65bd9 https://omeka.cloud.unimelb.edu.au/grainger/files/original/d27e5b2de7e41f9d901d8835b49da09a.jpg 2e005df91d9d75bf00beb6d67d1d057d 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 Federation Handbells in an interactive display, 'Bell-Field', Grainger Museum 2019 Description An account of the resource Federation Handbells, on loan from Museums Victoria, in a display created by postgraduate students from the Melbourne School of Design, for the exhibition How it plays: Innovations in percussion, 2019 Creator An entity primarily responsible for making the resource Anton Hasell, Neil McLachlan (Federation Handbells),Bell-Field display stands created by students of Studio 18, Melbourne School of Design, University of Melbourne. Date A point or period of time associated with an event in the lifecycle of the resource Federation Handbells created 2000; Bell-Field interactive display created 2019 Identifier An unambiguous reference to the resource within a given context Federation Handbells on loan from Museums Victoria/Creative Victoria https://omeka.cloud.unimelb.edu.au/grainger/files/original/8d998d941f373e6c5e88ecf88c2bde34.jpg 414e531033d99a6de5106db35a4bbfc7 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 Bell-Field Description An account of the resource Federation Handbells, on loan from Museums Victoria, in a display created by postgraduate students from the Melbourne School of Design, for the exhibition How it plays: Innovations in percussion, 2019. The postgraduate students describe their work: <blockquote> Bell-Field builds upon the concept of the soundscape, creating an atmosphere that welcomes and captivates. Melbourne School of Design (MSD) Master of Architecture students from Studio 18 channeled these ideas to create a field where each of the 24 Federation Handbells would sit on top of a bespoke stand designed by the group. Surrounded by the handbells on display, visitors are invited to strike the handbells as they move through the space. This interaction causes sand to fall through an hourglass below, pairing each ring of a handbell with a visual display. In the design of each stand, students leveraged their knowledge of digital fabrication techniques and the facilities available at the Fabrication Lab within the MSD. Every component was fabricated and assembled in-house by the group. A slim black steel frame houses a bronze tinted glass cylinder filled with coloured sand which corresponds the note with its respective Boomwhacker colour. The stand rests within a geometric plywood box which opens to store the components of the stand when it is dissembled. The geometric profile is derived from a radial tessellation stemming from the center of the room. At the bottom lies a concrete base of similar profile, providing stability to the installation. The handbell completes the stand by holding the pivoting hourglass in place. </blockquote> Creator An entity primarily responsible for making the resource Bell-Field display stands created by students of Studio 18, Melbourne School of Design, University of Melbourne, 2019. Federation Handbells created by Anton Hasell, Neil McLachlan, 2000. Date A point or period of time associated with an event in the lifecycle of the resource Bell-Field interactive display created 2019; Federation Handbells created 2000 Identifier An unambiguous reference to the resource within a given context Field of Bells created by Students of Melbourne School of Design, University of Melbourne. Federation Handbells on loan from Museums Victoria/Creative Victoria https://omeka.cloud.unimelb.edu.au/grainger/files/original/51b33677c1c95ba17bc3f388506a51cc.pdf 1ee2abcd25fbdc5c429ed1f66932eebf 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 a deep blue shimmering haze Description An account of the resource Graduate composition student Kate Tempany was the 2019 Grainger Museum Composer-in-Residence. Kate’s composition, a deep blue shimmering haze, was created as an interactive soundscape for the exhibition How it Plays. Creator An entity primarily responsible for making the resource Kate Tempany Date A point or period of time associated with an event in the lifecycle of the resource 2019 Identifier An unambiguous reference to the resource within a given context Copyright Kate Tempany, 2019 Subject The topic of the resource Federation Handbells; How it Plays: Innovations in Percussion https://omeka.cloud.unimelb.edu.au/grainger/files/original/6375f7c7d15564a9bcd7ce8516852570.jpg e2bb0b45c8500bb19995a8781c98d042 https://omeka.cloud.unimelb.edu.au/grainger/files/original/902d850718fd0c9508332aa222850503.jpg e90532ed985e4dd536dd426624d7746e 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 Musical glass created by Percy Grainger, c.1930s Description An account of the resource This is one of the musical glasses created by Percy Grainger for performances of his Tribute to Foster. In performance, most of the glasses were filled to a marked line with liquid, to sound at a specific pitch. Ella Grainger painted the tuning lines on the glasses with black oil paint. A few of the glasses, including this large blue vase marked for playing by Ella, produced the desired pitch without the need for water. This instrument is formed from 5cm-thick glass, attached to large sheets of cardboard with green string and sticking plaster. It has handwrittten "C# for Mrs. Percy Grainger to play." Creator An entity primarily responsible for making the resource Percy Grainger (creator) Source A related resource from which the described resource is derived Grainger Museum Collection Date A point or period of time associated with an event in the lifecycle of the resource 1930s Identifier An unambiguous reference to the resource within a given context 00.0153 https://omeka.cloud.unimelb.edu.au/grainger/files/original/b91f492f7d9f9763298733ac04bfd618.jpg 5b2cfb80b31373bd62594da8aec4eee3 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 Reflection 2004 Description An account of the resource Elaine Miles is an artist with a 25-year career that revolves around the ancient craft of glass making. For over 15-years Miles has embraced an intuitive approach to exploring the potential of glass as sound material (or as a source of ‘free’ form melody). Miles’ hand-blown glass has been heard and seen in exhibitions, recordings and live performances nationally and internationally. Arguably the most significant collaboration of Miles’ career has been with Speak Percussion’s Director, percussionist and composer Eugene Ughetti. Miles and Ughetti collaborated from 2005 to 2010 under the name The Glass Percussion Project (GPP), with an evolution built alongside and intertwined with Ughetti’s involvement with Speak Percussion. These hand-blown glass gongs were first played by musicians in Elaine’s lounge room in 2004. They were arranged into Balinese Pelog scales and resonated with sounds like Gamelans. When Eugene Ughetti first saw the glass gongs at Miles’ home in 2005, he conceptualised a different approach to how the gongs could be sounded. This was realised through the following years of Miles’ and Ughetti’s collaboration. When the gongs were played as part of The Glass Percussion Project, Ughetti brought a strong interest in what he called “new tuning systems”. Creator An entity primarily responsible for making the resource Elaine Miles Source A related resource from which the described resource is derived On loan to the Grainger Museum from Elaine Miles Date A point or period of time associated with an event in the lifecycle of the resource 2004. Display in Grainger Museum 2019 Identifier An unambiguous reference to the resource within a given context On loan from Elaine Miles