9 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/cfc156b86cf3f51e4f023782aa45b2f1.jpg 0abae86db0f5601731d57e18e437497e 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 Tuning fork, A440 Hz, after 1920 Description An account of the resource This tuning fork was manufactured by Deagan. It is inscribed on the back ‘ J.C. Deagan. Official pitch of A.F. of M. 1917 Adopted by US Gov't. 1920’. J. C. Deagan, was a musician and expert in the science of acoustics. He wrote many papers on the subject and was a major campaigner for the standardisation of musical pitch in the USA. A standard (A= 440) was officially adopted in America in 1920 and eventually worldwide. Creator An entity primarily responsible for making the resource J. C. Deagan Inc., Chicago, USA (instrument maker) 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 after 1920 Identifier An unambiguous reference to the resource within a given context 00.0016 https://omeka.cloud.unimelb.edu.au/grainger/files/original/9c84f01afbe1f8e29e6a8972750ced6c.jpg 37bda1054be3cbf221b736858ff97adf 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 Marimbaphone, c. 1903-1910 Description An account of the resource Deagan gave the name ‘Marimbaphone’ to a series of models equipped with rotating or tilting frames, and bars with concave ends. They came in various sizes and were made with both rosewood and steel bars. The purpose of this feature was to play the instrument with a bow as well as mallets. This Marimbaphone has a three octave range from E to E but the top and bottom notes are placed on the chromatic frame to reduce the length of the instrument for ease of transport. This practice was common with the early designs. J.C. Deagan wrote to Percy Grainger of the innovations of his xylophone family: “You know very well that there is NO violin nor piano that can play a very rapid movement, clear & clean cut, as our good xylophones…” Grainger was particularly keen to explore the lower octaves of the wooden marimba: “...as I particularly wish to use this instrument as a sort of bass to the xylophone, or as a tenor between the Nabimba & xylophone, therefore I would like to ask you to let me have a generous range, especially in the lower octave”. This instrument is made from rosewood, oak, steel, and brass. Creator An entity primarily responsible for making the resource J. C. Deagan Inc., Chicago, USA (instrument maker) 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. 1903-1910 Identifier An unambiguous reference to the resource within a given context 00.0066 https://omeka.cloud.unimelb.edu.au/grainger/files/original/0efdfb15cd245da74c3c082e45909efe.jpg 3e1e6e659cd1cb99468e3ebb2ccbc5fe 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 Xylophone, early 1940s Description An account of the resource This is a Deagan master ‘lite wate’ xylophone, adapted from earlier models and produced during World War II. It is made from Honduras rosewood, timber, and cardboard. Designed around portability, this small 3 octave xylophone is a one-piece unit with a folding frame and carry handle. A feature of this instrument is the all timber frame, and resonators made from cardboard tubes, clearly a time when metal was in short supply. Creator An entity primarily responsible for making the resource J. C. Deagan Inc., Chicago, USA (instrument maker) 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 early 1940s Identifier An unambiguous reference to the resource within a given context 00.0017 https://omeka.cloud.unimelb.edu.au/grainger/files/original/2a84c3aea59c884247e9b0de7cfa2eb4.jpg 436104a000e3b04b2e844d7ed504c654 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 Foster, part for mixed chorus, 7 February 1931 Description An account of the resource Audiences were fascinated and amused and sometimes bemused by the novelty and adventurous nature of Grainger’s orchestration in performances of his radical compositions. The Brisbane Courier-Mail observed, after a concert in October 1934, how “Novelties and humour intrigued the audience...but whether it all commended itself to the auditors is another matter. One sensed that the reactions were not always of the utmost pleasure, but...there was not a little that could be enjoyed for its own intrinsic merit or sheer beauty.” Tribute to Foster provided some light relief, the newspaper noting, “it was a felicitous experience to hear the soloists and a large choral group from the Brisbane Austral Choir, with the utmost seriousness of purpose, uniting in this example of modern choral music. Those who are ordinarily to be seen in public performance comporting themselves as earnest musicians engrossed in conventional music, on this occasion cheerfully devoted themselves to weird and wonderful effects ...” Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (composer) 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 1931 Identifier An unambiguous reference to the resource within a given context SL1 MG3:94-1 https://omeka.cloud.unimelb.edu.au/grainger/files/original/96b1446022b396c5345b6ad21975887f.jpg 8a8d3fd82f2d5ec60c4aa5c0e2919c18 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 ‘Norse Dirge’, from Youthful Suite, parts for Musical glasses, wooden marimba, metal marimba or vibraharp, 1945 Description An account of the resource Ten players were required to perform the percussion parts for ‘Norse Dirge’, across the variety of instruments, including some of the musical glasses (seen in the display case). Unlike in Tribute to Foster, where the choir played the musical glasses and string players bowed the metal marimba bars, in ‘Norse Dirge’ the players of the percussion section are responsible for all of these elements. Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (composer) 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 1945 Identifier An unambiguous reference to the resource within a given context SL1 MG9/40-5-1:15 https://omeka.cloud.unimelb.edu.au/grainger/files/original/a27db101879f4a268c1ff2fea1de83e0.jpg 21609fe2c583c6742c50be42ebcd33d4 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 ‘No. 3 Pastoral’, from In a Nutshell Suite, part for Staff Bells, 1908-1916 Description An account of the resource In a Nutshell Suite was first performed at the Norfolk Festival of Music, Connecticut, USA, on 9 June 1916. This suite contains some of Grainger’s best scoring for ‘tuneful percussion’. Grainger was unusually prescriptive about the type of mallets (or ‘beaters’) performers were to use, indicating ‘hard’ (‘wood or rubber mallets’), ‘medium’ (‘wooden mallets thinly covered with wool or leather’) and ‘soft’ (‘wooden mallets thickly covered with wool or other soft material’) at different points in different instruments. This was to ensure distinct and varied tonalities. When performed in New York in 1917, after a season of performances across major cities in North America, In a Nutshell Suite was described by one critic as “the most interesting musical novelty of the season, with audiences everywhere ‘delighted by its vivacious tunefulness and astounded at its audacious novel features”. Some critics were more cautious. One suggested that Grainger was “excercising his sense of humour” with music consisting of “discordant shriekings punctuated by rhythmical whacks”. A St Louis newspaper described the performance of the Suite as “the last cry in vaudeville”. Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (composer) 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 1916 Identifier An unambiguous reference to the resource within a given context SLI MG 3/41-2-2:19 https://omeka.cloud.unimelb.edu.au/grainger/files/original/1ba112b00f6e56493154ed1d747c47d6.jpg 7f4e70568188c1915059b29be7bbfbcd 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 Eastern Intermezzo for tuneful percussion, Metal Marimba & Tubular Chimes part, 1898/99, 1933 Description An account of the resource Grainger first saw Indonesian instruments, including a Balinese gong, at the home of a wealthy collector in England. In 1912, while on tour in Europe, he was captivated by the Indonesian percussion instruments he saw in the National Museum of Ethnology, Leiden. Grainger first heard non-Western music in Chinatown in central Melbourne when he was a child. One of his earliest compositions, Eastern Intermezzo, written for small orchestra in 1898/89, was an attempt to capture this exotic sound. In 1933 Grainger arranged Eastern Intermezzo for a ‘tuneful percussion’ group of over 20 players. It was broadcast as a musical illustration during Grainger’s ABC Radio Lecture No.11, ‘Tuneful Percussion’, in January 1935, thus introducing the range and possibilities of the exclusively percussive ensemble to an Australian radio audience. Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (composer) 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 1933 Identifier An unambiguous reference to the resource within a given context MG3/18-2:1 https://omeka.cloud.unimelb.edu.au/grainger/files/original/8b7ad89477f2020d3bd974150e4e2614.jpg de6f6182c885bf72c346faa6f5972a68 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 Music. A Commonsense View of all Types. A synopsis of lectures delivered for the Australian Broadcasting Commission, 1934 Description An account of the resource Grainger took his role as educator about music in the general community very seriously, and exploited the opportunities afforded by radio broadcasting. While in Australia and New Zealand in the 1930s, he delivered a series of lectures for the ABC, accompanied by music, some of which he wrote specifically for the context. The first lecture, entitled ‘The Universalist Attitude Towards Music’ shared his philosophy that we should “approach all the world’s available music with an open mind...we should be willing, even eager, to hear everything we can of all kinds of music, from whatever quarter and whatever era, in order that me may find out from experience whether or not it carries any spiritual message for us as individuals”. Grainger devoted an entire lecture to tuned percussion. Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (writer) Australian Broadcasting Commission (publisher) 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 1934 Identifier An unambiguous reference to the resource within a given context 03.2030 https://omeka.cloud.unimelb.edu.au/grainger/files/original/69366538f58331c827399d6e4f662df3.jpg 69aa22d2347b3f3481975ff4cb521738 https://omeka.cloud.unimelb.edu.au/grainger/files/original/7742b169444f6f9fba95d5a596db6e97.jpg b7d63f4cc27fc6b1ccfa9a3e863ee73a https://omeka.cloud.unimelb.edu.au/grainger/files/original/6fbdac007cccd6c2fd1de136b03bbfcc.jpg 37612d6cd2b1b70267ef0ff6516574aa Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 Metallophone, c.1890s Description An account of the resource This metallophone has bronze keys, each fitted below with a hollow bronze resonator. The beautiful embossing on each resonator, in Japonisme style, is a remarkable feature. The instrument is created from elements constructed by multiple makers, including Besson & Co. (London) who made the frame, and R. Plant & E. Perry who made the keys and resonators. Plant and Perry patented their innovative resonator design in 1884 in the UK, and 1888 in the USA. The patent describes an ‘Appliance for Augmenting the Sound of the Notes of a Harmonicon or of a Gong’, and relates to ‘the construction, combination, or arrangement of parts forming a resonant chamber with a free vibrating metallic plate or bar applied thereto.’ The resonator augmented, or modified, the sound of the bar, or key when it was struck. Creator An entity primarily responsible for making the resource W. F. Needham, Birmingham, UK, active 1888-1901 (manufacturer) R. Plant & E. Perry, Birmingham, UK 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.1890s Identifier An unambiguous reference to the resource within a given context 00.0184 https://omeka.cloud.unimelb.edu.au/grainger/files/original/37b164f3a7e01a5c9c29e89a8655faa6.jpg 7fae64234a8e16fed292c3f9f14069ce 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 Foster, Score for mixed chorus, 7 February 1931 Description An account of the resource This heavily annotated cover of the singers’ parts for Tribute to Foster demonstrate the complexity of the performance arrangements, which included three conductors harnessing three sets of musicians, often playing to a different beat. Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (composer) G. Schirmer, Inc., New York (publisher) Date A point or period of time associated with an event in the lifecycle of the resource 1931 Identifier An unambiguous reference to the resource within a given context SL1 MG3:94-2