1 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/d1d2e98e4f1b9b2ca84858b48dca00a6.jpg 7cdaed6d825d5e8e1d64c4c32695b763 https://omeka.cloud.unimelb.edu.au/grainger/files/original/df27fb1138ba91063f558ed60dbaeb97.jpg 46446912a23bd2bb45bc42ed23ab5210 https://omeka.cloud.unimelb.edu.au/grainger/files/original/ed8a4dc78cdfe0fab07843892efe1e97.jpg 64bd310109e96a0d0a9169be728c9b79 https://omeka.cloud.unimelb.edu.au/grainger/files/original/6270d3b7de2ad35f5b6681770ffd5bb0.jpg c5c1f24e985d84981a1448cd581f3a22 https://omeka.cloud.unimelb.edu.au/grainger/files/original/720f239610e7081e7557fac21f38ab7f.jpg 2360e78d87b449a9bcb710b2101120fe 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 Chinese stool belonging to Rose Grainger Subject The topic of the resource Furniture; Chinese collection Description An account of the resource Stool used by Rose Grainger in her home with her son Percy Grainger. Rose probably purchased this stool in New York, in the period 1915-1920s. Carved Rosewood Chinese stool with inlaid marble top, Approx 40 x 40 x 40cm Creator An entity primarily responsible for making the resource Unknown maker (China) Source A related resource from which the described resource is derived Grainger Museum Collection Publisher An entity responsible for making the resource available Grainger Museum Date A point or period of time associated with an event in the lifecycle of the resource n.d. (late 19th to early 20th century) Identifier An unambiguous reference to the resource within a given context 01.0351 https://omeka.cloud.unimelb.edu.au/grainger/files/original/8e2da38add755a0780b1acf337cdf902.jpg 3e2e7dd58790ffcfc3744a75faf8f15b 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 Harmonic Metallophone, 2009 aluminium Subject The topic of the resource tuned percussion; gongs; How it Plays exhibition Description An account of the resource These are a suit of innovative instruments designed and created by Neil McLachlan. Neil McLachlan is an Associate Professor with the Melbourne School of Psychological Sciences at the University of Melbourne. Like Anton Hasell, his research and practice has continued to evolve since the Federation Bells project, across a great many areas of expertise including neuro-acoustics and gong design. The suite of instruments in this photograph include, from left to right: Harmonic Gongs, 2009, 2014 (steel). Left gong: The World’s first gong to produce multiple harmonically tuned frequencies. It was hand formed and tuned in 1.6mm mild steel by Dr Neil McLachlan in the Melbourne School of Psychological Sciences workshop at the University of Melbourne in 2009. The harmonic tuning was achieved by tensioning the surface of the gong with four dimples that affect the frequencies of variously shaped standing waves in the gong surface. The gong was then ‘pacified’ by electroplating to prevent rust. Right gong: A production prototype gong made in 1.6mm stainless steel in 2014. The gong was tuned by Dr McLachlan using a purpose-built computer controlled 2-tonne press that is capable of creating dimples at 50 micrometre accuracy to allow mass production. Gongs are revered in South East Asia just as bells are revered in Europe. The traditional Indonesian ensembles called Gamelan feature tuned gongs spanning many octaves. Since Indonesian gongs don’t have harmonic tuning, Europeans need to learn how to hear the pitch of Indonesian gongs by playing in a Gamelan ensemble. But you can hear the clear pitches and harmony of these harmonic gongs by gently striking each gong near its centre. The Harmonic Metallophone, 2009 (aluminium): Flat bars of wood and metal naturally produce widely spaced frequencies. Traditional xylophone and metallophone keys have carved arches to tune their 2nd frequency by changing the stiffness of the key. This design tunes the first 4 frequencies of the key to ratios of 1: 2: 4: 6 by changing the key width (and hence it’s mass) at the maximum amplitude of each standing wave without changing the key thickness. The shapes of the first four standing waves of a flat bar are shown below. This is a prototype key exactly as it was laser cut from a 10mm thick aluminium plate. It is suspended on stainless steel leaf springs instead of the traditional method of suspending keys by chords. For more information see: N. McLachlan (2011). The design of a harmonic percussion ensemble, Journal of the Acoustical Society of America, 129, 3441-3444. N. McLachlan et al. (2013). The musical environment and auditory plasticity: Hearing the pitch of percussion. Frontiers in Psychology N. McLachlan et al. (2012). Tuning natural modes of vibration by prestress in the design of a harmonic gong, Journal of the Acoustical Society of America, 131, 926-934. Creator An entity primarily responsible for making the resource Neil McLachlan (designer) Source A related resource from which the described resource is derived Photograph by the Grainger Museum Date A point or period of time associated with an event in the lifecycle of the resource Photographed in the Grainger Museum 2019 Identifier An unambiguous reference to the resource within a given context Created by Neil McLachlan, and lent to the Grainger Museum in 2019 for the exhibition How it Plays: Innovations in Percussion. The suite of instruments was donated to the Grainger Museum in 2020 by Neil McLachlan. https://omeka.cloud.unimelb.edu.au/grainger/files/original/29bc632c690b7cfff7db6ac4ba99b86e.jpg 625de89c920a2acc554f9dabff391db3 https://omeka.cloud.unimelb.edu.au/grainger/files/original/b4d0b35b4a20923dd48121cff01feacb.jpg ebd4e93d444cc3b21cd1d3313097361a https://omeka.cloud.unimelb.edu.au/grainger/files/original/2a5f6d1a96056d0e6e686edb48558684.jpg 6d9e3a4eb9eda101f188e5e03dddbc52 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 Views of the Grainger Museum under construction at the University of Melbourne, early November 1938 Subject The topic of the resource architecture, construction Creator An entity primarily responsible for making the resource Photographer unknown Source A related resource from which the described resource is derived Grainger Museum Collection Publisher An entity responsible for making the resource available Grainger Museum, University of Melbourne Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Grainger Museum https://omeka.cloud.unimelb.edu.au/grainger/files/original/b23a0a3ded803b11c6a6013e424a7306.JPG f7eca5842048ed1e5e714ae19e8b2a11 https://omeka.cloud.unimelb.edu.au/grainger/files/original/d34b34d2dbe2e70b7c8cea375fa1a7f4.png 9241a3757531e93e5cf477468ffd5c55 https://omeka.cloud.unimelb.edu.au/grainger/files/original/e270e525bddfb0adc80408b6bac94fd3.jpg 3d5107e15c912dbe7e78a680be112aca 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 Cardboard box (originally containing Ella Grainger's hair); Ella Grainger's hair Subject The topic of the resource Personal effects, Body parts (human) Description An account of the resource Box which contained Ella Grainger's hair; Ella Grainger's hair from shoulder to waist length, cut off by RIche LTD. 14 Hay Hill Berkely Square, London W.1. in order to give to Grainger Museum, The University of melbourne ( cut off Sept. 20 1948) Date A point or period of time associated with an event in the lifecycle of the resource 1948 Identifier An unambiguous reference to the resource within a given context 01.3529 01.3528 https://omeka.cloud.unimelb.edu.au/grainger/files/original/b1a45ec23fb562b2c89786c858b0dd5d.JPG 64b362e41cc11eef39ebe99ed23d8dc5 https://omeka.cloud.unimelb.edu.au/grainger/files/original/61375d36f46f48c39d607d59aa52dfe7.JPG 23b691364068993bce61d20eb3b5a8c9 https://omeka.cloud.unimelb.edu.au/grainger/files/original/18a80d4071628afeca347af9508ec797.JPG 08df5c7c491c30c9f6b7b4a9df5e7dd0 https://omeka.cloud.unimelb.edu.au/grainger/files/original/574108a5b55f2cff00d1ef64c05ea54f.JPG 90acde3b53de260843a0a9babd9d9498 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 Cardboard box containing Percy and Rose Grainger's hair; Lock of Percy Grainger's hair (aged 7) Subject The topic of the resource body parts (human) Description An account of the resource 1. Box containing PG and RG hair 2.A lock of Percy Grainger's hair, yellow blonde in colour and tied with a red ribbon. Sent to the museum in an elaborate handmade cardboard envelope. Other Information: Stored with original cardboard packaging. Date A point or period of time associated with an event in the lifecycle of the resource c.1889 Identifier An unambiguous reference to the resource within a given context 01.3533 01.0824 https://omeka.cloud.unimelb.edu.au/grainger/files/original/dd2055c767f50d58bb25955335fdeb56.jpg 85273c03de32068bb60fe44ac0444ec2 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 Photo wallet containing 2 photographs of Percy Grainger and Rose Grainger Description An account of the resource 2 silver gelatin prints enclosed in a photo wallet. "P.G. initials are embossed in gold on the front of the wallet. 'Cross' is also embossed along the internal fold line of the wallet, perhaps indicating the manufacturer or photographer. Photo 1 on proper right panel: Portrait of Percy Grainger and Rose Grainger dressed in coats and finery. Photo 2 on proper left panel: Portrait of Rose Grainger dressed in finery with Percy Grainger on her right and another gentleman to her left." Identifier An unambiguous reference to the resource within a given context 17.0054 https://omeka.cloud.unimelb.edu.au/grainger/files/original/1ca9ddbe90701622fd65340aaf8797a3.jpg 8a574373400e219b6b31172b5da02ad8 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 Aims of the Grainger Museum Subject The topic of the resource Museum Legend; display; exhibition Description An account of the resource An essay written by Percy Grainger on his goals and intentions for the museum. Grainger created a display "Legend" of this content, typed out and framed, for exhibition in the Grainger Museum, University of Melbourne. Wooden frame, gold-painted decorative wooden moulding. Size: 106.5 x 33cm Text reads: "The contents of the Grainger Museum have been assembled with the main intention of throwing light upon the processes of musical composition (as distinct from performances of music) during the period in which Australia has been prominent in music—say from about 1880 on. Through the generosity of friends and music-lovers in Melbourne my mother was enabled to take me, at the age of 12, to Frankfort-on-the-Maine, to continue there the musical studies begun in Melbourne about 6 years earlier. While studying music at the Hoch Conservatorium in Frankfurt from 1895 to 1899 I was struck by the fact that the most gifted composition students were all from the English-speaking and Scandinavian countries. I foresaw that a period of English-speaking and Scandinavian leadership in musical originality and experimentation lay just ahead—a florescence comparable to the iconoclastic innovations of the Worcester composers of the 13th century, of Dunstable in the 15th century, of the pre-Bach English string fancies of the 17th century. So I began to collect manuscripts, musical sketches, letters, articles, mementos, portraits, photographs, etc., by and of those English-speaking and Scandinavian composers that seemed to me the most gifted and progressive—always with the intention of some day putting this collection on permanent display in Melbourne. The contents of this Museum are thus the product of one man’s taste and criticism—my own—and are limited accordingly; my taste in music having been moulded by early familiarity with the conventionally known German and Austrian “masters” of the 18th and 19th centuries. The composers represented in the Museum appear for the most part in the chronological order of my contact with them, or in the order of their artistic importance in my eyes, and not in accordance with their year of birth. My collection cannot pretend to present all important progressive English-speaking and Scandinavian composers of the last 70 years, nor all significant works by such composers as are represented. As a rule, extremely well-known works (such as Elgar’s “Enigma” Variations) are omitted altogether, my preference being to concentrate on unknown or less-known works of genius. I have tried to limit all statements about composers and their works to things and happenings personally witnessed by me or communicated by the composers in letters and conversations. Believing that great achievements in musical composition are seldom the result of a purely individualistic effort on the part of a composer, but are oftener the outcome of a coming-together of several propitious circumstances orfructifying personalities, I have tried in this Museum to trace as best I can the aesthetic indebtedness of composers to each other (the borrowing of musical themes or novel compositional techniques) and to the culturizing influence of parents, relatives, wives, husbands and friends (for instance, Cyril Scott’s inspiring encouragement of several British composers of his generation; Jelka Delius’s contributions to her husband’s artistic life; Balfour Gardiner’s championship of 20th century British music). I feel very strongly that the musical culture in all parts of the world suffers from the lack of a cosmopolitan and universalist outlook on music. In the last 50 years a vast mass of significant and beautiful folk music, primitive music, and Asian and African art-musics has been collected by means of the phonograph and gramophone. But very little of this vast treasure trove has been transcribed into musical notation. And such transcriptions as exist suffer for the most part from misleading simplification, so that the transcriptions sound un-life like and ineffective in performance. Perhaps the most world-changing musical discoveries of the last half-century have been those musicologists, notably in the domain of early English music—say 1200 to 1700. It has been said, and I think truly, that the now-available pre-Bach music of Europe exceeds in quantity, and certainly rivals in quality, all post-Bach music. But the reclamations of the musicologists still go for the most part unexamined and unperformed, as do likewise the larger and more exacting masterpieces of the 20th century “Nordic” composers (British, Irish, American, Canadian, Australasian, Dutch and Scandinavian). I have tried to equip this Museum with publications, manuscripts, gramophone records and other material conducive to the study of the abovementioned neglected musics. This material includes journals of the various folk-song and musicological societies: English, American, Scandinavian, Dutch, and Frisian languages and dialect dictionaries useful in dealing with folk-song texts; Bibles in native languages and dictionaries in native languages, useful in dealing with texts of primitive musics. It would seem only natural for Australia to become a centre for the study of musics of the islands adjacent to Australia—Indonesia no less than the South Seas. Some of the world’s most exquisite music is found in this area. Yet none of these exotic musics, however charmful, should draw Australian musicians away from intense participation in the all-important developments of experimental music in the white man’s world. The vistas opened up by the innovations of Beethoven, Wagner, Grieg, Alois Haba, Cyril Scott, Scriabin, Arnold Schoenberg, Arthur Fickenscher and others, should be explored. It would be a wonderful thing if Australia should be the first country to live to the axiom: “Music is a universal language”. Percy Aldridge Grainger, October, 1955." https://grainger.unimelb.edu.au/discover/aims-of-the-grainger-museum Creator An entity primarily responsible for making the resource Percy Grainger 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 October 1955 Contributor An entity responsible for making contributions to the resource Grainger Museum Identifier An unambiguous reference to the resource within a given context 04.0351 https://omeka.cloud.unimelb.edu.au/grainger/files/original/139c4d2567ccb50cddc74bb3ee07c81c.jpg 9d5d1f3afe63d9f2b0774f114b2f7d5a 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 design for slanting desk case for the Grainger Museum, Melbourne Subject The topic of the resource design; museum display equipment Description An account of the resource Percy Grainger had a number of unique cases designed for the Grainger Museum, in preparation for the official opening in December 1938. The slanting desk case was created to showcase Percy Grainger's music manuscripts and his drawings of Free Music machine designs. Designers Pengelley & Co. also created cases specifically for the Marshall-Hall Archive, a rich collection of music scores, photographs and documents. These cases can be seen in situ in the Grainger Museum in the film made in 1967 (see https://vimeo.com/455388143). Creator An entity primarily responsible for making the resource A. Pengelley & Co., Melbourne 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 October 1938 Contributor An entity responsible for making contributions to the resource Grainger Museum https://omeka.cloud.unimelb.edu.au/grainger/files/original/6dd75d9ee8fde367afe5d7ac6b88314c.JPG 9628b84e4a4bc1111468b89f86645e31 https://omeka.cloud.unimelb.edu.au/grainger/files/original/887c993a74a4830a952aacefc74eb18c.JPG a7ac1755ffda27367f6e81aa2c0191d6 https://omeka.cloud.unimelb.edu.au/grainger/files/original/026f17f5a52ae90627d3ba14d6454e57.JPG 8e2da6b2dd3f2982eccb3f9c3ece99e5 https://omeka.cloud.unimelb.edu.au/grainger/files/original/78d90f3f678d70ea262f76a1e3e8d13f.JPG 098b150ee65664b9ca7c625dde16f52d https://omeka.cloud.unimelb.edu.au/grainger/files/original/80debc906e5e7ca215f7665d7d6f311b.JPG 68f42cbc25a71d3c103a5ae494e4365f https://omeka.cloud.unimelb.edu.au/grainger/files/original/ad8a53156e72bfcae6ea36c543adc97e.JPG b688fec141cf80dc17a4c898669a61a8 https://omeka.cloud.unimelb.edu.au/grainger/files/original/28fbd9bee4878090db89c8d58883721d.JPG 52e5fad0c9014240f024201ad63b2784 https://omeka.cloud.unimelb.edu.au/grainger/files/original/e21dd8b9e62c956e39ff69eb996f64f1.JPG b55c17a08fd7b8bbf1ed4984b1c55cfb 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 Cardboard box belonging to Percy Grainger, containing various personal items Subject The topic of the resource Small red cardboard Christmas present box. Contains string; rubber; lead pencil; coloured pencil; razor blades; plaster and cotton gauze; cotton; sock gaiters; scotch tape; hospital wrist identity band; set of keys; leather sewing kit containing a nail file and a pair of scissors; red leather note case containing US$1.00 Type The nature or genre of the resource Domestic Items Creator An entity primarily responsible for making the resource Unknown Creator https://omeka.cloud.unimelb.edu.au/grainger/files/original/5b7d3321152864de2f4ae570e3722e70.tif 482d11863e64333cc73d3ea46e732929 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 Letter from Ormond Professor Bernard Heinze to Percy Grainger, 25 September 1936, and accompanying photograph of the Grainger Museum, University of Melbourne. Description An account of the resource In this letter, Heinze shares an image of the Grainger Museum at the completion of its first phase, with Percy Grainger. Grainger had participated in early design of the Museum, but was obliged to leave the project with the local team of architects, when he returned to his American home base. Interestingly, Heinze called the museum the "Rose Grainger Museum" in this letter, referring to Grainger's original intentions for the museum to be a memorial to his mother. Creator An entity primarily responsible for making the resource Bernard Heinze; photographer unknown 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 1936 Contributor An entity responsible for making contributions to the resource Grainger Museum