1 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/06520c8162a7b5fb072417a78fdb214c.JPG 2a2a2c427ffd84e544c49f29aacaac4c 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 Vocoder Subject The topic of the resource EMS Vocoder Description An account of the resource Electronic Music Studios, Ltd, London, EMS Vocoder, late 1970s Metal, plastic, electronic components On loan from MESS Ltd EMS first released a large Vocoder in 1976, and this simplified, lower-cost, compact version was released the following year. The instrument was designed for use with the human voice. EMS promotional material for the instrument stated: Its main purpose is to impose the articulation of a voice onto another sound, thereby making it speak or sing. Such sounds (excitations) can be derived from any audio source: for instance musical sounds from an organ, guitar or symphony orchestra; unmusical sounds such as the roar of an aeroplane, the snarl of a lion, the clatter of a typewriter and the synthetic sounds such as a synthesizer or the Vocoder’s own voltage controlled oscillator or noise generator. In each case the sounds are made to talk or sing or resonate with the intonation, expression and meaning of an input voice, which may be derived live from a microphone or from a recording. It is of course possible to impose the articulation of a non-speech sound on to the excitation. For instance, the characteristics of a violin on to those of a saxophone … In this way, musicians who are not expert in synthesizers can produce marvellous effects with the minimum of electronic technique by mainly relying on their own musical expertise. 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 Late 1970's Format The file format, physical medium, or dimensions of the resource Instrument https://omeka.cloud.unimelb.edu.au/grainger/files/original/7c05856c5e83209b6d92d4a1e276095e.jpg 59dff56057ea459ea119b90db5ef617a https://omeka.cloud.unimelb.edu.au/grainger/files/original/c8bb960360946a8c8964c6ba2fe8b0eb.jpg c3009e14173034279adb6b108b5436b8 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 Subject The topic of the resource Photograph Description An account of the resource Toned silver gelatin print. Photo: 24.1 x 19.0 cm Photo and frame: 30.3 x 24.3 cm Grainger spent a lot of his life away from home touring as a concert pianist. While his mother was alive he developed a pattern of having photographs of himself taken by professional photographers, which he would then mail to Rose—a way of maintaining the closeness of their bond. This photograph held great significance for him, as it was the last he sent to her before she committed suicide in 1922. Creator An entity primarily responsible for making the resource Frederick Bushnell Studio, San Francisco Date A point or period of time associated with an event in the lifecycle of the resource April 1922 Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0042 https://omeka.cloud.unimelb.edu.au/grainger/files/original/3c16ae51c99822fd3523b3ae7416458f.jpg 9e573ac11896203f6cf19074ff354e80 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 Subject The topic of the resource Photograph Description An account of the resource silver gelatin print. Photo: 21.1 x 16 cm Photo and card: 25.2 x 20.2 cm Although taken in a formal studio setting, this photograph was certainly not meant for promotional purposes. Grainger had his portrait taken by Mary Dale Clark on a number of occasions over a period of years including while he was enlisted in the army. Clark was a self-styled mystic who used photography to ‘look for the spirit within’ her sitters. Grainger was aware of the photograph’s capacity to look past the constructed façade and capture the essence of a subject’s psychological and emotional inner-world. Creator An entity primarily responsible for making the resource Mary Dale Clarke (1975–1936), New York Date A point or period of time associated with an event in the lifecycle of the resource c.1918 Type The nature or genre of the resource photograph Identifier An unambiguous reference to the resource within a given context 17.0060.1 https://omeka.cloud.unimelb.edu.au/grainger/files/original/ec05534058dafaeaa9f46cf658860a3e.jpg f78f5cc9e20cd5868f6d3a98d358c199 https://omeka.cloud.unimelb.edu.au/grainger/files/original/423927325c40679eab0dc0da5cf4a3d1.jpg 0948bffdf63584cc228cc193c4e76fd3 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 Subject The topic of the resource Photograph Description An account of the resource Platinum prints. Photo: 14.0 x 9.5 cm Photo and board: 28.0 x 20.7 cm Envelope: 35.6 x 22.8 cm These portraits were taken in the same sitting at Elliot and Fry studio in London, and demonstrate how a change in lighting and camera angle can significantly alter the appearance of a subject. The studio was founded in 1863 at 55-56 Baker Street by Joseph John Elliott and Clarence Edmund Fry and operated for a century. It specialised in portraits of leading social, artistic, scientific and political figures. Creator An entity primarily responsible for making the resource Elliot & Fry, London Date A point or period of time associated with an event in the lifecycle of the resource c.1910 Format The file format, physical medium, or dimensions of the resource Photograph Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0046 https://omeka.cloud.unimelb.edu.au/grainger/files/original/49d3a9351224cec76bf772f486d595e3.jpg b5d0c0c6b32bbed73546f6f76a0f21a6 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, c 1920. Subject The topic of the resource Photograph Description An account of the resource Silver gelatin print. Photo: 20.2 x 15.6 cm Photo and board: 37.5 x 29.8 cm This portrait depicts Percy Grainger with his fingers interlaced in front of him. The photograph is mounted on board. Creator An entity primarily responsible for making the resource Mary Dale Clarke (1975–1936), New York Date A point or period of time associated with an event in the lifecycle of the resource c 1920. Format The file format, physical medium, or dimensions of the resource Photograph Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0041 https://omeka.cloud.unimelb.edu.au/grainger/files/original/ee7a5daa5f3cfd8378a809edc2394b4b.jpg 7322581cf755e8a2cd75fb07103fe69b 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 Rose Grainger (age 59) wearing Indian necklace bought at Albuquerque, N.M., early May, 1920 Subject The topic of the resource Photograph Description An account of the resource Sheet-fed photo gravure print (Bruchmann Mezzotint gravures, printer) 28.5 x 22 cm This portrait depicts Rose Grainger sitting in a plush armchair. She is wearing a long off shoulder dress with flowing skirts and organza. As described by the photo caption, she is wearing an "Indian necklace bought at Albuquerque, N.M., early May, 1920,” Creator An entity primarily responsible for making the resource William Louis Koehne, Chicago Date A point or period of time associated with an event in the lifecycle of the resource 29/07/1920 Format The file format, physical medium, or dimensions of the resource Photograph Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0017 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/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/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/aab334460052d18ee03978a375a5cfde.jpg 36f0ddc81079c8b05dab0dd1af75a8be 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 "Free Music" machine components Subject The topic of the resource Free Music Description An account of the resource The box of Free Music components that this object is part of contains scraps of wood, metal, paper and rubber. - Wood and felt frame (musical instrument?) - Small piece of cardboard with electronic components attached - transformer, potentiometer, diode, resistors, capacitors, choke, wires and solder. Creator An entity primarily responsible for making the resource Various creators, material gathered by Percy Grainger for his Free Music experiments Date A point or period of time associated with an event in the lifecycle of the resource 1940s-1950s Identifier An unambiguous reference to the resource within a given context 04.1126