10 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/3771b5a8927c00011cd8f26a729f0cdf.jpg 630439bef7968f79ea7bca85c3bbd749 https://omeka.cloud.unimelb.edu.au/grainger/files/original/9965c2e9095d28b00c7f3409824e1d8f.jpg 17fc4296cc181091feed966f86e05d1f https://omeka.cloud.unimelb.edu.au/grainger/files/original/f7ce4741ab06f2c421abdbc9769fda4f.jpg c61f7a9aa8287677a7e608bd13c4a72f https://omeka.cloud.unimelb.edu.au/grainger/files/original/849a091cb4e703208bb39f96da4563d8.jpg 214c0ce606fa079c223f81b3e60f3167 https://omeka.cloud.unimelb.edu.au/grainger/files/original/02c7484e86c82a456cacb7836b177a45.jpg 9e855b30b64f06c402b6e87166879896 https://omeka.cloud.unimelb.edu.au/grainger/files/original/e9f473c4bb8b7bd7989ce4030c50194d.jpg 9b0e3f34c019a4c25a133b2ec7d6205e https://omeka.cloud.unimelb.edu.au/grainger/files/original/4c448365d3fea26e6a5f7f09071e2529.jpg ffbc0ea5b534d71e15b0cbac1d5c712e 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 Group of architects' plans and miscellaneous sketches of the Grainger Museum Subject The topic of the resource Grainger Museum architectural plans Description An account of the resource Collection of architects' plans and miscellaneous sketches (some are layout plans in Ella Grainger's hand) of Grainger Museum, held in brown folder. This collection includes a set of blueprints (folded) dating from May 1935. Some other material relates to alterations to GM proposed in 1962 (and not carried out). Another collection of Grainger museum plans is housed in the same drawer (09.0004) 1. Plans and sketches of Grainger Museum University of Melbourne envelope 2. Brown paper sketch of Museum plan 3. Blue Print Sheet 2 4. Blue Print Sheet 3 5. Blue Print Sheet 1 Blueprints each 51 x 66cm Creator An entity primarily responsible for making the resource John Stevens Gawler; Gawler & Drummond Architects Contributor An entity responsible for making contributions to the resource Grainger Museum Identifier An unambiguous reference to the resource within a given context 09.0003 (multiple parts) https://omeka.cloud.unimelb.edu.au/grainger/files/original/a5b44c8883ba9a28b75f39463cae31f5.jpg 03a35205ad2ab01bc05c6b7855bb46c5 https://omeka.cloud.unimelb.edu.au/grainger/files/original/9e29c3eec5fb4bae5eb40e19b247993b.jpg 13b92e13d06f65dfff5971a81b454d8c 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 Herman Sandby Subject The topic of the resource Photograph Description An account of the resource Printing-out paper print. Photo: 14.4 x 9.9 cm Photo and card: 16.6 x 10.6 cm Grainger developed a close, lifelong friendship with the Danish-born cellist and composer, Herman Sandby. Joined by Sanby’s partner Alfhild de Luce as ‘extra accompanist’, the trio made a concert tour of Denmark in 1905, which included a performance at the Royal Palace in Copenhagen. Creator An entity primarily responsible for making the resource Peter Newland, Copenhagen Type The nature or genre of the resource Photogrpah Identifier An unambiguous reference to the resource within a given context 17.0053 https://omeka.cloud.unimelb.edu.au/grainger/files/original/f02f2f561de3ec162371af49644367b4.jpg c4828636d6c0f4234df04664c06b3c6c https://omeka.cloud.unimelb.edu.au/grainger/files/original/0daa4e56049061bc1fc3430a0bfc2048.jpg 344125dda2f0b4a8f1b20b73f34f706e 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 His Master’s Voice gramophone, ‘Melba’ model, c.1915 Subject The topic of the resource Objects of Fame: Nellie Melba and Percy Grainger Description An account of the resource As early as 1904, His Master’s Voice named their concert grand model gramophone the ‘Melba’. Melba also laid the foundation stone of the company’s first factory in Hayes, England. Following her death, an article in The Voice magazine reflected on the prosperity Melba had brought to the early gramophone industry, noting that many people were won over to the new form of technology by the faithful reproduction of her voice. Creator An entity primarily responsible for making the resource Manufactured by The Gramophone Co. Ltd Source A related resource from which the described resource is derived Australian Performing Arts Collection, Arts Centre Melbourne 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 c.1915 Rights Information about rights held in and over the resource Arts Centre Melbourne Identifier An unambiguous reference to the resource within a given context Australian Performing Arts Collection, Arts Centre Melbourne 1994.046.001 | Purchased, 1994 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/e908d8cc2e2112247fc69674b8327cc4.tif 376f8189036ab09c904086453d84765d 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 Ian Bonighton, Ring modulator diagram, 1969 Subject The topic of the resource Electronic music Description An account of the resource This is a diagram drawn by composer Ian Bonighton of a ring modulator, used in electronic music. Bonighton's 1969 Master of Music included a section on Electronic Equipment used in composition, and he included circuit diagrams of the ring modulator and theramin in the thesis. Creator An entity primarily responsible for making the resource Ian Bonighton Source A related resource from which the described resource is derived Grainger Museum Archive, 2017/23 Publisher An entity responsible for making the resource available Ian Bonighton Date A point or period of time associated with an event in the lifecycle of the resource 1969 https://omeka.cloud.unimelb.edu.au/grainger/files/original/f4c85b2c98e55e0bc86742000bdf8040.jpg c788a68b4a22b2d741e95f3fdf4adf96 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 Ian Bonighton, Sequenza, 1971 Subject The topic of the resource Music manuscript Description An account of the resource Ian Bonighton, Sequenza, 1971 Grainger Museum Archive, 2017/23-2/10 Ian Bonighton (1942-1975) graduated in Music from the University of Melbourne in 1968, studying composition with Keith Humble. He was appointed to the teaching staff of the Conservatorium of Music, and for the next six years he continued his study with Humble, taking Masters and Doctoral degrees in composition. He was part-time Curator of the Grainger Museum from 1970-73, taking every opportunity to study Percy Grainger’s scores and Free Music experiments in the Grainger Archive at first hand. Bonighton’s Doctorate of Music, completed in 1972, focused on electronic music. Bonighton rarely composed purely electronic music, however, typically combining acoustic instruments such as organ or vocal ensembles, with prepared tape sounds. Bonighton’s instruction sheets for the realisation of In Nomine, utilising the EMS VCS3, show just how challenging working with these new instruments was, for both composers and performers. To further his skills and experience in electronic music internationally, Bonighton left Australia in 1974 on a travel grant from the Music Board of the Australia Council. He inspected electronic music studios in Stockholm, Utrecht, York and Cardiff. In London he spent time at the EMS studios, working with Peter Zinovieff, David Cockerell, and Tristram Cary. He was already very familiar with the EMS instruments, from the Grainger Centre. Bonighton’s tragic death in 1975 robbed the Australian experimental music world of a great talent. For the first composers of electronic music, there was a tension between the creation of new sounds never heard before in a musical context, and the necessity to represent these in a way that future musicians could interpret for performance or study. Graphic scores, such as Stockhausen’s Kontakte and Humble’s Music for Monuments and Statico I, are examples of the creative solutions that composers invented for this purpose. Traditional notation systems were replaced by graphic elements, such as undulating lines or circling points, shapes such as squares and rectangles filled with tone, or even colour. Graphic scores were also useful for representing ‘chance’ music, overcoming of the concept of duration by leaving the ordering of different passages indeterminate. American composer Morton Feldman, who spent most of his career trying to erase any sense of metre from his music, used graphic scores in order to make time “less perceptible as movement, more conceivable as image”. Creator An entity primarily responsible for making the resource Ian Bonighton 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 https://omeka.cloud.unimelb.edu.au/grainger/files/original/6ce379c7f156b127fe2d14b2332df4d2.jpg ec426deaf261b9bcdd4a3558626f7044 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 Ian Bonighton, Sleep for 16-part choir and tape, 1968–69 Subject The topic of the resource Ian Bonighton, Sleep for 16-part choir and tape, 1968–69 Description An account of the resource Ian Bonighton, Sleep for 16-part choir and tape, 1968–69 Graphic music score (detail) Grainger Museum Archive, 2017/23-2/2 Composer Ian Bonighton (1942-1975) was appointed Curator of the Grainger Museum in 1970, while also working towards his Doctoral Degree in Music Composition (which he attained in 1972), and teaching at the Conservatorium. Bonighton was a student of Keith Humble, Australia’s most innovative composer in the period, who had returned from a decade in Europe with a passion to expose Melbournians to international Avant-garde music. Humble’s installation of electronic music equipment in the Grainger Centre (as it was known at the time) prompted Bonighton to explore the creation of compositions that amalgamated both acoustic and electronic sound. Sleep (1969), for 16-part choir and tape, was one of the first of these electro-acoustic works. Graphic scores like Sleep use undulating lines, dots, and shapes such as squares and rectangles, sometimes filled with shading or colour, to communicate the new sonic textures. New forms of notation such as these were very challenging for performers, and not well received by traditional instrumentalists. Creator An entity primarily responsible for making the resource Ian Bonighton Date A point or period of time associated with an event in the lifecycle of the resource 1968–69 Format The file format, physical medium, or dimensions of the resource Graphic music score Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-2/2 https://omeka.cloud.unimelb.edu.au/grainger/files/original/6411e9ca295917fe388154b491262ebc.jpg df4faff0b6d2d110161f226ad749bdde https://omeka.cloud.unimelb.edu.au/grainger/files/original/9b5a03e79e452d8c0a1396b185391d4c.jpg 14018b16d976293e6c64f98e9e42d5fd 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 In Nomine, for tape, percussion and optional organ Description An account of the resource Ian Bonighton, In Nomine, for tape, percussion and optional organ, first performed 1973 (details) Graphic music score. Grainger Museum Archive, 2017/23-2/11 Composer Ian Bonighton (1942-1975) was appointed Curator of the Grainger Museum in 1970, while also working towards his Doctoral Degree in Music Composition (which he attained in 1972), and teaching at the Conservatorium. Bonighton was a student of Keith Humble, Australia’s most innovative composer in the period, who had returned from a decade in Europe with a passion to expose Melbournians to international Avant-garde music. Humble’s installation of electronic music equipment in the Grainger Centre (as it was known at the time) prompted Bonighton to explore the creation of compositions that amalgamated both acoustic and electronic sound. Sleep (1969), for 16-part choir and tape, was one of the first of these electro-acoustic works. Graphic scores like Sleep use undulating lines, dots, and shapes such as squares and rectangles, sometimes filled with shading or colour, to communicate the new sonic textures. New forms of notation such as these were very challenging for performers, and not well received by traditional instrumentalists. In Nomine was composed for tape, percussion and optional organ, and was first performed in 1973. Bonighton wrote that it was ‘...a piece designed for realisation in a studio with only limited means - one small synthesizer and two 2-track tape recorders’. It was written for performance on a EMS Synthi VCS3, one of the instruments Bonighton had available in the Grainger Electronic Music Studio in 1969, prior to the installation of the infamous Synthi 100. For the score for In Nomine Bonighton included extensive instructions for the original creation of the 4 electronic parts (Sounds A-D). Notation for the new sounds was a challenge for composers, and archival material such as Bonighton’s score gives rich insights into these early years of electronic experimentation. Bonighton’s Sleep, and In Nomine were recorded and published on the Move label on the LP Sequenza. Creator An entity primarily responsible for making the resource Ian Bonighton Date A point or period of time associated with an event in the lifecycle of the resource first performed 1973 Format The file format, physical medium, or dimensions of the resource Graphic music score: paper, ink Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-2/11 https://omeka.cloud.unimelb.edu.au/grainger/files/original/761a7dad7d86ce4657cb2aa4783012ec.jpg 563c71237efd4adfca4f2a00eb7cc37f 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 Inscribed photograph of the construction of the Grainger Museum, second phase, 1938 Subject The topic of the resource architecture Description An account of the resource This photograph shows the Grainger Museum in its second phase of construction at the University of Melbourne, in 1938. It shows the rear extension of the museum being constructed, viewing in a north westerly direction. Ella Grainger is standing with an unidentified construction worker on the scaffolding at the centre of the image. The photograph is inscribed in ink, "GRAINGER MUSEUM IN THE MAKING, MELBOURNE AUSTRALIA, 1938 with greetings from Ella & Percy". Creator An entity primarily responsible for making the resource Unknown photographer 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 1938 Contributor An entity responsible for making contributions to the resource Grainger Museum 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