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                <text>Letter from Percy Grainger to Mrs Kathleen Rogers, Nov 27, 1951, regarding museum display mannequins</text>
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                <text>Display mannequin, created from tape, calico, cardboard, cotton, gauze, Plaster of Paris, straw, thread. Size: 161 x 53cm. Letter from the Grainger Museum Archive&#13;
This mannequin was made by Kathleen and William Rogers, at Arch Hill Studio, Albany Post Road, Briarcliff Manor, New York, in the early 1950s. Percy Grainger ordered a number of mannequins, including himself, his wife Ella, and his mother Rose, from the Rogers, desiring 'sympathetic' representations for use in displays in his Grainger Museum in Melbourne. </text>
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                <text>Display mannequin, created from tape, calico, cardboard, cotton, gauze, Plaster of Paris, straw, thread. Size: 170 x 60. Letter from Grainger Museum Archive.&#13;
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                <text>DESCRIPTION: silk, thread, linen, wooden base.&#13;
OVERVIEW: Shoes are conical or sheath-shaped, intended to imitate the shape of lotus flowers. They are made of cotton or silk, so small that they can be put into the palm of your hand. Some designs have high heels or wedge soles. They are made in different styles and colours, usually ornately decorated and embroidered with animals or flowers, and they can continue to be used on soles. When wearing lotus shoes under a long skirt, it will bind the small feet. Although lotus shoes are no longer bound with women's feet, they are still exist as relics in museums or private collections.&#13;
In history, it has provided so much cultural fascination and ethical debate of the traditional Chinese practice of foot binding. This kind of shoes will leave a beautiful lotus pattern when stepping on the soil, which is called "lotus shoes by steps".&#13;
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                <text>Sound artist David Chesworth was only 21 when he composed and recorded '50 Synthesizer Greats'. Originally self-released, the album 50 Synthesizer Greats is actually 37 tracks of minimal synth investigations, full of humour and playful experimentation. The album was recorded in late 1978 by Chesworth in his parents’ lounge room, on an Akai 4000 DS reel to reel tape machine, using a monophonic Mini Korg 700 synthesizer. The album has been re-released by Chapter Music, Melbourne, in 2017.&#13;
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                <text>Courtesy and copyright David Chesworth</text>
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                <text>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.</text>
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                <text>01.2043 (detail shown)</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>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: &lt;br /&gt;&lt;br /&gt;&lt;a title="Assembling the Lynch Family metallophone" href="https://vimeo.com/318105947" target="_blank"&gt;&lt;br /&gt;&lt;/a&gt; &lt;iframe src="https://player.vimeo.com/video/318105947" frameborder="0" width="640" height="360"&gt;&lt;/iframe&gt;</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3078">
                <text>1920s</text>
              </elementText>
            </elementTextContainer>
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    </elementSetContainer>
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        <src>https://omeka.cloud.unimelb.edu.au/grainger/files/original/b62ac257b07f8636c75fc4ea639fe702.JPG</src>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="1423">
                <text>Magnetic tapes from the Grainger Archive</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1424">
                <text>Electronic music</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Samples of magnetic tape used in the Grainger Centre, c. 1970s.</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
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                <text>c. 1970s</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Manuscript for ‘Train Music’ by&#13;
Percy Grainger, 1901–07</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Grainger was a compositional radical, a fact that&#13;
was not well known to a public accustomed to&#13;
compositions like ‘Country Gardens’. ‘Train Music’&#13;
shows Grainger’s experimentation with irregular&#13;
metres. His note at the top indicates that the&#13;
rhythms were suggested by the jerky movement&#13;
of an Italian train. </text>
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            <name>Creator</name>
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                <text>Percy Grainger</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Grainger Museum, University of Melbourne</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Grainger Museum</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1901–07</text>
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            </elementTextContainer>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Grainger Museum</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>Grainger Museum Collection, SLI MG3/94</text>
              </elementText>
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