18 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/3e66f7517e9755c3712879e1c305b3b9.jpg 39650a9f91be49c09e3562a0e9b0ea2d 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 Percy Grainger to Mrs Kathleen Rogers, Nov 27, 1951, regarding museum display mannequins Description An account of the resource Typed letter with inscription 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 1951 Identifier An unambiguous reference to the resource within a given context 440-2 https://omeka.cloud.unimelb.edu.au/grainger/files/original/aafe61fcd5c9f3f0c97f9618a360d3bc.JPG 54ab671893e0c3eb6531261845bc913f 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 Photographic self portrait of Percy Grainger, from the Lust Branch series Subject The topic of the resource sexuality, Lust Branch, Grainger Museum Description An account of the resource This photograph shows elements of the photographic setup Percy Grainger created in his home at White Plains, to capture his flagellation practices on film. 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 11 January 1942 Contributor An entity responsible for making contributions to the resource Grainger Museum Identifier An unambiguous reference to the resource within a given context 99.4300/99.4400 (Lust Branch photographs collection) https://omeka.cloud.unimelb.edu.au/grainger/files/original/486ebd721819468104e2b40640327abd.JPG 5f65f213f621680b3572ed13734eaa1e 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 Karen Holten wearing Percy Grainger's clothes, Denmark, around 1909 Description An account of the resource Karen Holten and Percy Grainger were in a relationship in the early 1900s. See https://museumsandcollections.unimelb.edu.au/news/items/finding-karen-holten-in-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 circa 1909 https://omeka.cloud.unimelb.edu.au/grainger/files/original/068a13a48657ca150b7a3596bc87b93e.pdf 7c7b00821049f8ac8831786f752231d4 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's working copy of the Grainger Museum Index Numbers Subject The topic of the resource catalogue; museum collections Description An account of the resource This is Percy Grainger's original index of the Grainger Museum Collection, partly typed and partly hand-written, approximately 130 pages. At the start of the volume is a "Rough alphabetical guide to Grainger Museum Index Numbers", followed by the Index itself. The numbering system created by Percy Grainger provides rich insights into his curatorial and archival process, as he ordered the evolving contents of his Museum in Melbourne. Many of the objects and documents in the Collection were marked with individual numbers from this catalogue system, by Percy and Ella Grainger. 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 c. 1930s-1950s Contributor An entity responsible for making contributions to the resource Grainger Museum Rights Information about rights held in and over the resource Please contact the Grainger Museum for further information prior to any reproduction or published use of this resource. 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/6375f7c7d15564a9bcd7ce8516852570.jpg e2bb0b45c8500bb19995a8781c98d042 https://omeka.cloud.unimelb.edu.au/grainger/files/original/902d850718fd0c9508332aa222850503.jpg e90532ed985e4dd536dd426624d7746e 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 Musical glass created by Percy Grainger, c.1930s Description An account of the resource This is one of the musical glasses created by Percy Grainger for performances of his Tribute to Foster. In performance, most of the glasses were filled to a marked line with liquid, to sound at a specific pitch. Ella Grainger painted the tuning lines on the glasses with black oil paint. A few of the glasses, including this large blue vase marked for playing by Ella, produced the desired pitch without the need for water. This instrument is formed from 5cm-thick glass, attached to large sheets of cardboard with green string and sticking plaster. It has handwrittten "C# for Mrs. Percy Grainger to play." Creator An entity primarily responsible for making the resource Percy Grainger (creator) 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 1930s Identifier An unambiguous reference to the resource within a given context 00.0153 https://omeka.cloud.unimelb.edu.au/grainger/files/original/70cb119a1117550e6e55b19ccd419bcb.jpg c61ef41c5f23ba96cbac8a7645dee4a4 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 Kangaroo-pouch tone-tool Subject The topic of the resource Free Music Description An account of the resource Large, upright wooden frame with cross beams at side. Two vertical poles / tubes at each side divided into four sections with acetate discs. Paper reels (cut to represent pitch) are fed through a series of metal poles - a roller runs along top (cut) edge of paper to sense the pitch , each vertical section and a sine wave oscillator. Three oscillators had the fundamental frequency marked on masking tape. Creator An entity primarily responsible for making the resource Percy Grainger and Burnett Cross Date A point or period of time associated with an event in the lifecycle of the resource 1952 Format The file format, physical medium, or dimensions of the resource Paper, softwood, cardboard tubes, wire, electronics, 260 x 214 x 83cm Identifier An unambiguous reference to the resource within a given context 00.0216 https://omeka.cloud.unimelb.edu.au/grainger/files/original/0884c283a8f2582a6d69c1e1f28120cf.JPG bd6ed3473be7674ea0b02b1bdc07b4d1 https://omeka.cloud.unimelb.edu.au/grainger/files/original/12aa55b60f95b8d2af54802fd054d573.JPG e530b4a13588dbd442d4acb3bcbdf32b https://omeka.cloud.unimelb.edu.au/grainger/files/original/d579451dec9bd94416c3c58a658cae10.JPG eea0c51a00531eaf28a51408d655382b https://omeka.cloud.unimelb.edu.au/grainger/files/original/831f5363b528ce55e3097dc4fe7ad5c8.JPG 5a9e240a7f04c587d920150b2754c978 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 Towelling outfit created by Percy and Rose Grainger, and worn by Percy Grainger Subject The topic of the resource costume, towelling, design Description An account of the resource Pair of cream towelling breeches and matching jacket with red stripe trim and fringed hem, with matching leggings. Hand sewn using manufactured towels. Worn by Percy Grainger between 1910-1914 while teaching and composing. Creator An entity primarily responsible for making the resource Percy Grainger and Rose 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 c.1910 Identifier An unambiguous reference to the resource within a given context 04.5371 (breeches); 04.5376 (Jacket); 04.5376 (leggings) https://omeka.cloud.unimelb.edu.au/grainger/files/original/798fc5c9581ce755233d64ba6bc5307b.jpg 17e1e05f8171d34b7b6829838282bba0 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 Plaited lock of Rose Grainger's hair in box ("Mother's Hair") Description An account of the resource A plait of tawny blonde hair, belonging to Rose Grainger, with a cotton tie at the top. Stored in a small brown cardboard Ilford Box. Inscriptions on box by Percy Grainger read: "Beloved mother's hair" "Mother's hair" "small switch" Size hair: 15 x 8cm; Size box: 3 x 17.5 x 13cm Creator An entity primarily responsible for making the resource Percy Grainger, Rose 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 c. 1922 Contributor An entity responsible for making contributions to the resource Grainger Museum Identifier An unambiguous reference to the resource within a given context 01.0823; 01.3524.1 https://omeka.cloud.unimelb.edu.au/grainger/files/original/fafa3405a5b058a9afc07ec38b7a66bf.jpg 7edad22ac64274da06b27f87520af9dc 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 Untitled collage (Collage of female nudes) Subject The topic of the resource Photograph Description An account of the resource magazine illustrations, cardboard. 21.7 x 27.6 cm his is a collage of female nudes in various poses. It contains 3 separate prints pieced together into a collage and adhered to a cardboard. Creator An entity primarily responsible for making the resource Percy Grainger. Date A point or period of time associated with an event in the lifecycle of the resource n.d. 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 17.0025