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                <text>Percy Grainger close to the end of his life, c.1960</text>
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Percy Grainger close to the end of his life, c.1960</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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                <text>This promotional photograph shows Grainger holding his ‘English Dance’, which had been composed and scored between 1899 and 1909, and finally published in March 1929. The photograph, taken by family friend Frederick Morse, includes in the background a framed portrait of Rose Grainger, alluding to her crucial role in Grainger’s compositional success.</text>
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&#13;
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View of Percy Grainger as a baby. He is depicted naked and lying on his right side on a blanket with his eyes closed. His left arm is crossed over his right hand and his left leg is folded on top of his right leg. The photograph is mounted on board from the photography studio which is then mounted onto archival board. The photograph comes with a Matson Line ~ Oceanic Line envelope that it would have been originally housed in. </text>
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                <text>Percy Grainger with dog</text>
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                <text>Silver gelatin print.&#13;
&#13;
24.9 x 18.5 cm&#13;
&#13;
Frederick Morse was a photographer who lived next door to the Grainger household at 9 Cromwell Place, White Plains, in New York. His wife Tonie Morse became Grainger’s manager in 1925. Grainger initially commissioned him to shoot publicity photographs, but as the two men became more familiar with each other, Frederick took many informal images of Percy and Ella Grainger. He and Grainger also exercised together and engaged in bouts of Graeco-Roman wrestling.</text>
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                <text>Percy Grainger with Dr Earle Kent, and ‘Dr Kent’s Electronic Music Box’,</text>
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                <text>Percy Grainger with Dr Earle Kent, and ‘Dr Kent’s Electronic Music Box’, USA, c.1951&#13;
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Reproduction from original 35 mm slide&#13;
&#13;
Grainger Museum Archive, 99.6700.1&#13;
&#13;
With his Free Music experiments conducted through the 1940s and 1950s, Grainger had also been searching for ways of producing new sonic environments. He made contact with Dr Earle Kent, an expert in acoustic research who had just completed his PhD in the field at the University of Michigan. Grainger went to Elkhart, Indiana, where Kent ran a Research Engineering Department for the Conn Company, to see Kent’s Electronic Music Box in 1951. Kent’s machine was an analogue ‘beat frequency’ vacuum tube-based synthesizer controlled by a punched paper strip device, similar to the pianola paper reader that Grainger used with his Duo-Art pianola Free Music experiments. Grainger was apparently unsatisfied with the possibilities of Kent’s machine, which was never commercially produced, and went back to his own experimental process.&#13;
&#13;
Grainger didn’t lose interest in composition using the new synthesizers: either Grainger, or Burnett Cross, appears to have attended a demonstration of the RCA Electronic Synthesizer at the Julliard School of Music, New York, in 1957, and Grainger attended a lecture entitled ‘New Instruments and Electronic Music’ given by Karlheinz Stockhausen on 3 November 1959, at Columbia University, USA</text>
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According to the inscriptions on the top and bottom of the photograph, this image depicts Percy Grainger scoring ballads in his dining room at Springfield Apartments. It also refers to Ella Grainger's table and hanging bookcase in the room.  Details of the photography studio are stamped at the back of the photo. The envelope from May Co contains Percy Grainger's instructions to the photography studio on how he wants his images to be printed. &#13;
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                <text>25 September 1943</text>
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                <text>Copyright Grainger Estate</text>
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