30 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/110b3c8a5d3c1f0967b596ff35bdae14.JPG d7152bc5b8e9446034519b6927033ebb 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 Tape of electronic music by Val Stephen Subject The topic of the resource Electronic Music Description An account of the resource Tape of electronic music by Val Stephen. Source A related resource from which the described resource is derived University of Melbourne Conservatorium of Music 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/a0cc6f192afd567e2ebb3250fb7f2756.jpg b9ce29e56bb3673cddde760db4c6c114 https://omeka.cloud.unimelb.edu.au/grainger/files/original/dc04e3f476e2abbea439ba061fa159f8.jpg bf345a4c165228073e9cbe884699dd43 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 Grainger Museum experimental music displays and workshops Subject The topic of the resource The Grainger Museum experimental music displays and workshops Description An account of the resource Unknown photographer, probably Robert Hyner. The Grainger Museum experimental music displays and workshops, c.1966–67 Grainger Museum Collection, Robert Hyner. When he arrived at the Grainger Museum in 1966, Humble worked with Grainger curator Robert Hyner to source and display a rich collection of contemporary music scores. These included music by contemporary Australian composers such as Margaret Sutherland, George Dreyfus and Dorian Le Gallienne, and international avant-garde composers. The display was intended to attract experimental composers and researchers to the Grainger Museum. Hyner noted that the visitors to the Museum in that period ‘were very interested in Percy of course, but they were also interested in [the scores] ... We had an enormous collection’. Humble ran children’s workshops on Saturdays in the Museum in 1967, encouraging young participants to learn about music through experimentation and improvisation. He believed that ‘all education was subversive’, and felt a great responsibility for his students of any age. The children’s workshops were primarily educational, but were also a way of gathering raw sonic material for Humble’s Musique concrète compositions, such as Music for Monuments (1967). Ian Bonighton assisted Humble with the Saturday morning classes, and can be seen in the background of the photograph at the left, while Humble is demonstrating to young students on the right. Creator An entity primarily responsible for making the resource Unknown photographer Date A point or period of time associated with an event in the lifecycle of the resource c.1966–67 Format The file format, physical medium, or dimensions of the resource Photograph https://omeka.cloud.unimelb.edu.au/grainger/files/original/8e2da38add755a0780b1acf337cdf902.jpg 3e2e7dd58790ffcfc3744a75faf8f15b 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 Harmonic Metallophone, 2009 aluminium Subject The topic of the resource tuned percussion; gongs; How it Plays exhibition Description An account of the resource These are a suit of innovative instruments designed and created by Neil McLachlan. Neil McLachlan is an Associate Professor with the Melbourne School of Psychological Sciences at the University of Melbourne. Like Anton Hasell, his research and practice has continued to evolve since the Federation Bells project, across a great many areas of expertise including neuro-acoustics and gong design. The suite of instruments in this photograph include, from left to right: Harmonic Gongs, 2009, 2014 (steel). Left gong: The World’s first gong to produce multiple harmonically tuned frequencies. It was hand formed and tuned in 1.6mm mild steel by Dr Neil McLachlan in the Melbourne School of Psychological Sciences workshop at the University of Melbourne in 2009. The harmonic tuning was achieved by tensioning the surface of the gong with four dimples that affect the frequencies of variously shaped standing waves in the gong surface. The gong was then ‘pacified’ by electroplating to prevent rust. Right gong: A production prototype gong made in 1.6mm stainless steel in 2014. The gong was tuned by Dr McLachlan using a purpose-built computer controlled 2-tonne press that is capable of creating dimples at 50 micrometre accuracy to allow mass production. Gongs are revered in South East Asia just as bells are revered in Europe. The traditional Indonesian ensembles called Gamelan feature tuned gongs spanning many octaves. Since Indonesian gongs don’t have harmonic tuning, Europeans need to learn how to hear the pitch of Indonesian gongs by playing in a Gamelan ensemble. But you can hear the clear pitches and harmony of these harmonic gongs by gently striking each gong near its centre. The Harmonic Metallophone, 2009 (aluminium): Flat bars of wood and metal naturally produce widely spaced frequencies. Traditional xylophone and metallophone keys have carved arches to tune their 2nd frequency by changing the stiffness of the key. This design tunes the first 4 frequencies of the key to ratios of 1: 2: 4: 6 by changing the key width (and hence it’s mass) at the maximum amplitude of each standing wave without changing the key thickness. The shapes of the first four standing waves of a flat bar are shown below. This is a prototype key exactly as it was laser cut from a 10mm thick aluminium plate. It is suspended on stainless steel leaf springs instead of the traditional method of suspending keys by chords. For more information see: N. McLachlan (2011). The design of a harmonic percussion ensemble, Journal of the Acoustical Society of America, 129, 3441-3444. N. McLachlan et al. (2013). The musical environment and auditory plasticity: Hearing the pitch of percussion. Frontiers in Psychology N. McLachlan et al. (2012). Tuning natural modes of vibration by prestress in the design of a harmonic gong, Journal of the Acoustical Society of America, 131, 926-934. Creator An entity primarily responsible for making the resource Neil McLachlan (designer) Source A related resource from which the described resource is derived Photograph by the Grainger Museum Date A point or period of time associated with an event in the lifecycle of the resource Photographed in the Grainger Museum 2019 Identifier An unambiguous reference to the resource within a given context Created by Neil McLachlan, and lent to the Grainger Museum in 2019 for the exhibition How it Plays: Innovations in Percussion. The suite of instruments was donated to the Grainger Museum in 2020 by Neil McLachlan. https://omeka.cloud.unimelb.edu.au/grainger/files/original/a8d9fa7c586dde0f937d6b41967ca136.tif 33f09e7e4ad493aebc690265b4299fb4 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 State of the Art of Electronic Music in Australia Seminar program Subject The topic of the resource Electronic music Description An account of the resource This program was an in-house double-sided program for the 1971 seminar at the University of Melbourne, The State of the Art of Electronic Music in Australia Creator An entity primarily responsible for making the resource University of Melbourne Source A related resource from which the described resource is derived Grainger Museum Archive, 2017/23-9/8 Date A point or period of time associated with an event in the lifecycle of the resource 1971 https://omeka.cloud.unimelb.edu.au/grainger/files/original/082b635311e75c4868a199aa31e6028d.tif 7641966717d0bf45943f3cd34e49255f https://omeka.cloud.unimelb.edu.au/grainger/files/original/a897ff26c4d08ac6e80dfa0d9e77567f.tif e8b03ebc4c4458caaf80218cd3ce968a 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 State of the Art of Electronic Music in Australia, program and flyer Subject The topic of the resource The State of the Art of Electronic Music in Australia Description An account of the resource The State of the Art of Electronic Music in Australia, program and flyer, 1971 Grainger Museum Archive, 2017/23/9 Creator An entity primarily responsible for making the resource The State of the Art of Electronic Music in Australia. 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 program and flyer Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23/9 https://omeka.cloud.unimelb.edu.au/grainger/files/original/5ad12aa1ecf9dfb2c91b810805507ede.JPG ddc3a4fee203d2f5d14bf4aba658e5ea https://omeka.cloud.unimelb.edu.au/grainger/files/original/5de58e10b7196cef60f39a657befad07.JPG c6875054cac03d75e9f70354a9bb6393 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 State of the Art of Electronic Music in Australia, seminar proceedings Subject The topic of the resource Electronic Music Seminar Description An account of the resource The State of the Art of Electronic Music in Australia, seminar proceedings, 1971 Grainger Museum 786.740994 STAT REF Humble promoted the discussion of contemporary music aggressively, creating a new climate of excitement in Melbourne around the avant-garde. The most significant event he organised to this end was the national seminar ‘The state of the art of electronic music in Australia’, held at the Conservatorium of Music and the Grainger Centre in 1971. This seminar brought many Australian composers together, focused for the first time in this country on the topic of electronic music. Humble arranged for the distinguished American composer, Milton Babbitt, to participate as a keynote speaker. A performance in Melba Hall of Babbitt’s Philomel for soprano and electronic tape was a highlight of the conference. The papers presented, on topics ranging from the commercial use of electronic music to the value of synthesizers in tertiary musical education, were all recorded on tape. Grainger Curator and composer Ian Bonighton and post-graduate student Agnes Dodds typed up the proceedings on a typewriter in the back office of the Museum. A key aspect of the seminar was the presentation of International Tape Samples, which were played via speakers in the Grainger Museum for six hours each of the three days of the conference. Participants listened to works by well-known composers such as Luciano Berio, Karlheinz Stockhausen, Milton Babbitt and Iannis Xenakis, as well as lesser known musicians. The seminar, in the words of the organisers, ‘did much to remove a popular fallacy, that in electronic music it is the medium above all else which has to be contended with by the listener, a notion which outlaws the music. 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 The State of the Art of Electronic Music in Australia, seminar proceedings Creator An entity primarily responsible for making the resource Faculty of Music, University of Melbourne https://omeka.cloud.unimelb.edu.au/grainger/files/original/502a15d3f381ad7ec881eab3efa0affd.jpg 4d9e776e0b904545e2822b3b8653bef7 https://omeka.cloud.unimelb.edu.au/grainger/files/original/a2696b9d726ab97af1b6c07a47082c69.jpg f2aaa8bbdb7bd41a1757a8eb885de660 https://omeka.cloud.unimelb.edu.au/grainger/files/original/ea3cad6f391e92312d6f16bf876f1c01.jpg f96c034c3a7fec0cfef483cdc82bb9c2 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 Three plans, plus one sketch, for the Grainger Museum Subject The topic of the resource Grainger Museum architectural plans; architecture Description An account of the resource 1. Amended Ground plan with "future staircase" marked (dated 3 October 1938) 2. Proposed Additions to the Grainger Museum (undated) 3. Ground plan, blue paper with white writing (undated) 4. Grainger Museum, sky-view sketch (December 1938) Creator An entity primarily responsible for making the resource John Stevens Gawler; Gawler & Drummond Architects 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 1935-1938 Contributor An entity responsible for making contributions to the resource Grainger Museum Identifier An unambiguous reference to the resource within a given context 08.0229.1-.3 https://omeka.cloud.unimelb.edu.au/grainger/files/original/2605cd33f5b046e901b05b8bc11a71d1.jpg e84fc90444271779fd19ca9123f04ccf 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 Tiepin presented to Percy Grainger by the King and Queen of Norway, c.1910 Subject The topic of the resource Objects of Fame: Nellie Melba and Percy Grainger Description An account of the resource In 1905 Grainger presented his first Royal Command Performance before Queen Alexandra at Buckingham Palace, London. Performances for European royalty soon followed, including the King and Queen of Denmark in Copenhagen in 1905, and the King and Queen of Norway in 1910. The Adelaide Observer reported in February 1910: ‘King Haakon VII, and Queen Maud of Norway have attended two recitals by brilliant Australian pianist, Percy Grainger, at Christiania. Their Majesties expressed themselves delighted with his playing and presented him with a handsome souvenir.’ Creator An entity primarily responsible for making the resource Made by David-Andersen, Christiania, Norway Source A related resource from which the described resource is derived Grainger Museum, University of 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.1910 Rights Information about rights held in and over the resource Grainger Museum Identifier An unambiguous reference to the resource within a given context Grainger Museum Collection, 01.0397 https://omeka.cloud.unimelb.edu.au/grainger/files/original/b6649cb294a6273d7cc8804cd7fe0144.jpg 837daaaf6f0126ed27ec9680841b882d https://omeka.cloud.unimelb.edu.au/grainger/files/original/89119149ae113da4eb29eac14948b686.jpg 44a2c9eb91368d1e290db65cfcc36d1c 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 Tokugawa Iemasa (1884–1963) Subject The topic of the resource Photograph Description An account of the resource Silver gelatine print. Photo: 33.3 x 23.4 cm Photo and board: 48.4 x 35.4 cm In the late 1930s Harris & Ewing was the largest photographic studio in the United States, with five physical locations and approximately 120 employees. A very important position in large studios was the printer, and Harris & Ewing employed experts in this field—a role that combined high-level technical skills with an ability to interpret the ‘house’ aesthetic. This portrait of Tokugawa Iemasa, Japanese diplomat and onetime lover of Ella Grainger, is a fine print with rich, velvety dark tones, carefully modulated skin tones and even chemically bleached highlights. Creator An entity primarily responsible for making the resource Harris & Ewing, Washington, D.C Date A point or period of time associated with an event in the lifecycle of the resource Unknown Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0077