31 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/11f179d321bb57c39810cfdc9ff62a32.TIF 0015910aae4b4ec4b2532b54430d7cb8 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 Towel Clothes legend written by Percy Grainger for the Grainger Museum display 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 Description An account of the resource The towel clothes in the Grainger Museum are one of the highlights of the Costume Collection. Numbering 26 individual pieces or outfit, the towel clothes represent the Graingers’ innovative ideas and creativity in dress. Percy Grainger wrote about the towel clothes for the display in his Museum in the following terms: “Towel clothes made by Rose Grainger, Percy Grainger and Ella Grainger. The artist is not (as so many so called “inartistic” people seem to like to believe) a being supernaturally gifted with skill for some branch of art. To sing, make music, paint, draw, carve and dance is natural to all humanity, and it is only a lopsided civilisation, made on “specialisation”, that scares the “tame cats” of humanity into abandoning their natural right to an allround manysided life. The artist-type is not quite so tam-cat-like and more easily avoids what Tennyson called “the falsehood of extremes”. So the artist tries to keep the balance between normality and the slavish modes and crazes of the moment. In a licentious age he is a puritan; in a puritanical age he is a hedonist; in a dirty age he strives to be clean; in a drab age he is colour-seeking. My mother was devoted to Lafcadio Hearn’s stories of Japan and she worshipped many aspects of Japanese civilisation – for instance its cleanliness. And she and I often discussed the filthiness of European clothes: men’s coast in which the sweat of years is allowed to gather, our shoes that bring the dirt of the streets into our homes. And around 1910 (after we both had been fired by the beauty of Maori and South Sea island clothes and fabrics seen in museum in New Zealand and Australia) my mother mooted the idea of clothes made of Turkish towels – cool in summer, warm in the winter, and washable at all times. I leaped at the idea, seeing therein a chance to return to something comparable with the garish brilliance of the “skyblue and scarlet” garments of our Saxon and Scandinavian forefathers. I resented very much that the darkness and dullness of more southerly European fashions (after the Norman Conquest) had ousted the bright colourfulness natural to the north of Europe (think of the clothes made of bird’s feathers described in Lady Gregory’s translations of old Irish Tales). The result of my mother’s and my teamwork is the field of towel-clothing is seen in [this Grainger Museum display]. Between 1910 and 1914 I wore these clothes while giving many of my lessons in London and continually during my composing holiday in Denmark. In 1932 and 1933 my wife and I took up again this idea of clothing made of towelling and when in Australia in 1934 and 1935 we were amazed by the beauty of the bath towels on sale in Australia – some imported from England, Chekoslovakia [sic] and America, but most of them (and amont them the most beautiful ones) manufactured in Australia. Here was a chance to show what could be done with the beauty born of machinery – a beauty as rich and subtle, in its own way, as anything made by hand or loom. The problem was to use the towels with as little cutting and swing as possible, and in this skill my wife shone.” 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/c970b5d95ded160499d1d8b2e6563361.jpg 96201176af97136987b38275dfa997f9 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 Travel sewing kit belonging to Rose Grainger, c.1915 Subject The topic of the resource Objects of Fame: Nellie Melba and Percy Grainger Creator An entity primarily responsible for making the resource Maker unknown 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.1915 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, 01.0250 https://omeka.cloud.unimelb.edu.au/grainger/files/original/2a84c3aea59c884247e9b0de7cfa2eb4.jpg 436104a000e3b04b2e844d7ed504c654 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 Tribute to Foster, part for mixed chorus, 7 February 1931 Description An account of the resource Audiences were fascinated and amused and sometimes bemused by the novelty and adventurous nature of Grainger’s orchestration in performances of his radical compositions. The Brisbane Courier-Mail observed, after a concert in October 1934, how “Novelties and humour intrigued the audience...but whether it all commended itself to the auditors is another matter. One sensed that the reactions were not always of the utmost pleasure, but...there was not a little that could be enjoyed for its own intrinsic merit or sheer beauty.” Tribute to Foster provided some light relief, the newspaper noting, “it was a felicitous experience to hear the soloists and a large choral group from the Brisbane Austral Choir, with the utmost seriousness of purpose, uniting in this example of modern choral music. Those who are ordinarily to be seen in public performance comporting themselves as earnest musicians engrossed in conventional music, on this occasion cheerfully devoted themselves to weird and wonderful effects ...” Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (composer) 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 1931 Identifier An unambiguous reference to the resource within a given context SL1 MG3:94-1 https://omeka.cloud.unimelb.edu.au/grainger/files/original/37b164f3a7e01a5c9c29e89a8655faa6.jpg 7fae64234a8e16fed292c3f9f14069ce 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 Tribute to Foster, Score for mixed chorus, 7 February 1931 Description An account of the resource This heavily annotated cover of the singers’ parts for Tribute to Foster demonstrate the complexity of the performance arrangements, which included three conductors harnessing three sets of musicians, often playing to a different beat. Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (composer) G. Schirmer, Inc., New York (publisher) Date A point or period of time associated with an event in the lifecycle of the resource 1931 Identifier An unambiguous reference to the resource within a given context SL1 MG3:94-2 https://omeka.cloud.unimelb.edu.au/grainger/files/original/acfd6fb1aa6587a5213751ec19afba79.tif 861b5a2d3761d4b1c8c883aa3b7cc432 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 Tribute to Grainger conducted by Keith Humble Subject The topic of the resource Music performances Description An account of the resource Tribute to Grainger conducted by Keith Humble, and tickets to the event, 1976 Grainger Museum Archive, HO1196 Date A point or period of time associated with an event in the lifecycle of the resource 1976 Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, HO1196 https://omeka.cloud.unimelb.edu.au/grainger/files/original/e4344c23bebba8abcb5e2e163478df41.jpg df5c567aeda99193007fa327c22bcd66 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 Tristram Cary in his studio at Fressingfield, UK, early 1970s Subject The topic of the resource Electronic Music Description An account of the resource Tristram Cary in his electronic studio at Fressingfield, UK, early 1970s Creator An entity primarily responsible for making the resource Photographer unknown Source A related resource from which the described resource is derived John Cary Date A point or period of time associated with an event in the lifecycle of the resource early 1970s Rights Information about rights held in and over the resource Reproduced with permission from Tristram Cary Estate https://omeka.cloud.unimelb.edu.au/grainger/files/original/d6e80fef73b981796df464dae3574a93.tif a316d39af7a7df5125a1a66086b56da0 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 Tristram Cary, Divertimento: for Olivetti machines, chorus and percussion Subject The topic of the resource Music score Description An account of the resource Manuscript score, Rare Music, Special Collections, University of Melbourne Divertimento is an example of British composer Tristram Cary’s combination of electronic compositional techniques, including recorded sound, electronic sounds, and traditional acoustic sound in live performance. Cary wrote of this piece: “In 1973 the huge Italian business machine manufacturer Olivetti (headquarters in Milan) planned a grand opening for their new training centre at Haslemere, Surrey... Since they wanted an unmistakable Olivetti element in the concert, I was commissioned to write a piece incorporating the sounds of their business machines, which ranged from small typewriters to large and noisy machines for various purposes.” Cary gathered the sounds in Olivetti's London showroom with a Nagra tape recorder, a mixer and microphones. He then transformed the machine noises with his electronic equipment at his private studio, including softening the sounds, and using them both at normal speed and considerably slowed down. Cary came to Australia to live in the following year. He made a short version of the piece (without voices) called Tracks from Divertimento, for use on a LP record of new Australian computer music. This LP, Full Spectrum (1978), is seen here in this display. Full Spectrum included a realisation of Grainger’s Free Music made on the Music V system at the Conservatorium of Music, University of Melbourne, two years after Les Craythorn first realised the score on the EMS Synthi 100. Creator An entity primarily responsible for making the resource Tristram Cary Date A point or period of time associated with an event in the lifecycle of the resource 1973 Rights Information about rights held in and over the resource Copyright Tristram Cary Estate https://omeka.cloud.unimelb.edu.au/grainger/files/original/5b920a3300432286e58d617b3efee207.tif 9ac76f156168b82c34a892493d9a0c72 https://omeka.cloud.unimelb.edu.au/grainger/files/original/ac8c47d1121cca67acb33a854eab1a53.jpg d38d9bbea18fb639ad027c55bc786da6 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 Tristram Cary, Trios for Synthi VCS3, synthesizer and turntables Subject The topic of the resource Musical score and LP Description An account of the resource Trios was essentially a musical game of chance, where three performers play a unique musical event, with content drawn from 16 ‘Events’ pre-created by Cary. The game is played by three players, one playing a VCS3, and the other two using DUAL turntables. Tracks on the records are selected and played according to the throw of a pair of dice. One performer would operate the VCS3 synthesiser and mixer as a live treatment. Every performance of the work was uniquely different, typically lasting between nine and 15 minutes, with each performance achieving a different effect – some more dynamic, some more tranquil. Trios was first performed at the Cheltenham Festival, 1971, the VCS3 part taken by the composer and the turntable parts by Cary’s sons John and Robert. This score, supplied with the LP recording of Trios, was also a clever marketing exercise by EMS, encouraging and assisting early users of the VCS3 to exploit the full potential of the instrument. Creator An entity primarily responsible for making the resource Tristram Cary Publisher An entity responsible for making the resource available EMS London Date A point or period of time associated with an event in the lifecycle of the resource 1971 Contributor An entity responsible for making contributions to the resource On loan to the Grainger Museum from David Collins Rights Information about rights held in and over the resource Copyright Tristram Cary Estate and EMS https://omeka.cloud.unimelb.edu.au/grainger/files/original/cfc156b86cf3f51e4f023782aa45b2f1.jpg 0abae86db0f5601731d57e18e437497e 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 Tuning fork, A440 Hz, after 1920 Description An account of the resource This tuning fork was manufactured by Deagan. It is inscribed on the back ‘ J.C. Deagan. Official pitch of A.F. of M. 1917 Adopted by US Gov't. 1920’. J. C. Deagan, was a musician and expert in the science of acoustics. He wrote many papers on the subject and was a major campaigner for the standardisation of musical pitch in the USA. A standard (A= 440) was officially adopted in America in 1920 and eventually worldwide. Creator An entity primarily responsible for making the resource J. C. Deagan Inc., Chicago, USA (instrument maker) 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 after 1920 Identifier An unambiguous reference to the resource within a given context 00.0016