5 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/cd90743455295e8359624b96ca39b252.tif 72dc47a76d0e82db98477aec66a365a9 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 Cross Grainger experiments "Sea Song" Sketch with 3 Solovoxes played by Pianola roll Subject The topic of the resource Free Music Creator An entity primarily responsible for making the resource Percy Aldridge Grainger Date A point or period of time associated with an event in the lifecycle of the resource 1950 Rights Information about rights held in and over the resource Copyright Grainger Estate Format The file format, physical medium, or dimensions of the resource Black and white photograph https://omeka.cloud.unimelb.edu.au/grainger/files/original/575fb18d7b66fbcde607f9663c02778b.tif 25178d0ff2c6e97cb0b69257310a4a01 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 Cross-Grainger experiments 1950: ‘Sea-Song’ sketch, 3 Solovoxes played by Pianola Roll. Subject The topic of the resource Cross-Grainger experiments Description An account of the resource Unknown photographer, Cross-Grainger experiments 1950: ‘Sea-Song’ sketch, 3 Solovoxes played by Pianola Roll, 1950 Graphic reproduction of original photograph Grainger Museum Archive, 99.5700 Grainger’s experimentation in electronic sound led him to investigate the capacity of the Hammond Solovox, which was manufactured between 1940 and 1948. The Solovox was a monophonic keyboard attachment instrument, which connected to an electronic sound generation box, amplifier and speaker. Grainger rigged up three of these instruments with his Duo-Art piano to explore electronic means of creating Free Music. In this experiment, he hand-cut a piano roll with a fragment of his Sea Song sketch (1907, 1922). The action of the piano keys pulled down the keys on each of the Solovoxes, which were tuned a fraction of a semi-tone apart. The effect, which you can hear on the recording he made of the experiments in February 1950, is quite eerie. In these electronic experiments, Grainger anticipated multitrack recording, sequencing, and interactive performance with sequencers. Electronic keyboard instruments, like the Solovox, sat in a middle ground of electronic music production, being the electronic reproduction of conventional musical sounds. Grainger’s experiments tried to stretch the capabilities of the electronic organ into the realm of the synthesizer, which had a far wider range of possible sounds and sonic textures. 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 1950 Format The file format, physical medium, or dimensions of the resource Graphic reproduction of original photograph Identifier An unambiguous reference to the resource within a given context 99.5700 https://omeka.cloud.unimelb.edu.au/grainger/files/original/67d39bf355db5c8378eb701d1b53c421.jpg 9397cd3e751d50fe3812997afd22f74a https://omeka.cloud.unimelb.edu.au/grainger/files/original/da4eb1297777c267b4114e6032740a8d.jpg f4ea5828d450fcf1e7b8924c5a2b39f4 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 Cyril Scott, late 1940s Subject The topic of the resource Photograph Description An account of the resource Chromogenic print from Kodachrome slide. Photo: 23.9 x 9 cm Photo and frame: 30.6 x 25.5 cm This portrait depicts a frontal view of Cyril Scott as an elderly gentleman. He is not looking directly at the camera and is wearing a black suit with a white shirt and black tie. The image has been mounted onto a board and contained within a cardboard frame. Creator An entity primarily responsible for making the resource Pavelle Colour Print. Made on Ansco Colour Printon. Pavelle Colour Incorporated, New York 19, N.Y. (Unknown photographer, United Kingdom) Date A point or period of time associated with an event in the lifecycle of the resource Late 1940s. 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 17.0028 https://omeka.cloud.unimelb.edu.au/grainger/files/original/cd21b886b57522c380dea5d13e47bdf0.jpg a93e44262c37dccd397cd698fdfbf25a 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 David Chesworth during his Artist-in-residency at Melbourne Electronic Sound Studio, 2017 Subject The topic of the resource Electronic Music Description An account of the resource David Chesworth was one of the two inaugural Artists-in-residence at MESS in 2017. David has had a long and rich association with analogue and digital synthesizers. Early in his career, he recorded the iconic '50 Synthesizer Greats', on an Akai 4000 DS reel to reel tape machine, using a monophonic Mini Korg 700 synthesizer. With guitarist Robert Goodge he formed the band Essendon Airport. This group released 'Sonic Investigations of the Trivial' and 'Palimpsest'. All are now reissued on CD and vinyl. Chesworth was coordinator of the Clifton Hill Community Music Centre, renowned as an experimental music venue. He founded the Innocent Records label with Philip Brophy, engineering or producing much of its output. Chesworth has continued his career in the sonic arts to the present, as an artist and composer. Key commissions include 5000 Calls, a sound installation for the Sydney Olympics in 2000 and Zaum Tractor a two screen sonic and video work included in the main program of the 2015 Venice Biennale, both made in collaboration with Sonia Leber. Chesworth's Residency at MESS culminated in a series of performances in late 2017. Source A related resource from which the described resource is derived Courtesy David Chesworth Date A point or period of time associated with an event in the lifecycle of the resource 2017 Contributor An entity responsible for making contributions to the resource David Chesworth https://omeka.cloud.unimelb.edu.au/grainger/files/original/e865e4e8daae428d9e804b434aac7f5f.jpg 2b7b2d98276b7a6bf970b21a480909ea 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 David Chesworth performing '50 Synthesizer Greats' at the Toff in Town, Melbourne, September 2017 Subject The topic of the resource Electronic Music. Description An account of the resource David Chesworth launched the re-release of his debut 1979 album '50 Synthesizer Greats' (Chapter Music) in September 2017 in a live performance at the Toff in Town venue in Melbourne. Chesworth recreated his parents’ 70s lounge room on stage and playing along to a reel to reel of the original album, adding extra synth lines live. Creator An entity primarily responsible for making the resource David Chesworth Source A related resource from which the described resource is derived David Chesworth Date A point or period of time associated with an event in the lifecycle of the resource September 2017 Contributor An entity responsible for making contributions to the resource David Chesworth Rights Information about rights held in and over the resource Used with permission of David Chesworth https://omeka.cloud.unimelb.edu.au/grainger/files/original/0f4f25c24a59a7ed72d8fc88ab688926.jpg f224ac00b91a38ae53515f20352b2ed8 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 Designs for Staff Bells, c. 1916 Creator An entity primarily responsible for making the resource Percy Aldridge Grainger (instrument designer) 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. 1916 https://omeka.cloud.unimelb.edu.au/grainger/files/original/9a575cd175186d630cedd1dd1e2a540f.tif f829f3794c31bc81172f511d8a76434a 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 Detail from University of Melbourne Gazette, December 1971, p.2 Subject The topic of the resource Electronic Music Description An account of the resource Milton Babbitt, American composer and Professor of Music at Princeton University, was invited as the international expert to the seminar 'The State of the Art of Electronic Music in Australia' at the University of Melbourne in 1971. This photograph, from the University of Melbourne Gazette, shows Babbitt, with local artist Stan Ostoja-Kotowski (left) and Keith Humble (right), in the Grainger Centre. Babbitt was hired as a consultant composer to work with the RCA Mark II Synthesizer at the Princeton-Columbia Electronic Music Centre. Babbitt was fascinated by the perceptual possibilities of the new world of electronic sound and human interaction. While Babbitt, was at the 1971 seminar ‘The State of the Art of Electronic Music in Australia’, he gave two extensive lectures on the topic of electronic music. He spoke at length about the unique possibilities of synthesized music. He observed: “Now you sit in front of the synthesizer, you specify something, you are probably extrapolating from your normal experience of music. You ask for something, you hear it, it may be what you expected but very often it is not because we know so little about the perceptual in music that we are scarcely in a position to extrapolate from the available experience from conventional, traditional instruments. And the wonderful thing about the synthesizer and its only advantage over the computer, its sole advantage, is that you do this with your ear at that moment; in other words, you specify something and then you draw this paper roll by hand under these brushes which scan them and you can listen and you can hear it – if you’ve gotten what you thought you wanted to get. If you don’t, you try again, and you try again, and you try again, on the basis of a combination of experience and hope… As a result a great deal of primary research with regard to how we hear music - not how we hear tones, but the testing both of errors, time order errors in the traditional sense, and simply how we hear music - have been accomplished.” Creator An entity primarily responsible for making the resource Unknown photographer Source A related resource from which the described resource is derived University of Melbourne Gazette, December 1971; Grainger Museum Archive 2017/23-4/5 Date A point or period of time associated with an event in the lifecycle of the resource December 1971 https://omeka.cloud.unimelb.edu.au/grainger/files/original/483aaebb4ed287b407e8acde286681ea.jpg d4551193c66c3589a7752e4bd1a100eb 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 Detail of the EMS VCS3 at MESS Subject The topic of the resource Analogue synthesizers; electronic music Description An account of the resource Detail of the EMS VCS3 at MESS, showing the patch panel and dials. Creator An entity primarily responsible for making the resource Photography by Amber Haines Source A related resource from which the described resource is derived Image courtesy MESS Ltd Date A point or period of time associated with an event in the lifecycle of the resource 2017 https://omeka.cloud.unimelb.edu.au/grainger/files/original/06de1c8e499b21e005c9fdb27f73b8d3.jpg bb5072ac3d8cf3a8f020dafb1e5a14cb 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 Detail of two EMS VCS3 instruments at MESS, 2017 Subject The topic of the resource Analogue synthesizers Creator An entity primarily responsible for making the resource Photography by Amber Haines Source A related resource from which the described resource is derived Photograph courtesy MESS Ltd Date A point or period of time associated with an event in the lifecycle of the resource 2017 https://omeka.cloud.unimelb.edu.au/grainger/files/original/bce843d2f6489f26afaba371eef1e456.jpg 648e78b779b2025558d1b5d18c630ca8 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 Detail, University of Melbourne Gazette, December 1971 'Electronics in Music' Subject The topic of the resource Electronic Music Description An account of the resource Jean-Charles Francois, supervisor of tape-sampling programmes, and Ian Bonighton, composer and supervisor of equipment at the electronic music seminar, for the seminar 'The State of the Art of Electronic Music in Australia', Grainger Museum and Conservatorium of Music, University of Melbourne, August 1971. 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, 2017/23-4/5 Publisher An entity responsible for making the resource available University of Melbourne Date A point or period of time associated with an event in the lifecycle of the resource 1971