9 10 337 https://omeka.cloud.unimelb.edu.au/grainger/files/original/88473a92fed476cda9374859f9e8a4cd.jpg 1ceb2ea3a031c697b4212c795dfd4195 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 Jan Kubelik Subject The topic of the resource Photograph Description An account of the resource Platinum print. Photo: 20 x 14.9 cm Paper: 35.6 x 26.3 cm Board: 64.1 x 51.1 cm Czechoslovakian-born Jan Kubelik (1880-1940) had an international reputation as a virtuosic violinist. Later in life he made Edison Phonograph recordings with Dame Nellie Melba, playing obligato to her solo performance of Ave Maria. Creator An entity primarily responsible for making the resource Henry Walter Barnett (1862–1934), London Date A point or period of time associated with an event in the lifecycle of the resource 1913 Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.008 https://omeka.cloud.unimelb.edu.au/grainger/files/original/68a596a31ce6841ab42601717524354d.jpg 1ceb2ea3a031c697b4212c795dfd4195 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 Jan Kubelik Subject The topic of the resource Photograph Description An account of the resource Platinum print. Photo: 20 x 14.9 cm Paper: 35.6 x 26.3 cm Board: 64.1 x 51.1 cm Czechoslovakian-born Jan Kubelik (1880-1940) had an international reputation as a virtuosic violinist. Later in life he made Edison Phonograph recordings with Dame Nellie Melba, playing obligato to her solo performance of Ave Maria. Creator An entity primarily responsible for making the resource Henry Walter Barnett (1862–1934), London Date A point or period of time associated with an event in the lifecycle of the resource 1913 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 17.0080 https://omeka.cloud.unimelb.edu.au/grainger/files/original/82669bae4a523c0cc53da601e2912ab9.jpg 1ceb2ea3a031c697b4212c795dfd4195 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 Jan Kubelik Subject The topic of the resource Photography Description An account of the resource Platinum print. Photo: 20 x 14.9 cm Paper: 35.6 x 26.3 cm Board: 64.1 x 51.1 cm Czechoslovakian-born Jan Kubelik (1880-1940) had an international reputation as a virtuosic violinist. Later in life he made Edison Phonograph recordings with Dame Nellie Melba, playing obligato to her solo performance of Ave Maria. Creator An entity primarily responsible for making the resource Henry Walter Barnett (1862–1934), London. Date A point or period of time associated with an event in the lifecycle of the resource 1913 Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.008 https://omeka.cloud.unimelb.edu.au/grainger/files/original/6be9949199470db8ddc4d984d76bd650.jpg 9629cb66a023ff659836881773a440bc https://omeka.cloud.unimelb.edu.au/grainger/files/original/5dc5beaec589879ac885bf6fad412089.jpg 52d7e6ba4816f083705aecc68436a144 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 Margot Harrison Subject The topic of the resource photograph Description An account of the resource Platinum print Photo: 20.5 x 15.3 cm Photo and frame: 34.2 x 26.2 cm In 1913 Grainger's then fiancée Margot Harrison ordered a very expensive present for her lover: a portrait of herself by H Walter Barnett. Despite his humble beginnings in the studio of Stewart & Co in Melbourne, with his brilliant business mind and extraordinarily gifted photographic eye, Barnett became one of the most sought-after society portraitists in Melbourne, New York and London. Jack Cato (who worked for Barnett) records in his book, The Story of the Camera in Australia (1955), that in 1909 a single portrait sitting with Barnett cost £37. Creator An entity primarily responsible for making the resource Henry Walter Barnett (1862–1934), London. Date A point or period of time associated with an event in the lifecycle of the resource 1/11/1913 Type The nature or genre of the resource Photograph Identifier An unambiguous reference to the resource within a given context 17.0026 https://omeka.cloud.unimelb.edu.au/grainger/files/original/c8ae21378251a91095336edede2fda39.jpg 41884d9122bcb5e7b350644dcc6ec523 https://omeka.cloud.unimelb.edu.au/grainger/files/original/1ddf4d34a65f17eab818752d00f19d4c.jpg 12bd0801bcdfd2b3cc250dbe8038ce79 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 Subject The topic of the resource Photograph Description An account of the resource Bromide print. 13.5 x 8.6 cm This portrait depicts the side profile of Percy Grainger with his arms folded. The back of the print appears to be similar to that of a postcard. There is an inscription in the middle that reads: Copyright Augener Ltd 63 Conduit Street, London W. Creator An entity primarily responsible for making the resource Holman & Paget, London. Date A point or period of time associated with an event in the lifecycle of the resource 1900s. 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 17.0030.1 https://omeka.cloud.unimelb.edu.au/grainger/files/original/6411e9ca295917fe388154b491262ebc.jpg df4faff0b6d2d110161f226ad749bdde https://omeka.cloud.unimelb.edu.au/grainger/files/original/9b5a03e79e452d8c0a1396b185391d4c.jpg 14018b16d976293e6c64f98e9e42d5fd 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 In Nomine, for tape, percussion and optional organ Description An account of the resource Ian Bonighton, In Nomine, for tape, percussion and optional organ, first performed 1973 (details) Graphic music score. Grainger Museum Archive, 2017/23-2/11 Composer Ian Bonighton (1942-1975) was appointed Curator of the Grainger Museum in 1970, while also working towards his Doctoral Degree in Music Composition (which he attained in 1972), and teaching at the Conservatorium. Bonighton was a student of Keith Humble, Australia’s most innovative composer in the period, who had returned from a decade in Europe with a passion to expose Melbournians to international Avant-garde music. Humble’s installation of electronic music equipment in the Grainger Centre (as it was known at the time) prompted Bonighton to explore the creation of compositions that amalgamated both acoustic and electronic sound. Sleep (1969), for 16-part choir and tape, was one of the first of these electro-acoustic works. Graphic scores like Sleep use undulating lines, dots, and shapes such as squares and rectangles, sometimes filled with shading or colour, to communicate the new sonic textures. New forms of notation such as these were very challenging for performers, and not well received by traditional instrumentalists. In Nomine was composed for tape, percussion and optional organ, and was first performed in 1973. Bonighton wrote that it was ‘...a piece designed for realisation in a studio with only limited means - one small synthesizer and two 2-track tape recorders’. It was written for performance on a EMS Synthi VCS3, one of the instruments Bonighton had available in the Grainger Electronic Music Studio in 1969, prior to the installation of the infamous Synthi 100. For the score for In Nomine Bonighton included extensive instructions for the original creation of the 4 electronic parts (Sounds A-D). Notation for the new sounds was a challenge for composers, and archival material such as Bonighton’s score gives rich insights into these early years of electronic experimentation. Bonighton’s Sleep, and In Nomine were recorded and published on the Move label on the LP Sequenza. Creator An entity primarily responsible for making the resource Ian Bonighton Date A point or period of time associated with an event in the lifecycle of the resource first performed 1973 Format The file format, physical medium, or dimensions of the resource Graphic music score: paper, ink Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-2/11 https://omeka.cloud.unimelb.edu.au/grainger/files/original/f4c85b2c98e55e0bc86742000bdf8040.jpg c788a68b4a22b2d741e95f3fdf4adf96 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 Ian Bonighton, Sequenza, 1971 Subject The topic of the resource Music manuscript Description An account of the resource Ian Bonighton, Sequenza, 1971 Grainger Museum Archive, 2017/23-2/10 Ian Bonighton (1942-1975) graduated in Music from the University of Melbourne in 1968, studying composition with Keith Humble. He was appointed to the teaching staff of the Conservatorium of Music, and for the next six years he continued his study with Humble, taking Masters and Doctoral degrees in composition. He was part-time Curator of the Grainger Museum from 1970-73, taking every opportunity to study Percy Grainger’s scores and Free Music experiments in the Grainger Archive at first hand. Bonighton’s Doctorate of Music, completed in 1972, focused on electronic music. Bonighton rarely composed purely electronic music, however, typically combining acoustic instruments such as organ or vocal ensembles, with prepared tape sounds. Bonighton’s instruction sheets for the realisation of In Nomine, utilising the EMS VCS3, show just how challenging working with these new instruments was, for both composers and performers. To further his skills and experience in electronic music internationally, Bonighton left Australia in 1974 on a travel grant from the Music Board of the Australia Council. He inspected electronic music studios in Stockholm, Utrecht, York and Cardiff. In London he spent time at the EMS studios, working with Peter Zinovieff, David Cockerell, and Tristram Cary. He was already very familiar with the EMS instruments, from the Grainger Centre. Bonighton’s tragic death in 1975 robbed the Australian experimental music world of a great talent. For the first composers of electronic music, there was a tension between the creation of new sounds never heard before in a musical context, and the necessity to represent these in a way that future musicians could interpret for performance or study. Graphic scores, such as Stockhausen’s Kontakte and Humble’s Music for Monuments and Statico I, are examples of the creative solutions that composers invented for this purpose. Traditional notation systems were replaced by graphic elements, such as undulating lines or circling points, shapes such as squares and rectangles filled with tone, or even colour. Graphic scores were also useful for representing ‘chance’ music, overcoming of the concept of duration by leaving the ordering of different passages indeterminate. American composer Morton Feldman, who spent most of his career trying to erase any sense of metre from his music, used graphic scores in order to make time “less perceptible as movement, more conceivable as image”. Creator An entity primarily responsible for making the resource Ian Bonighton 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 Instrument https://omeka.cloud.unimelb.edu.au/grainger/files/original/6ce379c7f156b127fe2d14b2332df4d2.jpg ec426deaf261b9bcdd4a3558626f7044 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 Ian Bonighton, Sleep for 16-part choir and tape, 1968–69 Subject The topic of the resource Ian Bonighton, Sleep for 16-part choir and tape, 1968–69 Description An account of the resource Ian Bonighton, Sleep for 16-part choir and tape, 1968–69 Graphic music score (detail) Grainger Museum Archive, 2017/23-2/2 Composer Ian Bonighton (1942-1975) was appointed Curator of the Grainger Museum in 1970, while also working towards his Doctoral Degree in Music Composition (which he attained in 1972), and teaching at the Conservatorium. Bonighton was a student of Keith Humble, Australia’s most innovative composer in the period, who had returned from a decade in Europe with a passion to expose Melbournians to international Avant-garde music. Humble’s installation of electronic music equipment in the Grainger Centre (as it was known at the time) prompted Bonighton to explore the creation of compositions that amalgamated both acoustic and electronic sound. Sleep (1969), for 16-part choir and tape, was one of the first of these electro-acoustic works. Graphic scores like Sleep use undulating lines, dots, and shapes such as squares and rectangles, sometimes filled with shading or colour, to communicate the new sonic textures. New forms of notation such as these were very challenging for performers, and not well received by traditional instrumentalists. Creator An entity primarily responsible for making the resource Ian Bonighton Date A point or period of time associated with an event in the lifecycle of the resource 1968–69 Format The file format, physical medium, or dimensions of the resource Graphic music score Identifier An unambiguous reference to the resource within a given context Grainger Museum Archive, 2017/23-2/2 https://omeka.cloud.unimelb.edu.au/grainger/files/original/245a219b6dc237e1f04490dd288c5060.jpg 5eb57bdf142a2f288391c4400c355191 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 Sequenza and other works by Ian Bonighton Subject The topic of the resource LP record Description An account of the resource Gift of Agnes Dodds. Grainger Museum Archive, 2017/30-1/1 Creator An entity primarily responsible for making the resource Ian Bonighton Publisher An entity responsible for making the resource available Move Records, Melbourne https://omeka.cloud.unimelb.edu.au/grainger/files/original/e908d8cc2e2112247fc69674b8327cc4.tif 376f8189036ab09c904086453d84765d 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 Ian Bonighton, Ring modulator diagram, 1969 Subject The topic of the resource Electronic music Description An account of the resource This is a diagram drawn by composer Ian Bonighton of a ring modulator, used in electronic music. Bonighton's 1969 Master of Music included a section on Electronic Equipment used in composition, and he included circuit diagrams of the ring modulator and theramin in the thesis. Creator An entity primarily responsible for making the resource Ian Bonighton Source A related resource from which the described resource is derived Grainger Museum Archive, 2017/23 Publisher An entity responsible for making the resource available Ian Bonighton Date A point or period of time associated with an event in the lifecycle of the resource 1969