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A critical edition and exploration of Percy Grainger's The warriors - music to an imaginary ballet /Servadei, Alessandro. January 1996 (has links)
Thesis (M. Mus.)--University of Melbourne, 1996. / Typescript (photocopy). The CD is a recording of the world premiere performance of this new full-score edition of Percy Grainger's The warriors, recorded at the Melbourne Town Hall June 3, 1995, as part of the Faculty of Music's Centenary Celebrations. The University Symphony Orchestra was conducted by Geoffrey Simon, utilizing Grainger's steel marimba and staff bells, and with piano soloists Glen Riddle, Ian Holtham and Robert Chamberlain. Includes bibliographical references (v. 1).
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The Grainger Museum in its museological and historical contexts /Nemec, Belinda. January 2006 (has links)
Thesis (Ph.D.)--University of Melbourne, The Australian Centre, 2006. / Typescript. Includes bibliographical references (v. 1, leaves [283]-354).
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Percy Grainger and the virtuoso tradition : case studies in Grainger's pianism /Tan, Eleanor Al Ling. January 2001 (has links) (PDF)
Thesis (Ph. D.)--University of Queensland, 2002. / Includes bibliographical references.
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The Grainger Museum in its museological and historical contextsNemec, Belinda Jane Unknown Date (has links) (PDF)
This thesis examines the Grainger Museum at the University of Melbourne in the context of the history of museums, particularly those in Europe, the United States and Australia, during the lifetime of its creator, Percy Aldridge Grainger (1882–1961).Drawing on the collection of the Grainger Museum itself, and on both primary and secondary sources relating to museum development in the late nineteenth and first half of the twentieth centuries, the thesis demonstrates that the Grainger Museum reflects many of the concerns of museums of Grainger’s day, especially of the years prior to his relocation to the United States in 1914. Many of those concerns were products of the nationalistic endeavours arising from political upheavals and redefinitions in nineteenth-century Europe, the imperialism which reached its zenith by the First World War, and the racialist beliefs, hierarchies and anxieties accompanying that imperialism. In particular, Grainger’s lifelong concern with racial identity manifested in hierarchical and evolutionary museum interpretations typical of his earlier years. I explore the paradox of Grainger’s admiration for the musical and material culture of the racial ‘other’ and his racially supremacist views, and the way he presented these two apparently conflicting ideologies in his Museum.
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Percy Grainger: Sketch of a New Aesthetic of Folk MusicFreeman, Graham William 20 January 2009 (has links)
Percy Grainger collected English folk song only for a short period between 1905 and 1909 as part of the revival of interest in all things English among antiquarians, folklorists, and nationalists. Grainger’s publication of his transcriptions and analysis in the Journal of the Folk Song Society in 1908 is considered one of the most insightful and groundbreaking examinations of English folk song of its time, far removed from the dilettante activities of many other collectors. His article was, however, harshly criticized by the Editorial Committee of the Journal, and Grainger subsequently never again published any significant transcriptions of English folk music.
Grainger’s English folk song transcriptions have received their fair share of attention from ethnomusicologists. Thus far, however, no one has examined the connections between this aspect of his musical activities and his modernist philosophy of music. I contend that Grainger’s article contains the seeds of what would eventually become his mature, though never fully realized, musical aesthetic, and that it was this aesthetic that allowed him to examine English folk song in a manner never before imagined by other collectors. This dissertation follows the thread of his aesthetic throughout his numerous musical interests in order to demonstrate the potency of his philosophy as manifest in his examination of folk song in the Journal. To this end, I bring to bear a wide range of critical methodologies, including those of ethnomusicology, aesthetics, and critical theory. Grainger never spelled out with any clarity the fundamental tenets of his aesthetic, but I believe that such an aesthetic can be reconstructed through a broad examination of his writings and his music. Grainger shares his role in this dissertation with many other characters including Benjamin Britten, Evald Tang Kristensen, Cecil Sharp, Bela Bartok, Ferruccio Busoni, and even Jacques Derrida, often even ceding his place in the spotlight to them. This is, however, a crucial occurrence, for as my examination demonstrates, this fully realized version of his aesthetic means that Grainger emerges as a far more important and revolutionary thinker in the history of music than he has thus far been considered.
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Percy Grainger: Sketch of a New Aesthetic of Folk MusicFreeman, Graham William 20 January 2009 (has links)
Percy Grainger collected English folk song only for a short period between 1905 and 1909 as part of the revival of interest in all things English among antiquarians, folklorists, and nationalists. Grainger’s publication of his transcriptions and analysis in the Journal of the Folk Song Society in 1908 is considered one of the most insightful and groundbreaking examinations of English folk song of its time, far removed from the dilettante activities of many other collectors. His article was, however, harshly criticized by the Editorial Committee of the Journal, and Grainger subsequently never again published any significant transcriptions of English folk music.
Grainger’s English folk song transcriptions have received their fair share of attention from ethnomusicologists. Thus far, however, no one has examined the connections between this aspect of his musical activities and his modernist philosophy of music. I contend that Grainger’s article contains the seeds of what would eventually become his mature, though never fully realized, musical aesthetic, and that it was this aesthetic that allowed him to examine English folk song in a manner never before imagined by other collectors. This dissertation follows the thread of his aesthetic throughout his numerous musical interests in order to demonstrate the potency of his philosophy as manifest in his examination of folk song in the Journal. To this end, I bring to bear a wide range of critical methodologies, including those of ethnomusicology, aesthetics, and critical theory. Grainger never spelled out with any clarity the fundamental tenets of his aesthetic, but I believe that such an aesthetic can be reconstructed through a broad examination of his writings and his music. Grainger shares his role in this dissertation with many other characters including Benjamin Britten, Evald Tang Kristensen, Cecil Sharp, Bela Bartok, Ferruccio Busoni, and even Jacques Derrida, often even ceding his place in the spotlight to them. This is, however, a crucial occurrence, for as my examination demonstrates, this fully realized version of his aesthetic means that Grainger emerges as a far more important and revolutionary thinker in the history of music than he has thus far been considered.
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Percy Grainger's treatment of Irish tune from County Derry with emphasis on its bandstrationLusk, Raymond Lee January 2010 (has links)
Digitized by Kansas Correctional Industries
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A critical edition and exploration of Percy Grainger's The warriors - music to an imaginary balletServadei, Alessandro Unknown Date (has links) (PDF)
Commissioned by Sir Thomas Beecham for the Ballets Russes, during their London season, but ultimately completed and premiered in the United States, The Warriors - Music to an Imaginary Ballet is Grainger’s most ambitious and experimental orchestral composition. Written in a traditional full score format, by the time it was published ten years later, The Warriors had been altered to conform to Grainger’s unique compressed score layout. The concessions and omissions needed for such a drastic alteration were not true to the composer’s ideas. Along with a comprehensive historical introduction to the work, the notion of the compressed score is placed into the context of Grainger’s own scoring methods, as well as the greater context of avant-garde score layout in the twentieth century. A detailed chronology of The Warriors autograph and printed sources provides a working model of how a ms. study of Grainger’s music may be undertaken. 2 vols. xi +124 pp., 5 illustrations, 45 examples, bibliography, discography, appendices. Full orchestral score and critical commentary, 125pp. (A3), with additional programme note, composer’s analysis, notes to conductors, list of instrumentation and CD recording of edition’s premiere performance.
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Percy Grainger and Ralph Vaughan Williams a comparative study of English folk-song settings for wind band /Holtz, Shawna Meggan. January 2009 (has links)
Thesis (M.M.)--University of Texas at El Paso, 2009. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.
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"Pictures of Percy: Suite for Soprano Saxophone & Piano" (2023), An Original Composition in the Style of Percy GraingerPich, Dylan Thomas 05 1900 (has links)
Percy Aldridge Grainger (1882-1961) was a prolific Australian-American composer whose cutting-edge musical works ushered performers, conductors, and audiences into the modern era with little regard for their comfort zones. Some of his most important work was the research, collection, and arranging of folk songs, particularly British folk songs. Grainger often set these folk songs for wind band, an ensemble for which he was a strong proponent. His works for band were some of the earliest to include prominent saxophone parts and solos. He was a vocal proponent of the saxophone family and is an important figure in the history of the instrument. Despite Grainger's outspoken love for the saxophone, he never composed any original solo repertoire for the instrument. The new, original composition Pictures of Percy: Suite for Soprano Saxophone and Piano (2023) was crafted in an effort to remediate this void within the saxophone repertory. The work includes new arrangements of Grainger's compositions as well original music. The work is intended to add some semblance of Grainger's compositional voice to the saxophone literature while also paying homage to his passion for the saxophone family and his influence on its history.
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