Mark Carroll

David Pear

Malcolm Gillies

Shortly before his death, Percy Grainger (1882-1961) lodged over twenty unpublished sketches in his Australian Museum. Self-Portrait of Percy Grainger draws exclusively from these sketches, revealing for the first time an illuminating portrait of the composer's life. With such titles as "The Aldridge-Grainger-Strom Saga," "Thunks," "Ere-I-Forget," "The Love-Life of Helen and Paris," and "Anecdotes," these manuscripts were intended as precursors to Grainger's autobiography, My Wretched Tone-Life, which he only commenced in his final years. Expertly shaping these sketches, the editors have created a "self-portrait" along the lines that Grainger himself had intended. The volume first introduces Grainger's forebears, parents, friends, wife, and himself before moving on to his views on composition, performance, and the musical world. In these sketches, Grainger addresses such topics as racial and national identity, the meaning of work, physical culture, language reform, sexual practice, and artistic patronage. Grainger also probes the nature of musical genius, discussing a broad range of composers including Igor Stravinsky, Thomas Beecham, Frederick Delius, Edvard Grieg, Charles Stanford, Cyril Scott, Fritz Kreisler, Donald Tovey, Ferruccio Busoni, and Balfour Gardiner. Among the works of his own that Grainger most featured are his The Warriors --Music for an Imaginary Ballet, Colonial Song, the Lincolnshire Posy series of band pieces, his greatest "hit" Country Gardens, and his many settings of English folk-music. Written in Grainger's own self-created "Nordic English" as well as translated from Danish, the language of his most intimate confessions, Self-Portrait of Percy Grainger sheds light on some of the most revealing details of the composer's life. The sketches trace Grainger's changing self-perception, from the romantically tinged, even lustful, views of his forties and fifties, through a period of wistfulness in his sixties, to the bitterness and self-loathing of his old age. The volume also includes several of Grainger's own drawings as well as both public and private photographs. A fascinating and revealing collection of vignettes, this extraordinary book will appeal to instructors, students, and enthusiasts in musicology, music history, cultural studies, and Australian, British, and American history.

Self-Portrait of Percy Grainger

Lucy Maud Montgomery

John Hartley

Cameron Neylon

Eve Gray

The future of the university as an open knowledge institution that institutionalizes diversity and contributes to a common resource of knowledge: a manifesto. In this book, a diverse group of authors—including open access pioneers, science communicators, scholars, researchers, and university administrators—offer a bold proposition: universities should become open knowledge institutions, acting with principles of openness at their center and working across boundaries and with broad communities to generate shared knowledge resources for the benefit of humanity. Calling on universities to adopt transparent protocols for the creation, use, and governance of these resources, the authors draw on cutting-edge theoretical work, offer real-world case studies, and outline ways to assess universities’ attempts to achieve openness. Digital technologies have already brought about dramatic changes in knowledge format and accessibility. The book describes further shifts that open knowledge institutions must make as they move away from closed processes for verifying expert knowledge and toward careful, mediated approaches to sharing it with wider publics. It examines these changes in terms of diversity, coordination, and communication; discusses policy principles that lay out paths for universities to become fully fledged open knowledge institutions; and suggests ways that openness can be introduced into existing rankings and metrics. Case studies—including Wikipedia, the Library Publishing Coalition, Creative Commons, and Open and Library Access—illustrate key processes.

Reinventing Universities

Open Knowledge Institutions

Malcolm Gillies

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