The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Kara Grainger is an Australian soul blues and roots rock singer-songwriter, based out of Nashville, Tennessee, United States. She played with the Papa Lips band starting in 1994. In 1998, they were awarded the "Best New Band" award at the Australian Blues Music Awards. They changed their name to Grainger in 1998 and continued to play together until 2001. She signed as a solo artist with Craving Records in 2006.

"Brigg Fair" is a traditional English folk song sung by the Lincolnshire singer Joseph Taylor. The song, which is named after a historical fair in Brigg, Lincolnshire, was collected and recorded on wax cylinder by the composer and folk song collector Percy Grainger. It is known for its use in classical music, both in a choral arrangement by Grainger and a subsequent set of orchestral variations by Frederick Delius.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Colonial Song is a musical composition written by Australian composer Percy Grainger. Although Grainger created versions for different types of musical ensembles, its most commonly used version today is for concert band.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The theremin (; originally known as the ætherphone, etherphone, thereminophone or termenvox/thereminvox) is an electronic musical instrument controlled without physical contact by the performer (who is known as a thereminist). It is named after its inventor, Leon Theremin, who patented the device in 1928. The instrument's controlling section usually consists of two metal antennas that function not as radio antennas but rather as position sensors. Each antenna forms one half of a capacitor with each of the thereminist's hands as the other half of the capacitor. These antennas capacitively sense the relative position of the hands and control oscillators for frequency with one hand, and amplitude (volume) with the other. The electric signals from the theremin are amplified and sent to a loudspeaker. The sound of the instrument is often associated with eerie situations.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Death from Above 1979 (also known as Death from Above or DFA 1979) is a Canadian rock duo consisting of bassist Jesse F. Keeler and drummer and vocalist Sebastien Grainger from Toronto, Ontario, formed in 2001. The band released their debut album, You're a Woman, I'm a Machine, in 2004 and broke up in 2006. They reformed in 2011 and released their second album, The Physical World, in 2014. Since then the band has released two more albums, Outrage! Is Now in 2017 and Is 4 Lovers in 2021.

The Warriors: Music to an Imaginary Ballet is an orchestral piece written in the United States by the Australian-born composer and pianist Percy Grainger between 1913 and 1916. It is dedicated "For Frederick Delius, in admiration and affection". In addition to the usual orchestral forces, it calls for a very large percussion section, including off-stage brass, led by an assistant conductor, and three pianos. Critics were undecided as to whether the work was “magnificent”, or merely “a magnificent failure”.

The Warriors: Music to an Imaginary Ballet is an orchestral piece written in the United States by the Australian-born composer and pianist Percy Grainger between 1913 and 1916. It is dedicated "For Frederick Delius, in admiration and affection". In addition to the usual orchestral forces, it calls for a very large percussion section, including off-stage brass, led by an assistant conductor, and three pianos. Critics were undecided as to whether the work was “magnificent”, or merely “a magnificent failure”.

Gawn Grainger (12 October 1937 – 17 May 2025) was a Scottish actor, playwright and screenwriter.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

This is a list of films and miniseries that are based on actual events. All films on this list are from American production unless indicated otherwise.

This is a list of notable events in music that took place in 1931.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Deadly Women is an American true crime documentary television series produced by Beyond International Group and airing on the Investigation Discovery (ID) network. The series focuses on murders committed by women. It is hosted by former FBI criminal profiler Candice DeLong and narrated by Lynnanne Zager. Deadly Women was first broadcast in 2005 as a three-part miniseries under the subtitles: “Obsession”, “Greed”, and “Revenge”. It was revived as a regularly scheduled series and began airing on December 24, 2008. Two major changes were made: Lynnanne Zager replaced original narrator Marsha Crenshaw, and the number of cases in each episode was reduced from four to three. The episodes were also recorded and presented in a widescreen format. The series was canceled in 2021, after 14 seasons. Dubbed versions are also produced. A Spanish-language version aired on Discovery en Español under the title Las Verdaderas Mujeres Asesinas (True Killer Women); an Italian language version airs on Real Time Italy under the title Donne mortali (a literal translation of the English title).

"Seventeen Come Sunday", also known as "As I Roved Out", is an English folk song (Roud 277, Laws O17) which was arranged by Percy Grainger for choir and brass accompaniment in 1912 and used in the first movement of Ralph Vaughan Williams' English Folk Song Suite in 1923. The words were first published between 1838 and 1845. According to Roud and Bishop "This was a widely known song in England, and was also popular in Ireland and Scotland. It is one of those which earlier editors, such as Sabine Baring-Gould and Cecil Sharp, felt obliged to soften or rewrite for publication. It was also common on broadsides throughout the nineteenth century" An earlier version was first printed on a broadside of around 1810 with the title Maid and the Soldier. Early broadside versions were sad songs focused on the abandonment of the girl by the young man. Later broadside and traditional folk versions celebrate a sexual encounter. A censored version published by Baring-Gould and Sharp substitutes a proposal of marriage for the encounter.

The "Londonderry Air" is an Irish air (folk tune) that originated in County Londonderry, first recorded in the nineteenth century. The tune is played as the victory sporting anthem of Northern Ireland at the Commonwealth Games. The song "Danny Boy" written by English lawyer Fred Weatherly uses the tune, with a set of lyrics written in the early 20th century.

The "Londonderry Air" is an Irish air (folk tune) that originated in County Londonderry, first recorded in the nineteenth century. The tune is played as the victory sporting anthem of Northern Ireland at the Commonwealth Games. The song "Danny Boy" written by English lawyer Fred Weatherly uses the tune, with a set of lyrics written in the early 20th century.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

2025 in film is an overview of events, including award ceremonies, festivals, a list of country- and genre-specific lists of films released, and notable deaths. Shochiku and Gaumont celebrated their 130th anniversaries; 20th Century Studios and Republic Pictures celebrated their 90th anniversaries; and Studio Ghibli celebrated its 40th anniversary. Metro-Goldwyn-Mayer's first musical film The Broadway Melody (1929), known for being the first sound film to win the Academy Award for Best Picture, entered the public domain this year.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Limerence is the mental state of being madly in love or intensely infatuated when reciprocation of the feeling is uncertain. This state is characterized by intrusive thoughts and idealization of the loved one (also called "crystallization"), typically with a desire for reciprocation to form a relationship. This is accompanied by feelings of ecstasy or despair, depending on whether one's feelings seem to be reciprocated or not. Research on the biology of romantic love indicates that the early stage of intense romantic love (also called passionate love) resembles addiction, but academics do not currently agree on how love addictions are defined. The psychologist Dorothy Tennov coined the term "limerence" as an alteration of the word "amorance" without other etymologies. The concept grew out of her work in the 1960s when she interviewed over 500 people on the topic of love, originally published in her book Love and Limerence. According to Tennov, "to be in a state of limerence is to feel what is usually termed 'being in love.'" She coined the term to disambiguate the state from other less-overwhelming emotions and to avoid the implication that people who don't experience it are incapable of love. Tennov was inspired to study romantic love after encountering people in her post as a professor who experienced severe heartbreak and personal perils. Tennov's research suggested to her that limerence is normal (although illogical), and a 2025 survey suggested that as many as 50–60% of the population had experienced it. Limerence is a descriptive concept, rather than a diagnosis or disorder; it is not in the DSM. The polysemous nature of love words has led to semantic confusion which Tennov meant to clarify, although there is even still disagreement on how "limerence" is defined. Love research has never adopted a unified terminology or definitions. According to Tennov and others, limerence can be considered intense romantic love, falling in love, love madness, intense infatuation, passionate love with obsessive elements or lovesickness. Limerence and obsessive love are similar, but obsessive love has connotations of possessive and self-defeating behavior. Limerence is also sometimes compared to and contrasted with a crush, with limerence being much more intense and impacting day-to-day functioning more: "when a crush has taken over your life". Love and Limerence has been called the seminal work on romantic love, with Tennov's survey results and the various personal accounts recounted in the book largely marking the start of data collection on the phenomenon.

The table below shows all known compositions by Edward Elgar.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

"Country Gardens" is an old English folk tune traditionally used for Morris dancing. It was introduced by traditional folk musician William Kimber to Cecil Sharp near the beginning of the twentieth century, then popularised by a diverse range of musicians from Percy Grainger to Jimmie Rodgers.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

High Germany (Roud 904), is a traditional folk song, once known throughout England, Ireland and Scotland, with a history spanning hundreds of years. There are three songs known as High Germany. This page focuses on the best known one, the others being The Two Lovers or True Lovers (Roud 1445) and The Wars of Germany (Roud 5608). The song deals with a young man (usually named Willy) and his lover (Polly) lamenting over his conscription to fight in Germany, "High Germany" referring to the southern, mountainous part of the country. He attempts to convince her to join him in the war. "Polly" professes her love, but declares she is not fit for war. "Willy" attempts to persuade her to change her mind, stating that he will buy her a horse to ride, and that they will eventually wed. "Polly" still refuses and laments that her man has been drafted away from her. The historical setting of the ballad is most likely either the War of the Spanish Succession (1701–1714 with the 1704 Battle of Blenheim in Southern Germany) or the Seven Years War (1756–1763). The first verse is usually as follows: Cecil Sharp collected a version in 1906, and successfully encouraged Gustav Holst to use the melody in A Somerset Rhapsody (1907). Ralph Vaughan Williams later used the melody in the third movement of his famous English Folk Song Suite (1923).

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style. There are distinct regional and local variations in content and style, particularly in areas more removed from the most prominent English cities, as in Northumbria, or the West Country. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has significant crossovers with the music of Scotland. When English communities migrated to the United States, Canada and Australia, they brought their folk traditions with them, and many of the songs were preserved by immigrant communities. English folk music has produced or contributed to several cultural phenomena, including sea shanties, jigs, hornpipes and the music for Morris dancing. It has also interacted with other musical traditions, particularly classical and rock music, influencing musical styles and producing musical fusions, such as British folk rock, folk punk and folk metal. There remains a flourishing sub-culture of English folk music, which continues to influence other genres and occasionally gains mainstream attention.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

"Drunken Sailor", also known as "What Will/Shall We Do with a/the Drunken Sailor?" or "Up She Rises", is a traditional sea shanty, listed as No. 322 in the Roud Folk Song Index. It was sung aboard sailing ships at least as early as the 1830s. The first published description of the shanty is found in an account of an 1839 whaling voyage out of New London, Connecticut, to the Pacific Ocean. The song's lyrics vary, but usually contain some variant of the question, "What shall we do with a drunken sailor, early in the morning?" In some styles of performance, each successive verse suggests a method of sobering or punishing the drunken sailor. In other styles, further questions are asked and answered about different people. "Drunken Sailor" was revived as a popular song among non-sailors in the 20th century and grew to become one of the best-known songs of the shanty repertoire among mainstream audiences. It has been performed and recorded by many musicians and appeared regularly in popular culture. The word "early" in the song is pronounced .

A sea shanty, shanty, chantey, or chanty () is a genre of traditional folk song that was once commonly sung as a work song to accompany rhythmical labor aboard large merchant sailing vessels. The term shanty most accurately refers to a specific style of work song belonging to this historical repertoire. However, in recent, popular usage, the scope of its definition is sometimes expanded to admit a wider range of repertoire and characteristics, or to refer to a "maritime work song" in general. From Latin cantare via French chanter, the word shanty emerged in the mid-19th century in reference to an appreciably distinct genre of work song, developed especially on merchant vessels, that had come to prominence in the decades prior to the American Civil War. Shanty songs functioned to synchronize and thereby optimize labor, in what had then become larger vessels having smaller crews and operating on stricter schedules. The practice of singing shanties eventually became ubiquitous internationally and throughout the era of wind-driven packet and clipper ships. Shanties had antecedents in the working chants of British and other national maritime traditions, such as those sung while manually loading vessels with cotton in ports of the southern United States. Shanty repertoire borrowed from the contemporary popular music enjoyed by sailors, including minstrel music, popular marches, and land-based folk songs, which were then adapted to suit musical forms matching the various labor tasks required to operate a sailing ship. Such tasks, which usually required a coordinated group effort in either a pulling or pushing action, included weighing anchor and setting sail. The shanty genre was typified by flexible lyrical forms, which in practice provided for much improvisation and the ability to lengthen or shorten a song to match the circumstances. Its hallmark was call and response, performed between a soloist and the rest of the workers in chorus. The leader, called the shantyman, was appreciated for his piquant language, lyrical wit, and strong voice. Shanties were sung without instrumental accompaniment and, historically speaking, they were only sung in work-based rather than entertainment-oriented contexts. Although most prominent in English, shanties have been created in or translated into other European languages. The switch to steam-powered ships and the use of machines for shipboard tasks by the end of the 19th century meant that shanties gradually ceased to serve a practical function. Their use as work songs became negligible in the first half of the 20th century. Information about shanties was preserved by veteran sailors and folklorist song-collectors, and their written and audio-recorded work provided resources that would later support a revival in singing shanties as a land-based leisure activity. Commercial musical recordings, popular literature, and other media, especially since the 1920s, have inspired interest in shanties among non-sailors. Contemporary performances of these songs range from the "traditional" style of maritime music to various modern music genres.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Gawn Grainger (12 October 1937 – 17 May 2025) was a Scottish actor, playwright and screenwriter.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style. There are distinct regional and local variations in content and style, particularly in areas more removed from the most prominent English cities, as in Northumbria, or the West Country. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has significant crossovers with the music of Scotland. When English communities migrated to the United States, Canada and Australia, they brought their folk traditions with them, and many of the songs were preserved by immigrant communities. English folk music has produced or contributed to several cultural phenomena, including sea shanties, jigs, hornpipes and the music for Morris dancing. It has also interacted with other musical traditions, particularly classical and rock music, influencing musical styles and producing musical fusions, such as British folk rock, folk punk and folk metal. There remains a flourishing sub-culture of English folk music, which continues to influence other genres and occasionally gains mainstream attention.

The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style. There are distinct regional and local variations in content and style, particularly in areas more removed from the most prominent English cities, as in Northumbria, or the West Country. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has significant crossovers with the music of Scotland. When English communities migrated to the United States, Canada and Australia, they brought their folk traditions with them, and many of the songs were preserved by immigrant communities. English folk music has produced or contributed to several cultural phenomena, including sea shanties, jigs, hornpipes and the music for Morris dancing. It has also interacted with other musical traditions, particularly classical and rock music, influencing musical styles and producing musical fusions, such as British folk rock, folk punk and folk metal. There remains a flourishing sub-culture of English folk music, which continues to influence other genres and occasionally gains mainstream attention.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The Bondsman is an American action horror television series created by Grainger David for Amazon Prime Video. The series premiered on April 3, 2025. In May 2025, the series was canceled after one season.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Joseph Taylor (10 September 1833 – 4 May 1910), was a folk singer from Saxby-All-Saints, Lincolnshire, England, who became the first English folk singer to be commercially recorded after coming to the attention of the composer and musicologist Percy Grainger. He popularised obscure and unique songs including "Brigg Fair", "Rufford Park Poachers" and "The White Hare", and sang influential versions of well-known songs and ballads such as "Lord Bateman" and "The Sprig of Thyme". His songs were arranged by classical composers including Grainger and Frederick Delius, and recorded by folk revival musicians beginning in the British folk revival of the 1960s. His singing was recorded by Grainger onto wax cylinders, which have been digitised and made available online by the British Library Sound Archive as part of the Percy Grainger Collection.

Robert White (October 27, 1936 – March 17, 2026) was an American tenor and voice teacher who had an active performance career for eight decades. White began performing Irish songs on the radio in 1942 at the age of six on programs such as Coast to Coast on a Bus and The Fred Allen Show; earning the nickname the "little John McCormack". In the late 1950s, he embarked on a career as a concert tenor, and achieved success as an exponent of early music by such composers as Handel, Bach, and Monteverdi during the 1960s, 1970s, and 1980s. He has performed in concerts with several major orchestras, including the New York Philharmonic under Leonard Bernstein and the Philadelphia Orchestra under Eugene Ormandy, and has performed at the White House for Presidents John F. Kennedy and Jimmy Carter. In the mid 1970s, White returned to his roots as a performer of Irish songs, and achieved fame internationally as an 'Irish tenor,' drawing comparison to John McCormack; he even performed on programs for BBC television in honor of the late tenor. He continued to perform in concerts with a diverse repertoire ranging from Irish ballads to opera to contemporary art songs and works from the classical tenor canon. Several composers wrote works specifically for him, including Mark Adamo, William Bolcom, John Corigliano, Lukas Foss, Stephen Hough, Libby Larsen, Lowell Liebermann, Gian Carlo Menotti, Tobias Picker, Ned Rorem, and David Del Tredici. He has made several recordings for RCA Victor Records, mainly of Irish songs and ballads, and has also recorded a diverse repertoire for Virgin Classics, EMI, and Hyperion. A one-time faculty member of Hunter College and the Manhattan School of Music, he later taught on the voice faculty of the Juilliard School. He also worked periodically as an interviewer for the radio station WQXR-FM.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Lady Chatterley's Lover is a 2015 British historical romantic drama television film starring Holliday Grainger, Richard Madden and James Norton. It is an adaptation by Jed Mercurio of D. H. Lawrence's 1928 novel Lady Chatterley's Lover, and premiered on BBC One on 6 September 2015. The adaptation is part of a series of four 20th-century literary adaptations by the BBC, including Laurie Lee's Cider With Rosie, L. P. Hartley's The Go-Between and J. B. Priestley's play An Inspector Calls.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

A Pretty Girl Milking Her Cow (Cailin Deas Crúite na mBó in the Irish language) is a traditional 18th-century Irish ballad. The English version is attributed to Thomas Moore (1779–1852). Originally sung in Irish Gaelic, the song was popular through the early 20th century.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

A sea shanty, shanty, chantey, or chanty () is a genre of traditional folk song that was once commonly sung as a work song to accompany rhythmical labor aboard large merchant sailing vessels. The term shanty most accurately refers to a specific style of work song belonging to this historical repertoire. However, in recent, popular usage, the scope of its definition is sometimes expanded to admit a wider range of repertoire and characteristics, or to refer to a "maritime work song" in general. From Latin cantare via French chanter, the word shanty emerged in the mid-19th century in reference to an appreciably distinct genre of work song, developed especially on merchant vessels, that had come to prominence in the decades prior to the American Civil War. Shanty songs functioned to synchronize and thereby optimize labor, in what had then become larger vessels having smaller crews and operating on stricter schedules. The practice of singing shanties eventually became ubiquitous internationally and throughout the era of wind-driven packet and clipper ships. Shanties had antecedents in the working chants of British and other national maritime traditions, such as those sung while manually loading vessels with cotton in ports of the southern United States. Shanty repertoire borrowed from the contemporary popular music enjoyed by sailors, including minstrel music, popular marches, and land-based folk songs, which were then adapted to suit musical forms matching the various labor tasks required to operate a sailing ship. Such tasks, which usually required a coordinated group effort in either a pulling or pushing action, included weighing anchor and setting sail. The shanty genre was typified by flexible lyrical forms, which in practice provided for much improvisation and the ability to lengthen or shorten a song to match the circumstances. Its hallmark was call and response, performed between a soloist and the rest of the workers in chorus. The leader, called the shantyman, was appreciated for his piquant language, lyrical wit, and strong voice. Shanties were sung without instrumental accompaniment and, historically speaking, they were only sung in work-based rather than entertainment-oriented contexts. Although most prominent in English, shanties have been created in or translated into other European languages. The switch to steam-powered ships and the use of machines for shipboard tasks by the end of the 19th century meant that shanties gradually ceased to serve a practical function. Their use as work songs became negligible in the first half of the 20th century. Information about shanties was preserved by veteran sailors and folklorist song-collectors, and their written and audio-recorded work provided resources that would later support a revival in singing shanties as a land-based leisure activity. Commercial musical recordings, popular literature, and other media, especially since the 1920s, have inspired interest in shanties among non-sailors. Contemporary performances of these songs range from the "traditional" style of maritime music to various modern music genres.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

"The Sprig of Thyme", "The Seeds of Love", "Maiden’s Lament", "Garners Gay", "Let No Man Steal Your Thyme" or "Rue" (Roud 3) is a traditional British and Irish folk ballad that uses botanical and other symbolism to warn young people of the dangers in taking false lovers. The song was first documented in 1689 and the many variants go by a large number of titles.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

This is a partial repertoire list of classical works for saxophone.

Grainger Town is the historic commercial centre of Newcastle upon Tyne, England. It covers approximately 36 ha (89 acres). Almost all of Grainger Town is in Newcastle's Central Conservation Area, one of the first designated in England. The area includes a medieval 13th-century Dominican priory, pieces of the historic Town Walls, and many fine Georgian and Victorian buildings. The area is named after Richard Grainger, a developer who built several classical streets between 1824 and 1841, including Grey Street, Grainger Street, and Clayton Street. Richard Grainger was said to “have found Newcastle of bricks and timber and left it in stone” (echoing what Augustus claimed to have done for Rome). Some of Newcastle's finest buildings are in Grainger Town, including Grainger Market and Theatre Royal. These buildings are predominantly four stories, with vertical dormers, domes, turrets, and spikes. The architecture is dubbed “Tyneside Classical”. Grainger Town has 450 buildings, and 244 are listed (29 at grade I and 49 at grade II*). The majority of buildings remain in private ownership. Sir Nikolaus Pevsner described Grey Street as “one of the finest streets in England”. The area around it and Grey's Monument is expanding quickly, with high-quality shopping, including designer fashions and jewelry. The Central Exchange, containing the Edwardian Central Arcade, is located in Grainger Town.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

"Drunken Sailor", also known as "What Will/Shall We Do with a/the Drunken Sailor?" or "Up She Rises", is a traditional sea shanty, listed as No. 322 in the Roud Folk Song Index. It was sung aboard sailing ships at least as early as the 1830s. The first published description of the shanty is found in an account of an 1839 whaling voyage out of New London, Connecticut, to the Pacific Ocean. The song's lyrics vary, but usually contain some variant of the question, "What shall we do with a drunken sailor, early in the morning?" In some styles of performance, each successive verse suggests a method of sobering or punishing the drunken sailor. In other styles, further questions are asked and answered about different people. "Drunken Sailor" was revived as a popular song among non-sailors in the 20th century and grew to become one of the best-known songs of the shanty repertoire among mainstream audiences. It has been performed and recorded by many musicians and appeared regularly in popular culture. The word "early" in the song is pronounced .

Galt & Bro. (also known as simply Galt's) is an American luxury jewelry and specialty goods retailer from Washington, District of Columbia. It is known for bespoke jewelry made mostly in 18 karat yellow, white and rose gold, precious and semi-precious gemstones, natural diamonds, sterling silver, watches, and high-end customizable personal accessories. Galt is one of the oldest jewelry companies in America, due to being one of the first officially established businesses in the nation's capital as of 1802. Galt & Bro. was founded in 1802 by the jeweller James Galt and became famous in the 19th and 20th century by being a popular shopping destination for many prominent figures in American history. The company's ledgers had a list of distinguished patrons including Presidents, First Ladies, diplomats, and renowned visitors from around the world. The imprint of Galt appears on a vast number of valuable items of great historical interest, many of which became museum relics such as Abraham Lincoln's pocket watch. Galt's business philosophy included: “when you cater to Washington, you cater to the world.” Currently, another store operates in Almaty, Kazakhstan.

The following is a partial list of compositions by Michael Finnissy.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.