COLLECTIONS: 1 - 25 of 52
A. Tillman Merritt Papers, 1932-1972
The collection consists of research and teaching materials, chiefly transcriptions, generated by Merritt during his long career. N.B. Scrapbooks and gradebooks of A.T. Merritt were sent to Harvard University Archives.
Albert J. "Budd" Johnson manuscript scores and other material.
Manuscript scores and related materials of composer and tenor saxophonist Albert J. "Budd" Johnson.
Arthur Freedman Collection, 1976-2000.
The Arthur Freedman Collection at the Loeb Music Library contains audio recordings of primarily Boston-area rock and punk bands, most of which were recorded live between the late 1970s and the mid-1980s. The collection richly documents this era of Boston rock history, and contains many unique recordings unavailable elsewhere.
Aziz El-Shawan Manuscript Score Collection
Manuscript scores by the twentieth-century Egyptian composer
Classic Crates Collection
Collection of Ethiopian Music
Recordings of Ethiopian music collected by ethnomusicologist and Harvard University Professor of Music, Kay Kaufman Shelemay. Included are recordings made in Ethiopia and New York by Prof. Shelemay as well as recordings from the Radio Voice of the Gospel in Addis Ababa. Also included are accompanying materials such as logbooks and interview notes.
Cuban Rap and Rock in the 1990s: The Deborah Pacini Hernandez and Reebee Garofalo Collection
Duke Ellington recordings collection
Recordings of Duke Ellington, American pianist, band leader, and composer, collected by Joseph Jeffers Dodge, jazz aficionado, artist, museum director, and Harvard University Class of 1940.
Fred Ho manuscript scores, performance programs, and other material, 1991-2011.
Manuscript scores and related materials of American composer and social activist Fred Wei-han Ho.
Harold Fielding, Ltd. contracts and correspondence for productions of Frank Loesser's Hans Andersen, 1974-1978.
This collection consists of contracts, memorandums, and letters relating to Harold Fielding's stage production of Frank Loesser's musical Hans Anderson which opened in London on December 17, 1974.
Henry L. Woodward, III scores and papers
Manuscript scores and related materials of the American composer, teacher, scholar, and organist Henry L. Woodward, III.
Howard Fischer collection of Charles Mingus correspondence and legal documents, 1959, 1965-1967.
Correspondence and other documents of the American jazz double bass player, pianist, composer, and bandleader, Charles Mingus.
Howard Fischer correspondence and other material regarding Harrison Smith's copyright claims of Jelly Roll Morton songs, 1949-1969.
Correspondence and other papers of jazz concert promoter Harrison Smith, his lawyer, Howard Fischer, and music publishers. Harrison Smith claimed to own copyright to several of American jazz composer and pianist Jelly Roll Morton’s songs. The papers deal with Smith’s claims of copyright infringement.
Irving Drutman letters from colleagues, 1943-1987.
Letters to the American journalist, editor, and songwriter, Irving Drutman, from his colleagues, including Lillian Hellman, Ira Gershwin, Virgil Thomson, and Aaron Copland.
James Rubin Collection of Indian Classical Music
Jayasinhji Jhala Collection of Dhrangadhra Music at Harvard University: Original Ethnographic Recordings, 1979-1981
Jeanne Beauvais scores, correspondence, and other material, 1927-1988.
The collection includes autographed letters, photographs and theatrical ephemera associated with her career. The bulk of the collection consists of print and manuscript scores by composers Virgil Thomson, Ned Rorem, Leonard Bernstein, Theodore Chanler and others; many of these are personally inscribed.
Joyce Mekeel manuscript scores, recordings, and other material, 1961-1996.
Manuscript scores and related materials of the American composer and harpsichordist Joyce Mekeel.
Kalmyk traditional music collection, 1990-2002.
This collection contains original ethnographic field recordings by Ghilyana Dordzhieva in audio and video formats. The call number range for audio cassettes is AWM SC 12096 - 12141, and for DAT cassettes is AWM DAT 300 - 312. The call number range for video is AWM V 11670 - AWM V 11675.
Laura Boulton Collection of Byzantine and Orthodox Musics
Recordings collected by ethnomusicologist Laura Boulton between 1951 and 1969 primarily in Greece, Yugoslavia, Ethiopia, and various other countries. It consists primarily of Byzantine and other Orthodox Eastern church music and services from the liturgical cycles; it also contains folk and classical music, some of a religious nature, and miscellaneous commercial recordings and books.
Lou Church and Jack Fields contracts for Blue Note (Philadelphia) performances by jazz musicians, and other materials, 1949, 1955-1957.
This collection consists of contracts between various jazz artists and club owners or producers supplying the terms of agreement for the artists' performance engagements. Artists represented include Cannonball Adderley, Louis Armstong, The Australian Jazz Quintet, Count Basie, Miles Davis, Charles Mingus, The Modern Jazz Quartet and several others.
Lou Harrison music manuscripts, sketches, poetry, and drawings, 1945-1991.
Contains working musical manuscripts, drafts, sketches, and fragments, as well as poetry, drawings, and correspondence.
Lowell H. Lybarger Collection of Pakistani Music Materials
This collection represents original field recordings and other collected materials (including television dubs and commercial videos) by Lowell Lybarger. Most of the materials were recorded or collected in Pakistan and to a lesser extent in India, the United States, and Canada.
Luigi Ricci collection of scores, 1865-1969
The collection consists of printed scores: vocal exercises, opera and other large-scale vocal genres, instrumental music and songs. Many are annotated, some heavily, by Ricci and others.
Marti Epstein collection of scores and recordings: approximately 1977-
The collection consists of autograph manuscript scores dating from the composer’s training to 2020, as well as photocopies of printed and autograph materials. The autograph materials are notated in ink and in graphite pencil. The scores are chiefly for chamber ensembles and for orchestra, with many works for solo piano. The scores consitute Series I, Scores. There are some letters laid in; these have been removed to Series II, Correspondence.