{"id":1062,"date":"2019-06-14T12:33:54","date_gmt":"2019-06-14T16:33:54","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?page_id=1062"},"modified":"2019-06-14T12:33:54","modified_gmt":"2019-06-14T16:33:54","slug":"ser3-7","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/courage\/ser3-7\/","title":{"rendered":"ALEXANDER COURAGE COLLECTION: Series 3-7"},"content":{"rendered":"

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Series 3: Occasional and Miscellaneous Scores<\/h3>\n

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folder 1<\/th>\nAcademy Awards Medley.
\n\u201cMel Torme Medley\/Academy Awards Medley (Revised).\u201d Piano\/conductor score (2 staves); undated. MS repro. 3 copies. 18 pp., each. 24.5 x 33 cm. Copy 1 (labeled \u201cAudio Booth\u201d) has markings in red ink. Copy 3 labeled \u201cVideo Booth.\u201d
\n\u201cMel Torm\u00e9 Intro to Academy Awards Medley, CBS International Hour, Hollywood Bowl.\u201d Full score (33 staves); undated. Pencil MS with time signatures and measure numbers in red ink (pp. 1\u20132) and MS repro (pp. 3\u201344) with markings in black and red ink (adapted from \u201cAndy Williams Medley\u201d [arr. Johnny Mandel]). 45 pp. 34 x 49 cm.<\/td>\n<\/tr>\n
folder 2<\/th>\nAcademy Awards music \u2013 misc.
\n\u201cOscar Fantasy Overture No. 1\u201d (adapted and arr. A. Courage). Conductor\u2019s score (3 staves); corrected April 2, 1962. MS repro. 12 pp. 24.5 x 33 cm.
\n\u201cPorter\u2013Garland Medley\u201d (arr. Roger Edens). Vocal part (2 staves); undated [ca. 1964\u20131965]. MS repro, with markings in pencil, red ink, and blue ink. 17 pp. 24.5 x 33 cm. [Used for 37th Academy Awards ceremony, April 5, 1965.]
\n\u201cJudy Garland, Cole Porter Medley\u201d (by Roger Edens and A. Courage). Piano sketch (3\u20134 staves); undated, ca. 1964\u20131965]. MS repro, with markings in pencil. 29 pp. 24.5 x 33 cm. [Used for 37th Academy Awards ceremony, April 5, 1965.]
\n\u201cCostume Design, Academy 1973.\u201d Sketch of conductor\u2019s score (4 staves); undated. Pencil MS. 3 pp. 30.5 x 39.5 cm.
\n\u201cCostume\u201d [draft of \u201cCostume Design, Academy 1973\u201d]. Sketch of conductor\u2019s score (3 staves); undated. MS repro (on thermal paper), with markings in orange pencil. 4 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 3<\/th>\n\u201cAmerica, the Beautiful\u201d (Bates\u2013Ward; arr. A. Courage for Boston Pops Orchestra with chorus).
\nFull score (33 staves); undated. MS repro (on thermal paper). 10 pp. 30.5 x 48.5 cm. Accompanied by reduced-size photocopy. 22 x 30.5 cm.
\nSketch of conductor\u2019s score (9 staves); undated. MS repro (on thermal paper). 5 pp. 30.5 x 43 cm.
\nAlso in folder:
\n<\/u>Page 5 from unidentified conductor\u2019s score (9 staves); undated. MS repro (photocopy). 1 p. 28 x 43 cm.<\/td>\n<\/tr>\n
folder 4<\/th>\n\u201cAnother [Opening], Another [Show] II\u201d (Pops arrangement).
\nDraft of conductor\u2019s score (4 staves); undated. Pencil MS. 7 pp. 30.5 x 39.5 cm.
\n\u201cAnother Another Opening.\u201d Sketches (4 staves); undated. Pencil MS. 1 p. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 5<\/th>\n\u201cAnother Opening.\u201d
\nDraft of conductor\u2019s score (4 staves); undated. Pencil MS. 8 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 6<\/th>\n\u201cAstaire Medley\u201d (arr. A. Courage for Boston Pops).
\nDraft of conductor\u2019s score (4 staves); undated. Pencil MS. 30 pp. 30.5 x 39.5 cm.
\nConductor\u2019s score (9 staves) [incomplete, consists of pp. 1\u201335 only]; undated. Pencil MS. 35 pp. 28 x 43 cm.
\nFull score (33 staves); undated. MS repro. 91 pp. 32\u201333 x 48.5\u201350.5 cm.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/th>\n\u201cThe Best of Everything (Frankie Vaughn Vocal)\u201d (arr. A. Courage).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Piano\/conductor\u2019s score (3 staves); undated. MS repro. 4 pp. 24 x 33 cm.<\/td>\n<\/tr>\n
folder 2<\/th>\n\u201cBldg. and Safety.\u201d
\nConductor\u2019s score (9 staves) [incomplete; consists of pp. 3\u201330 only]; undated. MS repro (photocopy). 28 pp. 28 x 43.5 cm.<\/td>\n<\/tr>\n
folder 3<\/th>\nBoston Pops Christmas, 1988. Scores.
\n\u201cChristmas Medley.\u201d Conductor\u2019s score (9 staves); undated. Pencil MS. 17 pp. 28 x 43 cm.
\n\u201cWhite Christmas.\u201d Conductor\u2019s score (9 staves); undated. Pencil MS. 5 pp. 28 x 43 cm.
\n\u201cWe Wish You a Merry Christmas (underscore).\u201d Conductor\u2019s score (4 staves); undated. Pencil MS. 2 pp. 30.5 x 39.5 cm.
\n\u201c6 Bumpers\u201d [We Wish You a Merry Christmas; Little Drummer Boy; Here Come Santa Claus (Country Flavor); It Came Upon a Midnight Clear; Silver Bells; O, Little Town of Bethlehem]. Conductor\u2019s score (4 staves); undated. Pencil MS. 6 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 4<\/th>\nBoston Pops Christmas, 1990. Scores.
\n\u201cCarol of the Bells.\u201d Conductor\u2019s score (4 staves); undated. Pencil MS. 2 pp. 30.5 x 39.5 cm.
\n\u201cBells, New Start.\u201d Conductor\u2019s score (4 staves); undated. Pencil MS. 3 pp. 30.5 x 39.5 cm.
\n\u201cHave Yourself [a Merry Little Christmas].\u201d Conductor\u2019s score (4 staves); undated. Pencil MS. 1 p. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 5<\/th>\n\u201cBy the Sea.\u201d Score.
\nConductor\u2019s score (4 staves); undated. Pencil MS. 5 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 6<\/th>\nCarnegie Hall Christmas, 1991 \u2013 \u201cFinal Medley.\u201d
\nFull score (40 staves); undated. MS repro (photocopy). 81 pp. 28 x 43 cm.<\/td>\n<\/tr>\n
folder 7<\/th>\n\u201cA Christmas Greeting (The Carols of Alfred Burt)\u201d (arr. A. Courage for Boston Pops).
\n\u201cBurt Christmas Medley.\u201d Conductor\u2019s score (9 staves); undated. Pencil MS. 40 pp. 28 x 43 cm. Accompanied by duplicate photocopy of pp. 1\u20132 and 31\u201340. 12 pp.
\n\u201cA Christmas Greeting (The Carols of Alfred Burt).\u201d Full score (33 staves); undated. MS repro (photocopy). 80 pp. 32 x 48.5 cm.<\/td>\n<\/tr>\n
folder 8<\/th>\n\u201cA Christmas Greeting, Book II (The Carols of Alfred Burt)\u201d (arr. A. Courage for Boston Pops).
\nNote explaining the history of Alfred Burt\u2019s Christmas carols. Pencil MS. 1 p. 22 x 28 cm.
\n\u201cBurt Carols, Book II.\u201d Conductor\u2019s score (4 staves); undated. Pencil MS. 12 pp. 30.5 x 39.5 cm.
\n\u201cCarol Concert, Part II.\u201d Conductor\u2019s score (4 staves); undated. Pencil MS. 5 pp. 30.5 x 39.5 cm.
\n\u201cBurt Carols, Book II.\u201d Conductor\u2019s score (9 staves); undated. Pencil MS, with time signatures in black ink and additions in red pencil on pp. 31 and 35. 36 pp. 28 x 43 cm.
\n\u201cA Christmas Greeting (The Carols of Alfred Burt).\u201d Full score (33 staves); undated. MS repro (photocopy). 73 pp. 32 x 48.5 cm.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/th>\nChristmas Pops: \u201cSleigh Ride\u201d and \u201cA Christmas Festival\u201d by Leroy Anderson.
\n\u201cSleigh Ride\u201d (by Leroy Anderson). For symphony orchestra. Full score (24 staves); dated February 10, 1948. MS repro (photocopy). 2 copies. 27 pp., each. Copy 1: 28 x 43.5 cm. Copy 2: 28 x 34.5 cm.
\n\u201cA Christmas Festival\u201d (by Leroy Anderson). For symphony orchestra. Full score (20 staves with notation); dated June 12, 1950. MS repro (photocopy). 50 pp. 28 x 43.5 cm.<\/td>\n<\/tr>\n
folder 2<\/th>\nChristmas in Washington, 1987.
\nList of instrumentation. MS repro (photocopy). 1 p. 22 x 28 cm.
\n\u201cTraditional Medley.\u201d Draft of choral part (2 staves); undated. Pencil MS. 12 pp. 24 x 32 cm.
\n\u201cTraditional Medley.\u201d Conductor\u2019s score (9 staves); undated. Pencil MS. 16 pp. 28 x 43.5 cm.
\n\u201cAve Maria \u2013 Tortorella.\u201d Conductor\u2019s score (4 staves); undated. Pencil MS. 2 pp. 30.5 x 39.5 cm.
\n\u201cTraditional Medley.\u201d Choral score (12 staves); undated. MS repro (photocopy). 16 pp. 33.5 x 49.5 cm.<\/span><\/td>\n<\/tr>\n
folder 3<\/th>\n\u201cNo. 3 Cleopatra Enters Rome (Symphony Version).\u201d
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Conductor\u2019s score (2\u20137 staves); undated. MS repro. 5 pp. 24.5 x 33 cm.<\/td>\n<\/tr>\n
folder 4<\/th>\n\u201cConcentrate\u201d (by Cole Porter; arr. Conrad Salinger).
\nPart 1. Conductor\u2019s score (3\u20134 staves); undated. MS repro (photocopy). 8 pp. 22 x 28 cm.
\nPart 2. Conductor\u2019s score (3 staves); undated. MS repro (photocopy). 3 pp. 22 x 28 cm.
\nPart 3. Conductor\u2019s score (3\u20134 staves); undated. MS repro (photocopy). 7 pp. 22 x 28 cm.
\n\u201cTag to \u2018I Concentrate\u2019\u201d (by Cole Porter and George Bassman). From \u201cBroadway Melody of 1940\u201d (production no. 1111; 7762). Conductor\u2019s score (3 staves); dated January 28, 1940. MS repro (photocopy). 5 pp. 22 x 28 cm.<\/td>\n<\/tr>\n
folder 5<\/th>\n\u201cDays of Wine and Roses\u201d (by Henri Mancini).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Piano\/conductor\u2019s score (2 staves); undated. MS repro, with sparse markings in pencil and red pencil. 4 pp. 24 x 33 cm.<\/td>\n<\/tr>\n
folder 6<\/th>\n\u201cThe Five Pennies (Joni James Vocal)\u201d (arr. A. Courage).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Conductor\u2019s score (3 staves); undated. MS repro. 4 pp. 24 x 33 cm.<\/td>\n<\/tr>\n
folder 7<\/th>\n\u201cFreedom\u201d (by Gary Geld; arr. A. Courage).
\nA.Courage arrangement produced for Larry Gatlin performance at Liberty Weekend, NYC, July 3, 1986.
\n<\/em>\u201cFreedom\u201d (music by Gary Geld; lyric by Peter Udell). Piano-vocal score (reference copy); c1975. Photocopy of published score. [s.l.]: Edwin H. Morris & Co., c1975. 5 pp. 22 x 28 cm.
\n\u201cFreedom\u201d (arr. A. Courage). Piano-vocal score; undated. MS repro (photocopy). 15 pp. 22 x 28 cm.
\n\u201cFreedom.\u201d Drums part; undated. MS repro (photocopy). 6 pp. 22 x 28 cm.
\n\u201cUnderscore into \u2018Freedom.\u2019\u201d Piano\/conductor\u2019s score (2 staves); undated. Pencil MS. 1 p. 24 x 32 cm. Accompanied by photocopy with revised ending. 1 p. 22 x 28 cm.
\n\u201cUnderscore into \u2018Freedom.\u2019\u201d Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 1 p. 30.5 x 39.5 cm.
\n\u201cFreedom\u201d (arr. A. Courage). Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 9 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 8<\/th>\n\u201cThe Hanging Tree (Frankie Laine Vocal)\u201d (arr. A. Courage).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Conductor\u2019s score (3 staves); undated. MS repro. 8 pp. 24.5 x 33 cm.<\/td>\n<\/tr>\n
folder 9<\/th>\n\u201cA Christmas Carol\u201d (by Charles Ives; arr. A. Courage for Boston Pops).
\n\u201cA Christmas Carol\u201d (by Charles Ives). For unison voices with piano. Piano-vocal score (reference copy); 1975. Published score. Bryn Mawr, PA: Theodore Presser Co., 1975. 3 pp. 17.5 x 27 cm.
\n\u201cIves\u2019 Carol\u201d (arr. A. Courage). Conductor\u2019s score (4 staves); undated. Pencil MS. 2 pp. 30.5 x 39.5 cm. Accompanied by duplicate copy (on thermal paper).
\n\u201cA Christmas Carol\u201d (by Charles Ives; arr. A. Courage). Conductor\u2019s score (12 staves); undated. MS repro (reduced-size photocopy). 5 pp. 21.5 x 30.5 cm.<\/td>\n<\/tr>\n
folder 10<\/th>\nLiberty Weekend, 1986. Scores.
\n\u201cLiberty Fanfare\u201d (by John Williams). Commissioned for the 100th birthday of the Statue of Liberty (July 3, 1986). For symphony orchestra. Full score (34 staves); undated. MS repro (reduced-size photocopy). 32 pp. 23 x 36 cm.
\n\u201cWelcome to Liberty.\u201d Conductor\u2019s score (4 staves); undated. Pencil MS. 8 pp. 30.5 x 39.5 cm.
\n\u201cWelcome to Liberty\u201d (arr. Ian Fraser). Piano-choral score (2\u20136 staves); undated. MS repro, with markings in red ink and pencil. 23 pp. 24.5 x 33 cm.
\nOversized items separated to Box 34\/2.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 2<\/th>\nOversized: Liberty Weekend, 1986.
\n\u201cLiberty Weekend :30 sec\u201d (by John Williams). Full score (34 staves); undated. MS repro. 5 pp. 33 x 58.5 cm.
\n\u201cLiberty Weekend 1:00 min.\u201d (by John Williams). Full score (34 staves); dated 1986. MS repro. 8 pp. 33 x 58.5 cm.
\n\u201cLiberty Weekend :10 sec\u201d (by John Williams). Full score (34 staves); undated. MS repro. 1 p. 33 x 58.5 cm.
\n\u201cLiberty Weekend :05 sec #2\u201d (by John Williams). Full score (34 staves); undated. MS repro. 1 p. 33 x 58.5 cm.
\n\u201cLiberty Weekend :05 sec A\u201d (by John Williams). Full score (34 staves); undated. MS repro. 1 p. 33 x 58.5 cm.
\n\u201cLiberty Weekend Operation Sail\u201d (by John Williams). Full score (34 staves); undated. MS repro. 11 pp. 33 x 58.5 cm.
\n\u201cLiberty Weekend :10 sec #2 B\u201d (by John Williams). Full score (34 staves); undated. MS repro. 2 pp. 33 x 58.5 cm.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 11<\/th>\n\u201cLimehouse Blues\u201d (music by Philip Braham; words by Douglas Furber).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Piano-vocal score (3 staves); c1922. Copy of typescript\/printed score (for production purposes only). [s.l.]: Ascherberg, Hopwood & Crew, Ltd., c1922. Pl. no. 6965-5. 5 pp.<\/td>\n<\/tr>\n
folder 12<\/th>\n\u201cLong Ago.\u201d
\nConductor\u2019s score (4 staves); undated. Pencil MS. 5 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 13<\/th>\n\u201cMarni Nixon Medley.\u201d
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Piano\/conductor score (2 staves); undated. MS repro. 2 copies. 23 pp., each. 24.5 x 33 cm. Copy 1 (labeled \u201cAudio Booth\u201d) has markings in red ink. Copy 2 (labeled \u201cVideo Booth\u201d) has markings in pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/th>\n\u201cMedal Fanfares.\u201d
\n\u201cMedal Fanfares 1\u20134.\u201d Conductor\u2019s score (4 staves); undated. Pencil MS, with markings in red ink. 2 pp. 30.5 x 39.5 cm.
\n\u201cPlay on pres. reag.; Bar 136.\u201d Conductor\u2019s score (4 staves); undated. Pencil MS, with optional cuts marked in red ink. 1 p. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 2<\/th>\nMusic from Hollywood concert, 1963 \u2013 \u201cFilm Composers\u2019 Medley.\u201d
\nConductor\u2019s score (3 staves); undated. MS repro. 20 pp. 25 x 33.5 cm.
\nFull score (33 staves) [incomplete; consists of pp. 1\u201314\/mm. 1\u201356 and 34\u201357\/mm. 133\u2013226]; undated. Pencil MS, with markings in colored pencil. 38 pp., total. 33 x 49 cm.<\/td>\n<\/tr>\n
folder 3<\/th>\n\u00a0J. Norman concert arrangements.
\n\u201cThe Song Is You.\u201d Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 5 pp. 30.5 x 39.5 cm.
\n\u201cWith a Song.\u201d Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 5 pp. 30.5 x 39.5 cm.
\n\u201cI Love You.\u201d Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 4 pp. 30.5 x 39.5 cm.
\n\u201cI\u2019m Old-Fashioned.\u201d Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 3 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 4<\/th>\n\u201cOscar Fantasy Overture No. 1\u201d (for Academy Awards, 1962).
\nFull score (26 staves); undated. MS repro, with sparse markings in pencil. 34 pp. 28 x 43.5 cm.<\/td>\n<\/tr>\n
folder 5<\/th>\n\u201cOver the Rainbow\u201d (by Arlen\u2013Harburg; arr. A. Courage for Boston Pops).
\nDraft of conductor\u2019s score (9 staves); undated. Pencil MS. 7 pp. 28 x 43.5 cm. Accompanied by duplicate copy (on thermal fax paper). 7 pp. 30.5 x 43 cm.
\nFull score (33 staves); undated. MS repro (on thermal paper). 14 pp. 30.5 x 48 cm.<\/td>\n<\/tr>\n
folder 6<\/th>\n\u201cPreamble\u201d (by Larry Grossman; arr. A. Courage).
\nFor voice and piano (by Larry Grossman). Text from the Preamble to the US Constitution. Piano-vocal score (reference copy?) (3 staves); undated. MS repro, with markings in pencil and blue ink. 4 pp. 25 x 34 cm.
\nFor double-choir. Choral score (6 staves); undated. MS repro. 6 pp. 24.5 x 33 cm.
\n[For choir(s) and orchestra.] Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 3 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 7<\/th>\n\u201cRoute 66 Medley\u201d (arr. Gil Grau).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Conductor\u2019s score (1\u20132 staves); undated. MS repro. 13 pp. 24.5 x 33 cm.<\/td>\n<\/tr>\n
folder 8<\/th>\n\u201cThe Sea Hawk\u201d (by Erich Wolfgang Korngold).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Reel 3, Part B; #18. Conductor\u2019s score (4 staves); undated. MS repro (purple ink), with markings in red pencil. 4 pp. 24.5 x 31.5 cm.
\nReel 3, Part C; #19. Conductor\u2019s score (4 staves); undated. MS repro (purple ink), with markings in red pencil. 10 pp. 24.5 x 31.5 cm.<\/td>\n<\/tr>\n
folder 9<\/th>\n\u201cSide No. 6: \u2018Captain from Castile\u2019 Records\u201d (by Alfred Newman; orch. Edward Powell).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Conductor\u2019s score (3 staves); undated. MS repro. 12 pp. 25 x 33 cm.<\/td>\n<\/tr>\n
folder 10<\/th>\n\u201cSingin\u2019 [in the Rain].\u201d
\nSee Box 73\/11 for full score.
\n<\/em>Draft of conductor\u2019s score (4 staves); undated. MS repro (on thermal paper). 5 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 11<\/th>\n\u201cSingin\u2019 in the Rain\u201d (by Brown\u2013Freed; arr. A. Courage for Boston Pops).
\nSee Box 73\/10 for draft of conductor\u2019s score.
\n<\/em>Full score (33 staves); undated. MS repro (on thermal paper). 24 pp. 30.5 x 48 cm.<\/td>\n<\/tr>\n
folder 12<\/th>\n\u201cSongs the Kids Brought Home from Camp\u201d \u2013 songs written for Warner Bros. album; John Raitt, singer.
\nVocal lead sheets (26 lead sheets) (1 staff); undated. Ozalid masters (ink MS); 4 lead sheets accompanied by typescript lyrics. 61 pp., total. 24 x 33 cm.
\nSongs included: Constantinople; Shenandoah; Johnny Schmoker; Abdul Abdulbul Amir; Dunderbeck\u2019s Machine; The Billboard; Medley (John Jacob Jingleheimer Schmidt; Michael Finnigin; Who Did?); Menu Song; Medley (1000 Legged Worm; When Father Put the Paper on the Wall; Dear Old Father); The Tree in the Wood; John Brown\u2019s Baby; Old MacDonald Had a Car; Bulldog-Fog Medley (The Bulldog on the Bank; A Frog Went A-Courting); The Damper Song (The Steam Went to the Piston); My Neighbor\u2019s Goat; Good Night, Ladies; Hey, Ho, Nobody Home; O, How Lovely Is the Evening; Juanita; Weggis Song; The Burglar song; Nickanacks; A Capital Ship; Down By the Riverside (Ain\u2019t Guine Study War No More); Home On the Range; My Grandfather\u2019s Clock.<\/td>\n<\/tr>\n
folder 13<\/th>\n\u201cSN\u201d [Silent Night] and \u201cChristmas Medley\u201d (arr. A. Courage for Boston Pops, 1988).
\n\u201cSilent Night.\u201d Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 1 p. 30.5 x 39.5 cm.
\n\u201cChristmas Medley.\u201d Draft of conductor\u2019s score (4 staves); undated. Pencil MS, with revised timing cues in black ink. 6 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/th>\n\u201cSpring Medley, April May June.\u201d
\nNote on p. 1 of score: \u201cWritten for John Williams, but not performed. Contains many<\/u> themes re: spring.\u201d
\n<\/em>Conductor\u2019s score (4 staves); undated. Pencil MS, with markings in red ink on numbered p. 2. 9 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 2<\/th>\n\u201cThe Summer Knows.\u201d
\nConductor\u2019s score (9 staves) (incomplete; consists of pp. 1-5\/mm. 1\u201332 only); undated. MS repro (photocopy). 5 pp. 28 x 43 cm.<\/td>\n<\/tr>\n
folder 3<\/th>\n\u201cSummertime\u201d ([by George Gershwin]; arr. for I. Perlman by John Williams).
\nFull score (23 staves); dated May 25, 1981. MS repro (photocopy). 10 pp. 28 x 35.5 cm.<\/td>\n<\/tr>\n
folder 4<\/th>\n\u201cTales from the Vienna Woods.\u201d
\nExcerpt from published piano score (2 staves); undated. Photocopy of published score (pp. 5\u20136 only). [s.l.: s.n., s.d.]. Pl. no. 2620-40 1\/2. 2 pp. 21.5 x 28 cm.<\/td>\n<\/tr>\n
folder 5<\/th>\n\u201cTara\u2019s Theme\u201d (music by Max Steiner; words by Mack David; arr. Percy Faith).
\nFrom A. Courage folder marked: \u201cVarious Academy Awards and CLG Concerts.\u201d
\n<\/em>Conductor\u2019s score (2\u20134 staves); undated. MS repro, with markings in pencil. 4 pp. 24.5 x 33 cm.<\/td>\n<\/tr>\n
folder 6<\/th>\n\u201cThat\u2019s Entertainment\u201d [arr. A. Courage?].
\nConductor\u2019s score (4 staves); undated. Pencil MS. 4 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 7<\/th>\n\u201cT. J. B. Tune \u2013 I Should Say to You What You Said to Me\u201d (A. Courage).
\nInstrumental parts (2 parts): trombone\/string bass, guitar; undated. Ozalid master (ink MS). 2 pp., each (4 pp. total). 24 x 33 cm.
\nInstrumental parts (2 parts): trombone\/string bass, guitar; undated. MS repro (from Ozalid masters). 2 copies, each part. 2 pp., each (8 pp., total). 25.5 x 33 cm.
\nInstrumental parts (3 parts): 1 trumpet, 2 trumpet, drums. Ink MS. 2 pp., each (6 pp., total). 24 x 30.5 cm.
\nFull score (4 staves); undated. Pencil MS. 3 pp. 30.5 x 39.5 cm. Accompanied by duplicate copy.<\/td>\n<\/tr>\n
folder 8<\/th>\n\u201cTorch Lighting\u201d (arr. A. Courage, based on Fanfare for the Common Man <\/em>by A. Copland).
\nFanfare for the Common Man <\/em>(by A. Copland). Full score (9 staves); dated 1942. Photocopy of published score, with markings in pencil and red ink. [s.l.]: Boosey & Hawkes, c1944. Pl. no. B.Ens. 97. 4 pp.
\n\u201cTorch Lighting (short)\u201d and \u201cTorch Lighting (long)\u201d (arr. A. Copland). Draft of conductor\u2019s score (4 staves); undated. Pencil MS. 2 pp. 30.5 x 39.5 cm.<\/td>\n<\/tr>\n
folder 9<\/th>\n\u201cTrolley Song\u201d (Pops arrangement).
\nConductor\u2019s score (9 staves); undated. Pencil MS. 29 pp. 28 x 43 cm.<\/td>\n<\/tr>\n
folder 10<\/th>\n[unknown production, 1983?].
\nSketches and lead sheets, including original songs by A. Courage and arrangements by A. Courage (23 items); 3 items in folder (\u201cThere\u2019s Got to be Music\u201d; [untitled sketches]; \u201cFeelin\u2019 Bad Blues\u201d) dated 1983; other items undated. Pencil MS and MS repro. 27 leaves, total. 24.5 x 30.5 cm to 27 x 34.5 cm.
\nTitles or first lines: \u201cThere\u2019s Got to be Music\u201d; You left me in heartbreak barn; Oh she\u2019s a truck drivin\u2019 mama; She\u2019s got a Sunday School face and a Saturday night heart; \u201cBottom of a Barrel\u201d; Way down inside me\/I\u2019m so lonesome brother; \u201cJust Country\u201d; We\u2019ve got to have music; \u201cWildwood Flower\u201d; \u201cSlidin\u2019 Hill Blues\u201d; Sentimental Boone; 3\/4 Theme I; \u201cBottom Land\u201d; \u201cCharcoal Drip\u201d; \u201cHot Chittlins\u201d\/\u201dTravelin\u2019 Music\u201d\/\u201dFeelin\u2019 Bad Blues; When I was a little boy in Tennessee.<\/td>\n<\/tr>\n
folder 11<\/th>\n\u201cWedding Dance No. 1.\u201d
\nConductor\u2019s score (8 staves); undated. MS repro, with markings in red ink. 16 pp. 32 x 38.5 cm. At end of score: \u201cPay Holder 9th June 1970.\u201d<\/td>\n<\/tr>\n
folder 12<\/th>\n\u201cThe Word\u201d [title of music cue illegible] (by Alex North; arr. A. Courage).
\nFull score (30 staves); undated. MS repro (on thermal paper). 13 pp. 30.5 x 48 cm.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Series 4: Scripts and Filming Schedules<\/h3>\n

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Sub-series A: Motion Pictures<\/em><\/strong><\/span><\/p>\n

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folder 1<\/th>\nAce Eli and Roger of the Skies<\/em>. Music breakdown for Reel 3\/Part 1 (2 documents) and Reel 9 (1 document); dated February 6\u2013March 2, 1973. Typescript, with markings in pencil and red pencil. 8 pp., total.<\/td>\n<\/tr>\n
folder 2<\/th>\nDoctor Dolittle<\/em>. Screenplay treatment by Leslie Bricusse; dated July 14, 1965. Typescript. 82 pp. Interleaved in volume: 1 p. pencil MS notes in the hand of A. Courage (pertaining to music cues for 8-2 through 8-2U).<\/td>\n<\/tr>\n
folder 3<\/th>\nDoctor Dolittle<\/em>. Screenplay by Leslie Bricusse (revised); dated March 7, 1966. Typescript, with sparse markings in pencil. 177 pp. Interleaved in volume (7 documents): recording schedules (2 documents), proposed playbacks (2 documents), list of musical numbers, rehearsal schedule, and list of instrumentation. 8 pp.<\/td>\n<\/tr>\n
folder 4<\/th>\nDoctor Dolittle<\/em>. Screenplay revisions; dated June, July, and October 1966. Typescript, with sparse markings in pencil. 56 pp., total.<\/td>\n<\/tr>\n
folder 5<\/th>\nDoctor Dolittle<\/em>. Music notes; dated April\u2013September 1967. Consists of form documents (titled \u201cMusic Notes\u201d) that summarize the placement of music cues as well as more detailed outlines of the film sequences on each reel. Typescript, with markings and notes in pencil, red pencil, and ink throughout. 265 pp., total.<\/td>\n<\/tr>\n
folder 6<\/th>\nFiddler on the Roof<\/em>. Screenplay by Joseph Stein (second draft); dated December 19, 1969. 174 pp.<\/td>\n<\/tr>\n
folder 7<\/th>\nFiddler on the Roof<\/em>. Call sheet and recording schedule.
\nMemo regarding instrumentation for pre-recording sessions at Denham Studios; dated May 12, 1970. Carbon copy of typescript letter. 1 p.
\n\u201cFiddler on the Roof: Final Music Rehearsal and Pre-Recording Schedule, May 18th through July 24th, 1970 in London.\u201d Typescript schedule, with markings in pencil and colored pencil. 14 pp.
\nCall sheet for June 1, 1970. Typescript. 2 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/th>\nThe Great Cherub Knitwear Strike<\/em>. Screenplay by Ethel Tyne (final draft); dated July 7, 1975. Typescript, with markings in red pencil. \u00a08 (short rundown) + 173 (script) pp.<\/td>\n<\/tr>\n
folder 2<\/th>\nThe Great Cherub Knitwear Strike<\/em>. Taping schedule for July 28\u2013August 1, 1975. Typescript. 14 pp.<\/td>\n<\/tr>\n
folder 3<\/th>\nGremlins II.<\/em> Music notes\/music breakdowns (summaries of the placement of music cues), with 3 scoring\/instrumentation lists interleaved; dated February 27, 1990. Typescript, with markings in ink. 31 pp.<\/td>\n<\/tr>\n
folder 4<\/th>\nThe Last Butterfly<\/em>. Music notes; dated February 11, 1990. Typescript (printed from dot-matrix printer), with markings in red ink. 14 pp.<\/td>\n<\/tr>\n
folder 5<\/th>\nMatinee<\/em>. Music notes (titled \u201cMusic Breakdown\u201d) for Reel 3, Part 4; undated. Typescript, with markings in pencil and ink. 4 pp.<\/td>\n<\/tr>\n
folder 6<\/th>\nMy Fair Lady<\/em>. Music notes, labeled 1\/2 and 3\/4; undated. Typescript, with markings in red pencil and ink. 4 pp., total.<\/td>\n<\/tr>\n
folder 7<\/th>\nUnfaithfully Yours<\/em>. Screenplay by Valerie Curtain and Barry Levinson, revised by Robert DeLaurentis, and revised by Robert Klane (numbered A68); dated November 12, 1982. Typescript, with markings in ink and pencil. 127 pp.<\/td>\n<\/tr>\n
folder 8<\/th>\nYes, Giorgio.<\/em> Screenplay by Norman Steinberg (revised final draft); dated April 10, 1981. Typescript, with markings in pencil and ink. 103 pp.<\/td>\n<\/tr>\n
folder 9<\/th>\nYes, Giorgio<\/em>. MGM memos, staff and crew lists, work schedules, and related documents; dated February\u2013August 1981. Typescript, with 18 pp. pencil MS notes. Arranged chronologically. 118 leaves + 2 pamphlets.
\nOversized documents separated; see Box 77\/1.<\/em><\/td>\n<\/tr>\n
folder 10<\/th>\nYes, Giorgio<\/em>. Programs, reviews and articles.
\nSee also Series 7 for duplicates.
\n<\/em>Contains: 2 newspaper clippings (reviews), 1 magazine (The Hollywood Reporter),<\/em> and 2 copies of film program listing cast and credits.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/th>\nYes, Giorgio<\/em>. Oversized documents, including MGM memos, work orders, call sheets, and related documents; dated June\u2013August 1981. Typescript, with 1 p. blue pencil notes. Arranged chronologically. 21 leaves.
\nSeparated from Box 76\/9.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Sub-series B: Television<\/em><\/strong><\/span><\/p>\n

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BOONE<\/strong><\/p>\n

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folder 2<\/th>\nCue sheets for episodes #201021 (\u201cThe Decision\u201d), #172601 (\u201cThe Trial\u201d). #172607 (\u201cBanjo\u201d), #172605 (\u201c2nd Fiddle\u201d), and #172608 (\u201cThe Monument\u201d); dated April\u2013September 1983. Pencil MS and MS repro forms (chart of instrumentation needed for each cue). 21 pp., total.<\/td>\n<\/tr>\n
folder 3<\/th>\n\u201cThe Decision.\u201d Pilot script by Earl Hamner (first draft); dated February 7, 1983. Typescript, with markings in pencil and red ink. 61 pp.<\/td>\n<\/tr>\n
folder 4<\/th>\n\u201cThe Decision.\u201d Pilot script by Earl Hamner (final draft); dated March 4, 1983. Typescript, with sparse markings in red ink. 60 pp.<\/td>\n<\/tr>\n
folder 5<\/th>\n\u201cThe Decision.\u201d Pilot script by Earl Hamner (revised final draft); dated March 9, 1983. Typescript, with markings in blue ink. 59 pp. Accompanied by revised pages; dated September 12, 1983. Typescript. 10 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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EIGHT IS ENOUGH<\/strong><\/p>\n

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folder 6<\/th>\nCue sheets for episodes #188363 (\u201cDomino Theory\u201d), #188353 (\u201cTurnabout\u201d), #188355 (\u201cQuarantine\u201d), and #188330 (\u201cV is for Vivian\u201d); dated April 1977. MS repro forms (chart of instrumentation needed for each cue). 4 pp., total.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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FALCON CREST<\/strong><\/p>\n

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folder 7<\/th>\nCue sheets for episodes #189703 (\u201cThe Harvest\u201d) and #189707 (\u201cKindred Spirits\u201d); undated. MS repro and pencil MS. 7 pp., total.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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FLAMINGO ROAD<\/strong><\/p>\n

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folder 8<\/th>\nCue sheets for episodes #189504 (\u201cThe Intruder\u201d) and #181210 (\u201cCode Red\u201d); dated November 1981. Pencil MS and MS repro. 8 pp., total.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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THE WALTONS<\/strong><\/p>\n

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folder 9<\/th>\nSpotting notes for episode #186318 (\u201cThe Gypsies\u201d); dated December 1, 1972. Typescript, with markings in pencil and red pencil. 27 pp.<\/td>\n<\/tr>\n
folder 10<\/th>\nFilming schedules, lead time schedules, and cast and crew lists; dated 1974\u20131981. Typescript, with markings in pencil and ink. 31 pp., total. Accompanied by pencil MS list of folder contents. 1 p.<\/td>\n<\/tr>\n
folder 11<\/th>\nCue sheets and lists of music in \u201cThe Waltons\u201d library.
\nCue sheets for 23 episodes; dated 1976\u20131981. Typescript, MS repro forms (some on thermal paper), and pencil MS. 81 pp., total.
\nEpisodes included: #186351 (\u201cThe Heritage\u201d), \u00a0#188171 (\u201cThe Starlet\u201d), #188173 (\u201cSilver Wings\u201d), #188175 (\u201cThe Waiting\u201d), #188182 (\u201cThe Prodigals\u201d), #188184 (\u201cThe Traveling Man\u201d), #188192 (\u201cA Decade of the Waltons\u201d), #188416 (\u201cThe Achievement\u201d), #188423 (\u201cThe Ferris Wheel\u201d), #188431 (\u201cThe Hiding Place\u201d), #188453 (\u201cThe First Casualty\u201d), #188456 (\u201cThe Stray\u201d), #188465 (\u201cThe Festival\u201d), #188470 (\u201cGrandma Comes Home\u201d), #188475 (\u201cThe Grandchild\u201d), ## (\u201cThe Gold Watch\u201d), #189219 (\u201cThe Indiscretion\u201d), #189220 (\u201cThe Lumberjack\u201d), #189221 (\u201cThe Revel\u201d), #189222 (\u201cThe Heartache\u201d), #211009 (\u201cValentine\u2019s Day\u201d), #211010 (\u201cMother\u2019s Day\u201d), #211011 (\u201cA Day of Thanks\u201d).
\n\u201cFor underscoring session.\u201d List of cues from multiple episodes; undated. MS repro, with markings in red ink. 5 pp.
\n\u201cWalton Library Music.\u201d List of cues from multiple episodes; undated. MS repro, with markings in red and green ink. 4 pp.
\n\u201cThe Waltons Library (#3).\u201d Chart lsiting music cues from multiple episodes; dated July 13, 1977. MS repro (on thermal paper). 3 pp.
\n\u201cThe Waltons 188400.\u201d Chart listing music cues from multiple episodes; dated June 9, 1976. 5 pp.
\n\u201cThe Waltons 188400.\u201d Chart listing music cues from multiple episodes; dated July 2, 1976. 3 pp.<\/td>\n<\/tr>\n
folder 12<\/th>\n\u201cThe Seashore\u201d (#188452) [Year 6, No. 9]. Episode script by Marion Hargrave (revised final); dated April 14, 1977. Typescript (photocopy), with markings in red pencil. 67 pp.<\/td>\n<\/tr>\n
folder 13<\/th>\n\u201cFounder\u2019s Day\u201d (#188719) [Year 7, No. 24]. Episode script by Kathleen Hite (first draft); dated November 20, 1978. Typescript (photocopy). 64 pp.<\/td>\n<\/tr>\n
folder 14<\/th>\n\u201cFounder\u2019s Day\u201d (#188719) [Year 7, No. 24]. Episode script by Kathleen Hite (final draft); dated February 5, 1979. Typescript (photocopy). 63 pp.<\/td>\n<\/tr>\n
folder 15<\/th>\n\u201cFounder\u2019s Day\u201d (#188719) [Year 7, No. 24]. Episode script by Kathleen Hite (final draft); dated February 9, 1979. Typescript. 57 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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[\/vc_column_text][vc_custom_heading text=”Box 78″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/th>\n\u201cThe Valediction\u201d (#188188) [Year 8, No. 24]. Episode script by Clair Whitaker (final draft); dated January 21, 1980. Typescript. 59 pp.<\/td>\n<\/tr>\n
folder 2<\/th>\n\u201cThe Walton Decade: A Retrospective\u201d (#188192) [Year 8, No. 25?]. Episode script by Claire Whitaker, Rod Peterson, and<\/span> Earl Hamner (final draft); dated February 6, 1980. Typescript. 209 pp. Interleaved in score: pencil MS note (1 p.).<\/td>\n<\/tr>\n
folder 3<\/th>\n\u201cA Decade of the Waltons\u201d (#188192) [Year 8, No. 25?]. Episode script by Earl Hamner (final draft); dated February 6, 1980. Typescript. 69 pp. Interleaved in score: pencil MS notes (3 pp.).<\/td>\n<\/tr>\n
folder 4<\/th>\n\u201cThe Beginning\u201d (#189217) [Year 9, No. 14]. Episode script by Kathleen Hite (final draft); dated January 7, 1981. Typescript. 61 pp.<\/td>\n<\/tr>\n
folder 5<\/th>\n\u201cThe Pearls\u201d (#189214) [Year 9, No. 15]. Episode script by Kathleen Hite (final draft); dated January 16, 1981. Typescript. 58 pp.<\/td>\n<\/tr>\n
folder 6<\/th>\n\u201cThe Threshold\u201d (#189216) [Year 9, No. 17]. Episode script by Scott Hamner (final draft); dated February 4, 1981. Typescript. 60 pp.<\/td>\n<\/tr>\n
folder 7<\/th>\n\u201cThe Heartache\u201d (#189222) [Year 9, No. 19]. Episode script by Kathleen Hite (final draft); date February 26, 1981. Typescript. 56 pp.<\/td>\n<\/tr>\n
folder 8<\/th>\n\u201cThe Hostage\u201d (#189223) [Year 9, No. 21]. Episode script by Marjorie Fowler (second draft); dated February 26, 1981. Typescript. 56 pp.<\/td>\n<\/tr>\n
folder 9<\/th>\n\u201cThe Revel\u201d (#189221) [Year 9, No. 22]. Episode script by Scott Hamner (first draft); dated February 13, 1981. Typescript. 58 pp.<\/td>\n<\/tr>\n
folder 10<\/th>\n\u201cThe Revel\u201d (#189221) [Year 9, No. 22]. Episode script by Scott Hamner (final draft); dated February 24, 1981. Typescript. 54 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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 <\/p>\n

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\n

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Series 5: Recordings<\/h3>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

Sub-series A: Motion Pictures<\/em><\/strong><\/span><\/p>\n

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[\/vc_column_text][vc_custom_heading text=”Box 79″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

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DOCTOR DOLITTLE<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n
rec 1<\/th>\n\u201cDoctor Dolittle \u2013 Original demos\u201d (1965). 5\u201d audio reel, 7.5 ips.
\nAnnotation on back of case:
\nS.I. Dr. Dolittle
\n4 songs\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1965
\nL.H. Summer
\nAt start<\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cDr. Dolittle Demos\u201d (May 1966). 5\u201d audio reel, 3.75 ips.<\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cDoctor Dolittle Takedown Prerecording\u201d (May\u2013June 1966). 5\u201d audio reel, 7.5 ips.
\nTracks: Where Are the Words — Like Animals — When I Look In Your Eyes — At the Crossroads — I Think I Like You.<\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cDolittle. The Doctor\u2019s Dilemma, Harrison\u2019s House\u201d (October 1966). 5\u201d audio reel.<\/td>\n<\/tr>\n
rec 5<\/th>\n[Doctor Dolittle \u2013 misc.] 5\u201d audio reel.
\nAnnotation on back of case:
\nSide I\u00a0\u00a0\u00a0\u00a0 Dr. Dolittle\u00a0\u00a0\u00a0\u00a0 3 3\/4
\nI\u2019ve Never Seen Anything Like It
\nR. Attenborough Takedown
\nSide II\u00a0\u00a0\u00a0\u00a0 Dr. Dolittle\u00a0\u00a0\u00a0\u00a0 7 1\/2
\nR + E Doctor\u2019s Dilemma Takedown
\nAt Harrison\u2019s House<\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cDolittle losers.\u201d 5\u201d audio reel, 7.5 ips.
\nAnnotation on back of case:
\n1.I\u2019ll Fight a Lion
\nSide II. Griffith<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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HELLO DOLLY<\/strong><\/p>\n

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rec 7<\/th>\n\u201cHello Dolly takedown.\u201d 5\u201d audio reel.
\nAnnotation on back of case:
\nHello Dolly Takedown
\nWhen the Parade \u2013
\nAlso Side II Last Part Bach. Party 13 July 67<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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LOST IN THE STARS<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
rec 8<\/th>\n\u201cLost in the Stars.\u201d 5\u201d audio reel. Case taped closed.
\n20th Century-Fox Film Corp., shooting tape, labeled: \u201cY01 P.B. #1 DS-3.\u201d
\nBrock Peters vocal and orch.<\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cWild Justice.\u201d 5\u201d audio reel, 7.5 ips.
\n20th Century-Fox Film Corp., shooting tape, labeled: \u201cY01 DS 18.\u201d
\nCliff Davis and choir.<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cCry the Beloved Country\u201d (scene 100). 5\u201d audio reel.
\n20th Century-Fox Film Corp., shooting tape, labeled: \u201cY01 DS-13.\u201d
\nPrisoner Choir.<\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cCry the Beloved Country\u201d (scene 100A). 5\u201d audio reel.
\n20th Century-Fox Film Corp., shooting tape, labeled: \u201cY-01 DS-15.\u201d
\nPrisoner Choir.<\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cStay Well.\u201d 5\u201d audio reel.
\n20th Century-Fox Film Corp., shooting tape, labeled: \u201cY-01 P.B. #22.\u201d
\nMelba Moore and piano.<\/td>\n<\/tr>\n
rec 13<\/th>\n\u201cTrouble Man.\u201d 5\u201d audio reel.
\n20th Century-Fox Film Corp., shooting tape, labeled: \u201cY-01 P.B. #23.\u201d
\nMelba Moore and piano.<\/td>\n<\/tr>\n
rec 14<\/th>\n\u201cBig Mole.\u201d 5\u201d audio reel. Case taped closed.
\nAnnotation on back of case:
\nR3P2 \u201cBig Mole\u201d<\/td>\n<\/tr>\n
rec 15<\/th>\n\u201cJohannesberg.\u201d 5\u201d audio reel.<\/td>\n<\/tr>\n
rec 16<\/th>\n\u201cLittle Gray House.\u201d 5\u201d audio reel.
\nAnnotation on back of case:
\nR3P1A \u201cLittle Gray House\u201d<\/td>\n<\/tr>\n
rec 17<\/th>\n\u201cMurder in Parkwold\u201d and \u201cFear.\u201d 5\u201d audio reel.
\nLabel on back of case:
\nY01 \u201cLost in the Stars\u201d
\nR5P2 \u201cMurder in Parkwold + Fear\u201d Oui Ury<\/td>\n<\/tr>\n
rec 18<\/th>\n\u201cThousands of Miles.\u201d 5\u201d audio reel.
\nAnnotation on back of case:
\n\u201cThousands of Miles\u201d R2P2<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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[\/vc_column_text][vc_custom_heading text=”Box 80″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

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THE MATCHMAKER<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n
rec 1<\/th>\n\u201cWedding Dance.\u201d 5\u201d audio reel.
\nAnnotation on liner:
\nMatchmaker
\nTakedown
\nWedding Dance
\nApp. 150<\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cMatchmaker Takedown\u201d (September 1970). 5\u201d audio reel.
\nAnnotation on front of case:
\nNelsons in Central Hotel and Ceildh
\nSept. 70 17\/8<\/td>\n<\/tr>\n
[Morris\u2019 Death Sequence \u2013 unknown production]<\/strong><\/th>\n<\/tr>\n
rec 3<\/th>\n\u201cMorris\u2019 Death Sequence.\u201d 5\u201d audio reel, 7.5 ips.
\nAnnotation on back of case:
\nQ B VII\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 7 1\/2 ips N\/Sync.
\nR-17\u00a0\u00a0\u00a0\u00a0 Morris\u2019 Death Sequence<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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NAGRA #1<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n
rec 4<\/th>\n\u201cWildwood Flower\u201d and \u201cJambalaya\u201d (March 10, 1983). 5\u201d audio reel, 7.5 ips.
\nPerformed by Boone.
\nTrack list: Wildwood Flower (version 1) — Wildwood Flower (vers. 2 up tempo) — Jambalaya (instrumental w\/ vocal) — Jambalaya (instrumental) — Jambalaya (c+w w\/ vocal) — Jambalaya (c+w w\/out vocal) — Jambalaya (rockabilly w\/ vocal) — Jambalaya (rockabilly w\/out vocal).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

TORA TORA TORA<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n
rec 5<\/th>\n\u201cJapanese Music for Tora-Tora-Tora.\u201d 5\u201d audio reel, 7.5 ips.
\nTrack list: Umi Yukaba — Umi — Gunkan K\u00f4shinkyoku — Sh\u00f4kan Reishikino Rappa.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

YES, GIORGIO<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n
rec 6<\/th>\nOuttakes. 5\u201d audio reel, 7.5 ips.
\nAnnotation on back of case:
\n\u201cYes Georgio\u201d
\n2001\u20131, 2, 3
\nOut takes<\/td>\n<\/tr>\n
rec 7<\/th>\nOuttakes. 5\u201d audio reel, 7.5 ips.
\nAnnotation on back of case:
\n\u201cYes Georgio\u201d
\nout takes
\n2021-6-7-8
\n2021-1-2<\/td>\n<\/tr>\n
rec 8<\/th>\nOuttakes. 5\u201d audio reel, 7.5 ips. Case taped closed.
\nAnnotation on back of case:
\n\u201cYes Georgio\u201d
\nout takes
\n2001-5x\u2019s
\n2020-1-2-3-4-5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

DOCTOR DOLITTLE<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n
rec 9<\/th>\n\u201cThe Doctor Dolittle Tape, Part I.\u201d 7\u201d audio reel, 7.5 ips.
\nTrack list:
\n[Side I] My Friend the Doctor — Reluctant Vegetarian — The Vegetarian — Talk to the Animals —
\n[Side II] Talk to the Animals final — Fabulous Places — When I Look in Your Eyes — After Today — Children Want to Know Why.\u201d<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Doctor Dolittle Tape, Part II.\u201d 7\u201d audio reel, 7.5 ips.
\nTrack list:
\n[Side I] Like Animals — Where Are the Words? — If I Could Be Anyone At All — At the Crossroads — I Don\u2019t Want to Be a King —
\n[Side II] Beautiful Things — I Think I Like You — I\u2019ve Never Seen Anything Like It.<\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cThe Doctor Dolittle Tape, Part III.\u201d 7\u201d audio reel.
\nTrack list: [Side I] I\u2019ve Never Seen Anything Like It –The Doctor\u2019s Dilemma — \u201cDoctor Dolittle piano temp. track.\u201d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

FUNNY FACE<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n
rec 12<\/th>\n\u201cBasal Metabolism\u201d (1956). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

THE LAST BUTTERFLY<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n
rec 13<\/th>\nThe Last Butterfly <\/em>[soundtrack album]. Audiocassette tape, produced by Studio Budikov.
\nTrack list:
\n[Side A] Main Title — Foxtrot in Cabaret — Mr. Grondin Pantomime — Antoine\u2019s Playoff Music — Michelle\u2019s Demise — The Flashback — The Nightmare Begins — The Gordian Knot — Afternoon Coffee — Things Don\u2019t, People Do — Avinu Malkenu — Snow White Ballet —
\n[Side B] Sings of Spring — The Hit — Butterfly — The Red Umbrella — Ocarina Yiddish Dance — Save Stella — The Last Performance — Hansel and Gretel Ballet — Lulinka.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

Sub-series B: Television<\/em><\/strong><\/span><\/p>\n

<\/a><\/p>\n

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[\/vc_column_text][vc_custom_heading text=”Box 81″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

EIGHT IS ENOUGH<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n
rec 1<\/th>\nPilot (#438193). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated March 26, 1976.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cDomino Theory\u201d (#188363), Reel 1. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated April 5, 1977.<\/em><\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cDomino Theory\u201d (#188363), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cTurnabout\u201d (#188353). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated April 14, 1977.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cQuarantine\u201d (#188355). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated April 19, 1977.<\/em><\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cV is for Vivian\u201d (#188360). 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated April 24, 1977.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

FLAMINGO ROAD<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n
rec 7<\/th>\n\u201cThe Intruder\u201d (#189504). 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; December 3, 1981.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

THE WALTONS<\/strong><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n
rec 8<\/th>\n\u201cThe Homecoming\u201d (Pilot) (#CTN131-153). 7\u201d audio reel.
\nPencil MS note in case.
\n<\/em>Label on front of case:
\nWaltons Pilot \u201cHomecoming\u201d
\nalso called Christmas Story
\n[by Jerry Goldsmith]<\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cThe Gypsies\u201d (Year 1, No. 3) (#186318). 5\u201d audio reel, 7.5 ips.
\nRecorded December 15, 1972.
\nAnnotation on back of case:
\nWaltons #186318<\/p>\n
    \n
  1. A01<\/li>\n
  2. 389<\/li>\n<\/ol>\n<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Runaway,\u201d (Year 3, No. 3) (#188063), Reel 2. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 22, 1975.
\n<\/em>Annotation on side of case:
\nWaltons Score R.2 Runaway 188062 [recte<\/em> 188063].<\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cThe Thoroughbred,\u201d (Year 3, No. 5) (#188062), Reel 1. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 22, 1975.
\n<\/em>Annotation on side of case:
\nWaltons Score R-1 Thoroughbred 188062.<\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cThe Conflict,\u201d (Year 3, No.7) (#188085), Reel 1. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 24, 1975.<\/em><\/td>\n<\/tr>\n
rec 13<\/th>\n\u201cThe Conflict,\u201d (Year 3, No.7) (#188085), Reel 2. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 24, 1975.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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[\/vc_column_text][vc_custom_heading text=”Box 82″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
rec 1<\/th>\n\u201cThe Birthday\u201d (Year 3, No. 11) (#188087). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 23, 1975.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Choice\u201d (Year 3, No. 13) (#188089). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 23, 1975.<\/em><\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Suitor\u201d (Year 3, No. 14) (#188073). 7\u201d audio reel, 7.5 ips.
\nCarbon copies of 6 recording forms in case; dated January 28, 1975.<\/em><\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cThe Song\u201d (Year 3, No. 15) (#188061). 7\u201d audio reel, 7.5 ips.
\nCarbon copies of 4 recording forms in case; dated February 4, 1975.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Woman\u201d (Year 3, No. 16) (#188066). 7\u201d audio reel, 7.5 ips.
\nCarbon copies of 5 recording forms in case; dated February 10, 1975.<\/em><\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cThe Loss,\u201d (Year 4, No. 1) (#188006), Reel 1. 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated November 12, 1975.<\/em><\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cThe Loss,\u201d (Year 4, No. 1) (#188006), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 8<\/th>\n\u201cThe Emergence\u201d (Year 4, No. 2) (#188009). 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated November 12, 1975.<\/em><\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cWaltons #188015, #188013, #188018, R-2.\u201d 7\u201d audio reel.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated November 17, 1975.
\n<\/em>Contains cues from: \u201cThe Fighter\u201d (Year 4, No. 6) (#188015); \u201cThe Prophecy\u201d (Year 4, No. 7) (#188013); \u201cThe Genius\u201d (Year 4, No. 3) (#188018).<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Sermon,\u201d (Year 4, No .4) (#188010), Reel 1. 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated November 12, 1975.<\/em><\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cThe Sermon,\u201d (Year 4, No. 4) (#188010), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cThe Estrangement\u201d (Year 4, No. 5) (#188014). 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated November 17, 1975.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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[\/vc_column_text][vc_custom_heading text=”Box 83″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
rec 1<\/th>\n\u201cThe Wingwalker\u201d (Year 4, No. 8) (#188028). 7\u201d audio reel.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated October 8, 1975.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Competition\u201d (Year 4, No. 9) (#188012), Reel 1. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated October 14, 1975.<\/em><\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Competition\u201d (Year 4, No. 9) (#188012), Reel 2. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated October 14, 1975.<\/em><\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cThe Nurse\u201d (Year 4, No. 10) (#188021). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 17, 1975.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Secret\u201d (Year 4, No. 12) (#188037). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 29, 1975.<\/em><\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cThe Burnout\u201d (Year 4, No. 13) (#188025), Reel 1. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cThe Burnout\u201d (Year 4, No. 13) (#188025), Reel 2. 7\u201d audio reel.<\/td>\n<\/tr>\n
rec 8<\/th>\n\u201cThe Big Brother\u201d (Year 4, No. 14) (#188020). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 16, 1976.<\/em><\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cWaltons #188406\u2013188407, R-1.\u201d 7\u201d audio reel.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated November 18, 1976.
\n<\/em>Contains cues from: \u201cThe Turning Point\u201d (Year 5, No. 1) (#188406); \u201cThe Nightwalker,\u201d Reel 1 (Year 5, No. 6) (#188407).<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Nightwalker\u201d (Year 5, No. 6) (#188407), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cThe Wedding\u201d (Year 5, No. 7-8) (#188421), Reel 1. 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated November 22, 1976.<\/em><\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cThe Wedding\u201d (Year 5, No. 7-8) (#188421), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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[\/vc_column_text][vc_custom_heading text=”Box 84″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
rec 1<\/th>\n\u201cThe Hiding Place\u201d (Year 5, No. 21) (#188431). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated February 17, 1977.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Pony Cart\u201d (Year 5, No. 23) (#188405). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 16, 1976.<\/em><\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Best Christmas\u201d (Year 5, No. 24) (#188418). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 23, 1976.<\/em><\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cThe Ferris Wheel\u201d (Year 5, No. 25) (#188423), Reel 1. 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated December 20, 1976.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Ferris Wheel\u201d (Year 5, No. 25) (#188423), Reel 2. 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated December 30, 1976<\/em><\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cThe Inferno\u201d (Year 5, No. 26) (#188430). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 27, 1977.<\/em><\/td>\n<\/tr>\n
rec 7<\/th>\n[no title] (Year 5, No. 27) (#188436), Reel 1. 7\u201d audio reel.
\nPhotocopy of 2 Sound\/Magnetic Transfer forms in case; dated June 9\u201310, 1976.<\/em><\/td>\n<\/tr>\n
rec 8<\/th>\n[no title] (Year 5, No. 27) (#188436), Reel 2. 7\u201d audio reel.
\nDated June 9, 1976.<\/td>\n<\/tr>\n
rec 9<\/th>\n[no title] (Year 5, No. 27) (#188436), Reel 3. 7\u201d audio reel.
\nDated June 9, 1976.<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Stray\u201d (Year 6, No. 1) (#188456). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated July 22, 1977.<\/em><\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cThe First Casualty\u201d (Year 6, No. 3) (#188453), Reel 1. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 11, 1977.<\/em><\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cThe First Casualty\u201d (Year 6, No. 3) (#188453), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 13<\/th>\n\u201cThe Hawk\u201d (Year 6, No. 4) (#188460). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 31, 1977.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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[\/vc_column_text][vc_custom_heading text=”Box 85″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
rec 1<\/th>\n\u201cThe Grandchild\u201d (Year 6, No. 5-6) (#188475), Reel 1. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated October 19, 1977.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Grandchild\u201d (Year 6, No. 5-6) (#188475), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Warrior\u201d (Year 6, No. 8) (#188455). 7\u201d audio reel.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated September 23, 1977.<\/em><\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cThe Children\u2019s Carol\u201d (Year 6, No. 10-11) (#188479), Reel 1. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 23, 1977.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Children\u2019s Carol\u201d (Year 6, No. 10-11) (#188479), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cThe Children\u2019s Carol\u201d (Year 6, No. 10-11) (#188479), Reel 3. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cSpring Fever\u201d (Year 6, No. 17) (#188463). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 21, 1977.<\/em><\/td>\n<\/tr>\n
rec 8<\/th>\n\u201cThe Ordeal\u201d (Year 6, No. 18-19) (#188477), Reel 1. 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 16, 1978.<\/em><\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cThe Ordeal\u201d (Year 6, No. 18-19) (#188477), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Family Tree\u201d (Year 6, No. 22) (#188471). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated February 1, 1978.<\/em><\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cThe Return\u201d (Year 6, No. 24-25) (#188491). 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated June 13, 1978.<\/em><\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cGrandma Comes Home\u201d (Year 6, No. 26) (#188470), Reel 1. 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated June 13, 1978.<\/em><\/td>\n<\/tr>\n
rec 13<\/th>\n\u201cGrandma Comes Home\u201d (Year 6, No. 26) (#188470), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 86″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
rec 1<\/th>\n\u201cThe Calling\u201d (Year 7, No. 1) (#188701). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 8, 1978.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Empty Nest\u201d (Year 7, No. 2-3) (#188725), Reel 1. 7\u201d audio reel.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 18, 1978.<\/em><\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Empty Nest\u201d (Year 7, No. 2-3) (#188725), Reel 2. 7\u201d audio reel.<\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cThe Moonshiner\u201d (Year 7, No. 4) (#188704). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 25, 1978.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Obsession\u201d (Year 7, No. 5) (#188708). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 31, 1978<\/em><\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cThe Changeling\u201d (Year 7, No. 6) (#188702). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated September 1, 1978.<\/em><\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cThe Portrait\u201d (Year 7, No. 7) (#188707). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated September 20, 1978.<\/em><\/td>\n<\/tr>\n
rec 8<\/th>\n\u201cThe Captive\u201d (Year 7, No. 8) (#188705). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated October 3, 1978.<\/em><\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cThe Illusion\u201d (Year 7, No. 9) (#188706). 7\u201d audio reel, 7.5 ips.
\nCarbon copy and duplicate photocopy of Sound\/Magnetic Transfer form in case; dated October 11, 1978.<\/em><\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Beau\u201d (Year 7, No. 10) (#188709). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 9, 1978.<\/em><\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cDay of Infamy\u201d (Year 7, No. 11) (#188710). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 20, 1978.<\/em><\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cThe Yearning\u201d (Year 7, No. 12) (#188178), Reel 1. 7\u201d audio reel, 7.5 ips.
\nCarbon copy of recording form in case; dated December 4, 1978.<\/em><\/td>\n<\/tr>\n
rec 13<\/th>\n\u201cThe Boosters\u201d (Year 7, No. 13) (#188714). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 6, 1978.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 87″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
rec 1<\/th>\n\u201cThe Conscience\u201d (Year 7, No. 14) (#188711). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 14, 1978.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Parting\u201d (Year 7, No. 15) (#188172). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 22, 1978.<\/em><\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Obstacle\u201d (Year 7, No. 16) (#188171). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 27, 1978.<\/em><\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cThe Burden\u201d (Year 7, No. 17) (#188716). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 4, 1979.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Pin-Up\u201d (Year 7, No. 18) (#188721). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 22, 1979.<\/em><\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cThe Attack\u201d (Year 7, No. 19) (#188723). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 29, 1979.<\/em><\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cThe Legacy\u201d (Year 7, No. 20) (#188722). 7\u201d audio reel, 7.5 ips.
\nCarbon copy of recording form in case; dated February 12, 1979.<\/em><\/td>\n<\/tr>\n
rec 8<\/th>\n\u201cThe Outsider\u201d (Year 7, No. 21) (#188720). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated February 14, 1979.<\/em><\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cThe Torch\u201d (Year 7, No. 22) (#188724). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated February 22, 1979.<\/em><\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Tailspin\u201d (Year 7, No. 23) (#188727). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated March 2, 1979.<\/em><\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cFounder\u2019s Day\u201d (Year 7, No. 24) (#188719). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated March 9, 1979.<\/em><\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cThe Home Front\u201d (Year 8, No. 1-2) (#1881900), Reel 1. 7\u201d audio reel.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated July 27, 1979.<\/em><\/td>\n<\/tr>\n
rec 13<\/th>\n\u201cThe Home Front\u201d (Year 8, No. 1-2) (#188190), Reel 2. 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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rec 1<\/th>\n\u201cThe Kinfolk\u201d (Year 8, No. 3) (#188166). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 9, 1979.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Diploma\u201d (Year 8, No. 4) (#188167). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 20, 1979.<\/em><\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Journal\u201d (Year 8, No. 5) (#188168). 7\u201d audio reel.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated September 6, 1979.<\/em><\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cThe Innocents\u201d (Year 8, No. 6) (#188169). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated August 22, 1979.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Starlet\u201d (Year 8, No. 7) (#188171). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated September 18, 1979.<\/em><\/td>\n<\/tr>\n
rec 6<\/th>\n\u00a0\u201cThe Lost Sheep\u201d (Year 8, No. 8) (#188176). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated September 28, 1979.<\/em><\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cThe Violated\u201d (Year 8, No. 9) (#188175). 7\u201d audio reel.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated October 12, 1979.<\/em><\/td>\n<\/tr>\n
rec 8<\/th>\n\u201cThe Waiting, Part II\u201d (Year 8, No. 10) (#188174). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated September 28, 1979.<\/em><\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cThe Silverwings\u201d (Year 8, No. 11) (#188173). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 10<\/th>\n\u00a0\u201cThe Wager (Race)\u201d (Year 8, No. 12) (#188179). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 12, 1979.<\/em><\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cThe Spirit\u201d (Year 8, No. 13) (#188177). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 14, 1979.<\/em><\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cThe Fastidious Wife\u201d (Year 8, No. 14) (#188172). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 10, 1979.<\/em><\/td>\n<\/tr>\n
rec 13<\/th>\n\u00a0\u201cThe Unthinkable\u201d (Year 8, No. 15) (#188180). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated November 30, 1979.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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rec 1<\/th>\n\u00a0\u201cThe Idol\u201d (Year 8, No. 16) (#188181). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 12, 1979.<\/em><\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Prodigals\u201d (Year 8, No. 17) (#188182). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated December 20, 1979.<\/em><\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Remembrance\u201d (Year 8, No. 18) (#188178). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 3, 1980.<\/em><\/td>\n<\/tr>\n
rec 4<\/th>\n\u00a0\u201cThe Inspiration\u201d (Year 8, No. 19) (#188185). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 18, 1980.<\/em><\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Last Straw\u201d (Year 8, No. 20) (#188183). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated January 29, 1980.<\/em><\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cThe Traveling Man\u201d (Year 8, No. 21) (#188184). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated February 11, 1980.<\/em><\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cThe Furlough\u201d (Year 8, No. 22) (#188187). 7\u201d audio reel, 7.5 ips.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated February 6, 1980.<\/em><\/td>\n<\/tr>\n
rec 8<\/th>\n\u00a0\u201cThe Valediction\u201d (Year 8, No. 23) (#188188). 7\u201d audio reel.
\nPhotocopy of Sound\/Magnetic Transfer form in case; dated February 27, 1980.<\/em><\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cThe Waltons Decade,\u201d (Year 8, No. 25?) (#188192), Reel 1. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cThe Waltons Decade,\u201d (Year 8, No. 25?) (#188192), Reel 2. 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cThe Hot Rod\u201d (Year 9, No. 12) (#189211). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cThe Gold Watch\u201d (Year 9, No. 13) (#189213). 7\u201d audio reel, 7.5 ips.
\nCarbon copy of Sound\/Magnetic Transfer form in case; dated March 23, 1980.<\/em><\/td>\n<\/tr>\n
rec 13<\/th>\n\u201cThe Beginning\u201d (Year 9, No. 14) (#189217). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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rec 1<\/th>\n\u201cThe Pearls\u201d (Year 9, No. 15) (#189214). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cThe Victims\u201d (Year 9, No. 16) (#189218). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 3<\/th>\n\u201cThe Threshold\u201d (Year 9, No. 17) (#189216). 7\u201d audio reel, 7.5 ips.
\nRecorded March 12, 1981.
\nList of contents (music cues) on back of case.<\/td>\n<\/tr>\n
rec 4<\/th>\n\u201cThe Indiscretion\u201d (Year 9, No. 18) (#189219). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cThe Heartache\u201d (Year 9, No. 19) (#189222). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cThe Lumberjack\u201d (Year 9, No. 20) (#189220). 7\u201d audio reel, 7.5 ips.
\nRecorded April 16, 1981.<\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cThe Hostage\u201d (Year 9, No. 21) (#189223). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 8<\/th>\n\u201cThe Revel\u201d (Year 9, No. 22) (#189221). 7\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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WALTON’S MOUNTAIN<\/strong><\/p>\n

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rec 9<\/th>\n\u201cValentine\u2019s Day\u201d (#211009), Reel 1. 7\u201d audio reel, 7.5 ips.
\nRecorded January 15, 1982.
\nList of contents (music cues) on back of case.<\/td>\n<\/tr>\n
rec 10<\/th>\n\u201cValentine\u2019s Day\u201d (#211009), Reel 2. 7\u201d audio reel, 7.5 ips.
\nRecorded January 15, 1982.
\nList of contents (music cues) on back of case.<\/td>\n<\/tr>\n
rec 11<\/th>\n\u201cValentine\u2019s Day\u201d (#211009), Reel 3. 7\u201d audio reel, 7.5 ips.
\nRecorded January 15, 1982.
\nList of contents (music cues) on back of case.<\/td>\n<\/tr>\n
rec 12<\/th>\n\u201cMother\u2019s Day\u201d (#211010), Reel 1. 7\u201d audio reel, 7.5 ips.
\nList of contents (music cues) on back of case.<\/td>\n<\/tr>\n
rec 13<\/th>\n\u201cMother\u2019s Day\u201d (#211010), Reel 2. 7\u201d audio reel, 7.5 ips.
\nList of contents (music cues) on back of case.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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rec 1<\/th>\n\u201cA Day of Thanks\u201d (#211011), Reel 1. 7\u201d audio reel, 7.5 ips.
\nList of contents (music cues) on back of case.<\/td>\n<\/tr>\n
rec 2<\/th>\n\u201cA Day of Thanks\u201d (#211011), Reel 2. 7\u201d audio reel, 7.5 ips.
\nList of contents (music cues) on back of case.<\/td>\n<\/tr>\n
rec 3<\/th>\nUnidentified source music for \u201cThe Waltons.\u201d 7\u201d audio reel, 7.5 ips.
\nAnnotation on side of case: \u201cWaltons mx 7 1\/2.\u201d
\nAnnotation on back of case:<\/p>\n

Ellen 23450 Calabasas Rd. Woodland Hills
\nJ.Wing Rm. 324
\nNeil\u2019s \u2013 Norma
\nLarry Hooberry<\/p>\n

Annotation on front of case [track list]:<\/p>\n

#1 \u2026 Old Kent\u2019y Home
\n#2 \u2026
\n#3 \u2026 (Massa\u2019s In Cold Gr\u2019nd)
\n#4 \u2026 (Old Virginy)
\n#5 \u2026 (Oh Susanna)
\n#6 \u2026 (Old Folks at Home)
\n#7 \u2026 (\u00a0\u00a0\u00a0\u00a0 )
\n#8 \u2026 (Turkey in Straw)
\n#9 \u2026 (Dixie)
\n#10 \u2026 (\u00a0\u00a0\u00a0\u00a0 )<\/p>\n<\/td>\n<\/tr>\n

rec 4<\/th>\n\u201cAcademy Awards Overture, 1961.\u201d 7\u201d audio reel, 15 ips.
\nRecorded April 17, 1961; John Neal, engineer.<\/td>\n<\/tr>\n
rec 5<\/th>\n\u201cAcademy Awards Takedown, 1976.\u201d 5\u201d audio reel.<\/td>\n<\/tr>\n
rec 6<\/th>\n\u201cHugo Friedhofer 75th Birthday (3 May 1977).\u201d 5\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 7<\/th>\n\u201cGood Offer.\u201d #S-346-M-62. 5\u201d audio reel, 7.5 ips.
\nDated November 5, 1970.<\/td>\n<\/tr>\n
rec 8<\/th>\n\u201cA. Newman Birthday.\u201d 5\u201d audio reel, 7.5 ips.<\/td>\n<\/tr>\n
rec 9<\/th>\n\u201cAlfred Newman Birthday Party.\u201d Audiocassette tape.<\/td>\n<\/tr>\n
rec 10-14<\/th>\nAlexander Courage describing this collection. 5 audiocassette tapes.
\nTape 2 [rec 11], note on insert: \u201c1st box; lunch; Box 6; Start of Box 12.\u201d
\nTape 4 [rec 13], note on insert: \u201c1\u2013Box 5; file box 2; file box 4.\u201d
\nTape 5 [rec 14], note on insert: \u201cStart Box 11; Box, no number; Box 15; Side 2\u2013Box 2, Box 3, Box 1.\u201d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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 <\/p>\n

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\n

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Series 6: Notes and Sketches<\/h3>\n

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folder 1<\/th>\nBertelli, Ferdinando (?). Unidentified MS score.
\nConductor\u2019s score (4 staves); undated. Pencil MS. 2 pp. 30.5 x 39.5 cm. (Untitled; at top right corner of p. 1: \u201c[illegible] 399 8044 \/ FERDINANDO BERTELLI.\u201d)<\/td>\n<\/tr>\n
folder 2<\/th>\n\u201cDance.\u201d MS repro lead sheet.
\nLead sheet (3 staves: 1 staff with \u201cdancer\u2019s accents\u201d [loose sketch of choreography using rhythmic notation], 2 staves for piano); undated. Incomplete; consists of pp. 2\u20137\/mm. 13\u201386 only. MS repro (reduced-size photocopy), with measure numbers and page numbers in pencil. 5 pp. 22 x 28 cm.<\/td>\n<\/tr>\n
folder 3<\/th>\n\u201cIzzy.\u201d MS score.
\nSketch of score (2 staves); undated. Pencil MS. 3 pp. 24 x 31.5 cm. (Bass clef staff incomplete; mm. 24\u201339 [end] have only treble melody).<\/td>\n<\/tr>\n
folder 4<\/th>\nNorth, Alex. \u201cLoneliness and Love.\u201d MS repro lead sheet.
\nVocal lead sheet (1\u20133 staves); c1974. Lyrics by Hal David. MS repro, with markings in red and green ink and pencil. 2 pp. 24 x 33 cm.<\/td>\n<\/tr>\n
folder 5<\/th>\nNorth, Alex. Unidentified piano vocal score. MS repro.
\nScore for vocal solo, children\u2019s voices, and piano (4 staves); undated. MS repro. 4 pp. 25.5 x 35.5 cm. [First line of text (in Czech): A\u017e p\u0159e\u017eene se \u010dern\u00fd mrak pak v\u0161echno bude jak m\u00e1 b\u00fdt.]<\/td>\n<\/tr>\n
folder 6<\/th>\nUnidentified MS score, numbered #BT-125.
\nDraft of conductor\u2019s score (4 staves); undated. Pencil MS. 2 pp. 30.5 x 39.5 cm. (At top right corner: \u201cProducer\u2014Finnegan + Assoc. \/ After Fight \u2013 \u2018Let\u2019s Hear It\u2019 at end of Lisa\u2019s speech.\u201d)<\/td>\n<\/tr>\n
folder 7<\/th>\nUnidentified MS score.
\nPossibly from <\/em>The Last Butterfly; see Box 17\/1\u20136.
\n<\/em>Sketch of score (4 staves); undated. Blue ink and pencil MS. 1 p. 28 x 35.5 cm. (At top of page: \u201cLulinka \/ M\/2\/2A.\u201d)<\/td>\n<\/tr>\n
folder 8<\/th>\nUnidentified MS score.
\nConductor\u2019s score (6 staves); undated. Pencil MS, with time signatures in black ink. 2 pp. 43 x 35.5 cm.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Series 7: Personal Papers<\/h3>\n

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Sub-series A: Correspondence<\/em><\/strong><\/span><\/p>\n

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folder 1<\/th>\nLetter from Aaron Copland to A. Courage. Ink MS, on personal letterhead; dated March 29, 1958. 1 p. 15.5 x 20.5 cm.<\/td>\n<\/tr>\n
folder 2<\/th>\nMemo from John Green (Head of MGM Music Department) to Salinger, Courage, Sendrey, Franklyn, Woodbury, Morton, Wolcott, Kaper, McAlpin, and W. Miller; re: \u201cStage I Routine \u2013 Raintree County.\u201d Typescript inter-office communication, on MGM letterhead; dated July 1, 1957. 2 pp. 21.5 x 28 cm. Accompanied by ink MS note in A. Courage\u2019s hand. 3 pp.<\/td>\n<\/tr>\n
folder 3<\/th>\nInvitation to Alex North\u2019s birthday party. Printed invitation, with photo of Alex North on cover, for event on December 1, 1989. 1 card. 13 x 18 cm (folded).<\/td>\n<\/tr>\n
folder 4<\/th>\nInvitation to benefit concert at Eastman School of Music for the Alec Wilder Reading Room. Printed invitation for event on February 13, [1991]. 1 p. 13 x 18 cm.<\/td>\n<\/tr>\n
folder 5<\/th>\nInvitation to John Williams Tribute Gala. Printed invitation with photo of John Williams conducting, for event dated March 8, 1991. 1 card. 13 x 18 cm. Accompanied by RSVP card, hotel reservation card, and return envelope.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Sub-series B: Associations<\/em><\/strong><\/span><\/p>\n

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folder 6<\/th>\nComposers and Lyricists Guild of America, Inc., 1955\u20131969.
\nConstitution, amendments, agreements, Code of Working Rules, and related documents and correspondence. (Includes drafts and final versions). Typescript and typescript copies, many with annotations in pencil and\/or ink; 1 draft pencil MS. 252 leaves, total.<\/td>\n<\/tr>\n
folder 7<\/th>\nMusicians Guild of America, 1958.
\nConstitution and By-Laws (final draft); dated November 22, 1958. Typescript. 17 pp.<\/td>\n<\/tr>\n
folder 8<\/th>\nOjai Festival, 1958.
\nPublicity flyer (containing programs for festival concerts). 1 item.
\nOversized document (newspaper: <\/em>Ojai and Valley News for May 22, 1958) separated; see Box 34\/3.<\/em><\/td>\n<\/tr>\n
folder 9<\/th>\nScreen Composers Association, 1966\u20131968.
\nConstitution and By-Laws, correspondence, copyright information, Employee Status Rule, and definitions. Typescript. 19 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 3<\/th>\nOjai Festival, 1958 (oversized).
\nThe Ojai and Valley News<\/em> (May 22, 1958), Sections A, B, and C. Includes article on the Ojai Festival (with Aaron Copland). 18 pp., total.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Sub-series C: Programs<\/em><\/strong><\/span><\/p>\n

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folder 10<\/th>\nAcademy Award programs: 1953, 1957, 1961\u20131963, 1965, 1966, 1973.
\n8 program booklets (titles arranged by A. Courage indicated in pencil).
\n\u201cAcademy Award Nominations and Winners: Music \u2013 Best Song\u201d (1934\u20131962). Typescript. 15 pp.
\n\u201cAcademy Award Nominations and Winners: Music \u2013 Scoring Awards\u201d (1934\u20131962). Typescript. 15 pp.<\/td>\n<\/tr>\n
folder 11<\/th>\nAmerican Society of Music Arrangers Anniversary Celebration program, 1990. 1 item.<\/td>\n<\/tr>\n
folder 12<\/th>\n\u201cMusic from Hollywood\u201d concert (CLGA), 1964.
\nPublicity booklet, TV guides (with advertisements\/announcements of the broadcast), correspondence, announcement and script, and concert program (2 copies).<\/td>\n<\/tr>\n
folder 13<\/th>\nPavarotti benefit concert program, 1981.
\n\u201cMGM presents Luciano Pavarotti in Concert\u201d (filmed for Yes, Giorgio<\/em>). Concert program; undated. 1 item.
\n\u201cA Benefit of Love from San Francisco to Morra De Sanctis, Italy\u201d (benefit concert organized by the Italian Earthquake Fund of San Francisco starring Luciano Pavarotti with Kurt Herbert Adler conducting the San Francisco Orchestra). Concert program; dated June 13, 1981. 2 copies.
\nPublicity booklet for Luciano Pavarotti (designed by Gloria DeKoven). 20 pp.<\/td>\n<\/tr>\n
folder 14<\/th>\nRafael Puyana, program from Kilbourn Hall, Eastman School of Music recital, November 30, 1971. 1 item.<\/td>\n<\/tr>\n
folder 15<\/th>\nNotes for \u201cSongs the Kids Brought Back from Camp.\u201d
\nCorrespondence, lyrics, and MS notes on music for album; dated 1960. 20 pp., total.<\/td>\n<\/tr>\n
folder 16<\/th>\nShostakovich, Dmitri. Symphony No. 1. Pocket score. London: Boosey & Hawkes, Ltd., [s.d.]. 92 pp. Autographed by the composer on title page. Accompanied by ink MS note: \u201cAutograph by D. Shostakovich at CLGA lunch, early 1960s.\u201d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Sub-series D: Movie premiere programs<\/em><\/strong><\/span><\/p>\n

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folder 1<\/th>\nThe Band Wagon<\/em>. Program for Hollywood premiere, Egyptian Theatre, August 13, 1953. 4 pp.<\/td>\n<\/tr>\n
folder 2<\/th>\nBells Are Ringing<\/em>. Program, with annotation in ink: \u201cPantages, 6\/2\/60.\u201d 3 pp.<\/td>\n<\/tr>\n
folder 3<\/th>\nFiddler on the Roof<\/em>. Flyer and program for premiere at Academy Award Theatre, November 21, 1971. 2 items.<\/td>\n<\/tr>\n
folder 4<\/th>\nSeven Brides for Seven Brothers<\/em>. Program, undated. 4 pp.<\/td>\n<\/tr>\n
folder 5<\/th>\nYes, Giorgio<\/em>. Invitation to premiere and program (2 copies), MGM Theatre, September 15, 1982.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Sub-series E: News articles<\/em><\/strong><\/span><\/p>\n

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folder 6<\/th>\nBMI magazine<\/em>, issue 1 (1974). 42 pp. Biographical entry for A. Courage on p. 18.<\/td>\n<\/tr>\n
folder 7<\/th>\nThe Cue Sheet<\/em> (6 issues; 1987, 1990\u20131991).
\nIssues included: Vol. 4, no. 4 (November 1987); Vol. 7, no. 3 (July 1990); Vol. 7, no. 4 (December 1990); Vol. 8, no. 1 (March 1991); Vol. 8, no. 2 (July 1991); Vol. 8, no. 3 (September 1991).<\/td>\n<\/tr>\n
folder 8<\/th>\nDance magazine, <\/em>Vol. 31, no. 5 (May 1957). 98 pp. Includes article on Funny Face<\/em> by Arthur Knight (pp. 16\u201322).<\/td>\n<\/tr>\n
folder 9<\/th>\nFilmmusic Notebook<\/em>, vol. 4 (1978). 52 pp.<\/td>\n<\/tr>\n
folder 10<\/th>\nFilm Music Notes<\/em> (2 issues: 1948, 1949).
\nIssues included: Vol. 7, no. 3 (January\u2013February 1948); special issue (February 1949) [\u201cThe Red Pony<\/em>: A Review of Aaron Copland\u2019s Score\u201d].<\/td>\n<\/tr>\n
folder 11<\/th>\nFilm and TV Music<\/em>, Vol. 16, no. 3 (Spring 1957). 24 pp. Includes article on Funny Face <\/em>by Roger Edens (pp. 18\u201320).<\/td>\n<\/tr>\n
folder 12<\/th>\nThe Hollywood Reporter<\/em> (2 issues: 1953, 1982).
\nIssues included: Vol. 73, no. 49 (April 15, 1953); Vol. 173, no. 29 (September 15, 1982) [includes film review of Yes Giorgio <\/em>on pp. 3, 11].<\/td>\n<\/tr>\n
folder 13<\/th>\nLife<\/em>, Vol. 60, no. 17 (April 29, 1966). 96 pp. Includes photograph by A. Courage (p. 62).<\/td>\n<\/tr>\n
folder 14<\/th>\nListen newspaper <\/em>(2 issues: May\u2013June1964, September\u2013October 1964).
\nSeparated to Box 92\/9 (oversized).<\/em><\/td>\n<\/tr>\n
folder 15<\/th>\nRadio-Electronics<\/em>, Vol. 26, no. 2 (February 1955). Consists of front and back cover of issue and reprint of article \u201cNew Electronic Piano\u201d by Benjamin F. Miessner. Accompanied by ink MS note: \u201cB. F. Miessner\u2019s daughter Betty [possibly pictured on cover of issue] was briefly an ESM student ca. 1938\u201339 \u2026\u201d<\/td>\n<\/tr>\n
folder 16<\/th>\nRadio Life<\/em> (April 4, 1948). 2 copies. 40 pp. Article on film music includes Courage (pp. 6\u20137).<\/td>\n<\/tr>\n
folder 17<\/th>\nThe Score<\/em> (3 issues: 1953, Spring 1991, Summer 1991).
\nIssues included: Vol. 5, nos. 2\u20133 (1953); Vol. 6, no. 1 (Spring 1991); Vol. 6, no. 2 (Summer 1991).<\/td>\n<\/tr>\n
folder 18<\/th>\nVariety<\/em> (6 issues: 1951, 1953, 1954, 1957, 1982).
\nOversized issue (Vol. 197, no. 7 [September 15, 1982]) separated to Box 92\/10.
\n<\/em>Issues included: Vol. 72, no. 25 (July 11, 1952) [includes article on Showboat];<\/em> Vol. 79, no. 29 (April 15, 1953); Vol. 85, no. 61 (December 1, 1954); Vol. 86, no. 14 (December 23, 1954) [includes article on Deep in My Heart]; <\/em>Vol. 95, no. 31 (April 17, 1957) [includes article on Funny Face].
\n<\/em>Also in folder: photocopy of 2 articles from Variety <\/em>on the WGAW contract; dated December 13\u201314, 1966. 1 p.<\/td>\n<\/tr>\n
folder 19<\/th>\nMiscellaneous personal papers.
\n2 items: MS repro note on instrumentation for \u201cWe the People \u2013 200\u201d and map of USC. 2 pp., total.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 9<\/th>\nOversized news articles: Listen newspaper <\/em>(2 issues: May\u2013June 1964; September\u2013October 1964).
\nIssues included: 4th ed. (May\u2013June 1964) [includes part I of Vernon Duke\u2019s article \u201cThe Deification of Stravinsky\u201d]; 5th ed. (September\u2013October 1964) [includes part II of Vernon Duke\u2019s article \u201cThe Deification of Stravinsky\u201d and Igor Stravinsky\u2019s response, \u201cA Cure for V. D.\u201d].
\nAccompanied by ink MS note: \u201cOne of the great feuds in print of our century.\u201d<\/td>\n<\/tr>\n
folder 10<\/th>\nOversized news articles: Variety, <\/em>Vol. 197, no. 7 (September 15, 1982). 16 pp. Includes film review of Yes, Giorgio <\/em>(pp. 3, 6).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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\u2190 ALEXANDER COURAGE COLLECTION: Series 2<\/a><\/p>\n

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ALEXANDER COURAGE COLLECTION: Series 8-9 \u2192<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text] Series 3: Occasional and Miscellaneous Scores [\/vc_column_text][vc_custom_heading text=”Box 70″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1661349722035{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text] folder 1 […]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":1030,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template_Special_collections.php","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[12],"class_list":["post-1062","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1062","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=1062"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1062\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1030"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=1062"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=1062"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=1062"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}