{"id":1140,"date":"2019-06-24T15:53:46","date_gmt":"2019-06-24T19:53:46","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?page_id=1140"},"modified":"2024-05-03T13:26:23","modified_gmt":"2024-05-03T17:26:23","slug":"delaney","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/delaney\/","title":{"rendered":"ROBERT M. DELANEY COLLECTION"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1614615433997{margin-top: -20px !important;}&#8221;]<\/p>\n<p>Ruth T. Watanabe Special Collections<br \/>\nSibley Music Library<br \/>\nEastman School of Music<br \/>\nUniversity of Rochester<\/p>\n<p>prepared by Daphne Tan<br \/>\nSpring 2009<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.esm.rochester.edu\/sibley\/files\/Robert-M-Delaney-Collection.pdf\">ROBERT M. DELANEY COLLECTION<\/a> <a name=\"Contents\"><\/a><a name=\"Contents\"><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a name=\"Contents\"><\/a><a name=\"Contents\"><\/a><\/p>\n<h3>CONTENTS<\/h3>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li><a title=\"ROBERT M. DELANEY COLLECTION\" href=\"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/delaney\/#Description\">Description of Collection<\/a><\/li>\n<li><a title=\"ROBERT M. DELANEY COLLECTION\" href=\"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/delaney\/#Series\">Description of Series<br \/>\n<\/a><\/li>\n<li><a title=\"ROBERT M. DELANEY COLLECTION\" href=\"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/delaney\/#Inventory\">Inventory<\/a><\/li>\n<li>Series 1: <a href=\"#Ser1\">Manuscripts<\/a><\/li>\n<li>Series 2: <a href=\"#Ser2\">Correspondence<\/a><\/li>\n<li>Series 3: <a href=\"#Ser3\">Personal Papers<\/a><\/li>\n<li>Series 4: <a href=\"#Ser4\">Photographs<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"Descrip\" name=\"Descrip\"><\/a><\/p>\n<h3>DESCRIPTION OF COLLECTION<\/h3>\n<p>Shelf location: C3B 12,1-4<br \/>\nPhysical extent: 10 linear feet<\/p>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4665&#8243; img_size=&#8221;medium&#8221; add_caption=&#8221;yes&#8221; alignment=&#8221;center&#8221; style=&#8221;vc_box_outline&#8221; onclick=&#8221;link_image&#8221;][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n<h4>Biographical Sketch<\/h4>\n<p>Robert Mills Delaney (b. Baltimore, MD, 24 July 1903; d. Santa Barbara, CA, 21 September 1956) produced over 65 compositions in a variety of instrumentations and genres, roughly a third of which have been published. Alongside his compositional activities, Delaney taught at several institutions, most notably Northwestern University, where he served as Assistant Professor of Theory and Composition (1945\u201355). Among Delaney\u2019s principal teachers and compositional influences were such esteemed figures as Nadia Boulanger, Arthur Honegger, Ralph Vaughan-Williams, Gustav Holst, and G. Francesco Malipiero.<\/p>\n<p>Delaney began musical studies as a child in Pennsylvania, where he undertook violin lessons with Walter Shultz, and later, with Henry Schradiek at the Combs College of Music, Philadelphia, PA. Delaney enrolled at the University of Southern California in 1921 to pursue higher education in music, but left after a year to join his parents on a trip around the world (1922\u201323). Rather than returning to university, Delaney traveled overseas for three years (1925\u201328), where he attended the \u00c9cole Normale de Music, Paris; the Sorbonne (as an auditor); and the Conservatoire am\u00e9ricain in Fontainebleu, France. While in Europe, he furthered his violin studies under Maurice Reuchsel, Lucien Cap\u00e9t, and L\u00e9on Nauwick; as well as his composition and theory training under the tutelage of Nadia Boulanger, Arthur Honegger, and Ralph Vaughan-Williams. Boulanger, in particular, was impressed with Delaney\u2019s talents; she characterized him as a \u201cborn composer\u201d and groomed him for the 1926 Guggenheim Fellowship (Rosenstiel, 202).<\/p>\n<p>Delaney\u2019s time abroad also brought him into contact with Thomas Whitney Surette, founder of the Concord Summer School of Music, Concord, MA. Shortly after returning to the United States, Delaney joined the faculty of the Summer School, teaching Music Theory and Composition for five summers (1931\u201335). Indeed, Delaney had a busy career as an educator. In addition to his post at the Summer School, and before his appointment at Northwestern University, Delaney taught at the Santa Barbara Boys School, CA (1928\u201333); State College, Santa Barbara, CA (1928\u201329); and Francis Parker School, Chicago, IL (1934\u201335).<\/p>\n<p>From 1944 to 1945, Delaney volunteered with the American Field Service, thereby temporarily suspending his musical career. He worked on airplane engines at the naval air station\u2019s assembly and repair department in Alameda, CA, and served with a British Ambulance Unit in Italy.<\/p>\n<p>The majority of Delaney\u2019s published works are orchestrated for voice (vocal solo or chorus) or large instrumental ensemble. Several of his original vocal and choral works set texts by eminent authors such as William Blake and Stephen Vincent Ben\u00e9t. Many others feature the words of Delaney\u2019s (former?) wife, Ellen Emerson Delaney Cotton (b. 1914; d. 2005), great-grand-daughter of Ralph Waldo Emerson.<\/p>\n<p>Robert Delaney was the recipient of several prestigious honors, including two Guggenheim Fellowships (1929 and 1930). He was also awarded a Pulitzer Prize in 1933 for his setting of Stephen Vincent Ben\u00e9t\u2019s poem \u201cJohn Brown\u2019s Body.\u201d Delaney\u2019s work, \u201cJohn Brown\u2019s Song,\u201d received its first complete performance at the University of Rochester\u2019s \u201cAmerican Composers\u201d Concert, 15 December 1933. Three other works by Delaney were premiered at \u201cAmerican Composers\u201d Concerts: \u201cSymphonic Piece\u201d on 30 April 1936, \u201cGoing to Town\u201d on 25 October 1943, and Symphony No. 1 on 4 May 1950.<\/p>\n<p><strong><em>Timeline of Mr. Delaney\u2019s career: <\/em><\/strong><\/p>\n<ul>\n<li>Early schooling in Hanover, Pennsylvania. Studied violin under Walter Shultz in Hanover, PA, and under Henry Schradiek at the Combs College of Music.<\/li>\n<li>One year at the University of Southern California School of Music (1921)<\/li>\n<li>Family trip around the world: 1922 \u2013 23<\/li>\n<li>From 1925 to 1928, Delaney attended the \u00c9cole Normale de Music, Paris, the Sorbonne (as an auditor), and the Conservatoire am\u00e9ricain, Fontainebleu. While in France, he studied violin with, Maurice Reuchsel, Lucien Cap\u00e9t, and L\u00e9on Nauwick. His principal composition and theory teachers were Nadia Boulanger, Arthur Honegger, Gustav Holst, Ralph Vaughan-Williams, and G. Francesco Malipiero.<\/li>\n<li>1928 \u2013 33: Instructor, and later, Head of Music Department, at the Santa Barbara Boys School, Carpenteria, CA<\/li>\n<li>1928 \u2013 29: Instructor State College, Santa Barbara, CA.<\/li>\n<li>Summers, 1931 \u2013 35: Instructor of Music Theory and Composition at Concord Summer School of Music, Concord, MA. Met founder, Thomas Whitney Surette while abroad.<\/li>\n<li>1934 \u2013 35: Head of Music Department Francis Parker School, Chicao, IL.<\/li>\n<li>1934 married Ellen Emerson (1914 \u2013 2005) the great-grand-daughter of Ralph Waldo Emerson. Three sons: Edward, Bruce, and Michael. Moved to Humboldt County, CA, developing a small ranch at Willow Creek.<\/li>\n<li>Divorced in 1944. Ellen later remarried to George Cotton.<\/li>\n<li>1944 \u2013 45: Delaney volunteered for the American Field Service. He worked on airplane engines at the naval air station\u2019s assembly and repair department in Alameda, CA, and served with a British Ambulance Unit in Italy.<\/li>\n<li>1945 \u2013 55: Assistant Professor of Theory and Composition at Northwestern University School of Music, Evanston, Illinois<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h4>Provenance<\/h4>\n<p>The Robert Delaney Collection was the gift of Mr. Bruce Delaney, of Roundup, Montana, one of the composer\u2019s three sons, received by the Sibley Music Library in July, 2008.<\/p>\n<p>&nbsp;<\/p>\n<h4>Scope and content<\/h4>\n<p>The Robert Delaney Collection comprises the extant personal and professional papers of the composer and teacher Robert Delaney.<\/p>\n<h4>Restrictions and Use<\/h4>\n<p>No restrictions have been placed on the use of the collection materials, save those imposed by the provisions of the U. S. Copyright Law and its revisions. The written permission of Mr. Bruce Delaney will be required for the reproduction of any unpublished composition by Robert Delaney. Further, the written permission of the publisher concerned will be required for the reproduction of any published composition.<\/p>\n<p>&nbsp;<\/p>\n<h4>Associations<\/h4>\n<p>The Robert Delaney Collection represents an addition to the Sibley Music Library\u2019s growing corpus of manuscript collections of those American composers of the mid-20th century whose music Howard Hanson ardently championed in his various American composers initiatives (recordings, American Composers\u2019 Concerts, and annual Festivals of American Music). Other composers in that group are Wayne Barlow, Burrill Phillips, and Bernard Rogers. Recordings of the performances of those Delaney works that were programmed by Hanson are archived in the Eastman Audio Archive.<\/p>\n<hr \/>\n<p><a id=\"Series\" name=\"Series\"><\/a><\/p>\n<h3>DESCRIPTION OF SERIES<\/h3>\n<p><strong>Series 1: <a href=\"#Ser1\">Manuscripts<\/a><\/strong><\/p>\n<p>Within this series, the music manuscripts have been subdivided by instrumental forces as listed below. Within each sub-series, the manuscripts are arranged chronologically according to the date appearing on each manuscript. This series includes all manner of manuscripts: pencil sketches, completed drafts, Ozalid master copies, and photocopies of manuscript materials. The sub-series of sketches and drafts contains manuscript materials that are unidentified as to title; incomplete in and of themselves; highly annotated with marginal markings and comments, thereby signifying a work in progress.<\/p>\n<p><em>Sub-series:<\/em><\/p>\n<p style=\"padding-left: 30px;\">A) <a href=\"#1A\">Large instrumental ensemble<\/a><br \/>\nB) <a href=\"#1B\">Instrumental chamber music<\/a><br \/>\nC) <a href=\"#1C\">Piano solo<\/a><br \/>\nD) <a href=\"#1D\">Choral<\/a><br \/>\nE) <a href=\"#1E\">Vocal solo<\/a> (with or without instrumental ensemble)<br \/>\nF) <a href=\"#1F\">Sketches and drafts<\/a>: arranged first according to type (same as sub-series 1-5). Arranged chronologically.<br \/>\nG) <a href=\"#1G\">Published music<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Series 2: <a href=\"#Ser2\">Correspondence<\/a><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Series 3: <a href=\"#Ser3\">Personal papers<\/a><\/strong><\/p>\n<p>The documents within this series are arranged within to the following sub-series:<\/p>\n<p style=\"padding-left: 30px;\">A) <a href=\"#3A\">Documents relating to Mr. Delaney\u2019s university career<\/a><br \/>\nB) <a href=\"#3B\">Composition notes and book drafts<\/a><br \/>\nC) <a href=\"#3C\">Programs and publicity<\/a><br \/>\nD) <a href=\"#3D\">Copies of musical works by other composers<\/a><br \/>\nE) <a href=\"#3E\">Items with unidentified authorship; and, those authored by Ellen Delaney<\/a><br \/>\nF) <a href=\"#3F\">Hunting license<\/a><br \/>\nG) <a href=\"#3G\">Books<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Series 4: <a href=\"#Ser4\">Photographs<\/a><\/strong><\/p>\n<p>The photographs have been arranged in the following sequence. The Ruth T. Watanabe Special Collections department gratefully acknowledges the assistance of Bruce Delaney in identifying numerous photographs.<\/p>\n<p style=\"padding-left: 30px;\">A) Photographs with captions<br \/>\nB) Photographs without captions; some identified by Bruce Delaney<br \/>\nC) Negatives<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p><a id=\"Inventory\" name=\"Inventory\"><\/a><\/p>\n<h3>INVENTORY<\/h3>\n<p id=\"Ser1\"><strong>Series 1: Manuscripts <\/strong><\/p>\n<p id=\"1A\"><em>Sub-series A: Large instrumental ensemble<\/em><\/p>\n<p><strong>Box 1<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Pastoral Movement, 1930. For full orchestra. Score. Pencil MS. 22 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Symphonic Piece No. 1, 1934\u201335. For full orchestra. Score. Ink MS, bound. 136 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Work No. 22, 1937. For full orchestra and piano. Score. Ink MS, bound. 38 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Going to Town (Suite for Orchestra), 1940. For full orchestra. Score. Ink MS, bound. 95 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Prelude for Orchestra, 1941\u201342. For full orchestra. Score. Ink MS. 39 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Prelude [Preludio] for Orchestra, 1941\u201342. For full orchestra. Parts. Ozalid MS. 67 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Prelude [Preludio] for Orchestra, 1941\u201342. For full orchestra. Parts. MS repro. 129 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Symphony No. 1, 1944. For full orchestra. Score. Ozalid MS. 123 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Symphony No. 1, 1944. For full orchestra. Parts. Ozalid MS. 194 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 2<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Symphony No. 1, 1944. For full orchestra. Score. MS repro. 123 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Symphony No. 1, 1944. For full orchestra. Parts (Violin I and Violin II). MS repro. 135 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Symphony No. 1, 1944. For full orchestra. Parts (Viola, Violoncello, and Contrabass). MS repro. 148 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Symphony No. 1, 1944. For full orchestra. Parts (Woodwinds). MS repro. 96 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Symphony No. 1, 1944. For full orchestra. Parts (Brass, Percussion, Harp). MS repro. 119 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 3<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Andante Tranquillo, 1954. For full orchestra. Score. Pencil MS with ink annotations. 28 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Andante Tranquillo, 1954. For full orchestra. Score. MS repro, bound. 31 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Andante Tranquillo, 1954. For full orchestra. Parts and score. Ozalid manuscript. 83 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Andante Tranquillo, 1954. For full orchestra. Parts. MS repro. 132 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"1B\">Sub-series B: Instrumental chamber music<\/i><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>String Quartet, 1926. Score. Ink MS with pencil annotations. 18 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>String Quartet, 1926. Parts (two sets). 129 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Violin Sonata, 1926\u00ad\u201327. Score. MS repro with pencil annotations. Includes handwritten emendation in ink. 40 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Violin Sonata, 1926\u201327. Violin part. Ink MS and photographic negative. 34 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>String Quartette No. 3, 1929. Score. Ink MS with pencil annotations. 64 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>String Quartette No. 3, 1929. Parts. Ink MS with pencil annotations. 70 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Adagio, 1934. For solo violin and string ensemble. Score for solo violin and piano (three copies) and violin parts (three copies). MS repro with ink annotations. 18 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Adagio, 1934. For solo violin and string ensemble. Score for solo violin and piano and violin part. Ink MS. 5 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>Adagio, 1934. For solo violin and string ensemble. Score for solo violin and piano. Ozalid MS. 5 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Adagio, 1934. For solo violin and string ensemble. Parts. Ozalid MS. 10 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Adagio, 1934. For solo violin and string ensemble. Parts. MS repro. 18 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Adagio, 1934. For solo violin and string ensemble. Part for solo violin. Ink MS. 1 page of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 17<\/strong><\/td>\n<td>Adagio, 1934. For solo violin and string ensemble. Score (3 copies, all different in appearance). Ink MS. 41 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 18<\/strong><\/td>\n<td>Short Preface for Clarinet in B-flat and String Quartet, 1940. Score and two copies of clarinet part. Ink MS. 8 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 19<\/strong><\/td>\n<td>Two Movements of Symphonic Piece No. 2 for Orchestra, arranged for piano four hands and violin solo, 1940. Score and violin part. Ink MS and pencil annotations. 37 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 4<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Moderato for Violin with accompaniment of Piano, 1941, \u201cfirst copy\u201d. Score and violin part. Ink MS. 11 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Moderato for Violin with accompaniment of Piano, 1941. Score and violin part. Ink MS. 11 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Art of the Fugue by J. S. Bach, arranged for woodwind quintet, 1947. Score for No. 1 and clarinet part for Nos. 1 and 5. Pencil MS. 11 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>2 Pieces for Oboe, 1948. For oboe and piano accompaniment. Two copies of score. Ink MS with pencil annotations. 6 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Ruth, 1948. For soprano, flute, and piano. Score and flute part. Ozalid MS. 9 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Ruth, 1948. For soprano, flute, and piano. Score. MS repro. 7 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Suite for Chamber Orchestra, 1948. Movement II. Parts. Ink MS. 11 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>String Quartet No. 4, 1950. Score and parts. Ozalid MS. 72 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>String Quartet No. 4, second movement, 1950. Score and parts. MS repro. 19 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>String Quartet No. 4, 1950. Score and parts. MS repro. 75 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Prelude and Fugue for Brass and Tympani, 1951. Score. Pencil MS. 32 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Prelude and Fugue for Brass and Tympani, 1951. Parts. Ink MS. 26 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>Prelude and Fugue for Brass and Tympani, 1951. Parts and score. Ozalid manuscript. 62 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Prelude and Fugue for Brass and Tympani, 1951. Score. MS repro, bound. 36 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Prelude and Fugue for Brass and Tympani, 1951. Parts. MS repro. 56 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Two Movements for Six French Horns, 1952. Score and parts. Pencil and ink MS. 12 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 5<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Suite for Chamber Orchestra, 1955. Score. Ozalid manuscript. 115 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Suite for Chamber Orchestra, 1955. Movement I, including \u201cNote to conductor,\u201d 1952. Score. Ozalid manuscript. 13 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Suite for Chamber Orchestra, 1955. Parts. Ozalid manuscript. 97 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Suite for Chamber Orchestra, 1955. Score. MS repro, bound, with red pencil crayon annotations. 115 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Suite for Chamber Orchestra, 1955. Movements I and II. Score. MS repro, with red pencil crayon annotations. 54 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Suite for Chamber Orchestra, 1955. Parts. MS repro. 100 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Suite for Chamber Orchestra, 1955. Movement II. Parts. MS repro. 84 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Sonata for Violin and Piano, undated. Score. Ink MS. 18 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Unidentified instrumental composition, undated. Parts. MS repro. 12 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"1C\">Sub-series C: Piano solo <\/i><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Dawn: Trinity Summit, 1939. Score. Ink MS. 6 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Dawn: Trinity Summit, 1939. Score. Pencil MS. 4 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Storm for Piano, 1939. Score. Ink MS. 6 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>The Woods Ballet. Transcription for Piano, undated. Score. 11 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"1D\">Sub-series D: Choral <\/i><\/p>\n<p><strong>Box 6<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Mary Margaret, 1926. For four voices. Score. Ink MS. 4 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Blake Cycle, 1929\u201330. For Chorus. Score. Ink MS. 99 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>John Brown\u2019s Song: A Choral Symphony arranged for Chorus and Two Pianos, 1930. Score. Pencil and ink MS. 40 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>John Brown\u2019s Song: A Choral Symphony arranged for Chorus and Two Pianos, 1930. Vocal score. Pencil and ink MS. 20 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Le Changement, 1933\u201334. For SAA and piano four hands. Score. Pencil MS. 3 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>My Soul There is a Country, 1937. For women\u2019s voices with organ accompaniment. 2 scores. Both ink MS. 10 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>The Land, 1938. For chorus and orchestra. Version for chorus and piano. Score, 9 \u00bd x 12 \u00bd inches. Ink MS. 53 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>The Land, 1938. For chorus and orchestra. Version for chorus and piano. 2 copies of score, each 10 \u00bd x 13 inches. Ink MS. 47 (copy 1) and 43 (copy 2) pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>The Land, 1938. For chorus and orchestra. Version for chorus and piano. Score, incomplete. Ozalid MS. 8 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 18<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>The Land, 1940. For chorus and orchestra. Score. Ink MS. 47 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 16<\/strong><\/p>\n<p style=\"padding-left: 60px;\">The Land, 1940 (?). For chorus and orchestra. Vocal part. MS repro. 47 copies. 12 pages of music.<\/p>\n<p><strong>Box 6<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Sir Christmas, 1939. For women\u2019s or girl\u2019s voices, a cappella. Score. Ink and pencil MS. 10 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Two Choruses: Full Fathom Fire and Blow, Blow Thou Winter Wind, 1940. For men\u2019s voices with piano accompaniment. Score. Ink MS. 15 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Inside an Old Paint, 1941. For SSA and piano accompaniment. Score. Ozalid MS. 5 pages of music. Another version of page 5 is included.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>Gloria, 1942. For SSA with piano accompaniment. Score. Ink MS. 9 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 18<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Parts I and II, 1943\u20131944. Score. Ozalid MS. 108 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Part I, 1943. Score. MS repro with pencil crayon annotations. 79 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Part II, 1944. Score. MS repro with pencil crayon annotations. 28 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Parts I and II, 1943\u20131944. Score. MS repro. 28 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 6<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Parts I and II, 1943\u20131944. Vocal score, three copies of Part I, one copy of Part II. MS repro. 168 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Parts I and II, 1943\u20131944. Vocal score (Part I only), and parts. Ozalid MS with pencil annotations. 174 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Parts I and II, 1943\u20131944. Miscellaneous incomplete parts. Ozalid MS with pencil annotations. 23 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 7<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Parts I and II, 1943\u20131944. Parts \u2013 Strings. MS repro. 172 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Western Star: A Choral Symphony, Parts I and II, 1943\u20131944. Parts \u2013 Winds, Brass, Percussion. MS repro. 96 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Western Star Interlude, undated, copyright 1955. Score and parts. Ozalid MS. 46 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Western Star Interlude, undated, copyright 1955. Score. MS repro. 19 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Western Star Interlude, undated, copyright 1955. Parts. Ozalid MS. 55 pages of music. Accompanied by additional Horn I-II part, 1948. Ink MS. 1 page of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Western Star Hymn, undated. Score. Ozalid MS. 19 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Western Star Hymn, undated. Vocal score with rehearsal piano. Ozalid MS. 10 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Western Star Hymn, undated. Vocal score with piano four hands. Ozalid MS. 19 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Western Star Hymn, undated. Vocal score with piano four hands. MS repro, two copies. 38 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 17<\/strong><\/p>\n<p style=\"padding-left: 60px;\">Western Star Hymn, undated. Vocal part with instrumental cue. MS repro, 56 copies. 10 pages of music each.<\/p>\n<p><strong>Box 8<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>From the Proverbs. Cantata for chorus, brass, timpani, and percussion, 1951\u20132. Instrumental score and instrumental parts. Ozalid MS. 100 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>From the Proverbs. Cantata for chorus, brass, timpani, and percussion, 1951\u20132. Vocal score. Composers Fascimile Edition, master, copyright 1995. 10 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>From the Proverbs. Cantata for chorus, brass, timpani, and percussion, 1951\u20132. Vocal score with rehearsal piano. Ozalid MS. 42 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>From the Proverbs. Cantata for chorus, brass, timpani, and percussion, 1951\u20132. Score. MS repro, bound. 56 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>From the Proverbs. Cantata for chorus, brass, timpani, and percussion, 1951\u20132. Vocal score. MS repro. 10 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>From the Proverbs. Cantata for chorus, brass, timpani, and percussion, 1951\u20132. Vocal score with rehearsal piano. MS repro. 42 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i title=\"1E\">Sub-series E: Vocal solo <\/i><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Sleep, O Child, 1938. For soprano solo and string orchestra with piano. Score. Ink MS. 19 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Three Songs, 1940. For alto, tenor, or baritone and piano. Score. Ozalid MS. 13 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Three Songs, 1940. For tenor or contralto with piano accompaniment. Score, two copies. Ink MS. 22 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Twilight, 1940. For alto or tenor with piano accompaniment. Score. Ink MS. 2 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Sleep, 1941. For baritone or bass with piano accompaniment. Score. Ink MS. 3 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Song by an Old Shepherd, 1941. Score, two copies. Ink MS. 8 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>A Dream, 1953. For baritone solo and full orchestra. Piano-vocal score, instrumental parts and score. Ozalid manuscript. 84 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>A Dream, 1953. For baritone solo and full orchestra. Score. MS repro, bound. 29 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Unidentified vocal composition, undated. Score. MS repro. 41 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"1F\">Sub-series F: Sketches and drafts<\/i><\/p>\n<p><strong>Box 9<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Adagio for Violin and Piano, undated. Score, incomplete. Pencil and ink sketch. 1 page of music. List of songs in ink on reverse side.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>La Bastringue, undated. For SSAA and piano. Score. 2 drafts, pencil and ink MS. 7 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>The Leather Bottel [sic], undated. For SSAA and piano. Score. Ink and pencil sketch. 18 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>The River, undated. For SSAA and piano. Score. 2 drafts, pencil and ink MS. 7 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Sinfonietta, undated. For orchestra. Score, incomplete. Ink MS. 2 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>String Quartet #4, undated. Score. Pencil and ink draft. 36 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>The Thoughts are Fire, undated. For SSAA and piano 4 hands. Score. 2 drafts, pencil and ink MS. 5 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>The Winter Wind, undated. For SSAA and piano. Score. 2 drafts, ink MS. 8 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>The Woods, undated. Ballet. Orchestral Score. Pencil draft. 38 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>By the Brook, 1925. For voice and piano. Score. Pencil draft. 2 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Caprice Music, 1927. For unidentified instruments. Score. Pencil draft. 4 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Constant Couple Suite, 1927. For orchestra. Score. Pencil draft. 64 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>How Should I Your True Love Know?, 1930. For SSAA and string quartet. Score. Pencil draft. 4 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Hunt the Wren, 1933\u20131934. For SA and unidentified instruments. Score. Pencil sketch. 10 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Symphonic Piece No. 1, 1934. For unidentified instruments. Score. Pencil sketch. 2 notebooks.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Symphonic Piece No. 1, 1934. Arrangement for two pianos. Score, incomplete. Ink MS. 9 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 17<\/strong><\/td>\n<td>Sketches and Source Material for Choralia II, 1934\u201335.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 18<\/strong><\/td>\n<td>Symphony No. 1, 1937\u201343. First movement reduced from orig. notes and incomplete. Ink MS. 14 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 19<\/strong><\/td>\n<td>The Baboon\u2019s Wedding, 1935. For SA and piano. Score. 2 drafts, pencil and ink MS. 11 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 20<\/strong><\/td>\n<td>My Soul There is a Country, 1937. For SATB and unidentified instruments. Score. Pencil sketch. 8 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 21<\/strong><\/td>\n<td>My Soul There is a Country, 1937. For women\u2019s voices and organ. Score. Ink MS, incomplete. 3 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 22<\/strong><\/td>\n<td>Work No. 22, 1937. For unidentified instruments. Score. Pencil draft. 14 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 25<\/strong><\/td>\n<td>The Land, 1938. For chorus and orchestra. Version for chorus and piano. Score. Pencil sketch. 20 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 24<\/strong><\/td>\n<td>Overture to Sancho Panchez, 1938. For unidentified instruments. Score. Pencil sketch. 14 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 18<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>The Land, 1938. For chorus and orchestra. Score. Pencil draft, incomplete. 11 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 9<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 25<\/strong><\/td>\n<td>Going to Town, 1939. For piano 4 hands. Score. Pencil sketches. 25 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 26<\/strong><\/td>\n<td>The Land, 1939. SSAATB and piano. Score. Ink MS, incomplete. 1 page of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 27<\/strong><\/td>\n<td>Sleep, O Child, 1938. Vocal solo and piano. Score. Pencil sketch.es 8 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 28<\/strong><\/td>\n<td>Sleep, O Child, 1939. Soprano solo and orchestra. Score. Pencil draft. 19 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 29<\/strong><\/td>\n<td>Sir Christmas, 1939. For chorus. Pencil sketches. 4 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 30<\/strong><\/td>\n<td>Storm, 1939. For piano. Pencil sketches. 4 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 31<\/strong><\/td>\n<td>Ancients\u2019 Song, 1940. For baritone and piano. Pencil sketches. 2 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 32<\/strong><\/td>\n<td>\u201cVon Piece,\u201d 1940. For unidentified melody instrument and keyboard. Pencil sketches. 5 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 33<\/strong><\/td>\n<td>A Sea Dirge, Blow, 1940. For unidentified vocal parts and piano. Pencil sketches. 13 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 34<\/strong><\/td>\n<td>Rock Candy Mountain, Inside an Old Paint, 1941. For SSA and piano. Ink and pencil drafts. 13 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 35<\/strong><\/td>\n<td>Gloria, 1942. For SSA and piano. Ink and pencil sketches. 12 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 36<\/strong><\/td>\n<td>Invocation Western Star, 1943. Piano reduction. Pencil sketch. 2 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 37<\/strong><\/td>\n<td>Western Star, Invocation, 1943. Piano reduction. Ink MS, incomplete. 2 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 10<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Shenandiah, 1945. For tenor, bass, and keyboard. Pencil sketch. 3 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Western Star, 1946. For unidentified vocalists and instruments. Pencil sketches. 29 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Hymn, Western Star, 1946. For chorus and unidentified instruments. Pencil and ink draft. 15 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Ruth, 1948. For soprano, flute, and piano. Pencil and ink draft. 6 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Sinfonia Concertant, 1948. Pencil and ink draft. 38 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Untitled work dedicated to John painter, 1951. Pencil sketches. 9 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>From the Proverbs, 1951\u201352. For SSATB and orchestral instruments. Pencil drafts and sketches. 17 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>A Dream, 1952\u201353. For orchestra. Pencil and ink sketches and draft. 34 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Eastman, 1952. For woodwinds and piano. Pencil sketch. 1 page of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Sancho Panchez: Farce-Pantomine in One Act, 1955. For two pianos. Pencil MS, incomplete. 101 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder11<\/strong><\/td>\n<td>Miscellaneous pencil sketches. Unidentifiable due to missing date and\/or title, or sketches for multiple works appearing in one document. 44 pages of music.10 sketchbooks. 1926\u20131948.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"1G\">Sub-series G: Published music<\/i><\/p>\n<p><strong>Box 11<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Published scores by Schirmer:<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><\/td>\n<td>Full fathom five thy father lies. For TTBB. 2 copies.<br \/>\nMy Lady Clear. For SATBarB. 3 copies. 1 copy dedicated to Mr. and Mrs. Raymond Emerson from Robert Delaney.<br \/>\nLe Changement. For SSA.<br \/>\nThe Arkansaw Traveler. For women\u2019s voices in unison. 3 copies.<br \/>\nBlow, blow, thou winter wind. For TTBB.<br \/>\nSo we\u2019ll go no more a-roving. For SATB. 2 copies.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Bolet\u00edn Latino-Americano de M\u00fasica: Suplemento Musical. October, 1941. Includes Prefacio Breve (1940) by Robert Delaney.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<hr \/>\n<p id=\"Ser2\"><strong>Series 2: Correspondence<\/strong><\/p>\n<p><strong>Box 11<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Miscellaneous letters. 8 documents. Wayne Barlow to Robert Delaney; typescript, signed in ink by Wayne Barlow; March 5, 1943. Klaus G. to Robert Delaney; typescript, signed in ink by Klaus G.; contains pencil annotations by Robert Delaney; May 9, 1943. Henry Allen Moe to Robert Delaney; typescript, signed in ink by Henry Allen Moe, August 26, 1943. Warner Janssen to Robert Delany; telegram; August 29, 1943. Werner Janssen to Robert Delaney; typescript, signed in ink by Werner Janssen; April 13, 1944. Robert Delaney to C. O. Shearer; typescript; October 19, 1949. Betty and Ted to Ellen Cotton; ink MS, signed in ink by Ellen Cotton; August 21, 1989; accompanied by a newspaper clipping. Jim (Albright?) to ?; missing first page; typescript and signed in ink by Jim; date unknown.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Letters pertaining to copyright infringement, 1938. 7 documents. Copy of letter from C.C. Birchard &amp; Company to E. C. Schirmer Music Company; typescript; March 2, 1938. Copy of letter from E. C. Schrimer Music Company to C. C. Birchard &amp; Company; typescript; March 31, 1938. E.C. Schirmer to Robert Delaney; typescript, signed in ink by E. C. Schirmer; March 31, 1938. E.C. Schirmer to Robert Delaney; typescript, signed in ink by E. C. Schirmer; April 20, 1938. Copy of letter from C.C. Birchard &amp; Company (by David Stevens) to E. C. Schirmer Music Company; typescript; May 13, 1938. E. C. Schirmer to Robert Delaney; typescript, signed in ink by E. C. Schirmer; May 16, 1938. E. C. Schirmer Music Company to Robert Delaney; typescript, signed in ink by unknown employee of E. C. Schirmer Music Company; May 23, 1938.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Letters pertaining to Robert Delaney\u2019s dismissal from Northwestern University, 1954\u201355 (includes drafts). 10 documents. 3 letters from Payson S. Wild to Robert Delaney. Typescript, signed in ink by Payson S. Wild; contains pencil annotations by Robert Delaney. Dates: November 10, 1954; January 26, 1955; April 14, 1955. Henry Allen Moe to Robert Delaney; typescript, signed in ink by Henry Allen Moe; December 6, 1954. Herbert Elwell to Robert Delaney; telegram; December 24, 1954. C? Albright to Robert Delaney; typescript, signed in ink by C? Albright; contains pencil annotations by Robert Delaney; January 5, 1955. John W. Beattie to Robert Delaney; ink MS, signed in ink by John W. Beattie; February 4, 1955. Drafts of letters by Robert Delaney to Dr. Ernest Samuels, the A. A. U. P representative (unknown to Robert Delaney), and Payson Wild; pencil and ink MS; signed in pencil or ink by Robert Delaney.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Drafts of Letters written by Robert or Ellen Delaney. Letter titled \u201cThe Family Organ;\u201d author and recipient not indicated; ink MS; May 1935. Robert Delany to Alfred H. Knopf Inc.; pencil MS; May 1938. Robert Delaney to R. H. Wangerin; typescript; undated. Robert Delaney to R. H. Wangerin; pencil MS; undated.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<hr \/>\n<p id=\"Ser3\"><strong>Series 3: Personal papers<\/strong><\/p>\n<p><i id=\"3A\">Sub-series A: Documents pertaining to Mr. Delaney\u2019s university career<\/i><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Contracts with Northwestern University. 5 documents. Contracts dated July 1, 1946; August 27, 1948; typescript; signed in ink by the president of Northwestern University. Contract dated May 5, 1952; typescript with pencil annotations by Robert Delaney on the reverse side. Contract dated March 23, 1954; typescript; signed in ink by the president of Northwestern University. Contract dated April 21, 1954; typescript; signed in ink by George Howerton, Dean of the School of Music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Northwestern faculty notes. 3 documents. \u201cRecent Acquisitions,\u201d Northwestern University Library, School of Music Library, June-July, 1949. \u201cInstructions for Guidance of Advisors,\u201d December 18, 1951. \u201cReport of the Curriculum Committee,\u201d Northwestern University, School of Music, October 25, 1954.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Drafts of curriculum vitae. 6 documents. Includes inventory of pieces sent to A. C. A. on December 14, 1948.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Teaching Notes. 17 documents.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Assignments by Robert Delaney\u2019s students. 5 documents. \u201cChoral composition\u201d by Lauril Watkins; March 14, 1946. Untitled composition by Jordon Williams, undated. \u201cA Brief Consideration of the Elements of Spacing, Doubling, Voice leading\u201d by John W. Pozdro, June 1949. \u201cToch and Hindemith\u201d by Gerald A. Kramer, undated. \u201cA Point-for-Point Comparison of the Orchestration Texts Written by Widor, Rimsky-Korsakov, and Forsyth\u201d by Joseph V. Gallagher, December 6, 1951.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"3B\">Sub-series B: Composition notes and book drafts<\/i><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Notes on Western Star by Stephen V. Benet. Typescript and ink MS. 15 pages.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>Principles of Composition, 1949. Draft; typescript with pencil and ink annotations; 57 pages. 23 miscellaneous pages; typescript with pencil annotations; undated.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Principles of Vocal Composition, 1949. Draft; pencil MS; 66 pages.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Principles of Vocal Composition, 1949. Draft; typescript with pencil annotations; 32 pages.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Principles of Vocal Composition, 1949. Ozalid MS, 2 copies; 57 pages each.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 17<\/strong><\/td>\n<td>Illustrations for piano accompaniment figures. The Technique of Vocal Composition, 1951. pencil MS; 3 pages.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"3C\">Sub-series C: Programs and publicity<\/i><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 18<\/strong><\/td>\n<td>Concert Programs. 1942 \u2013 1955. 7 documents.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 19<\/strong><\/td>\n<td>Newspaper clipping. \u201cHe Tunes \u2018Em Up.\u201d Oakland Post-Enquirer. Wednesday, April 26, 19&#8211; [year lacking].<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"3D\">Sub-series D: Copies of musical works by other composers<\/i><\/p>\n<p><strong>Box 12<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>The Tiger, undated. By Alfred Uhler. For unidentified voice and piano. MS repro. 10 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>It was the Morning Hour, 1941. By Alfred Uhler. For SATB. MS repro. 2 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>First Symphony, 1949. By John W. Pozdro. For orchestra. MS repro. 80 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 18<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Sinfonietta, 1950. By Raymond H. Haggh. For orchestra. MS repro. 58 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 12<\/strong><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Dawn Trinity Summit by Robert Delaney, undated. Orchestrated by Richard Sovinec. Ink MS. 14 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"3E\">Sub-series E: Items with unidentified authorship; and those authored by Ellen Delaney<\/i><\/p>\n<p><i id=\"3F\">Sub-series F: Hunting License<\/i><\/p>\n<table>\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Short story, \u201cMountain Chief,\u201d and illustrations<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Poetry. 12 poems.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Folk Songs etc. Notebook of Ellen Emerson Delaney, 1934 \u2013 1935. 43 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Notes about Augusto Novarro\u2019s method for piano tuning, undated. Pencil MS; 3 pages.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Binder with various lists and notes. 18 pages of music.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Hunting License. August 14, 1947.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><i id=\"3G\">Sub-series G: Books <\/i>Ben\u00e9t, Stephen Vincent. Western Star. New York, Toronto: Farrar &amp; Rinehart,<br \/>\nInc., 1943. 181 pp. Inscribed in ink to Ellen Delaney from Robert<br \/>\nDelaney, July 1943. Annotations in pencil and ink appear throughout.<\/p>\n<p>Bigelow, Earl R. et al. Creative-Analytical Theory of Music. Chicago:<br \/>\nH. T. FitzSimons Company, Inc., 1948. Robert Delaney\u2019s name appears<br \/>\non the first page in ink.<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p id=\"Ser4\"><strong>Series 4: Photographs<\/strong><\/p>\n<p><em>Sub-series A: \u00a0 Photographs, captioned <\/em><\/p>\n<p><strong>Box 13<\/strong><\/p>\n<p>1. A Sampang, Sourabaya, Java<br \/>\n2. The Pylon of the Temple of Thothmes III<br \/>\n3. Some of the 134 pillars \u2026 Karnak<br \/>\n4. Pompey\u2019s Pillar with Bob and Buddy near the right sphinx<br \/>\n5. In the old town, Sourabaya Java<br \/>\n6. In the shade of the old Bonyan tree \u2026 Java<br \/>\n7. The Moendock Temple, Bali<br \/>\n8. Northport(?) Long Island, 1945-6<br \/>\n9. An albatross south of the Equator<br \/>\n10. November 1937 Edward Delaney<br \/>\n11. A December day on the highway between Los Angeles and San Francisco<br \/>\n12. Bob and Buddy in the desert, Kingman\u2019s Arizona<br \/>\n13. Charles R. Delaney<br \/>\n14. Edward Delaney, November 1933<br \/>\n15. Delaney kids, 1948<br \/>\n16. Northport Long Island, NY<br \/>\n17. Handsome devil! What? Don\u2019t you miss the arrow collar sign?<br \/>\n18. RD<br \/>\n19. RD right<br \/>\n20. Bob and Buddy in Ohio<br \/>\n21. Cabin roof, Northport, March 1946<br \/>\n22. Ed, B_, Mike Delaney<br \/>\n23. Ed Delaney, July 1952<br \/>\n24. Ellen E_, 1934<br \/>\n25. Edward Delaney, October 1943, Concord, Mass.<br \/>\n26. Bob playing a rainbow trout on the Owaihon<br \/>\n27. Bob, Mr. Miller Klam(?) and a tracker of melon<br \/>\n28. The Champagne Pool Geyser, Wairakai<br \/>\n29. Geyser Pohutu working for 1<sup>st<\/sup> time in 3 weeks<br \/>\n30. The Tomb of Imambara<br \/>\n31. Church of the Nativity, Bethlehem<br \/>\n32. The old mill at the Fort at Cawnpore<br \/>\n33. The hunting crew after Banteng<br \/>\n34. The spot where we shot the parlor rug<br \/>\n35. Where we spent the first night at klang<br \/>\n36. How it was done<br \/>\n37. Bringing in Tige<br \/>\n38. Kitchen and coolie quarters at Klang<br \/>\n39. Bob, Buddy, and Bobby on the Terminal moraine, Franz Josef<br \/>\n40. A crew of Mois(?) working in the woods<br \/>\n42. Looking through the Charlotta Archway<br \/>\n43. Lake Iantha, South Island<br \/>\n44. SS Naria(?) at Niafon(?), Tonga Islands<br \/>\n45. The Mere Mere Club Dance\u2026<br \/>\n46. View of the Harbor of Niafua(?), Tonga<br \/>\n47. The Garden of G\u2026, Jerusalem<br \/>\n48. The top of the Mount of Olives, Jerusalem<br \/>\n49. A little corner in a native village, Singaradja, Bali<br \/>\n50. The Sangsit Poera, Bali<br \/>\n51. The musical colossus<br \/>\n52. The open road \u2026 from Ross to Waiho<br \/>\n53. The Gate of Sangsit, Bali<br \/>\n54. See-a da monk! On the road to Tosari, Java<br \/>\n55. A Jew in his Sabbath Suit, at the Wailing Place, Jerusalem<br \/>\n56. Buddy and Bob and Mr. Hankmeijer in the inner temple grounds, Singaradja, Bali<br \/>\n57. The King of Siam\u2019s Hunting Lodge, Chong, Siam<br \/>\n58. The Royal Mail, Ross to Waiho<br \/>\n59. The safari on the way<br \/>\n60. The spot<br \/>\n61. Mr. and Mrs. Colyeen Mitchell, Bob and Buddy at Rotorua, NZ<br \/>\n62. Our one and only, Klong, Annam 8\u20199 \u00bc\u201d<br \/>\n63. The Franz Joseph Glacier, Waiho Gorge and Grahams Hotel<\/p>\n<p><strong>Box 14<\/strong><\/p>\n<p>64. Natives getting ready for the mere-mere Fiji S(?)<br \/>\n65. Tahitian fruit market<br \/>\n66. The Wailing Place, Jerusalem<br \/>\n67. In the Swallow\u2019s Cave, Vavau, Tonga Islands<br \/>\n68. Entrance to Swallow\u2019s Cave near Vavau<br \/>\n69. The Temple of Halesu, Deir el Bahari<br \/>\n70. The Nile at Luxor<br \/>\n71. The outer Pylon, Karnak<br \/>\n72. This is not the water wagon<br \/>\n73. Pohutu and the Blow Hole, Rotorua<br \/>\n74. The first glimpse of the Franz Josef glac.<br \/>\n75. The Monkey Temple \u201cDruga\u201d [sic], Benares<br \/>\n76. Temple of Ptolemy at Deir el-Bahari<br \/>\n77. Bob, Buddy and me on Franz Joseph<br \/>\n78. The glacier Fr. Joseph at Waiho<br \/>\n79. The Garden of Gerthsemane, Jerusalem<br \/>\n80. The Taj Mahal, Agra<br \/>\n81. The Taj Mahal, Agra [portrait orientation]<br \/>\n82. The Mosque of the Ascension, Mt. of Olives<br \/>\n83. Jews at the Wailing Wall, King Solomon\u2019s Temple Jerusalem<br \/>\n84. Street Scene in Jerusalem<br \/>\n85. The Golden Gate with Bob on the Wall, Jerusalem<br \/>\n86.\u00a0 Jaffa, Palestine<br \/>\n87. The Citadel \u2013 Cairo<br \/>\n88. King David\u2019s Tomb<br \/>\n89. The Damascus Gate, Jerusalem<br \/>\n90. Herod\u2019s Palace ruins, Jerusalem<br \/>\n91. Two inlets of the Devil\u2019s Coach House, Jenolan Cairo<br \/>\n92. Bob doing a little something to earn his breakfast, Waiho Gorge, NZ<br \/>\n93. Church of the Holy Sepulchre, Jerusalem<br \/>\n94. The Well of the Magi on the street to Bethlehem<br \/>\n95. The Site of the Great Temple of Jerusalem<br \/>\n96. A street in Jaffa Pal<br \/>\n97. The Mosque of Omar, Jerusalem<br \/>\n98. The Mosque of Omar erected in the square of Solomon\u2019s Temple Jerusalem<br \/>\n99. Buddy on the camel and Bob on his feet<br \/>\n100. The \u201cOasis\u201d in the Mojave Desert, Ludlow, Ariz.<br \/>\n101. Bob, Buddy, and Me on Franz Joseph<br \/>\n102. The Great Pyramid, Ghizeh<br \/>\n103. A native canoe, Raratonga<br \/>\n104. Raratonga, Cook Islands<br \/>\n105. Contrasts in life, Mo\u00ef and American<br \/>\n106. The parrot hunters at Klong<br \/>\n107. Mr. M. and me and Tige<br \/>\n108. Tour Charm at Phan Rang, Indonesia<br \/>\n109. The Big River, Singapore<br \/>\n110. The Wharf of the River, Singapore<br \/>\n111. The River, Singapore<br \/>\n112. Building the Maison de Chasse at Klong<br \/>\n113. Temple of Seti I, Thebes<br \/>\n114. The Obelisk of Karnak<br \/>\n115. The Temple of Karnak<br \/>\n116. The Rock Tombs of Ghizeh<br \/>\n117. In the Luxor Temple<br \/>\n118. In the Outer Temple at Luxor<br \/>\n119. The Rock Tombs in the Valley of the Kings, Thebes<br \/>\n120. Altar of Ra and Horns at Deir el Bahari<br \/>\n121. The Inner Temple Deir el Bahari<br \/>\n122. Part of the rock engraving in the temple of Seti<br \/>\n123. A goofoot clearway in the great temple of Karnak<br \/>\n134. The Ramesseum, Thebes<br \/>\n135. The Bridge of Swims in Boeleleng, Bali<br \/>\n136. A war dance for HRH at Suva, Fiji<br \/>\n137. RMS Moana Coaling at Papeate<br \/>\n138. RD<br \/>\n139. Andy Ylomans Family<br \/>\n140. The Empire State Express<br \/>\n141. Temple of Amenophis, Luxor<br \/>\n142. In the Karnak Temple<br \/>\n143. Within the Great Temple, Karnak<br \/>\n144. 5 of the original 20 statues of Ptah, Karnak<br \/>\n145. The Avenue of the Rams, Karnak<br \/>\n146. Ramses II and his wife at Luxor<br \/>\n147. Part of a gateway, Karnak, Temple of Ramses III<br \/>\n148. The Temple of Rameses at Luxor, Amenophis III<br \/>\n149. The Salt Works near Singaradja, Bali<br \/>\n150. The \u201cCity of Poona\u201d coaling at Pt. Sudan, Africa<br \/>\n151. The Citadel, Cairo<br \/>\n152. The Opera House, Saigon<br \/>\n153. The wood burner of Krongpha<br \/>\n154. The last station, Krong-pha<br \/>\n155. Charles R. Delaney, Anna L. Delaney<br \/>\n156. Charles R. Delaney<br \/>\n157. RD<br \/>\n158. Anna L. Delaney: RD\u2019s Mother<br \/>\n159. Lucien C_ RD violin teacher<br \/>\n160. 1931 Concord<\/p>\n<p><em>Sub-series B: \u00a0 Photographs, uncaptioned.\u00a0 <\/em><\/p>\n<p><strong><em>The Ruth T. Watanabe Special Collections Department thanks Mr. Bruce Delaney for his assistance in identifying many of these images. <\/em><\/strong><\/p>\n<p><strong>Box 15<\/strong><\/p>\n<p>63 pictures altogether:<\/p>\n<p>Robert Delaney\u2019s parents: nos. 4, 8, 44, 54<br \/>\nAround-the-world trip taken by Robert Delaney and his parents: nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 17, 18, 20, 21, 22<br \/>\nRobert Delaney alone: nos. 17, 18, 29 (in AEF uniform, either Italy of France), 38, 39, 40, 46<br \/>\nRobert Delaney\u2019s Rolls Royce: no. 45<br \/>\nEllen Delaney (n\u00e9e Cotton) and son Edward Delaney: nos. 16, 55<br \/>\nRobert Delaney and son Edward Delaney: no. 43<br \/>\nRobert, Ellen, and Edward Delaney: nos. 37, 41; both in Willow Creek, CA<\/p>\n<p><em>Sub-series C: \u00a0 Negatives<\/em><\/p>\n<p>3 negatives<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1614615433997{margin-top: -20px !important;}&#8221;] Ruth T. Watanabe Special Collections Sibley Music Library Eastman School of Music University of Rochester prepared by Daphne Tan Spring 2009 &nbsp; ROBERT M. DELANEY COLLECTION &nbsp; CONTENTS Description of Collection Description of Series Inventory Series 1: Manuscripts Series 2: Correspondence Series 3: Personal Papers Series 4: Photographs &nbsp; &nbsp; [&hellip;]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":400,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"finding-aid","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[12],"class_list":["post-1140","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1140","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=1140"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1140\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/400"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=1140"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=1140"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=1140"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}