{"id":6916,"date":"2020-12-15T11:08:53","date_gmt":"2020-12-15T16:08:53","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?page_id=6916"},"modified":"2020-12-15T11:08:53","modified_gmt":"2020-12-15T16:08:53","slug":"ser5-6","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/hhanson\/ser5-6\/","title":{"rendered":"HOWARD HANSON COLLECTION"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1608046871442{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Series 5: Concert programs<\/h3>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series A: American music initiatives at the Eastman School of Music<\/span><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-sub-series i: American Composers\u2019 Concerts <\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 70″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608046974354{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nPrograms, 1926.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPrograms, 1927.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPrograms, 1928.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPrograms, 1929.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nPrograms, 1930.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nPrograms, 1931.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPrograms, 1932.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nPrograms, 1933.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPrograms, 1934.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nPrograms, 1935.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nPrograms, 1936.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nPrograms, 1937.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nPrograms, 1938.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nPrograms, 1939.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nPrograms, 1940.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nPrograms, 1941.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nPrograms, 1942.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nPrograms, 1943.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nPrograms, 1944.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nPrograms, 1945.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nPrograms, 1946.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nPrograms, 1947.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nPrograms, 1952.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-sub-series ii: Festivals of American Music <\/span><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n
folder 24<\/strong><\/td>\nPrograms, 1933.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nPrograms, 1934.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nPrograms, 1935.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nPrograms, 1936.<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nPrograms, 1937.<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\nPrograms, 1938.<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\nPrograms, 1939.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 71″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608047097851{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nPrograms, 1940.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPrograms, 1941.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPrograms, 1942.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPrograms, 1943.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nPrograms, 1944.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nPrograms, 1945.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPrograms, 1946.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nPrograms, 1947.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nBulletins, 1931.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nBulletins, 1932.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nBulletins, 1935.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nBulletins, 1936.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nBulletins, 1937.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 72″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608047144483{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nBulletins, 1938.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nBulletins, 1939.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nBulletins, 1940.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nBulletins, 1941.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nBulletins, 1942.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nBulletins, 1943.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nBulletins, 1944.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nBulletins, 1945.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nBulletins, 1946.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nBulletins, 1947.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series B: Programs featuring specific Hanson compositions<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 73″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608047309780{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nCherubic Hymn<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nChorale and Alleluia<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nClog Dance<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nConcerto da camera<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nConcerto for Organ, Strings, and Harp, opus 22, no. 3<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nConcerto for Organ, opus 27<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nConcerto for Piano and Orchestra<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nElegy in Memory of Serge Koussevitzky<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nFour Psalms<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nHow Excellent Thy Name<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nMerry Mount,<\/em> various excerpts<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nMerry Mount<\/em> Suite<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nMosaics<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nPastorale<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 74″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608047335613{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nSong of Democracy<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSongs from Drum Taps<\/em><\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSymphony no. 1 ( \u201cNordic\u201d )<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSymphony no. 2 ( \u201cRomantic\u201d )<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSymphony no. 3<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSymphony no. 4<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSymphony no. 5 ( \u201cSinfonia Sacra\u201d )<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nHoward Hanson Week (Eastman School of Music, December, 1966)<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nOther works; and, programs featuring performances of more than one Hanson work. The following are represented:
\nCentennial Ode
\nChorale and Alleluia
\nCreator of Infinities
\nDies Natalis
\nFanfare
\nFantasy Variations on a Theme of Youth
\nA Prayer of the Middle Ages
\nSong of Democracy
\nSymphony of Freedom
\nSymphony no. 2 ( \u201cRomantic\u201d )
\nVermeland
\nImpromptu
\nLonging (orchestration by Max Hughes)
\nLux Aeterna
\nMarch Carillon
\nThree Miniatures
\nClog Dance
\nPastoral for Oboe, Strings, and Harp
\nThe Warriors\u2019 Dance (arranged by Jane Hunt)<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nWorks by other composers<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 75″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608047377510{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nCherubic Hymn<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nChorale and Alleluia<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nClog Dance<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nConcerto da Camera<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nConcerto for Organ, Strings, and Harp, opus 22, no. 3<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nConcerto for Organ, opus 27<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nConcerto for Piano and Orchestra<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nFantasy Variations on a Theme of Youth<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nFour Psalms<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nHeroic Elegy<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nHow Excellent Thy Name<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 76″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048029522{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nHymn for the Pioneers<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nLament for Beowulf<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nLux Aeterna<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nMarch Carillon (from<\/em> Yuletide Pieces)<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nMerry Mount<\/em><\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nMerry Mount <\/em>Suite<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nMissa Papae Marcelli (Palestrina)<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nNorth and West<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 77″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048062981{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nPan and the Priest<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPastorale for Oboe, Strings, and Harp<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nQuartet in one movement<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSerenade for Flute, Harp, and Strings<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSong of Democracy<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 78″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048070363{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nSongs from Drum Taps<\/em><\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSymphony no. 1 ( \u201cNordic\u201d ), 1920s<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSymphony no. 1 ( \u201cNordic\u201d ), 1930s<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSymphony no. 1 ( \u201cNordic\u201d ), 1940s<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSymphony no. 1 ( \u201cNordic\u201d ), 1950s<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSymphony no. 1 ( \u201cNordic\u201d ), dates ambiguous<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 79″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048080572{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nSymphony no. 2 ( \u201cRomantic\u201d ), 1930s<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSymphony no. 2 ( \u201cRomantic\u201d ), 1940s<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSymphony no. 2 ( \u201cRomantic\u201d ), 1950s<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSymphony no. 2 ( \u201cRomantic\u201d ), 1960s<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSymphony no. 2 ( \u201cRomantic\u201d ), 1970s<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSymphony no. 2 ( \u201cRomantic\u201d ), dates ambiguous<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 80″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048089459{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nSymphony no. 3<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSymphony no. 4<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSymphony no. 5 (Sinfonia Sacra)<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSymphony no. 6<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nVermeland<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nAll-Hanson festivals (various)<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nOther works; and, programs featuring performances of more than one Hanson work. The following are represented:
\nElegy in Memory of Serge Koussevitsky
\nSymphony no. 2 ( \u201cRomantic\u201d )
\nSuite, \u201cFor the First Time\u201d
\nFanfare, For the Signal Corps
\nMosaics
\nSong of Human Rights
\nSong of Democracy
\nSummer Seascape no. 2
\nNational Anthem of Syria, orchestrated by Hanson.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1608048150638{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Series 6: Books<\/h3>\n

[\/vc_column_text][vc_custom_heading text=”Box 81″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048177917{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nAbbott, Lawrence.\u00a0Approach to Music<\/em>. New York: Farrar & Rinehart, 1940. 358 pp.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nAdler, Lawrence.\u00a0New Values in Music Appreciation<\/em>. New York: Roerich Museum Press, 1935. 80 pp.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nAncis, S. Scheme Modulations<\/em>. New York: Carl Fischer, 1929. 95 pp.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nUniversity of Iowa Studies, <\/em>33. Iowa City, Iowa: Iowa State University, 1931. 176 pp.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nBacon, Ernst. Notes on the Piano<\/em>. Syracuse: Syracuse University Press, 1963. 167 pp. Inscribed by the author.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nBarbour, J. Murray. Tuning and Temperament: A Historical Survey<\/em>. East Lansing: Michigan State College Press, 1951. 228 pp.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nBarlow, Wayne. Foundations of Music<\/em>. New York: Appleton-Century-Crofts, 1953. 274 pp.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nBarne, Kitty. Listening to the Orchestra<\/em>. Indianapolis and New York: Bobbs Merrill Co., 1946. 299 pp.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nBower, Marion, & Ethel R. Peyser. Music Through the Ages: A Narrative for Student and Laymen<\/em>. New York: G. pages. Putnam\u2019s Sons, 1964. 632 pp.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nBower, Marion. Twentieth Century Music: How it Developed, How To Listen To It<\/em>. New York and London: G. P. Putnam\u2019s Songs, 1947. 463 pp.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nBekker, Paul. The Story of Music<\/em>. New York: Norton, 1927. 277 pp.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nBender, George C. Business Manual for Music Teachers<\/em>. Philadelphia: Theodore Presser Co., 1910. 116 pp.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nBernstein, Martin. An Introduction to Music<\/em>. New York: Prentice Hall, 1937. 396 pp. Inscribed by Bernstein.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nBlackman, Charles. Behind the Baton<\/em>. New York: Charos, 1964. 223 pp. Inscription by Blackman.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nBodky, Erwin. Der Vortrag alter Klaviermusik<\/em>. Berlin: Max Hesses Verlag, 1932. 112 pp.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nBroekman, David. The Shoestring Symphony<\/em>. New York: Simon & Schuster, 1948. 247 pp.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nBrown, Calvin S. Music and Literature: A Comparison of the Arts<\/em>. Athens, GA: University of Georgia Press, 1948. 287 pp.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nBrownlie, Rev. John. Hymns of the Early Church<\/em>. New York: Oxford University Press, 1913. 202 pp.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nCady, Calvin Brainerd. Music Education: An Outline<\/em>. Chicago: Clayton F. Summy Co., 1902. 79 pp.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nCady, Calvin Brainerd. Music-Education, An Outline<\/em>. Chicago: Clayton F. Summy Co., 1923. 145 pp.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nChiesa, Mary Tibaldi. Ernest Bloch<\/em>. Torino: G. B. Poravia, 1933. 107 pp.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nChristensen, Inga Hoegsbro. Inga \u2013 Play! The Memoirs of Inga Hoegsbro Christensen<\/em>. New York: Exposition Press, 1952. 202 pp. Inscribed by the author.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nClark, Kenneth S. Municipal Aid to Music in America<\/em>. New York: National Bureau for the Advancement of Music, 1925. 297 pp.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nCooke, James Francis. Great Men and Famous Musicians on the Art of Music<\/em>. Philadelphia: Theodore Presser, 1925. 446 pp.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nCooke, James Francis. Great Pianists on Piano Playing<\/em>. Philadelphia: Theodore Presser, 1917. 418 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 82″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048198606{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 26<\/strong><\/td>\nCooke, James Francis. Great Singers on the Art of Singing<\/em>. Philadelphia: Theodore Presser, 1921. 304 pp.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nCooke, James Francis. How to Memorize Music<\/em>. Philadelphia: Theodore Presser, 1948. 138 pp. Inscription by Cooke<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nCopland, Aaron. What to Listen for In Music<\/em>. New York: Whittlesey House, 1939. 281 pp.<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\nCowell, Henry, ed.. American Composers on American Music<\/em>. Stanford: Stanford University Press, 1933. 226 pp.<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\nCowell, Henry. New Musical Resources<\/em>. New York: Alfred A. Knopf, 1930. 143 pp.<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\nCreston, Paul. Principles of Rhythm<\/em>. New York: Franco Columbo, 1961. 216 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\nDamon, S. Foster, ed. Series of Old American Songs Reproduced in Facsimile<\/em>. Providence: Brown University Library, 1936. Loose-leaf sheet music.<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\nDavis, Carol Beery, ed. Songs of the Totem<\/em>. Juno: Empire Printing Co., 1939. 43 pp.<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\nDavis, Ennis. More than a Pitch-Pipe<\/em>. Boston: C.C. Birchard, 1941. 177 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
folder 35<\/strong><\/td>\nDensmore, Frances. Seminole Music<\/em>. Washington: United States Printing Office, 1956. 223 pp.<\/td>\n<\/tr>\n
folder 36<\/strong><\/td>\nDett, R. Nathaniel, ed. Religious Folk-Songs of the Negro.<\/em> Hampton: Hampton University Press, 1930. 236 pp.<\/td>\n<\/tr>\n
folder 37<\/strong><\/td>\nDickinson, George Sherwin. The Pattern of Music<\/em>. Poughkeepsie: Vassar College, 1939. 57 pp.<\/td>\n<\/tr>\n
folder 38<\/strong><\/td>\nD\u2019Indy, Vincent. Cesar Franck: A Study<\/em>. New York: John Lane, 1910. 286 pp.<\/td>\n<\/tr>\n
folder 39<\/strong><\/td>\nD\u2019Indy, Vincent. Cours de Composition Musicale<\/em>, Vol. 2\/1. Paris: Durand, 1912. 500 pp.<\/td>\n<\/tr>\n
folder 40<\/strong><\/td>\nD\u2019Indy, Vincent. Cours de Composition Musicale<\/em>, Vol. 1. Paris: Durand, 1912. 228 pp.<\/td>\n<\/tr>\n
folder 41<\/strong><\/td>\nDiserens, Charles M., & Harry Fine. A Psychology of Music: The Influence of Music on Behavior. <\/em>Cincinnati: Cincinnati College of Music, 1939. 405 pp.<\/td>\n<\/tr>\n
folder 42<\/strong><\/td>\nDodge, Raymond, ed. Psychological Monographs<\/em>. Vol. 40, No. 1. Princeton: Psychological Review Co., 1930. 214 pp.<\/td>\n<\/tr>\n
folder 43<\/strong><\/td>\nDorian, Frederick. The Musical Workshop.<\/em> New York: Harper & Bros, 1947. 368 pp.<\/td>\n<\/tr>\n
folder 44<\/strong><\/td>\nDowns, Olin. Symphonic Broadcasts<\/em>. New York: Dial Press, 1931. 330 pp.<\/td>\n<\/tr>\n
folder 45<\/strong><\/td>\nDrinker, Sophie. Music and Women<\/em>. New York: Coward McCann, 1948. 323 pp.<\/td>\n<\/tr>\n
folder 46<\/strong><\/td>\nDykema, Peter W. Music for Public School Administrators<\/em>. New York: Teachers College, Columbia University, 1931. 171 pp.<\/td>\n<\/tr>\n
folder 47<\/strong><\/td>\nEarhart, Will. The Meaning and Teaching of Music<\/em>. New York: M. Witmark & Sons, 1935. 250 pp.<\/td>\n<\/tr>\n
folder 48<\/strong><\/td>\nEarhart, Will. Music to the Listening Ear<\/em>. New York: M. Witmark & Sons, 1932. 173 pp.<\/td>\n<\/tr>\n
folder 49<\/strong><\/td>\nEdwards, Arthur C. The Art of Melody<\/em>. New York: Philosophical Library Inc., 1956. 266 pp.<\/td>\n<\/tr>\n
folder 50<\/strong><\/td>\nEllinwood, Leonard. The History of American Church Music<\/em>. New York: More-Gorham Co., 1953. 274 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 83″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048267526{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 51<\/strong><\/td>\nElson, Louis C. Syllabus of Musical History<\/em>. Boston: New England Conservatory of Music, 1896. 100 pp.<\/td>\n<\/tr>\n
item 52<\/strong><\/td>\nEvetts, Edgar T., & Robert A. Worthington. The Mechanics of Singing<\/em>. London: J. M. Dent & Sons, Ltd., 1928. 133 pp.<\/td>\n<\/tr>\n
item 53<\/strong><\/td>\nFinn, William J. The Art of the Choral Conductor<\/em>. Vol. I. Boston: C.C. Birchard, 1939. 292 pp.<\/td>\n<\/tr>\n
item 54<\/strong><\/td>\nFlanders, Helen Hartness, & George Brown, eds. Vermont Folksongs and Ballads<\/em>. Brattleboro: Stephen Daye Press, 1932. 256 pp.
\nInscribed by George Brown.<\/td>\n<\/tr>\n
item 55<\/strong><\/td>\nFoote, Arthur. Modulation and Related Harmonic Question<\/em>s. Boston: Arthur pages. Schmidt, 1919. 97 pp.<\/td>\n<\/tr>\n
item 56<\/strong><\/td>\nFowky, Edith Fulton, & Richard Johnston, eds. Folksongs of Canada<\/em>. Waterloo: Waterloo Music Co., Ltd, 1954. 197 pp.<\/td>\n<\/tr>\n
item 57<\/strong><\/td>\nFowles, Ernest. Ear, Eye, and Hand in Harmony-Study.<\/em> New York: Oxford University Press, 1928. 57 pp.<\/td>\n<\/tr>\n
item 58<\/strong><\/td>\nFowles, Helen M. Ernest Fowles: A Memoir<\/em>. Self-published, 1933. 225 pp.<\/td>\n<\/tr>\n
item 59<\/strong><\/td>\nFranko, Sam. Chords and Discords: Memoirs and Musings of an American Musician<\/em>. New York: Viking Press, 1938. 186 pp.<\/td>\n<\/tr>\n
item 60<\/strong><\/td>\nGannett, Kent. Bach\u2019s Harmonic Progressions: 1000 Examples<\/em>. Philadelphia: Oliver Ditson, 1942. 51 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 61<\/strong><\/td>\nGehrkens, Karl Wilson. The Fundamentals of Music<\/em>. Boston: Oliver Ditson Co., 1924. 212 pp.<\/td>\n<\/tr>\n
item 62<\/strong><\/td>\nGehrkens, Karl Wilson. Music in the Grade Schools<\/em>. Boston: C.C. Birchard & Co., 1934. 236 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 63<\/strong><\/td>\nGiard, Charles F. Fundamental Harmonic Material<\/em>. Oklahoma City: Harlow Publishing Co., 1933. 200 pp.<\/td>\n<\/tr>\n
item 64<\/strong><\/td>\nGingrich, Irving. Contrapuntal Ear-Training<\/em>. Chicago: H. T. Fitzsimons Co., 1932. 127 pp.<\/td>\n<\/tr>\n
item 65<\/strong><\/td>\nGordon, Philip. The Availability of Contemporary American Music for Performing Groups in High Schools and Colleges<\/em>. New York: Bureau of Publications, Teachers College, Columbia University, 1950. 144 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 66<\/strong><\/td>\nGoss, Madeleine. Bolero: The Life of Maurice Ravel<\/em>. New York: Henry Holt & Co., 1940. 303 pp.<\/td>\n<\/tr>\n
item 67<\/strong><\/td>\nHahn, Frederick. Practical Violin Study<\/em>. Philadelphia: Theodore Presser, 1929. 276 pp.<\/td>\n<\/tr>\n
item 68<\/strong><\/td>\nHamilton, Clarence G. Epochs in Musical Progress<\/em>. Boston: Oliver Ditson, 1926. 278 pp.<\/td>\n<\/tr>\n
item 69<\/strong><\/td>\nHannas, Ruth. Thorns are a Style<\/em>. New York: Henry Harrison, 1930. 78 pp.<\/td>\n<\/tr>\n
item 70<\/strong><\/td>\nHaydon, Glen. The Evolution of the Six-Four Chord<\/em>. Berkeley: University of California Press, 1933. 141 pp.<\/td>\n<\/tr>\n
item 71<\/strong><\/td>\nHenschel, George. Articulation in Singing: A Manual for Student and Teacher<\/em>. Cincinnati: The John Church Co., 1926. 53 pp.<\/td>\n<\/tr>\n
item 72<\/strong><\/td>\nHinman, Florence Lamont. Slogans for Singers<\/em>. New York: G. Schirmer, 1934. 76 pp.<\/td>\n<\/tr>\n
item 73<\/strong><\/td>\nHoward, John Tasker. This Modern Music: A Guide for the Bewildered Listener<\/em>. New York: Thomas Y. Crowell Co., 1942. 234 pp.<\/td>\n<\/tr>\n
item 74<\/strong><\/td>\nHughes, Charles W. The Human Side of Music<\/em>. New York: Philosophical Library, 1948. 341 pp.<\/td>\n<\/tr>\n
item 75<\/strong><\/td>\nThe Juilliard Report<\/em>. New York: Norton, 1953. 223 pp.<\/td>\n<\/tr>\n
item 76<\/strong><\/td>\nThe Juilliard Report<\/em>. New York: Norton, 1953. 223 pp.<\/td>\n<\/tr>\n
item 77<\/strong><\/td>\nKagen, Sergius. On Studying Singing<\/em>. New York: Rinehart & Co., Inc., 1950. 119 pp.<\/td>\n<\/tr>\n
item 78<\/strong><\/td>\nKennan, Kent. Counterpoint. <\/em>Ellinwood Cliffs, N.J.: Prentice Hall, 1959. 211 pp.<\/td>\n<\/tr>\n
item 79<\/strong><\/td>\nKennan, Kent. The Technique of Orchestration<\/em>. New York: Prentice Hall, 1952. 321 pp.<\/td>\n<\/tr>\n
item 80<\/strong><\/td>\nKneisel, Jessie Hoskam. M\u00f6rike and Music<\/em>. Ph.D. Diss., Columbia University, 1949. 236 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 84″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048282518{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 81<\/strong><\/td>\nKoechlin, Charles. A Summary of the Rules of Counterpoint<\/em>. Paris: Heugel. 137 pp.<\/td>\n<\/tr>\n
folder 82<\/strong><\/td>\nKoechlin, Charles. Etudes sur la chorale d\u2019\u00e9cole<\/em>. Paris: Heugel. 79 pp.<\/td>\n<\/tr>\n
folder 83<\/strong><\/td>\nKwartin, Bernard. Fundamentals of Vocal Art<\/em>. New York: Criterion Publishing Co., 1941. 178 pp.<\/td>\n<\/tr>\n
folder 84<\/strong><\/td>\nLang, Paul Henry. 100 Years of Music in America<\/em>. New York: G. Schirmer, 1961. 322 pp.<\/td>\n<\/tr>\n
folder 85<\/strong><\/td>\nLehmann, Friedrich Johan. Harmonic Analysis<\/em>. Oberlin: J. J. Comings & Son, 1910. 156 pp.<\/td>\n<\/tr>\n
folder 86<\/strong><\/td>\nLocke, Alain. The Negro and His Music<\/em>. Washington: The Associates in Negro Folk Education, 1936. 142 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
folder 87<\/strong><\/td>\nLoggins, Vernon. Where the World Ends: The Life of Louis Moreau Gottschalk<\/em>. Baton Rouge: Louisiana State University Press, 1958. 273 pp.<\/td>\n<\/tr>\n
folder 88<\/strong><\/td>\nLomax, John A., & Alan Lomax, eds. Our Singing Country<\/em>. New York: MacMillan, 1941. 416 pp.<\/td>\n<\/tr>\n
folder 89<\/strong><\/td>\nLongy-Miquelle, Ren\u00e9e. Principles of Music Theory<\/em>. Boston: E. C. Schirmer, 1925. 101 pp.<\/td>\n<\/tr>\n
folder 90<\/strong><\/td>\nVaughn Lytle, Victor. The Theory and Practice of Strict Counterpoint<\/em>. Philadelphia: Oliver Ditson, 1940. 222 pp.<\/td>\n<\/tr>\n
folder 91<\/strong><\/td>\nMacKinnon, Lilias. Music by Heart<\/em>. New York: Oxford University Press, 1926. 141 pp.<\/td>\n<\/tr>\n
folder 92<\/strong><\/td>\nMaddy, J. E. & T. pages. Giddings. Instrumental Class Teaching<\/em>. Cincinnati: Willis Music Co., 1928. 99 pp.
\nInscribed by Maddy, Shedean, Vashaw, Burns, Grainger, and Crosby.<\/td>\n<\/tr>\n
folder 93<\/strong><\/td>\nMaddy, J. E. & T. pages. Giddings. Instrumental Technique for Orchestra and Band<\/em>. Cincinnati: Willis Music Co., 1926. 255 pp.
\nInscribed by Maddy.<\/td>\n<\/tr>\n
folder 94<\/strong><\/td>\nMason, Daniel Gregory. Artistic Ideals<\/em>. New York: Norton, 1927. 201 pp.<\/td>\n<\/tr>\n
folder 95<\/strong><\/td>\nMason, Daniel Gregory. The Chamber Music of Brahms<\/em>. New York: MacMillan, 1933. 276 pp.<\/td>\n<\/tr>\n
folder 96<\/strong><\/td>\nMason, Daniel Gregory. From Song to Symphony<\/em>. Boston: Oliver Ditson, 1924. 243 pp.<\/td>\n<\/tr>\n
folder 97<\/strong><\/td>\nMcCoy, William J. Cumulative Harmony<\/em>. Boston: Jinn & Co., 1916. 300 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
folder 98<\/strong><\/td>\nMcGiffert, Gertrude Huntington. Radio Concert from Palestrina to Gershwin<\/em>. New York: G. P. Putnam Sons, 1942. 191 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
folder 99<\/strong><\/td>\nMcHose, Alan Irvine. The Contrapuntal Harmonic Technique of the Eighteenth Century<\/em>. New York: F. S. Crofts, 1947. 433 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 100<\/strong><\/td>\nMcHose, Alan Irvine, & Ruth Northup Tibbs. Sight Singing Manual<\/em>. New York: Appleton-Century-Crofts, 1957. 186 pp.<\/td>\n<\/tr>\n
item 101<\/strong><\/td>\nMead, Janet Cutler. Through the Year with American Music<\/em>. Oxford, Ohio: Oxford Printing Co., 1941. 119 pp.<\/td>\n<\/tr>\n
item 102<\/strong><\/td>\nMerril, Barzille Winfred. Practical Introduction to Orchestration and Instrumentation<\/em>. Ann Arbor: Edward Bros, 1937. 52 pp.<\/td>\n<\/tr>\n
item 103<\/strong><\/td>\nMiles, Charles Chester. Fundamentals of Musical Expression<\/em>. Chicago: Charles C. Miles, 1928. 96 pp.<\/td>\n<\/tr>\n
item 104<\/strong><\/td>\nMiller, Frank E. Vocal Art-Science<\/em>. New York: G. Schirmer, 1922. 311 pp.<\/td>\n<\/tr>\n
item 105<\/strong><\/td>\nMalloy, Maurice S., & Marie A. Snyder. My Musical Rating<\/em>. New York: National Digest Co., 1927. 143 pp.
\nInscribed by the authors.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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item 106<\/strong><\/td>\nMoor, Arthur Pritchard.\u00a0The Library-Museum of Music and Dance<\/em>. New York: Bureau of Publications, Columbia University, 1938. 186 pp.<\/td>\n<\/tr>\n
item 107<\/strong><\/td>\nMoore, Douglas. Listening to Music<\/em>. New York: Norton, 1932. 288 pp.<\/td>\n<\/tr>\n
item 108<\/strong><\/td>\nMursell, James L. \u201cPsychology of Music,\u201d\u00a0Psychological Bulletin<\/em>, Vol. 29 No. 3, March 1932. 23 pp.<\/td>\n<\/tr>\n
item 109<\/strong><\/td>\nNicks, Friedrich.\u00a0Frederic Chopin<\/em>. Leipzig: F. E. C. Leuckert, 1890. 414 pp.<\/td>\n<\/tr>\n
item 110<\/strong><\/td>\nNorton, Alma A.\u00a0Teaching School Music<\/em>. Los Angeles: C.C. Crawford, 1932. 248 pp.<\/td>\n<\/tr>\n
item 111<\/strong><\/td>\nOrem, Preston Ware. The Art of Interweaving Melodies<\/em>. Philadelphia: Theodore Presser, 1937. 162 pp.<\/td>\n<\/tr>\n
item 112<\/strong><\/td>\nOsburn, Mary Hubbell. Ohio Composers and Musical Authors<\/em>. Columbus: F. J. Heer Co., 1942. 238 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 113<\/strong><\/td>\nObermeyer, Grace. Famous American Composers<\/em>. New York: Thomas Y. Crowell Co., 1944. 210 pp.<\/td>\n<\/tr>\n
item 114<\/strong><\/td>\nPanassi\u00e9, Hugues. Hot Jazz: The Guide to Swing Music<\/em>. New York: M. Witmark & Sons, 1936. 363 pp.<\/td>\n<\/tr>\n
item 115<\/strong><\/td>\nPatterson, Frank. How to Write a Good Tune<\/em>. New York: G. Schirmer, 1925. 122 pp.<\/td>\n<\/tr>\n
item 116<\/strong><\/td>\nPierce, Anne E. Class Lessons in Singing<\/em>. New York: Silver Burdett, 1937. 212 pp.<\/td>\n<\/tr>\n
item 117<\/strong><\/td>\nPike, Alfred. A Theology of Music<\/em>. Toledo: Gregorian Institute of America, 1953. 124 pp.<\/td>\n<\/tr>\n
item 118<\/strong><\/td>\nPodolsky, Edward. The Doctor Prescribes Music<\/em>. New York: Frederick A. Stokes, 1939. 134 pp.<\/td>\n<\/tr>\n
item 119<\/strong><\/td>\nPodolsky, Edward. Music Therapy<\/em>. New York: Philosophical Library, 1954. 333 pp.<\/td>\n<\/tr>\n
item 120<\/strong><\/td>\nPosell, Elsa Z. American Composers<\/em>. Boston: Houghton Mifflin, 1963. 183 pp.<\/td>\n<\/tr>\n
item 121<\/strong><\/td>\nTraut, Ebenezer. Harmony: Its Theory and Practice<\/em>. Boston: Boston Music Company, 1903. 342 pp.<\/td>\n<\/tr>\n
item 122<\/strong><\/td>\nHanson, Howard. A Public Service in Music<\/em>. New York: National Bureau for the Advancement of Music, 1935. 192 pp.<\/td>\n<\/tr>\n
item 123<\/strong><\/td>\nRadio and the Composer: The Economics of Modern Music<\/em>. London: Ivor Nicholson & Watson, Ltd., 1935. 29 pp.<\/td>\n<\/tr>\n
item 124<\/strong><\/td>\nRefield, John. Music: A Science and an Art<\/em>. New York: Alfred A. Knopf, 1928. 307 pp.<\/td>\n<\/tr>\n
item 125<\/strong><\/td>\nReed, Clare Osborne. Constructive Harmony and Improvisation<\/em>. Chicago: Clayton F. Summy, 1927. 159 pp.<\/td>\n<\/tr>\n
item 126<\/strong><\/td>\nReti, Rudolph. The Thematic Process in Music<\/em>. New York: MacMillan, 1951. 362 pp.<\/td>\n<\/tr>\n
item 127<\/strong><\/td>\nRimsky-Korsakov, Nicolai. Practical Manual of Harmony<\/em>. New York: Carl Fischer, 1930. 142 pp.<\/td>\n<\/tr>\n
item 128<\/strong><\/td>\nRobinson, Franklin W. Aural Harmony<\/em>. New York: Hill Coleman, 1936. 147 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 129<\/strong><\/td>\nRogers, Bernard. The Art of Orchestration<\/em>. New York: Appleton-Century-Crofts, 1951. 198 pp.<\/td>\n<\/tr>\n
item 130<\/strong><\/td>\nRosenwald, Hans. Handbook of Music History<\/em>. Chicago: Lee Stern Press, 1940. 127 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 86″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048313023{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 131<\/strong><\/td>\nRudolf, Max.\u00a0The Grammar of Conducting<\/em>. New York: G. Schirmer, 1950. 350 pp.<\/td>\n<\/tr>\n
item 132<\/strong><\/td>\nSaitveit, Joseph G., Don Lewis, & Carl E. Seashore. \u201cRevision of the Seashore Measures of Musical Talent,\u201d University of Iowa Studies<\/em>, No. 65, October, 1940. 62 pp.<\/td>\n<\/tr>\n
item 133<\/strong><\/td>\nSavage, Paul.\u00a0Creative Singing<\/em>. New York: Patros Press, 1931. 181 pp.<\/td>\n<\/tr>\n
item 134<\/strong><\/td>\nSchauffler, Lawrence.\u00a0Piano Technic: Myth or Science<\/em>. Chicago: Gable Hinged Music Co., 1937. 123 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 135<\/strong><\/td>\nSchillinger, Joseph.\u00a0Kaleidophone: Pitch Scales in Relation to Chord Structures<\/em>. New York: M. Witmark & Sons, 1940. 85 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 136<\/strong><\/td>\nSchmid, Adolph.\u00a0The Language of the Baton<\/em>, Book 1. New York: G. Schirmer, 1937. 123 pp.<\/td>\n<\/tr>\n
item 137<\/strong><\/td>\nSeashore, Carl E.\u00a0In Search of Beauty in Music<\/em>. New York: Ronald Press, 1947. 389 pp.<\/td>\n<\/tr>\n
item 138<\/strong><\/td>\nSeashore, Carl E. \u201cThe Measurement of Pitch Intonation with the Tonoscope in Singing and Playing,\u201d University of Iowa Studies<\/em>, February, 1930. 30 pp.<\/td>\n<\/tr>\n
item 139<\/strong><\/td>\nSeashore, Carl E., ed. \u201cObjective Analysis of Musical Performance\u201d,\u00a0Studies in the Psychology of Music<\/em>, Vol. 4, 1936. 379 pp.<\/td>\n<\/tr>\n
item 140<\/strong><\/td>\nSeashore, Carl E. Pioneering in Psychology<\/em>. Iowa City: University of Iowa Press, 1942. 232 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 141<\/strong><\/td>\nSeashore, Carl E. Psychology of Music<\/em>. New York: McGraw Hill, 1938. 408 pp.<\/td>\n<\/tr>\n
item 142<\/strong><\/td>\nShafer, Chet. The Pipe Organ Pumper<\/em>. New York: Greenburg Publisher, 1926. 70 pp.<\/td>\n<\/tr>\n
item 143<\/strong><\/td>\nClarke, Harry F., Russell V. Morgan, & William J. Skeet. The Fundamentals of Band Arranging<\/em>. Cleveland: Sam Fox Publishing Co., 1938. 88 pp.<\/td>\n<\/tr>\n
item 144<\/strong><\/td>\nSlonimsky, Nicolas.\u00a0Music of Latin America<\/em>. New York: Thomas W. Crowell Co., 1945. 374 pp.<\/td>\n<\/tr>\n
item 145<\/strong><\/td>\nSlonimsky, Nicolas.\u00a0The Road to Music<\/em>. New York: Dodd, Mead & Co., 1947. 178 pp.<\/td>\n<\/tr>\n
item 146<\/strong><\/td>\nSlonimsky, Nicolas. Thesaurus of Scales and Melodic Patterns<\/em>. New York: Coleman Ross Co., 1947. 234 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 147<\/strong><\/td>\nSmith, Julia. Aaron Copland: His Work and Contribution to American Music<\/em>. New York: E. P. Dutton, 1955. 336 pp.<\/td>\n<\/tr>\n
item 148<\/strong><\/td>\nSmith, Julia. Master Pianist: The Career and Teaching of Carl Friedberg<\/em>. New York: Philosophical Library, 1963. 183 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 149<\/strong><\/td>\nKrone, Max T., Myron Schaffer, & Melvin Smith. Fundamentals of Musicianship<\/em>, Book 1. New York: M. Witmark & Sons, 1937. 144 pp.<\/td>\n<\/tr>\n
item 150<\/strong><\/td>\nSnider, Denton J. Music: The Orchestra<\/em>. St. Louis: Sigma Publishing. 138 pp.<\/td>\n<\/tr>\n
item 151<\/strong><\/td>\nSoderlund, Gustav Friedric. Direct Approach to Counterpoint in 16th<\/sup> Century Style<\/em>. New York: S.F. Crofts, 1947. 133.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 152<\/strong><\/td>\nStanton, Hazel M. \u201cMeasurement of Musical Talent: The Eastman Experiment,\u201d Studies in the Psychology of Music<\/em>, Vol. 2, 1935. 140 pp.<\/td>\n<\/tr>\n
item 153<\/strong><\/td>\nStanton, Hazel M. \u201cMeasuring Musical Talent: Seashore Tests as Administrative Aids,\u201d The Personnel Journal<\/em>, Vol. 7 No. 4, December, 1928, 286.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 154<\/strong><\/td>\nStanton, Hazel M. \u201cMeasuring Musical Talent: Seashore Tests as Administrative Aids,\u201d The Personnel Journal<\/em>, Vol. 7 No. 4, December, 1928, 286.<\/td>\n<\/tr>\n
item 155<\/strong><\/td>\nKourth, Wilhelmine and Hazel M. Stanton. \u201cMusical Capacity Measures of Adults Repeated after Musical Training,\u201d University of Iowa Studies<\/em>, No. 31, October 15, 1930. 18 pp.<\/td>\n<\/tr>\n
item 156<\/strong><\/td>\nKourth, Wilhelmine and Hazel M. Stanton. \u201cMusical Capacity Measures of Children Repeated after Musical Training,\u201d University of Iowa Studies<\/em> No. 42, September 15, 1933. 48 pp.<\/td>\n<\/tr>\n
item 157<\/strong><\/td>\nKourth, Wilhelmine and Hazel M. Stanton. \u201cMusical Capacity Measures of Children Repeated after Musical Training,\u201d University of Iowa Studies<\/em> No. 42, September 15, 1933. 48 pp.<\/td>\n<\/tr>\n
item 158<\/strong><\/td>\nStanton, Hazel M. \u201cPrognosis of Musical Achievement,\u201d Studies in Psychology<\/em>, Vol. 1, No. 4, 1929.<\/td>\n<\/tr>\n
item 159<\/strong><\/td>\nStanton, Hazel M. \u201cPrognosis of Musical Achievement,\u201d Studies in Psychology<\/em>, Vol. 1, No. 4, 1929.<\/td>\n<\/tr>\n
item 160<\/strong><\/td>\nStanton, Hazel M. \u201cSeashore Measures of Musical Talent,\u201d Psychological Monographs<\/em>, Vol. 39 No. 2, 1928, 135.<\/td>\n<\/tr>\n
item 161<\/strong><\/td>\nStanton, Hazel M. \u201cSeashore Measures of Musical Talent,\u201d Psychological Monographs<\/em>, Vol. 39 no. 2, 1928, 135.<\/td>\n<\/tr>\n
item 162<\/strong><\/td>\nStinson, Ethelyn Lenore. How to Teach Children Music<\/em>. New York: Harper & Bros, 1941. 140.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 87″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608048327543{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: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
item 163<\/strong><\/td>\nNorthwestern University. The Syllabus<\/em> [yearbook], 1917.<\/td>\n<\/tr>\n
item 164<\/strong><\/td>\nToch, Ernst. The Shaping Forces in Music<\/em>. New York: Criterion Music Corp, 1948. 245 pp.<\/td>\n<\/tr>\n
item 165<\/strong><\/td>\nTomlins, William L. Song and Life<\/em>. Boston: C.C. Birchard, 1945. 105 pp.<\/td>\n<\/tr>\n
item 166<\/strong><\/td>\nTremaine, C. M. History of National Music Week<\/em>. New York: National Bureau for the Advancement of Music, 1925. 232 pp.<\/td>\n<\/tr>\n
item 167<\/strong><\/td>\nTremaine, C. M. New York\u2019s First Music Week<\/em>. New York: National Bureau for the Advancement of Music, 1920. 184 pp.<\/td>\n<\/tr>\n
item 168<\/strong><\/td>\nTrotin, Christine. Key to Musicianship<\/em>. self-published, 1927. 130 pp.<\/td>\n<\/tr>\n
item 169<\/strong><\/td>\nTweedy, Donald. Manual of Harmonic Tecnic<\/em>. Boston: Oliver Ditson, 1928. 307 pp.
\nInscribed by the author.<\/td>\n<\/tr>\n
item 170<\/strong><\/td>\nUlanov, Barry. A History of Jazz in America<\/em>. New York: Viking Press, 1952. 382 pp.<\/td>\n<\/tr>\n
item 171<\/strong><\/td>\nWatson, Jack McLaurin. The Education of School Music Teachers for Community Leadership<\/em>. New York: Bureau of Publications, Teachers College, Columbia University, 1948. 91 pp.<\/td>\n<\/tr>\n
item 172<\/strong><\/td>\nWedge, George A. Applied Harmony<\/em>, Book I. New York: G. Schirmer, 1930. 163 pp.<\/td>\n<\/tr>\n
item 173<\/strong><\/td>\nWedge, George A. Applied Harmony<\/em>, Book II. New York: G. Schirmer, 1931. 117 pp.<\/td>\n<\/tr>\n
item 174<\/strong><\/td>\nWelch, Roy Dickinson. The Appreciation of Music<\/em>. New York: Harper and Bros, 1927. 192 pp.<\/td>\n<\/tr>\n
item 175<\/strong><\/td>\nWerner, Eric. The Sacred Bridge<\/em>. New York: Columbia University Press, 1960. 618 pp.
\nInscribed by Rabbi Herbert Bronstein.<\/td>\n<\/tr>\n
item 176<\/strong><\/td>\nWodell, Frederick W. Choir and Chorus Conducting<\/em>. Philadelphia: Theodore Presser, 1931. 266 pp.<\/td>\n<\/tr>\n
item 177<\/strong><\/td>\nWolff, Pierre. La Route d\u2019un Musicien: Georges Migot<\/em>. Paris: Alfonse Leduc, 1933. 103 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]<\/p>\n

\u2190 HOWARD HANSON COLLECTION: Series 3-4<\/a><\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

HOWARD HANSON COLLECTION: Series 7-8 \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 css=”.vc_custom_1608046871442{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”] Series 5: Concert programs [\/vc_column_text][vc_column_text] Sub-series A: American music initiatives at the Eastman School of Music [\/vc_column_text][vc_column_text] Sub-sub-series i: American Composers\u2019 Concerts [\/vc_column_text][vc_custom_heading text=”Box 70″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1608046974354{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px […]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":6867,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template_Finding_Aids.php","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[12],"class_list":["post-6916","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6916","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=6916"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6916\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6867"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=6916"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=6916"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=6916"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}