Ms. Coll. 158
Philip Batstone collection of manuscript scores, 1953-1980: A Finding Aid
Eda Kuhn Loeb Music Library, Harvard Library, Harvard University
Harvard University, Cambridge MA 02138
© President and Fellows of Harvard College
Call No.: Ms. Coll. 158
Repository: Eda Kuhn Loeb Music Library, Harvard Library, Harvard University
Title: Philip Batstone collection of manuscript scores, 1953-1980.
Quantity: 1 collection (6 file boxes, 3.42 linear feet)
Abstract: Manuscript scores and sketches by the twentieth-century American composer
Processed by: Mark DeVoto
Finding aid encoded by: Christina Linklater
Access to the collection is unrestricted.
Philip Batstone collection of manuscript scores, 1953-1980 (Ms. Coll. 158). Merritt
Room, Eda Kuhn Loeb Music Library, Harvard University.
Philip Norman Batstone (1933-1992) was an American composer. Born in Boston, Massachusetts,
he sang in the choir of the Church of the Advent in Boston and studied at the Longy
School of Music in Cambridge. Batstone joined the 298th Army Band in Berlin in 1955;
he began studies with Boris Blacher and Silvia Kind at the Hochschule für Musik (Berlin)
in 1956 then continued with Roger Sessions, Oliver Strunk and Milton Babbitt at Princeton
University, graduating with a Ph.D. in composition in 1965. From 1965 to 1971 Philip
Batstone taught at the City College of New York, then from 1971-1973 at the University
of Illinois at Chicago. Batstone retired to Pembroke, Maine in 1976. As a composer
he is best known for his 1969 work for soprano and chamber ensemble A mother goose
primer, which was performed by Bethany Beardslee. As a theorist he is associated with
musical phenomenology about which he wrote an article for Perspectives of New Music
- Series I. Scores
- Series II. Ephemera
These materials represent the known compositional output of Philip Batstone. The collection
includes drafts as well as finished scores and parts, in manuscript and in photocopy
manifestations. Many items are annotated. The collection also includes a small amount
of professional ephemera.
- Series: I. Scores.
- Folder 1. Box 1, Sonata no. 1. 3 pages
Twelve-stave small folio. Blue-black ink with clarinet staff in pencil. This sketch
shows influence of jazz rhythms and patterns. For Bb clarinet and piano. Apparently
very early. Incomplete.
- Folder 2. Box 1, Minuet. 3 pages
On one double sheet of 14-stave small folio. On page 4 are 9 mm. in India ink of an
incomplete SATB chorus: There stood 3 Maries by the Tomb, On Easter Morning Early...
Probably very early; possibly from Batstone's period in Germany. Fragment.
- Folder 3. Box 1, Theme and variations for piano solo. 1953. 17 pages
In India ink, 12-stave small folio in a Passantino notebook. Date at end, 1954 in
ink, crossed out and the following written over it in pencil: Boston Winter 1952-1953.
Dedication on title page: For my Good Friend, Henry Santos. With numerous corrections,
annotations, and analysis symbols in pencil, some of these not likely in Batstone's
hand. Fair copy. Boston.
- Folder 4. Box 1, Untitled composition in 3 movements. 1956. 3 pages
Pencil draft on crude 14-stave medium folio paper. On verso of p. 3; Fall 1956 in
red ballpoint. For an unaccompanied and unspecified melody instrument, probably solo
flute. Second movement entitled Intro & March, the March being numbered as the third
movement. Third movement unfinished.
- Folder 5. Box 1, String quartet. 1957. 22 pages
Score, 22 pages plus several others (mostly because of revisions) crossed out and
taped together, pencil on 20-stave folio paper. Wrapped in two additional double sheets,
one of which is part of a superseded draft of the beginning of the second movement;
the other includes 1 page of draft from Batstone's Piano Concerto, mm. ca. 172-185 (q.v.). In 3 movements. Berlin.
- Folder 6. Box 1, Song for Magda. 1957. 1 pages
For voice and (keyboard?) accompaniment [acc.]. Text: It's wonderful, my love, to
have you here again. Score on 20-stave folio paper, in pencil.
- Folder 6. Box 1, Lullaby (for Linda) for voice and piano. 1957. 2 pages
Dedication: to Ben and Sonya and particularly, the Baby, with much love, Phil. India
ink, medium folio paper preprinted with 5 piano-voice systems. With text on a separate
sheet of red butcher paper glued to the outside: Soothed, lie safe. / Dewy, haunt,
star, flock, field--... Berlin.
- Folder 6. Box 1, Lullaby for voice and piano. 2 pages
Score on 16-stave folio paper, in pencil, corrected with vermilion pencil; presumably
the draft score.
- Folder 8. Box 1, Three songs on old texts for soprano, flute, and harpsichord. 1958. 21 pages
1. Drought (anonymous, 14th century: Oh, Western Wind, when wilt thou blow). 2. Hey,
nonny no! 3. By low (14th century: By low my babe, lie still and sleep). Dedication:
for Magda. Full score, fair copy in India ink, on 16- stave folio paper, lightly corrected
in pencil. Spring 1958.
- Folder 8a. Box 1, Untitled. 16 pages
Full score, fair copy in pencil, on 16-stave folio paper. This is probably a working
score, although the presence in the flute part of numerous marks in red pencil (first
song only) suggests that this score may also have been used by a flutist in a performance.
An extra sheet includes the first 23 bars of the third song transposed down a major
second (to accommodate a singer?), but this breaks off incomplete.
- Folder 9. Box 1, Schnee-Masken (Ivan Goll). 1 pages
For chorus SATB (occasionally divided). Fair copy in India ink, 40 measures, 24-stave
folio paper, lightly corrected in pencil. Batstone's note at the top: 1. Fassung schlechte
Deklamation (2. Fassung ist ein Solo Lied). (The music of the two versions is entirely
different.) At the bottom, in ink; 1. Advent. On verso: various unidentified sketches
in pencil. Probably 1958.
- Folder 10. Box 1, The 23rd psalm. 1958. 2 pages
For chorus SATB. Fair copy in India ink, 60 measures, 24-stave folio paper, lightly
corrected in pencil. With additional jottings in pencil.
- Folder 11. Box 1, The 100th psalm. 1 pages
For chorus SATB. Unfinished. 1 double sheet of 24-stave folio paper. Sketch like a
fair copy in ink, incomplete after 42 measures; sketch continued in pencil for two
more bars, and thereafter with a long and meticulous rhythmic and metric plan (possibly
not for this work).
- Folder 11a. Box 1, The 100th psalm. 3 pages
Sketch, complete to about 42 bars but no farther. On 12 stave octavo paper, in blue
ballpoint. On the recto of p. 1: score of a short canon.
- Folder 12. Box 1, Canon (in diminution) in D major. 1 pages
For treble or alto voices à 2: Kirchenglocken lauten so friedlig. With sketch for
The 100th psalm. 19 measures, blue ballpoint on 12-stave octavo paper.
- Folder 13. Box 1, From Georg Buchner's Leonce und Lena. 1958. 2 pages
Act II, scene 3, setting for alto, soprano, and strings. Working copy in ink, 16-stave
oblong format, with sketches in ink and pencil. On recto of p.1: 14 measures, unidentified
and incomplete, of a draft in pencil of a work for (?) solo voice and SATB chorus:
Gedenke ich an dir im Lande und Harmonium auf dem kleinen Berg... On verso of p.2:
jottings and set-forms. Probably 1958 or 1959.
- Folder 14. Box 1, Kantata auf einem amerikanischen Negerlied. 1958. 4 pages
For alto solo, baritone solo, chorus SATB, flute, piano, and strings. Two movements,
51 and 52 measures respectively. Full score in pencil on 24-stave paper, some corrections
in India ink and red pencil; some additional sketches in pencil. Probably 1958 in
- Folder 14a. Box 1Kantata auf einem amerikanischen Negerlied.
Full score. Fair copy in ink, double sheets of 24-stave paper, some jottings in pencil.
These pages were discarded from fair copies or sketches of other works; on the recto
of p.1, 15 measures in blue ballpoint, crossed out, of a score for seven winds (fl.,
ob., cl., bass cl., bn., horn, trp.); on the verso of p.5, seven (final?) measures
in pencil (annotated in blue and red ballpoint) of an orchestral score.
- Folder 14b. Box 1, Choral score. 3 pages
Purple hectograph print; multiple copies.
- Folder 15. Box 1, Magnificat. 1958. 15 pages
For chorus SATB and organ with soprano and baritone soli. Score. Fair copy mostly
in ink (a few pages in pencil), on 24-stave folio paper. Berlin.
- Folder 16. Box 1, Drei Lieder von Ivan Gall aus den letzten Gedichten. 11 January 1959.
Date: 11 January 1959.
For soprano and piano. 1. Morgue. 2. Schnee-Masken. 3. Der Regen-palast. Working score.
Blackline score of Nos. 1 and 2, 4 pages octavo, 14 staves; rhythmic variants of the
vocal line of No. 1 indicated in pencil (though these variants were not used in the
final version, above); a few corrections, pencil and blue ball point, in No. 2. No.
3: a fair copy in India ink on 5 pages of folio paper, 16 staves, with many small
details and some revisions indicated in pencil. Date at end of No. 3.
- Folder 16a. Box 1Drei Lieder von Ivan Gall aus den letzten Gedichten.
No. 2 only. Rough copy in ink on 16-stave Presto-Skizzenpapier, a few annotations
- Folder 16b. Box 1Drei Lieder von Ivan Gall aus den letzten Gedichten.
No. 2 only. Fair copy in ink, 16-stave oblong format. This version is a minor third
higher than the other copies and also has a different beginning and ending in the
piano part; this suggests an earlier version than the others. This copy was later
used as a wrapper for Batstone's Kantate auf einem amerikanischen Negerlied of 1958
and various psalm settings.
- Folder 16c. Box 1Drei Lieder von Ivan Goll aus den letzten Gedichten.
No. 3 only. Verifax copy (slightly faded), cut into strips and pasted to two double
sheets of 16- and 24-stave folio paper; a few pencil corrections. The original of
this score has not been found. On the versos: unidentified sketches and charts.
- Folder 16d. Box 1, Drei Lieder von Ivan Goll. 16 pages
Vellum sheets. Ten staves, pencil with orange-carbon backing. This copy may date from
as late as the fall of 1961.
- Folder 17. Box 1, 2 Psalmen Davids. 12 pages
For SATB chorus. 1. Bine Unterweisung der Kinder Korah, vorzusingen (Psalm 42: Wie
der Hirsch schreiet nach frischem Wasser). 2. Aufruf zum Lobe Gottes (Psalm 117: Lobet
den Herrn, alle Heiden). 22-stave medium folio, India ink, corrected in pencil and
red ballpoint. February 1959. Wrapped in a discarded double sheet of 22-stave paper
on which is part of the Five movements for soprano and string quartet on poems of
Emily Dickinson in pencil and blue ball point; on the outside front cover, "For Mom."
- Folder 18. Box 1, Five movements for soprano and string quartet on poems of Emily Dickinson. 1 April 1960. 33 pages
Date: 1 April 1960.
1. Four trees upon a solitary acre. 2. I taste a liquor never brewed. 3. Rearrange
a wife's affection. 4. The last night that she lived. 5. There's a certain slant of
light; Setting sail. Working score on 24-stave partially fading folio paper, in pencil,
voluminously revised and corrected in blue ballpoint and vermilion, carmine, orange,
brown, and magenta pencil; rehearsal letters in Prussian blue pencil. With several
pp. of sketches, charts, jottings, etc. taped in; wrapped in a double sheet of 24-stave
preprinted band score paper, containing the title and various jottings. Princeton.
- Folder 18a. Box 1, Five movements for soprano and string quartet on poems of Emily Dickinson. 2 pages
Sketch for the beginning of no. 2. 12-stave octavo paper; with an unidentified canon
- Folder 18b. Box 1Five movements for soprano and string quartet on poems of Emily Dickinson.
Sketch for the beginning of no. 2. 24-stave folio paper, showing partitioning of the
set to produce the vocal line; pencil with blue, red, and pink ballpoint.
- Folder 18c. Box 1Five movements for soprano and string quartet on poems of Emily Dickinson.
Instrumental parts, in India ink on 24-stave folio paper. In each part, a cue staff
has been provided for most of the music. Rehearsal letters, measure numbers, and numerous
other marks in pencil, plus many corrections in carmine and magenta pencil. This set
of parts is a particularly elegant example of Batstone's meticulous copying.
- Folder 18d. Box 1, Five movements for soprano and string quartet on poems of Emily Dickinson. 34 pages
Revised version, score, fair copy in India ink on 24- stave folio, bound in a red
paper Folder with sewing thread, with calligraphic label on front cover. Measure numbers
and rehearsal letters added in pencil; a few corrections in red pencil, mostly inked
over in black.
- Folder 18e. Box 1, Five movements for soprano and string quartet on poems of Emily Dickinson. 43 pages
Revised version, vellum sheets for the instrumental parts.
- Folder 18f. Box 1Five movements for soprano and string quartet on poems of Emily Dickinson.
Blackline prints. These have many corrections which were not entered into the vellum
- Folder 18g. Box 1, Five movements for soprano and string quartet on poems of Emily Dickinson. 38 pages
Revised version, piano reduction on 24- and 12-stave medium folio in India ink, corrections
and markings in pencil.
- Folder 19. Box 4, Piano concerto. 1 July 1961. 96 pages
Date: 1 July 1961.
In two movements. 2-2-2(+bass cl.)-2, 2-2-2-1, perc., harp, strings. Dedication: For
Esther and Peter. Full score on 20- and 24-stave folio paper, chiefly in pencil, sometimes
in pencil overwritten in India ink. The pencil writing is often heavily smudged but
is completely legible; there are occasional corrections in blue and red ballpoint.
First movement, 306 measures, followed attacca by second movement, 473 measures. Wrapped
in a (torn) double sheet of 24-stave paper (labeled Piano Concerto) with unidentified
jottings in pencil and India ink; on the verso of this is a short list of Batstone's
then existing works: 1. Piano Vars. 2. Missa Brevis. 3. 2 Songs 4. 1st Qtet. 5. Old
Eng. Songs. 6. 3 Ivan Goll Lieder. 7. Folk Cantata. 8. 2 Psalmen. 9. Magnificat. 10.
E. Dickinson Movements. 11. Piano Concerto. Of these, Nos. 2 and 3 have not yet been
identified (3 could possibly be the Song for Magda and Lullaby, above, Nos. 6 and
- Folder 19a. Box 4, Concerto for piano and orchestra. 80 pages
Full score with title page, vellum sheets, 24-stave medium folio, pencil (occasionally
ballpoint) with orange-carbon backing. Besides the title, this score differs slightly
from the Piano Concerto (e.g., 307 and 480 measures in the two movements).
- Folder 20a. Box 4Toccata.
For piano. Loose sheets taped together. Used by Stephen Pruslin.
- Folder 20c. Box 4, Toccata. 4 pages
For piano. Vellum sheets on 16-stave medium folio, pencil with orange-carbon backing.
Apparently an earlier copy.
- Folder 21a. Box 4Canzona for orchestra.
Vellum sheets, pencil and ballpoint with orange- carbon backing; paper somewhat darkened
- Folder 21b. Box 4Canzona for orchestra.
Orchestra parts, complete or nearly complete. 10- and 12-stave small folio, black
ink with blue ballpoint cues, all in Batstone's hand; string parts on blackline single
sheets taped together.
- Folder 21c. Box 4Canzona for orchestra.
Vellum sheets for the string parts, pencil with orange-carbon backing.
- Folder 21d. Box 4, Canzona for orchestra. 12 pages
Rough full score, complete except for the last few measures, pencil and ballpoint,
on 12-stave loose-leaf paper, 8½ x 11. This score is a major second lower than the
- Folder 22. Box 3, The ballad of the long-legged bait. 1 March 1962. 26 pages
Date: 1 March 1962.
Recitation for three solo male voices. Text by Dylan Thomas. Working score on 24-stave
medium folio. 570 measures. In pencil, abundantly marked up with vermilion and carmine
pencil and red ballpoint. Princeton.
- Folder 22b. Box 2, The ballad of the long legged bait. 43 pages
Recitation for three solo male voices. Text by Dylan Thomas. Blackline full score,
24 staves, comb-bound, some moisture damage. Most pages marked with yellow highlighting
pen; many pages annotated in pencil and red ballpoint pen.
- Folder 22w. Box 3, The ballad of the long legged bait. 26 pages
Recitation for three solo male voices. Text by Dylan Thomas. Manuscript piano score.
- Folder 23. Box 2Two songs for male chorus.
1. Ding, Dong, Bell (Shakespeare) . 2. Ay, me (anonymous 16th century: Ay, me, I sigh
to see the scythe afield...). Pencil drafts. Ding, Dong, Bell is on 2 pp. of flimsy
Presto-Skizzenpapier, 16-stave octavo; Ay, Me is on 2 pp. of 16-stave folio paper,
with unidentified sketches on the verso.
- Folder 24. Box 3, Trio (For the Harbisons). 21 July 1964. 23 pages
Date: 21 July 1964.
For violin, viola, and cello. Score on 10-stave vellum sheets. Measures numbered individually
(210 measures). Written for Rose Mary Harbison (violin), John Harbison (viola), and
Helen Harbison (cello). Princeton.
- Folder 24a. Box 3Trio (For the Harbisons).
For violin, viola, and cello. Blackline score, comb-bound in soft boards. Apparently
not corrected; some annotations on page 1.
- Folder 24b. Box 3Trio (For the Harbisons).
For violin, viola, and cello. Loose sheets, uncorrected.
- Folder 24c. Box 3Trio (For the Harbisons).
For violin, viola, and cello. Loose sheets, water-damaged.
- Folder 24d. Box 3Trio (For the Harbisons).
For violin, viola, and cello. Fragment. Loose sheets.
- Folder 25. Box 4, Overture in the form of a cadenza for orchestra. 12 September 1964. 64 pages
Date: 12 September 1964.
2(2picc.)- 2-2(bcl.)-1(+cbn.), 2-2-2-1, strings. Composed for the Princeton Symphony
Orchestra. Full score on vellum sheets in various ballpoint inks and pencil, with
orange-carbon backing; some bleeding of the ink. These sheets lack the corrections
noted in later versions. Princeton.
- Folder 25a. Box 4Overture in the form of a cadenza for orchestra.
Blackline full score, accordion-fold paper, comb-bound; many corrections and annotations
in green and red ballpoint. With a printed program of the premiere (29 March 1965)
and an unfavorable newspaper review (probably from Town Topics).
- Folder 25b. Box 4, Overture in the form of a cadenza for orchestra. 1964.
Heavily marked up with conducting indications in graphite and red pencil (presumably
by Nicholas Harsanyi); corrections re-entered from the foregoing, in black ballpoint.
The paper cover is marked: Batstone #2 / 1964 and Mvt. II of Two Movements and a Canzona.
This suggests that the Overture may have been planned as part of a larger work.
- Folder 25c. Box 5Overture in the form of a cadenza for orchestra.
Loose sheets of double-sided paper; uncorrected and unmarked.
- Folder 25d. Box 5Overture in the form of a cadenza for orchestra.
Complete orchestra parts, not in Batstone's hand. Corrected by Batstone in red ballpoint;
variously marked up in pencil by performers.
- Folder 25e. Box 5Overture in the form of a cadenza for orchestra.
String parts, vellum sheets, with red ballpoint corrections in Batstone's hand.
- Folder 26. Box 3, John Street. 1965.
Dedication: for Steve (Stephen Pruslin). For piano. Vellum sheets, corrected in red
ballpoint. John Street is a picturesque alleyway in downtown Princeton. Princeton.
- Folder 26a. Box 3, John Street. 14 pages
Blackline score on double-sided paper, comb-bound. Lightly corrected; a few annotations
on page 1. Batstone's note on cover page: Incorporate corrections (Steve's letter)
into onion skins and re-do. The corrections in the vellum sheets, noted above, do
not appear in this copy.
- Folder 26b. Box 3, John Street. 7 pages
Incomplete sketches in the form of a working score, 7 numbered pp., 24-stave folio
paper, about equally in pencil and blue ballpoint, with some black and green ballpoint
and red and blue pencil, with many changes, jottings, set-forms, rhythmic sketches,
etc. Page 7 of the sketch corresponds to page 6 of the final score.
- Folder 26c. Box 3John Street.
Double-sided paper, comb-bound, from the corrected vellum sheets.
- Folder 26w. Box 3, John Street. 1965. 14 pages
- Folder 27. Box 2, Collage for orchestra. 1 June 1965. 158 pages
Date: 1 June 1965.
2(picc.)-2(Ehrn.)-2(Eb, bcl.)-2, 2-2- 2-1, perc., piano, harp, celesta, mandolin (optional),
strings. Blackline full score, 24 staves, bound in boards with an extra set of pp.
130-158. A reduction (summary) of the score is included up through m. 447, and then
abandoned as the texture becomes very complex. Page 130 crossed out in red ballpoint;
measures numbered and re-numbered in red ballpoint up through 890 (880) on p. 132.
A few corrections indicated in pencil and red ballpoint. Collage was Batstone's required
composition for the Ph.D. degree at Princeton University. Princeton.
- Folder 27a. Box 3, Collage for orchestra. 1 June 1965.
Date: 1 June 1965.
Vellum sheets; uncorrected.
- Folder 28. Box 6, The bright and battering sandal (to the memory of Gerard Manley Hopkins). 20 February 1960. 40 pages
Date: 20 February 1960.
For orchestra. 3(picc,)-2(+Ehrn.)-2(+bcl.)- 2(+cbn.), 4-2-3-1, perc., piano, celesta,
strings. Full score, somewhat dog eared, frayed, and mildewed but fully legible, large
semi-oblong folio (34.5 x 43 cm) score paper, prebarred (8 measures per page), single
sheets printed on one side only. The score seems to be both a sketch and a working
score, notated in pencil throughout but voluminously supplemented and marked up in
at least five colors of ballpoint, and in graphite and colored pencil, and with occasional
tentative jottings in unoccupied staves. Some ballpoint markings in red (not Batstone's
hand) are clearly conductor's markings. At the bottom of p. 37, below the contrabass
part: send my rotts rain; bottom of the next page, Didst settle for the great gray
dray horse; these texts are probably Hopkins's, but there is no indication that they
are to be sung, spoken, or otherwise performed with the music. Boulder.
- Folder 28a. Box 2The bright and battering sandal (to the memory of Gerard Manley Hopkins).
Orchestra parts, in ink, by a copyist; string parts on blackline, with vellum sheets
corrected by Batstone in pink ballpoint. All these parts are marked up, indicating
that a performance was undertaken.
- Folder 28b. Box 2, The bright and battering sandal (to the memory of Gerard Manley Hopkins). 18 May 1905.
Date: 18 May 1905.
Sketches for "Boulder piece" which is probably The bright and battering sandal. These are on many pages of various sizes of flimsy paper, in pencil and various
colors of ballpoint, in three envelopes, including one of undated pages and another
of pages dated October-December 1965. Some pages labeled Sandal.
- Folder 29a. Box 2A Mother Goose primer.
Two blackline full scores, loose sheets; one of these used as a cello part.
- Folder 30. Box 2, Parvum. 1968. 8 Leaves
Sketches and charts, single-sided 15-stave paper, large folio, in pencil and several
colors of pencil and ballpoint. Dated variously June, July, and August 1968. (See
the description of The phoenix and turtle, below.) One page is headed "Rain again at Barterstown."
- Folder 30a. Box 2, Parvum. 1968. 10 pages
Sketches, 10-stave loose-leaf notebook paper, pencil and several colors of ballpoint.
Dated September 9 [1968?].
- Folder 31. Box 6, The phoenix and turtle by M.W. Shake-speare. 1 December 1970. 25 pages
Date: 1 December 1970.
Full score, large folio, comb-bound in boards.
- Folder 31. Box 6, The phoenix and turtle by M.W. Shake-speare. 9 pages
Incomplete. The first 9 pages plus title page and verso, loose single-sided blackline
sheets, with Batstone's note in pencil: "Part (I have not completed copying this work},"
but otherwise unmarked.
- Folder 31b. Box 2, The phoenix and turtle by M.W. Shake-speare. 2 June 1905. 7 Leaves
Date: 2 June 1905.
Unlabeled sketches for part of the cadenza (p. 14), 7 loose sheets, 12-stave greenish
notebook paper, blue ballpoint. In a manila folder with miscellaneous unidentified
materials, including some computer printout from a teletype terminal dated 27 March
- Folder 32. Box 2, Three pieces for piano. 26 May 1905. 2 pages
Date: 26 May 1905.
Black Note Mirror Race; Bells; Slow 5. A copyright notice for 1973 is included with
each. 2 copies, 2 pages each, 12- stave medium folio, blue ballpoint, one copy not
finished. Apparently for teaching purposes; in 1973 Batstone was living in Eastport,
teaching a few students and setting up the North Coast Music School.
- Folder 33. Box 3, Miscellaneous sketches and programs for computer compositions. 1 June 1980. 30 pages Extent is approximate.
Date: 1 June 1980.
One file entitled NINEKK. Includes several pages of handwritten notes on scratch computer
paper, and various printouts.
- Folder 34. Box 3, Patrouille. 1 Leaves
Song for soprano and piano (August Stramm). Text begins: Die Steine feinden, / Fenster
grinst verrat, / Aste wiirgen, ... Only the first page of this song, a single vellum
sheet, 10-stave medium folio, pencil with orange-carbon backing, was found.
- Series: II. Ephemera.
- Folder 35. Box 5Notes.
Notes about Renaissance polyphony. Student exercises.
- Folder 36. Box 5, Analysis.1961.
Two copies of Arnold Schoenberg's String Trio (Bomart, 1950), heavily marked up with
analytical notes. This work was analyzed in Earl Kim's proseminar in composition at
Princeton University, fall semester 1961.
Music -- Manuscripts.
Music -- 20th century.
Thomas, Dylan, 1914-1953.
Dickinson, Emily, 1830-1886.
Harbison, Rose Mary.
Hopkins, Gerard Manley, 1844-1889.
Shakespeare, William, 1564-1616.
Schoenberg, Arnold, 1874-1951.
Stramm, August, 1874-1915.
Princeton Symphony Orchestra.