26.46 cu. ft. (8 record storage boxes) (18.46 non-standard size boxes)
This accession consists of sound recordings created by, acquired by, or about the Smithsonian Institution and its staff. Highlights of the collection include recordings
of Native American languages being spoken or sung and radio programs, including much of "The World is Yours" program.
These records were transferred to the National Archives prior to the establishment of the Smithsonian Institution Archives, where they became part of Record Group 106.
On March 18, 2005, they were returned to the Smithsonian Institution and were added to the Archives collections.
This accession contains both master recordings and preservation copies. Masters do not exist for all of the recordings. Most master recordings are on aluminum or acetate
discs. Master recordings for the Wheelwright Collection are on audio cylinders. Reference copies of these recordings are not currently available but may be made for a fee.
Songs of the Mission Indians of California, recorded by John P. Harrington [Elements 106-1 through 106-110A] and Voices of representatives of the Aleutian Indian Tribe
in reproduction of tribal songs and linguistic material [Elements 106-111 through 106-22] were transferred to the National Anthropological Archives in June 2010.
Listening copies are not currently available but may be made for a fee. Contact reference staff for details.
This accession contains 73 audiotapes of public lectures and symposia on various artists, works of art, art films, exhibitions, and art-related topics. Tapes of radio
spots for National Public Radio programs, "At the Corcoran" programs, and on-the-air publicity for the Hirshhorn Museum and Sculpture Garden (HMSG) are also included.
Although the tapes were transferred by the HMSG Library, provenance includes the Curatorial Departments, the Education Department and the Public Affairs Office.
Someone (Rankin?) singing folk songs acapella. Brief intro: "Most songs are complete and a lot are bits and pieces...learned from my parents...not a song bird."
SR 195 appears to be a copy of SR 194.
The Robert Rankin papers are open for research.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Computer disks are currently restricted due to preservation concerns.
Access to the Robert Rankin papers requires an appointment.
Robert Rankin papers, National Anthropological Archives, Smithsonian Institution
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
Digitization and preparation of sound recordings for online access has been funded through generous support from the Arcadia Fund.
Collection consists of 128 albums featuring the music of Duke Ellington, spanning some 50 years of Ellington-based releases.
Scope and Contents:
The Felix Grant collection consists of commercially produced Duke Ellington phonograph recordings that were collected by Grant during his career as a premier disc jockey. The recordings are arranged alphabetically by title. In addition, there are miscellaneous newspaper clippings and correspondence, consisting of press releases, that were removed from some of the album sleeves, and book abstracts from books and dissertations about Ellington. This material is arranged alphabetically, and is located at the end of the collection. The record company label, catalog number, and release date are included in the container list. Many of the albums are promotional copies which Grant obtained at radio stations where he worked. Of special interest are "...and his mother called him Bill' and "Anatomy of a Murder", two albums that are considered to be among Ellington's best. Also of note are a Japanese pressing of "Ella at Duke's Place" and a 1986 pressing of "Money Jungle" that features tracks not on the original release, as well as a program order from an Army Blues salute to Ellington included in the second series.
The collection is arranged into one series, alphabetically.
Felix Grant (February 22, 1918-October 13, 1993), a renowned jazz disk jockey dubbed Washington, D.C.'s "Mr. Music" and recipient of the U.S. Navy Commendation Medal for his service during WWII, was born in New York and developed a deep passion for America's jazz as a young man listening to local radio broadcasts and visiting Manhattan's numerous jazz nightclubs. He attended LaSalle Academy and first worked for a New York advertising agency as a messenger. Near the end of the war Grant was transferred to Washington D.C.'s Coast Guard headquarters and in 1945 took an announcing job at WWDC-AM.
Grant eventually became a fixture of Washington, D.C. radio, working for such stations as WMAL-AM, WRC-AM, and WDCU-FM. During the 1950s and 60s his WMAL radio show called "The Album Sound" gained popularity in the D.C. area for its unique mix of jazz, blues, and Latin music. Grant's diverse play list helped him gain listeners from all different races long before the end of segregation in Washington, D.C. Native Washingtonian, Duke Ellington, was a particular favorite of Grant's and his music was often featured during Grant's shows. In 1953 Grant took a position at WMAL and in 1984 joined WDCU where he remained until his death. In January of 1996 the University of the District of Columbia opened the Felix E. Grant Jazz Archives, a collection of audiotape and archival records documenting Felix Grant's life and career.
Collection donated by Mr. Felix Grant on April 9, 1991.
Collection is open for research.
Copyright restrictions. Contact staff for information.
1.7 Linear Feet ((1 storage box, 2 document boxes))
147 sound recordings
This collection contains the field work of anthropologist Barry F. Carlson regarding his linguistic study of the Salish dialects spoken by the elders at the Spokane Indian Reservation in Washington State from 1969-1992. Included are 39 notebooks containing vocabularies, grammatical examples, transcripts of native texts, and line-by-line analyses of native texts; six notebooks from native Spokane speaker Pauline Flett; 147 reel tapes of Salish dialects (Spokane, Kalispel, Chewelah, and Flathead/Montana Salish); microfiche; handwritten notes; newspaper clippings; and a tape log. The majority of the notebook contents are direct transcriptions of the recordings. The collection also contains information that Carlson provided to the NAA regarding his primary consultants, Margaret Sherwood and Pauline Flett, as well as Albert Sam and Lucy Peuse, two other Spokane speakers with whom he worked.
Scope and Contents note:
This collection contains the field work of anthropologist Barry F. Carlson regarding his linguistic study of the Salish dialects spoken by the elders at the Spokane Indian Reservation in Washington State. Included are 39 notebooks containing vocabularies, grammatical examples, transcripts of native texts, and line-by-line analyses of native texts; six notebooks from native Spokane speaker Pauline Flett; 147 reel tapes of Salish dialects (Spokane, Kalispel, Chewelah, and Flathead/Montana Salish); microfiche; handwritten notes; newspaper clippings; and a tape log. The majority of the notebook contents are direct transcriptions of the recordings. The collection also contains information that Carlson provided to the NAA regarding his primary consultants, Margaret Sherwood and Pauline Flett, as well as Albert Sam and Lucy Peuse, two other Spokane speakers with whom he worked. The Tape Log in Salish Notes Series, Box 3, contains a list of all the speakers and their dialects that Carlson worked with.
Folders are arranged alphabetically. Reel tapes are arranged in numerical order. The majority of these sound recordings were collected by Barry Carlson during his fieldwork with the Spokane and Chewelah Salish People of Washington State from 1969 to the late 1980s. They contain native texts in Spokane, Kalispel, Chewelah, and Flathead (Montana Salish). They are more than 200, including the traditional 'Coyote Stories' and more recent contact stories called either 'French Stories' or 'Cowboy and Indian Stories'. The narrators include all the fluent Spokane and Chewelah Kalispel storytellers that lived on the Spokane Indian Reservation in Washington State when Carlson did his fieldwork. In addition, there are 4 tapes collected by Carlson's student Christine Santon in 1974, which contain terminology relating to traditional Spokane foods. There are 2 tapes of Spokane collected by Carlson's student Brenda Orser in 1992. There is one tape of the Flathead (Montana Salish) language collected by Carlson's professor, Laurence Thompson in the 1960s.
Titles for the tapes were taken from Carlson's Tape Log which is in the Salish Notes series, Box 3.
This collection is organized in 2 series: Series 1. Salish Notes, 1969-2013; Series 2. Sound Recordings, 1969-1992.
Barry F. Carlson is an anthropologist known for his linguistic work with the Salish language of Washington State. Born in Evanston, Illinois, Carlson attended the University of Colorado and graduated with a B.A. in English/ Education in 1966. A year later he received a Masters in Linguistics from the same institution.
While a doctoral student at the University of Hawaii, Carlson began to study the Interior Salish languages spoken by the elders residing at the Spokane Indian Reservation, specifically the Spokane, Kalispel, and Chewelah dialects. He eventually wrote his doctoral dissertation on his fieldwork in Washington State. After receiving his Ph.D. in Linguistics in 1972, Carlson joined the Department of Linguistics at the University of Victoria in British Columbia, where he continued to teach until 2007.
Throughout his anthropological career, Carlson continued his work with those fluent in the Salish dialects. From 1969 to the late 1980s Carlson collected over 200 native texts, including both traditional stories and more recent contact narratives. He also worked closely with his fluent narrators to gather vocabularies and grammatical examples of their language. Margaret Sherwood and Pauline Flett were his primary consultants.
Carlson, Barry F. Carlson, "Curriculum Vitae," Accession Files, National Anthropological Archives
These papers were donated to the National Anthropological Archives by Barry F. Carlson in 2012.
The Salish Notes and Sound Recordings of Barry Carlson are open for research. Access to the Salish Notes and Sound Recordings of Barry Carlson requires an appointment.
The Salish Notes and Sound Recordings of Barry F. Carlson, National Anthropological Archives, Smithsonian Institution
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
This collection consists of Amy Zaharlick's research and sound recordings on Picuris and other Pubeloan languages as well as the field recordings and notes given to Zaharlick by anthropologist and fellow Picuris specialist, George L. Trager.
Scope and Contents:
This collection contains sound recordings and notes relating to the Picuris language research of Ann Marie (Amy) Zaharlick and her colleagues George L. and Felicia H. Trager, from 1962-1990. Most of the papers consist of Zaharlick's notes and transcripts from the Kiowa-Tanoan conferences which she organized and chaired, and handouts relating to Zaharlick's bilingual education consultant work. Small portions of the Tragers' field notes on Taos which were copied by Zaharlick, presumably for her own research, are also included. The bulk of the collection consists of 130 sound recordings of songs and stories in Picuris and other Puebloan languages made between 1963-1989. There are few earlier recordings which may be copies of material in Trager's papes at the University of California, Irvine. The titles of the tapes have been transcribed from information on the tape boxes. The content of recordings has not been verified.
This collection is arranged in 2 series: (1) Papers (1965-1990); (2) Sound Recordings (1952-1989).
Biographical / Historical:
Amy Zaharlick received her Ph.D. in linguistic anthropology from the American University in 1977. Prior to joining the staff at Ohio State University in XXX, she served as director of the Native American Teacher Education Program and as Associate Director of the Multicultural Education Program at the University of Albuquerque in New Mexico. Zaharlick was a professor in the Department of Anthropology at Ohio State University until her retirement in 2012.
George Leonard Trager was born on March 22, 1906 in Newark, New Jersey. He earned a bachelor's degree at Rutgers University and did his graduate work in Slavic and Romance Philology at Columbia University. He received his doctorate in 1932 with the dissertation The use of the Latin demonstratives (especially ille and ipse) up to 600 A.D., as the source of the Romance article. Trager's first teaching position was at Adams State College in Alamosa, Colorado, and it was from here that he begin his fieldwork on Tanoan languages. In 1936 Trager took a position at Yale, joining such influential linguists and Edward Sapir and Benjamin Whorf. From 1956 through 1967 Trager taught at the University of Buffalo (later SUNY-Buffalo). In the late 1960s he left Buffalo for Southern Methodist University and became more involved in Taonoan lanugauge field research. Trager married three times. His second and third wives, Edith Crowell Trager-Johnson and Felicia Harben Trager worked with him in American Indian lingistics and Kiowa-Tanoan Studies. Trager died in 1992.
Felicia Harben Trager graduated from Wayne State University in 1957 and received a Woodrow Wilson Fellowship. She received her M.A. in 1959 from the Department of Anthroplogy and Lingustics at the University of Buffalo where she did graduate work under George Trager. She worked in Washington D.C. as a project associate at the Washington Center for Applied Linguistics and taught English as a foreign language. in 1961 she married George Trager and returned with him to Buffalo where in 1968 she earned a Ph.D. for her dissertation Picuris Pueblo, New Mexico: An Ethnologuistic Salvage Study. In 1967 she moved with George Trager to Dallas where she was a lecturer at Southerm Methodist University's University College. She assisted her husband as a researcher and editor for three of his books, and was the co-author with him in several articles on Tanoan languages. Felicia Trager died in 1972 at the age of 42.
1993 Obituary George L. Trager (1906-1992). Newsletter of the Society for theh Study of Indigenous Languages of the Americas 2-3.
Smith, Henry Lee
1974 Obituary Felicia Harben Trager 1930-1972. American Anthropologist 76(1)78-79.
Correspondence of George L. Trager can be found in the Esther Schiff Goldfrank papers, John P. Harrington papers, and Anthropological Society of Washington records. NAA Manuscript 4540-a-b contains some of Trager's notes and correspondence. The George L. Trager papers can be found at the University of California Irvine Library, Department of Special Collections (MS-M005).
Received from Ann Marie (Amy) Zaharlick in 2012.
The Trager's original sound recordings were given to Zaharlick by George L. Trager in 1974.
The Zaharlick and Trager sound recordings and papers are open for research.
The Dorothy Gees Seckler collection of sound recordings relating to art and artists measures 1.6 linear feet and dates from 1962 to 1976. Recordings include 17 interviews conducted by Seckler, one interview by John Jones, and 17 additional recordings of mostly contemporary art-related programs and interviews taped from radio and television broadcasts. Recordings are on 26 sound cassettes and 25 sound tape reels.
Scope and Contents:
The Dorothy Gees Seckler collection of sound recordings relating to art and artists measures 1.6 linear feet and dates from 1962 to 1976. Recordings include 20 interviews conducted by Seckler, one interview by John Jones, and 17 additional recordings of mostly contemporary art-related programs and interviews taped from radio and television broadcasts. Recordings are on 26 sound cassettes and 25 sound tape reels.
Interviews with Artists consist of 17 interviews by Dorothy Seckler with artists including Elise Asher, Fritz Bultman, Judith Rothschild, Giorgio Cavallon, Marcia Marcus, Jean Cohen, William Freed, Lillian Orlowsky, Shirley Gorelick, Hans Hofmann, Wolf Kahn, Raoul Middleman, Robert Motherwell, Helen Frankenthaler, Olin Orr, Larry Rivers, Alvin Ross, George Segal, Jean Tinguely, and Niki de Saint Phalle. Several interviews are with two subjects at once. Many of these interviews were conducted in Provincetown, Massachusetts, and are referenced in her introduction to the catalog for the exhibition Provincetown Painters, 1890's – 1970's held at the Everson Museum and the Provincetown Art Association in 1977, and several interviews were conducted as research for articles Seckler wrote and published in Art in America. Also found are group interviews on specific subjects, including an interview with Julio de Diego, Marion Greenwood, Fletcher Martin, and Anton Refregier on the Woodstock art colony, and with Sally Avery, Boris Margo, Jan Gelb, Margit Beck and others on Op Art. In September of 1966, Seckler recorded some of Andy Warhol's Exploding Plastic Inevitable in Provincetown, which includes a performance by Nico and the Velvet Underground, as well as an interview with one of the band's members, John Cale. A single interview conducted by John Jones of George Segal appears to have been copied by Seckler to prepare for her April 1966 interview of Segal.
Broadcast materials include sound recordings of television and radio broadcast programs taped off the air presumably by Seckler. Most programs are interviews, with subjects including Maxim Karolik, James Thomas Flexner, R. Buckminster Fuller, Merce Cunningham, Alex Katz, Phillip Pearlstein, Roslyn Drexler, Barnet Newman, Saul Bellow, Ben Shahn, Marshall McLuhan, Isamu Noguchi, Andrew Wyeth, and William H Whyte. Other recordings include documentary programs related to contemporary art, book reviews, and a comedy performance with actor Peter Ustinov.
Photographs include 12 color slides from October of 1967 that appear to have been shot in Provincetown, Mass. Subjects include Dorothy Seckler and two other unidentified women.
This collection is arranged in 3 series.
Series 1: Interviews with Artists, 1962-1976 (1 linear foot; Box 1)
Series 2: Broadcast Materials, 1962-1972 (0.8 linear feet; Boxes 2-3)
Series 3: Photographs, 1967 (1 folder; Box 3)
Biographical / Historical:
Dorothy Gees Seckler was an art historian, critic, journalist, and artist active in New York City and Provincetown, Mass. Born Dorothy Elizabeth Gees in Baltimore, MD in 1910, she completed the program in Advertising Design at Maryland Institute College of Art in 1931 and was awarded a traveling scholarship upon graduation, which she used to study in Europe. She later received a masters degree from Columbia University in Art History and Art Education, and worked during World War II as head of an illustration unit in the Army's Judge Advocate General's office.
After the war, she worked at the Museum of Modern Art as an art historian in the education office until 1950, when she began writing for ARTnews magazine, reviewing New York gallery shows for its "Gallery Notes" section, and exploring painters' processes in the "Paints a Picture" series. She later served as contributing editor for Art in America from the late 1950s through the late 1960s, where her published work included features on Robert Rauschenberg and Louise Nevelson, as well as broad surveys of contemporary art such as "A Folklore of the Banal" (Winter 1962) and "Audience is His Medium" (February 1963). She taught at New York University and City College of New York, and wrote a long essay on the history of the Provincetown's art colony, published in Art in America in 1959, and later updated for the catalog for the 1977 exhibition Provincetown Painters, 1890's - 1970's. Between 1962 and 1968, she conducted thirty oral history interviews for the Archives of American Art and served as one of its manuscript collectors.
Throughout her career as a writer and critic, Seckler painted and worked in collage, and her work was shown in several Provincetown galleries, and in the Provincetown Art Center and Museum. She married Jerome Seckler in 1937 and they had one son. Seckler received the American Federation of Arts Award for outstanding writing in the field of American Art in 1952. She died in 1994.
Other related materials in the Archives' collections include several additional interviews conducted by Seckler for its oral history program, a full recording and transcript of the August 28, 1963 symposium on pop art, for which brief sound notes are found in this collection, and a transcript of the John Jones interview with George Segal in the John Jones interviews with artists collection, 1965 Oct. 5-1965 Nov. 12.
In 2012, several duplicates of recordings Seckler made for the Archives of American Art's oral history program were removed from the collection including: Peter and Riva Dechar (1965 and 1967), David von Schlegell (1967), Joan Mitchell (1965), Theresa Schwartz (1965), Paul Burlin (1962), Ibram Lassaw (1964), Jack Tworkov (1962), Allan Kaprow (1968), Edwin Dickinson (1962), Nathan Halper (1963), Louise Nevelson (1964-1965), Karl Knaths (1962), and Stephen Greene (1968). Joan Mitchell's 1965 oral history interview remains with the Seckler collection because reel 2 of this recording also contains a discussion of optical art that belongs in the Seckler collection. The oral history interview has been digitized and is available through the Archives' oral history program.
The bulk of the collection, including the interviews with the Provincetown artists, was donated 1995 by Don Seckler, son of Dorothy Seckler. The source of acquisition for the Seckler interviews with the Woodstock artists is unknown.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
The Dorothy Gees Seckler collection of sound recordings relating to art and artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
The Carol Laderman Papers are open for research. Access to the Carol Laderman Papers requires an appointment.
Carol Laderman Papers, National Anthropological Archives, Smithsonian Institution
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.