Alma Barthélemy--; Pearly Brown--I know the Lord will make a way for me--I'll meet you on the other shore--Great speckled bird--Help me to understand--Will the circle be unbroken--What a time--Another child of God gone home; Polish accordion music
General note:
DPA number 77.703.12
Local Numbers:
FP-1976-7RR-2361
General:
CDR copy
77.703.12
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, 1976.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The Cook Labs records, which date from 1939-2002, document the activities of audio engineer Emory Cook and his label Cook Labs. The contents include business records, materials relating to recording artists, photographs, and production materials, as well as phonograph records, master recordings and unpublished recordings produced by or associated with the Cook Labs label. The collection also contains two interviews conducted with Emory Cook in 1990: one by Jeff Place and one by Anthony Seeger and Nicholas Spitzer. There are several physical objects relating to Cook Labs including a bag of powdered vinyl, a binaural playing arm, and a condenser microphone.
Scope and Contents note:
There are two primary components of the Cook Labs records: the records, master tapes and other audio recordings, and the related paper files.
The Cook Labs records contains about 150 of the 200 released Cook recordings, and 739 master tapes. In addition, there are 330 unpublished tapes.
The the paper files include acquisition materials; business correspondence; recording reports; various production notes on records produced; news articles both about and by Emory Cook and Cook Labs; copyright, licensing, and trademark materials; photographs, correspondence, contracts, and other materials relating to recording artists; production materials for each Cook Labs release; and other miscellany. Many contracts are signed by both Cook Labs and the artist. Correspondence is primarily between business associates.
Two interviews were done with Emory Cook in 1990: one by Jeff Place and one by Anthony Seeger and Nicholas Spitzer; both interviews are included in the Cook Labs records.
There are several physical objects relating to Cook Labs including a bag of powdered vinyl, a binaural playing arm, and a condenser microphone.
Arrangement note:
Many of the items in this list have been assigned an accession number, and like materials have been grouped together to create seven series:
Series 1: Business Papers, 1939-1990
Series 2: Recording Artists, 1949-1981, bulk 1950-1959
Series 3: Photographs, undated, 1957
Series 4: Production files, 1948-1995, bulk 1952-1963
Series 5: Objects, undated, 1908-1964
Series 6: Audio Interviews, 1990
Series 7: Audio Recordings
Biographical/Historical note:
Emory Cook (1913-2002) is widely regarded as a highly influencial audio engineer. Born and raised in Albany, New York, he joined the Army Air Corps in 1932. After his discharge in 1934 he obtained his degree from Cornell University and began working for Western Electric in the Audio Engineering Force. During World War II, while still at Western Electric, Cook supervised the creation of a fire-controlled radar "Trainer," for which he received a Commendation from the Service.
In the late 1940's, convinced he could do better than what was on the market, Cook began experimenting with making his own audio equipment. Cook Laboratories was started in 1945 when he developed a new cutting head to be used in record production. Future development of equipment brought about the discovery that he could record frequencies as high as 20,000 hertz, more than any other recording company at the time. He cut a record of piano and organ music to demonstrate this discovery, and took it to the 1949 Audio Fair in New York. When he demonstrated the record with the hopes to sell the recording equipment, he found that people were much more interested in buying the record itself. Shortly after, Sounds of Our Times, later called Cook Records, was born.
Cook Records collected many different sounds and was mostly aimed at the devoted high-fidelity listener. Cook believed that hearing was a sense often overlooked by people, and he wanted listeners of his albums to be able to hear things they might otherwise miss. In a New Yorker profile by Daniel Lang in 1956, Cook claimed that hearing was "always being kicked aside in favor of sight… There's a time and a place for everything, and that includes sound." In order to encourage listening, he put out many albums full of everyday sounds, such as Voice of the Sea, an album of noises of the ocean and Eye of the Storm, recorded during a thunderstorm. One of the most successful albums was Rail Dynamics, an album of steam trains pulling in and out of a station.
Cook Records also produced traditional music albums from its plant in Stamford, Connecticut. The label produced everything from organ music to folk, flamenco guitar, calypso and steel band. Cook had little interest in name musicians and instead searched high and low for anything he thought might be an interesting contribution to his label. He even invited listeners to send in their favorite sounds, some of which he eventually recorded.
Cook had such a large interest in Calypso music that he set up a second pressing plant in Port-of-Spain, Trinidad. There he pressed calypso and steel band music for both a Trinidadian and American audience, and most albums sold well in both countries.
In addition to the wide range of music Cook recorded, he was also an inventor. It was Cook who first came up with the idea of pressing records with powdered, rather than solid, vinyl, a technique he dubbed "microfusion." This technique not only saved money, but cut out many of the traditional crackles and pops associated with records.
He also developed the binaural system of recording and playing records, which he thought was superior to the more commonly used stereo method. Binaural was more precise than stereo, and it required placing two microphones six inches apart, approximately the space between two ears, during the recording. It was then played back with a special two-needle playing arm. Binaural recordings were thought by Cook to best duplicate the original sound.
Emory Cook died at the age of 89 in 2002 after a long hospitalization.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
COOK RECORDINGS - NUMERICAL LISTING:
001 20,000 Cycle Demo (1949) COOK00001
002 Night Rain and Surf COOK00002
003 Specimen Heart Beats COOK00003
004 Katydids, Frogs and Forrest Birds
E101 Grenada Stories and Songs (1957-58) COOK00101
E102 Amazon Sound: Yacu River Tribes (Rituals and Rites) (1954) COOK00102
E103 Music of St. Lucia (1953) COOK00103
E104 Rada (1958) COOK00104
E105 JOSE RAMON FORTUNE AND OLGA MAYNARD Nancy Stories (1956) COOK00105
106 Afro-West Indian Cultural Practices (1957-58) COOK00106
107 ESCOLA DE SAMBA DE BRAZIL The Boli, The Cocolute, and Brazil (1957-58) COOK00107
901 Steelband Jump Up Boys Town, Tropical Harmony, Silvertone COOK00901
904 THE ESSO STEEL BAND Esso Steelband of Bermuda (1958) COOK0904
906 LORD MELODY Lord Melody Sings Calypso (1958-59) COOK00906
911 TOM CHARLES AND HIS SYNCOPATER ORCHESTRA Fete for So! (1959) COOK00911
914 LORD MELODY Again! Lord Melody Sings Calypso (1957-58) COOK00914
916 Calypso Cross Section Young Killer, The Mighty Bomber, Small Island Pride, The Mighty Wrangler (1957-58) COOK00916
920 THE MIGHTY SPARROW King Sparrow's Calypso Carnival (1959) COOK00920
927 LORD MELODY Calypso through the Looking Glass (1959) COOK00927
928 CLARENCE CURVAN His Drums, His Orchestra COOK00928
930 Belly to Belly Clarence Curvan, Johnny Gomez, Tom Charles, Fitz Vaughn Bryan (1960-61) COOK00930
931 LORD MELODY Lord Melody, 1962 COOK0931
1000 TITUS MOODY DDDs of Binaural (1952) COOK01000
1011 The Christmas Music Box (1950) COOK01011
1012 Music Boxes of Long Ago (1950) COOK01012
1013 CHARLIE MAGNANTE Accordion Pops Concert (1954-55) COOK01013
1014 CHARLIE MAGNANTE AND LaVERGNE SMITH His and Hers (1954-55) COOK01014
1020 SAM ESKIN Sam Eskin's Songs of All Time COOK01020
1021 GROUPE MI-O Un Ti Bo (1958) COOK01021
1022 LAVINIA WILLIAMS' GROUPE FOLKLORIQUE Haiti Confidential (1958) COOK01022
1023 The Ramayana (Hindu Ceremony) (1961) COOK01023
10120 Music Boxes, Carousels, and Hand Organs (01012 and 05010) (1950-53) COOK10120
10248 The Voice of Mexico Gustavo Zepoli, Trio Leones (01024 and 01080) (1954) COOK10248
10251 SEAN McGONIGAL AND ST. COLUMCILLE'S UNITED GAELIC PIPE BAND Kilts on Parade (01025 plus solos) (1950-53) COOK10251
10271 CARLOS MONTOYA AND THE JOSE GRECO TROUPE Fiesta Flamenca (selections from 01027 and 01028) (1952) COOK10271
10289 CARLOS MONTOYA Montoya (selections from 01028 plus) (1952) COOK10289
10301 EDWARD AND JOSEPH VITO The Harp (selections from 01030 and 01031 plus) (1951-54) COOK10301
10326 Cafe Continental Ruth Welcome, Dick Marta, and Anita Ast (selections from 01026 and 01032) (1951-52) COOK10326
10350 Nickelodion and Calliope (selections from 01035 and 05010) (1950-53) COOK10350
10500 REGINALD FOORT The Theater Organ COOK10500
10501 MICHAEL CHESHIRE Pipe Organ in the Mosque (selections from 01050 and 01051) (1952) COOK10501
10523 REGINALD FOORT Percussion and Pedal (selections from 01052 and 01053) (1952) COOK10523
10545 REGINALD FOORT The Organ at Symphony Hall (01054 plus) (1954) COOK10545
10579 REGINALD FOORT Foort Pops (selections from 01057 and 01058) (1956) COOK10579
10646 NEW ORCHESTRAL SOCIETY OF BOSTON Tempo Vivace: Symphonic Masterpieces of Dance & Theater (selections from 01064 and 01066) (1955-56) COOK010646
10657 NEW ORCHESTRAL SOCIETY OF BOSTON Two Classical Symphonies: Mozart Symphony No. 40, Beethoven Symphony No. 5 (01065 and 01067) (1955) COOK10657
10659 NEW ORCHESTRAL SOCIETY OF BOSTON Two Classical Symphonies: Mozart Symphony No. 40, Haydn Symphony No. 100 (01065 and 01069) (1955-56) COOK10659
10683 NEW ORCHESTRAL SOCIETY OF BOSTON Modern Orchestral Textures (01068 and 01063) (1955) COOK10683
10850 RUPERT Cook LabsEMENDORE BAND Le Jazz Trinidad COOK10850
10867 Before and After Willie Rodriguez (selections from 01086 and 05007) (1953-54) COOK010867
10889 RED CAMP Horizontal & Upright & Downright & Dunright (01088 and 01089) (1954) COOK10889
10890 The Castiliane Johnny Gomez Band, John Buddy Williams Band, Girl Pat Steel Band, And Grand Curacaye String Orchestra (1956) COOK10890
11312 BRUCE PRINCE-JOSEPH AND HUFSTADER SINGERS The Forgotten Pedal Harpsichord and Hufstader Singers (01131 and 01092) (1953) COOK11312
11815 TONY ALMERICO'S PARISIAN ROOM BAND AND LIZZIE MILES Clambake on Bourbon Street (1954-55) COOK11815
50130 Tour of Cook Labs COOK50130
70889 RED CAMP Popular Piano and Combo COOK70889
80134 LUIZ BONFA Waterfall: Guitar COOK80134
80417 MARIMBA ORCHESTRA Waterfall: Children's Music COOK80417
80680 NEW ORCHESTRAL SOCIETY OF BOSTON Waterfall: Symphonic COOK80680
XX1 Audio Follies Sampler COOK00XX1
XX2 Calypso Jazz Sampler COOK00XX2
Series 10 Cook Series 10 COOK_Series10
Series 30 Cook Series 30 COOK_Series30
Series 60 Cook Series 60 COOK_Series60
Series 70 Cook Series 70 COOK_Series70
Series 80 Cook Series 80 COOK_Series80
Series 90 Cook Series 90 COOK_Series90
Series 100 Cook Series 100 COOK_Series100
Series 300 Cook Series 300 COOK_Series300
Series 301 Cook Series 301 COOK_Series301
Series 302 Cook Series 302 COOK_Series302
Series 303 Cook Series 303 COOK_Series303
Provenance:
The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired the Cook Labs Records in 1990, when Emory and Martha Cook donated their company records to the Center for Folklife and Cultural Heritage. Anthony Seeger, then Director of Smithsonian Folkways Records, received a call from Mr. Cook in the summer of 1989 offering to donate the Cook label to the Smithsonian. Dr. Seeger visited him in August of that year to view the contents of the collection, and the Smithsonian received custody of the collection in May 1990. In return for the donation from Mr. Cook, the Center for Folklife and Cultural Heritage agreed to keep the record titles available and to store the papers in the archives.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Popular music -- 20th century -- United States Search this
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The papers document the Boudini Brothers Vaudeville act. They include letters, postcards and telegrams, mostly of a business nature (such as relating to bookings); business papers including contracts and papers relating to expenses; photographs of the family and of the act; programs; scores and sheet music; music manuscripts; advertisements for appearances; magazines; periodicals; clippings and articles; calendars; scrip; and miscellaneous.
Arrangement:
1 series.
Biographical / Historical:
Phil and Dan Boudini (original names: Filippo and Domenico D'Agostino) were accordionists. Phil was born in Ireland, Dan in Italy. As children, they and their parents moved to Paris. After an apprenticeship, Dan worked in an accordion store. After immigrating to America, they appeared as a vaudeville act during the 1910s and 1920s, performing on the Orpheum Circuit. Initially, the act was called the Boudini Brothers. Their agent was also Harry Houdini's agent and suggested that they adopt the similar name. Phil left the act in 1917, and Dan Boudini's wife, Adele Bernard, joined the act. That act ended in 1928 and Dan and Adele lived the rest of their lives in Wallingford, Connecticut.
Provenance:
Division of Culture and the Arts.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
101 Accordion Music / Accordion Ensemble. Accordion.
102 Songs of Worship / Familia Guzman, Bernardo Guzman, Maria Guzman. Guitar.
Local Numbers:
FP-1999-CT-0094-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 25, 1999.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Theodore Bikel: Escaped Nazi Europe,Nazism and racism/segregation, Story: Moses and an Ethiopian woman,"Hine Ma Tov" (How Good and Pleasant it is When Brethren Dwell Together in Unity )
Theme: difference between folk songs and rock songs
John Lewis – new chairman of SNCC: We are not alone in this struggle; Keep on struggling
Volunteers asked to come up and sing, Timothy Jenkins leads the crowd: "We are founding a second reconstruction…" "Keep Your Eyes on the Prize"
Digital reference copy in the Smithsonian Institution Digital Asset Management System (DAMS).
Collection Restrictions:
Collection is open for research. Reference copies must be used. Tapes noted in the container list have digital reference copies in the Smithsonian Institution Digital Asset Management System (DAMS).
Collection Rights:
Collection items available for reproduction, but copyright status unknown. Contact Archives Center staff for additional information. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Moses Moon Civil Rights Movement Audio Collection, 1963-1964, Archives Center, National Museum of American History, Smithsonian Institution.
Sponsor:
Partial funding for preservation and duplication of the original audio tapes provided by a National Museum of American History Collections Committee Jackson Fund Preservation Grant.
Recorded in: Washington (D.C.), United States, 1976.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Sven Sundstrom - Swedish Accordion Music, recorded by Suzie Jones in November, 1975 in Astoria, Oregon
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
Type:
Archival materials
Sound recordings
Date:
1975 November
General note:
DPA number RA.76-102.2.CT
Other number Z-352
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
King Kong Kitchie Ki-Me-O (Froggie went a-courtin')--Accordion music--Grant Rogers-Last winter was a hard one--Mrs. Turboise- Heavenly sunshine/ My Lord knows the way from the wilderness--Storytelling about revival meeting
Local Numbers:
FW-ASCH-10RR-3156
Date/Time and Place of an Event Note:
Recorded in: United States, New York, March 21, 1980.
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
"Catalogo di Dischi Italiani della Casa Pagani: La Piu' Antica Ditta Musicale Italiana" published in Italian for the purpose of listing records for sale (for 79 cents to $1.05 each) at a New York store. Record labels listed include: Victor, Columbia, Standard , Continental , Harmonia , Banner , etc. ; dance music (polka , mazurka, waltz, tarantella, paso doble); Ernest Deffner Inc. absorbed O. Pagani & Bro. Inc. in the 1970s, after the popularity of accordion music had peaked. (see interview with Faithe Deffner at http://www.accordions.com/interviews/deffner/index.shtml) ; Particularly active in the mid-20th Century, O. Pagani & Bro. was a publisher of music for the accordion as well as of books about the accordion and a seller of popular music records.
Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.
Series 18, Dance contains approximately 3,330 pieces of sheet music and other materials documenting the development of and popular attitudes towards dance in the United States.
An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.
Scope and Contents note:
Series 18, Dance, 1812-1978, undated, contains approximately 3,330 pieces of sheet music and other materials documenting the development of and popular attitudes towards dance in the United States. The dates always refer to copyright of the music and not to the subject on the cover, songwriter's life, or other events. In addition, there is one box of ephemera arranged in the same subseries order as the music listing, which is described following the container list. Ragtime Dancing is in Series 3, subseries 4, Folder UU. Barn Dance is part of Series 16, Country, Western, and Folk. See Series 8, Geography, for dances in other countries. See future series, Education, for Prom songs. Music for the Quickstep is in the future series that includes "marches."
Subseries 1, General Songs about Dance, 1882-1967, undated This includes references to dance styles such as the Ballet, Cake Walk, and Glide, as well as dance marathon and the shimme [sic].
Subseries 2, Ballroom Dancers and Dance Institute, 1840-1951, undated Irene and Vernon Castle, Fanny Elssler, and Arthur Murray are in separate folders. Other professional dancers are in Folder D and throughout the series. Note that about 70% of these sheets are copyrighted between 1912-1914.
Subseries 3, Charleston, 1923-1964 Contains music for the dance known as the Charleston.
Subseries 4, Fox Trot, 1913-1932 Contains music for the dance known as the Fox Trot.
Subseries 5, Galop, 1842-1924, undated Contains music for the dance known as the Galop.
Subseries 6, Gavotte, 1874-1978, undated Contains music for the dance known as the Gavotte.
Subseries 7, Jigs and Reels, 1891-1951, undated Contains sheet music and folios of jigs, reels, contra dance, Morris dances, and strathspens.
Subseries 8, Lancers, 1857-1903, undated Contains music for the dance known as the Lancers.
Subseries 9, Maxixe, 1913-1914, undated Contains music for the dance known as the Maxixe.
Subseries 10, Mazurka, 1854-1940, undated Contains music for the dance known as the Mazurka.
Subseries 11, Minuet, 1875-1968, undated Contains music for the Minuet, also spelled Menuet.
Subseries 12, One Step, 1910-1921 Contains music designated as the One Step.
Subseries 13, Polka, 1845-1975, undated This section is divided into three parts --early editions, later editions, and folios. More polka music might be found with the accordion music in Series 19, Musicians and Musical Instruments.
Subseries 14, Quadrilles, 1831-1883, undated This section is divided into four parts --illustrated editions, unillustrated editions, quadrilles from operas, and folios. Note that contra dance appears with one of these folios, as well as in subseries 7, Jigs and Reels.
Subseries 15, Redowa, 1853-1908, undated Contains music for the dance known as the Redowa.
Subseries 16, Schottische, 1850-1944, undated This section is divided into four parts --illustrated editions, unillustrated editions, later editions, and multiple editions. Note that there are a variety of spellings for this dance.
Subseries 17, Skirt Dance, 1891-1893, undated Note the short time that music was designated for this dance style.
Subseries 18, Square Dance, 1926-1964 Contains music and folios for square dances. Also see Series 16, Country, Western, and Folk Music for Barn Dances and other country-style dances.
Subseries 19, Tango, 1909-1952 Compositions denoting the Tango Argentine are in a separate folder.
Subseries 20, Three Step, 1903-1913 Contains music for the dance known as the Three Step.
Subseries 21, Two Step, 1894-1925 Compositions by F. H. Losey are in a separate folder.
Subseries 22, Varsova, 1851-1917, undated Contains music for the dance known as the Varsova.
Subseries 23, Waltz, 1812-1968, undated This section comprises almost one third of the entire series. Sub-headings are as follows: Boston/Hesitation Waltz, Syncopated Waltz, Male and Female Images on Covers, Harry J. Lincoln Compositions, Early Editions, Later Editions, and Folios.
Subseries 24, Folios, 1888-1953, undated Folios designating a specific dance are placed with that dance. Sub-headings in this subseries are as follows: Scandinavian, Hungarian and Polish, Slovenian, Dance Folios (Feist, Gem, Jack Mills, Robbins, Select, Star, Victor, Witmark, Miscellaneous Dance), and Miscellaneous folios.
Ephemera Includes promotional items and brochures relating to dances and dancers; DeVincent's 'see' notes referencing other parts of the Collection; and folios with dance instructions.
Arrangement:
Arranged in 25 subseries.
18.1: General Songs about Dance
18.2: Ballroom Dancers and Dance Institute
18.3: Charleston
18.4: Fox Trot
18.5: Galop
18.6: Gavotte
18.7: Jigs and Reels - Folios
18.8: Lancers
18.9: Maxixe
18.10: Mazurka
18.11: Minuet (Menuet)
18.12: One Step
18.13: Polka
18.14: Quadrilles
18.15: Redowa
18.16: Schottische
18.17: Skirt Dance
18.18: Square Dance
18.19: Tango
18.20: Three Step
18.21: Two Step
18.22: Varsova
18.23: Waltz
18.24: Folios
18.25: EPHEMERA
Materials in Other Organizations:
Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana
This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.
Materials in the Archives Center, National Museum of American History:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)
Forms Part Of:
Series 18: Dance forms part of the
Sam DeVincent Collection of Illustrated American Sheet Music
.
An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.
Provenance:
This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
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