Primarily audiotapes, sheet music, and photographic images. Also: correspondence, newspaper clippings, magazine articles, itineraries, awards, and ephemera.,Of particular interest are recordings or photographic images, including the personalities listed below, and President and Mrs. Tubman of Liberia; also, two interviews and three recordings of Cat Anderson as guest with various university and college jazz bands.
Arrangement:
Collection is divided into four series.
Series 1: Music
Series 2: Original tapes and recordings
Series 3: Photographs
Series 4: Miscellaneous
Biographical/Historical note:
Cat Anderson (Sept 12, 1916 - April 29, 1981) was one of the premier trumpet players of the Duke Ellington Orchestra. Known for his effortless high notes, he was a strong section leader and a great soloist whose style exhibited humor and precision. He grew up in Jenkins= Orphanage in Charleston, SC, received basic music training there, and participated in many of their famous student ensembles. He formed and played with the Cotton Pickers, a group of orphanage teens while still a young man. Before joining Ellington in 1944, he played in several big bands, including Claude Hopkins and Lionel Hampton. Anderson left the Ellington organization from 1947 through 1949 again to lead his own group. From 1959 to1961 and after 1971 Anderson free lanced, working with the Ellington orchestra intermittently. He died in 1981 after receiving honors from the US Air Force, the Prix du Disque de Jazz, and the City of Los Angeles.
Related Archival Materials:
Related artifacts include: awards, plaques, mutes, trumpet mouth pieces, and the Jon Williams/Cat Anderson simulator in the Division of Cultural and Community Life (now Division of Cultural and Community Life). See accession: 1998.3074.
Provenance:
The collection was donated to the National Museum of American History in January 1998, by Dorothy Anderson, Cat Anderson's widow. It was acquired through negotiations with her, her brother, Mr. John Coffey and her nephew, Andrew Brazington. The materials were picked up from Mr. John Coffey of upper N.W. Washington, DC on January 21, 1998.
Restrictions:
Collection is open for research. Master tapes not available to researchers.
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.
Copyright status of items varies. Signed copies of releases on file.
The collection consists of over thirty hours of 7" open reel-to-reel master tapes, compact discs (DVDs), and transcripts for oral histories documenting the invention and development of the analogue music synthesizer.
Scope and Contents:
The collection consists of over thirty hours of 7" open reel-to- reel master tapes, compact discs, and transcripts for the oral histories documenting the invention and development of the analogue music synthesizer. Not all interviews have master tapes, reference copies, or transcripts.
Arrangement:
Collection is arranged into three series.
Series 1: Transcripts, 1996-1998
Series 2: Reference Disks (DVDs), 1996-2000
Series 3: Master Tapes (7"), 1996-1998
Biographical / Historical:
The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation, in cooperation with Trevor Pinch and Frank Trocco of Cornell University, conducted oral histories to document the pioneering engineers and musicians of the electronic music synthesizer from 1960 to 1970. Pinch and Trocco authored in 2002, Analog Days: The Invention and Impact of the Moog Synthesizer by Harvard University Press. This book is based on the oral histories from the Analogue Music Synthesizer Oral History Project.
Provenance:
This collection was created by the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation with National Museum of American History staff member Jim Weaver, Division of Cultural History and Trevor Pinch and Frank Trocco, Department of Science and Technology Studies, Cornell University.
Restrictions:
Collection is open for research use.
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.
Les harmonies du son et l'histoire des instruments de musique, par J. Rambosson ... Ouvrage illustré de 200 gravures et de 5 planches chromolithographiques
Die neueren apparate der akustik. Für freunde der naturwissenschaft und der tonkunst. Von dr. Fr. Jos. Pisko. Mit 96 in den text aufgenommenen holzschnitten
On the sensations of tone as a physiological basis for the theory of music [microform] / by Hermann L.F. Helmholtz ; translated, thoroughly revised and corrected, rendered conformable to the 4th (and last) German edition of 1877, with numerous additional notes and a new additional appendix bringing down information to 1885, and especially adapted to the use of musical students by Alexander J. Elli...
Histoire des progrès de l'esprit humain : dans les sciences et dans les arts qui en dépendent : sciences exactes : savoir : l'arithmétique ... l'architecture navale : avec un abrégé de la vie des plus célèbres auteurs dans les sciences ... / par M. Savérien
