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Duke Ellington Collection

Collector:
National Museum of American History. Division of Musical History.  Search this
National Museum of American History. Division of Musical History.  Search this
Creator:
Ellington, Duke, 1899-1974  Search this
Names:
Duke Ellington Orchestra  Search this
Washingtonians, The.  Search this
Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Extent:
400 Cubic feet
Type:
Collection descriptions
Archival materials
Phonograph records
Papers
Photographic prints
Posters
Sound recordings
Scrapbooks
Music
Clippings
Awards
Audiotapes
Place:
New York (N.Y.) -- 20th century
Harlem (New York, N.Y.) -- 20th century
Washington (D.C.) -- 20th century
Date:
1903 - 1989
Summary:
The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.
Scope and Contents:
Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.
Arrangement:
Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974
Biographical / Historical:
A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.
Related Materials:
Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies
Separated Materials:
Artifacts related to this collection are in the Division of Culture and the Arts and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.
Provenance:
The collection was purchased through an appropriation of Congress in 1988.
Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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 restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Occupation:
Composers -- 20th century  Search this
Topic:
Big bands  Search this
Pianists  Search this
Bandsmen -- 20th century  Search this
Jazz -- 20th century -- United States  Search this
Musicians -- 20th century  Search this
Music -- Performance  Search this
African American entertainers -- 20th century  Search this
African Americans -- History  Search this
Popular music -- 20th century -- United States  Search this
Music -- 20th century -- United States  Search this
African American musicians  Search this
Genre/Form:
Phonograph records
Papers
Photographic prints
Posters
Sound recordings
Scrapbooks -- 20th century
Music -- Manuscripts
Clippings
Awards
Audiotapes
Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0301
See more items in:
Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0301
Online Media:

Doc Cheatham Papers

Creator:
Cheatham, Doc, 1905-1997  Search this
Cheatham, Amanda  Search this
Extent:
11 Cubic feet (23 boxes)
Type:
Collection descriptions
Archival materials
Home movies
Interviews
Parts (musical)
Passports
Photographs
Posters
Programs
Motion pictures (visual works)
Sheet music
Appointment books
Address books
Clippings
Awards
Date:
1939-1998
Summary:
Papers documenting Cheatham's career as a jazz trumpeter. The papers include passports, appointment and address books; photographs, both personal and professional; a transcript of an interview of Cheatham; sheet music, including parts for various instruments; home movies from Cheatham's travels; awards and certificates; printed material including posters, programs, clippings.
Scope and Contents:
The Adolphus "Doc" Cheatham Papers contain publications, photographs, correspondence, memorabilia, autobiographical materials, music, awards, and audio and visual recordings documenting his life and career as a big band and jazz trumpeter.

The collection is 11 cubic feet and is organized into five series: Series 1: Publications, Series 2: Photographs and Artwork, Series 3: Personal Papers and Memorabilia, Series 4: Music and Awards, and Series 5: Audioviusal Materials. The majority of the material dates from the mid-1930s to the late 1990s.
Arrangement:
The collection is arranged into five series.

Series 1: Publications, circa 1950s-1990s

Series 2: Photographs and Artwork, 1930s-1990s

Series 3: Personal Papers and Memorabilia, circa 1930s-1990s

Series 4: Music and Awards, circa 1940s-1990s ' Series 5: Audiovisual Materials, circa 1930s-1990s
Biographical / Historical:
Adolphus "Doc" Cheatham (1905-1997) was born in Nashville, Tennessee. He grew up playing trumpet and saxophone in the pit orchestra of the Bijou Theater where he accompanied such blues artists as Ma Rainey and Bessie Smith. His first professional break was with Marion Hardy's band for the Sunshine Sammy Revue.

After touring with Hardy's band in 1924, Cheatham taught himself to read music and moved to Chicago, where he became acquainted with Louis Armstrong. Under the influence of Armstrong, Cheatham decided to play trumpet exclusively and eventually subbed for Armstrong. While in Chicago, Cheatham also worked with Wilbur De Paris and Chick Webb. Between 1927 and 1930 he toured Europe as the lead trumpet player for Sam Wooding.

When Cheatham returned to the United States in 1930, he joined Marion Hardy's Alabamians, but eventually took a position in McKinney's Cotton Pickers. In 1933 he joined Cab Calloway's Orchestra and toured with him for nine years, including a tour of South America. Cheatham took a few months off in 1933 but soon found himself in recording studios with such jazz legends as Count Basie and Billie Holiday. During recording sessions and performances throughout the 1940s Cheatham continued to develop his skills as a trumpet soloist in big bands and smaller ensembles.

The eventual decline of big bands in the 1950s led Cheatham to explore Latin music. As a result, he performed with Marcelino Guerra, Perez Prado, and Machitos Band. Cheatham reunited with Wilbur De Paris in 1957 for a tour of Africa and in the following year he toured Europe with Sammy Price. In 1960 he returned to Africa with Herbie Mann and later moved to New York where he led his own band.

During the 1960s Cheatham decided to build on his past music influences to improve himself as a soloist and improviser. Consequently, he gained an international reputation as a trumpet soloist. It was at this time that he also began singing on his recordings. Throughout the rest of his career he remained in high demand on the concert and festival circuit.

Cheatham continued performing and recording into the 1990s. Every Sunday for the last years of his life he played at Sweet Basil, his "hangout" club in New York. In 1996 he recorded an album with then newcomer Nicholas Payton. However, the morning after a 1997 concert with Payton in Washington, D.C. Cheatham suffered a fatal stroke. He did not live to see his collaboration with Payton receive a Grammy for Best Jazz Instrumental Performance in 1998.
Separated Materials:
The Division of Culture and the Arts, National Museum of American History holds related artifacts: a trumpet, trumpet mutes, bowtie, and pair of glasses.
Provenance:
The collection was donated to the Archives Center by Amanda N. Cheatham, widow of Doc Cheatham, June, 2002.
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.
Topic:
Jazz musicians -- United States  Search this
Trumpet players -- 20th century  Search this
Genre/Form:
Home movies
Interviews
Parts (musical)
Passports
Photographs -- 20th century
Posters -- 20th century
Programs -- Concerts
Motion pictures (visual works)
Sheet music
Appointment books
Address books
Clippings -- 20th century
Awards
Citation:
Doc Cheatham Papers, 1939-1998, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0814
See more items in:
Doc Cheatham Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0814
Online Media:

Speeches

Collection Creator:
Gorrell, Edgar S. (Edgar Staley), 1891-1945  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Text
Date:
1936
Scope and Contents:
Current Trends in Air Transportation, Address delivered at the Conference on Transportation, Cambridge, MA, June 8, 1936

Air Transportation in Foreign Commerce, Address delivered before the National Foreign Trade Convention, Chicago, IL, Nov. 19, 1936 (2 copies)

The Airline Industry Today, Address delivered at the National Aeronautic Association Conference, Chicago, IL, Nov. 30 & Dec. 1, 1936
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Edgar S. Gorrell Collection, Acc. XXXX-0057, National Air and Space Museum, Smithsonian Institution.
See more items in:
Edgar S. Gorrell Collection
Edgar S. Gorrell Collection / Series 1: GENERAL
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-xxxx-0057-ref20
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
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Thelonious Monk Music Manuscript

Donor:
Monk, Thelonious, Jr.  Search this
Monk, Thelonious, Jr.  Search this
Creator:
Monk, Thelonious  Search this
Extent:
1 Item
Type:
Collection descriptions
Archival materials
Manuscripts
Parts (musical)
Date:
1951.
Scope and Contents:
The tenor saxophone part for "4 in 1".
Arrangement:
Single item.
Biographical / Historical:
Jazz pianist and composer.
Provenance:
Donated by Thelonious Monk, Jr. in 2006.
Restrictions:
Copy available for general research use. Original available by special request only.
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.
Topic:
Jazz  Search this
Music -- 20th century  Search this
Genre/Form:
Manuscripts -- Music -- 20th century
Parts (musical)
Citation:
Thelonious Monk Music Manuscript, 1951, Archives Center, National Museum of American History. Gift of Thelonious Monk, Jr.
Identifier:
NMAH.AC.0914
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0914
Online Media:

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music

Creator:
Ellington, Duke, 1899-1974  Search this
Russo, William, 1928-2003  Search this
Names:
Columbia College (Chicago). Contemporary American Music Program  Search this
Extent:
0.5 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Transcriptions
Parts (musical)
Manuscripts
Scores
Date:
circa 1967-1968
Scope and Contents:
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music consists of the full conductor score, orchestral parts, and choral parts to "In the Beginning God," "Tell Me It's the Truth," "Come Sunday," "The Lord's Prayer," "Will You Be There?" "Ain't But the One," and "David Danced." The transcription and arrangement were created by Professor Russo, who spent some time working with Ellington on the project during the late sixties or early seventies.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
William Russo was the Director of the Contemporary American Music Program at Columbia College, Chicago. Active in music from 1947 until his death in 2003, he toured Europe as the leader of a quintet; lived in London, where he conducted the London Jazz Orchestra and worked with the BBC; and lived and taught in New York and Chicago. Russo was noted in the fifties as a composer of experimental music for Stan Kenton's orchestra and Third Stream Music for the Russo orchestra. He has been a trombonist, composer, arranger, and conductor.
General:
Russo stated that Duke Ellington loaned him the music in 1967-1968.
Related/Analytical Title:
In the Beginning God

Tell Me It's the Truth

The Lord's Prayer

Ain't But the One

First Sacred Concert
Provenance:
The materials were donated to the Archives Center by Prof. Russo during a January, 1991 conference of the International Association of Jazz Educators held in Washington, D.C.
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.
Topic:
Conductors -- 20th century  Search this
Choruses, Sacred (Mixed voices) with instrumental ensemble  Search this
Musicians -- 20th century  Search this
Choral music  Search this
Church music  Search this
Genre/Form:
Transcriptions
Parts (musical)
Manuscripts -- Music -- 20th century
Scores
Citation:
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music, 1967-1968, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0406
See more items in:
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0406

Boyd Raeburn Papers

Creator:
Mandel, Johnny  Search this
Raeburn, Boyd,, 1913-1966  Search this
Kleeb, Milt,, 1919-2015  Search this
Johnson, Budd  Search this
Gillespie, Dizzy, 1917-1993  Search this
Williams, George D.,, 1917-1988  Search this
Handy, George  Search this
Flanagan, Ralph  Search this
Villepigue, Paul,, 1919-1953  Search this
Tizol, Juan, 1900-  Search this
Richards, Johnny,  Search this
Finckel, Edwin A.  Search this
Dameron, Tadd,, 1917-1965  Search this
Baum, Stanley  Search this
Donor:
Raeburn, Susan  Search this
Raeburn, Bruce Boyd,, 1948-  Search this
Names:
Boyd Raeburn Orchestra  Search this
Extent:
9 Cubic feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Clippings
Music
Scores
Parts (musical)
Date:
circa 1942-1949
Scope and Contents:
The collection consists primarily of the "band library" for the Boyd Raeburn Orchestra, containing arrangements of musical numbers performed by the Orchestra. The arrangers included Ed Finckel, Juan Tizol, George Handy, Budd Johnson, Johnny Richards, Stanley Baum, Ralph Flanagan, Johnny Mandel, George "The Fox" Williams, Milt Kleeb, Tadd Dameron, and others. The parts for instruments are in the composer/arranger's hand, in most cases. Also included are two scrapbooks containing mostly clippings from entertainment magazines such as Down Beat and Variety.
Arrangement:
The collection is arranged into one series. Musical parts are arranged by title.
Biographical / Historical:
Raeburn was a society band leader who began his career after winning a contest for a year-long engagement at the 1933 Chicago World's Fair, while a student at the University of Chicago. In the 1940s he led a swing band in Chicago and from 1942-1949 led of a racially mixed bebop oriented band, which at various times included Roy Eldridge, Dizzy Gillespie, Oscar Pettiford, and numerous others.
Provenance:
Donated to the Archives Center by Raeburn's son and daughter, Bruce and Susan Raeburn, 2017.
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.
Topic:
Music -- 20th century -- United States  Search this
Orchestras -- 1940-1950  Search this
Swing (Music)  Search this
Jazz -- 20th century -- United States  Search this
Genre/Form:
Scrapbooks -- 1940-1950
Clippings -- 1940-1950
Music
Scores
Parts (musical)
Citation:
Boyd Raeburn Papers, ca. 1942-1949, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1431
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1431

Richard Becker Collection of Alex Bradford Gospel Music Materials

Creator:
Becker, Richard  Search this
Bradford, Alex  Search this
Extent:
0.66 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Sheet music
Songbooks
Sound recordings
Theater programs
Parts (musical)
Playbills
Programs
Scripts (documents)
Clippings
Music
Date:
1950-1997, undated
undated
Summary:
Papers relating to Alex Bradford's career as a composer of Gospel music. Included among the materials are playbills, published sheet music, music manuscripts, gospel song books, play scripts, newspaper clippings and articles, and one LP record.
Scope and Contents:
Collection documents the career of Alex Bradford as a composer of gospel music. Most of the materials relate to the musical production Your Arms Too Short to Box with God and include playbills and an LP. There are music manuscripts, published sheet music, and three Gospel song books of Bradford's music. In addition, there are playscripts for some of Bradford's other musical productions. Newspaper clippings and magazine articles document the importance of Bradford's creative work to the African American community. Lastly, playbills from the League of New York Theatres and Producers Antoinette Perry Award (Tony Awards) ceremonies are also found among the materials. The materials are arranged in chronological order.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Alex Bradford was a musical and theater legend who served as a bridge between the gospel and secular worlds in music and performance. Bradford was responsible for the rise and popularity of the mass gospel choir. Alex Bradford was born in Bessemer, Alabama in the late 1920s during an era of racial segregation. A racially motivated altercation eventually led his mother to send him to New York. Before he left Alabama, Bradford performed on stage and sang in various children's choirs. Bradford was a talented and influential gospel singer, performer, song writer, and stage play author. Richard Becker, an accomplished music producer, worked with the Beatles and the Rolling Stones. Becker's first collaboration with Bradford resulted in their production of Black Nativity, based on a play by Langston Hughes. Commissioned to do a second stage musical, the two created Your Arms Too Short to Box With God, based on the Biblical book of Matthew. Your Arms was the first musical production fully funded at the Ford's Theatre in Washington, DC. The musical made its debut on Broadway at the Lyceum Theatre, on December 22, 1976. The original cast included Al Green, Patti LaBelle, and newcomer Jennifer Holliday.
Related Materials:
Materials in the Archives Center, National Museum of American History

Eugene D. Smallwood Gospel Music Collection NMAH.AC.0456

Martin and Morris Company Records NMAH.AC.0492

Wade in the Water Radio Series Collection NMAH.AC.0516

Program in African American Culture NMAH.AC.0408

Sam DeVincent Collection of Illustrated American Sheet Music, Series 36: Folios and Songbooks NMAH.AC.0300

Warshaw Collection of Business Americana, Series: Music NMAH.AC.0060

Duke Ellington Collection NMAH.AC.0301
Provenance:
Richard Becker donated the materials to the Archives Center, National Museum of American History in January 2001.
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.

Reproduction restricted due to copyright or trademark.
Topic:
Gospel music  Search this
Genre/Form:
Sheet music -- 20th century
Songbooks
Sound recordings -- 1930-1990
Theater programs -- 1970-1980
Parts (musical)
Playbills
Programs
Scripts (documents)
Clippings -- 20th century
Music -- Manuscripts
Citation:
Richard Becker Collection of Alex Bradford Gospel Music Materials, 1950-1997, undated Archives Center, National Museum of American History
Identifier:
NMAH.AC.0761
See more items in:
Richard Becker Collection of Alex Bradford Gospel Music Materials
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0761

Fletcher and Horace Henderson Music and Photographs

Creator:
Henderson, Horace, 1904-1988  Search this
Lewis, Barbara  Search this
Lewis, Barry  Search this
Henderson, Fletcher, 1897-1952  Search this
Extent:
22.5 Cubic feet (82 boxes)
Type:
Collection descriptions
Archival materials
Audiocassettes
Audiotapes
Manuscripts
Parts (musical)
Photographs
Date:
1930s-1980s
Scope and Contents:
The Fletcher and Horace Henderson Collection contains original scores and band books, loose sheet music, both original and published, from both Fletcher and Horace's libraries, playlists, lyrics, photographs, personal papers and correspondences, newspaper clippings, jazz publications, an oral history manuscript of an interview with Horace, audio tapes, and other personal memorabilia documenting the lives and careers of the two brothers as pianists, band leaders, and arrangers. The majority of the material dates from the mid 1920s to the early 1980s.

Series 1: Fletcher and Horace Henderson's Music ca. 1930s - 1980s Boxes 1-68. Original band books and scores, lyrics, playlists, loose music, and published music either arranged or used by Fletcher or Horace Henderson during their careers as pianists, band leaders, and arrangers. The series is organized into six subseries: Subseries 1A: Horace's Band Books, Subseries 1B: Loose Music, Subseries 1C: Original Scores, Subseries 1D: Lyrics, Suberies 1E: Playlists, and Suberies 1F: Published Music.

Suberies 1A, ca. 1940s -1980s, boxes 1-21. Horace Henderson Band Books. Each Band Book stands on its own, and is identified by the musician who used it or the location where the music was performed. Some performers include Gail Brochman, Eddie Calhoun, and George Reed. Many of the band books were used for performances at the Trianon Ballroom in Chicago.

Subseries 1B, ca. 1930s - 1980s, boxes 22-58. Music in boxes 22-54 comes from Horace Henderson's band library, and boxes 55-58 from Fletcher Henderson's band library. The music consists of full scores, piano scores, and parts arranged or used by Horace or Fletcher Henderson. Arranged alphabetically by title; FS - Full Score, PS - Piano Score, and P - Parts. * Indicates an overlap between loose music, and music known to have been performed at the Trianon Ballroom in Chicago. **Indicates an overlap between Horace and Fletcher's Libraries. The music is arranged alphabetically by music title.

Subseries 1C, ca. 1930s - 1940s, boxes 59-60. Original scores arranged by Fletcher Henderson, many for Benny Goodman and other bandleaders, including AHoneysuckle Rose@, AKing Porter's Stomp@, and AStealin' Apples@. There is also a complete band book written and arranged by Fletcher. Arranged alphabetically by title.

Subseries 1D, ca. 1940s - 1980s, box 61. Original lyrics used in performances by Horace Henderson's bands. Arranged alphabetically by title where identified.

Subseries 1E, ca. 1940s - 1980s, boxes 62-63. Playlists compiled in preparation for performances by Horace Henderson's orchestras, listing titles played at various performances. Un-arranged.

Subseries 1F, ca. 1920s-1980s, boxes 64-68. Published sheet music and books for piano/vocal parts. Includes art music, method books, popular music, fake books, and music book covers. Folders are arranged by type of publication, and the music is arranged alphabetically by title within each folder.

Series 2: Photographs, ca. 1920s - 1980s Boxes 69-70. Photographs documenting the lives of both Fletcher and Horace Henderson's personal lives and careers. Photographs are arranged by category including Fletcher Henderson Candids with Friends, Horace Henderson Candids, Performance Marquees, and both brothers with their orchestra. Some unique pictures include portraits of Mr. and Mrs. Henderson (Fletcher and Horace's parents), candids of Fletcher with Benny Goodman, and Horace with Lena Horne.

Series 3: Personal Papers and Correspondences, ca. 1920s - 1980s Boxes 71-78. Programs and broadsides, newspaper articles, letters, essays, publications, and other personal documents tracing the lives of Horace and Fletcher, as well as some personal items of their parents. The series is divided into six subseries: Subseries 3A: Programs and Broadsides, Subseries 3B: Newspaper Articles and Clippings, Subseries 3C: Personal Papers and Correspondences, Subseries 3D: Miscellaneous Publishings, Subseries 3E: Transcript of an Oral History Interview, and Subseries 3F: Henderson Family Scrapbook.

Subseries 3A, ca 1930s - 1980s Boxes 71-72. Contains broadsides and ad clippings promoting both Horace and Fletcher's performances, along with programs for various jazz festivals. There are also three sets of Las Vegas Programs, advertising the weekly happenings during the years Horace was performing there, mainly at the Riviera Hotel and Casino (1959-1961). These include; Ken's Spotlight Las Vegas, Fabulous Las Vegas Magazine, On The Go, and other miscellaneous circulations. Arranged by category (Fletcher's broadsides, Horace's broadsides, Programs), and by date within each set of publications or programs.

Subseries 3B, ca. 1950s - 1980s, Boxes 73 & 78. Contains newspapers, articles, and clippings, ranging from 1951 to 1986, documenting the lives of Fletcher, Horace, and some of their contemporaries (ie: Duke Ellington) through the eyes of the media. Arranged by categories; reference to Fletcher, Horace, or Miscellaneous. Box 73 contains the oversized articles.

Subseries 3C, ca. 1920s-1980s, Box 74. Contains letters, contracts, and other personal documents of Fletcher, Horace, and their parents. Also contains a copied photo collection of Horace, a manuscript of AHorace Henderson Presents his Interpretation of Jazz@, and an essay (author unknown) about Fletcher's influence on jazz.

Subseries 3D, ca. 1960s - 1980s, Box 75. Contains miscellaneous publishings collected from the various locations Horace lived and worked. Includes weekly circulations from Denver and the surrounding area where Horace lived from the mid sixties until his death, along with various music magazines that he subscribed to (ADownbeat@, AInternational Musician@). Arranged by date within each category.

Subseries 3E, ca. 1975, box 76. Contains the original transcript of the Oral History Interview of Horace Henderson, for the Smithsonian Institution, performed by Tom MacCluskey on April 9-12, 1975.

Subseries 3F, box 77. Contains a Henderson Family Scrapbook which includes photographs of Fletcher's and Horace's father and mother, and various newspaper clippings commending the careers of Mr. Henderson, Horace, and Fletcher. The scrapbook's original order has been maintained.

Series 4: Audio Tape Recordings ca.1970s - 1980s Boxes 79-80. Contains a collection of recordings of live performances of Horace's orchestra in various Denver area locations such as the Esquire Supper Club and the Petroleum Club. Also includes a sample tape, a brief Atest@ recording by Horace and Angel, a radio tribute to Horace, and a few miscellaneous mix tapes. The tapes are arranged by date when available. Box 79 contains the original copies, and box 80 contains the duplicates.
Arrangement:
The collection is arranged into four series.

Series 1: Horace and Fletcher Henderson's Music

Series 2: Photographs

Series 3: Personal Papers

Series 4: Horace Henderson Audio Tapes
Biographical / Historical:
Fletcher Hamilton Henderson, Jr. (a.k.a. Smack) was born on December 18, 1897 in Cuthbert, Georgia. He was born into a middle class black family, and as a child studied European art music with his mother, a piano teacher. His sister later became the head of the music department at the Tuskeegee Institute in Alabama, and his younger brother, Horace, would eventually follow in his footsteps as a jazz musician, arranger, and band leader. Horace W. Henderson (a.k.a. Little Smack) was born on November 22, 1904. He also studied piano with his mother and sister, and like his brother, began formal music training as a teenager. Fletcher Henderson attended Atlanta University where he earned a degree in chemistry and math in 1919.

In 1920, Fletcher Henderson moved to New York City to find a job as a chemist. Because employment in this field was hard to come by, especially for African Americans, he began working as a song demonstrator for the Pace Hardy Music Company. Shortly after Fletcher Henderson's arrival Harry Pace founded Pace Phonograph Corporation to produce records on the Black Swan label in 1921. Fletcher joined Pace's music team and was responsible for contracting and leading a jazz bands to accompany the label's singers.

In 1924, Fletcher's orchestra, under the direction of Don Redman, began to perform at Club Alabam (sic) on New York City's Broadway Avenue. That same year he and the band was offered a job performing at the Roseland Ballroom, where the band remained for ten years and gained national fame. His band was no different than the hundreds of dance bands, springing up across the country in response to the growing demand for social dance music, such as Count Basie's Orchestra, King Oliver and his Dixie Syncopators, and McKinney's Cotton Pickers. Don Redman left the Fletcher Henderson Orchestra in 1927 to direct McKinney's Cotton Pickers. However the music collaboration of Redman and Henderson had by then established what would become the "standard" big band arrangement for several decades, specifically the dynamic interplay between the brass and reed sections of the orchestra that included interspersed solos made famous by such esteemed soloists of the band as Louis Armstrong and Coleman Hawkins. Some of the band's most notable recordings made between 1924 and 1925 include Copenhagen and Sugarfoot Stomp.

By this time Horace Henderson had formed his own college jazz band in 1924, The Wilberforce Collegians, after transferring from Atlanta University to Wilberforce University to pursue a music degree. His older brother sent him arrangements and piano parts used by the Fletcher Henderson Orchestra for performances by the Collegians. Later that year Horace Henderson left the university to travel and perform with his band in New York City. His newly formed band included such notable musicians as Benny Carter and Ben Webster. While in New York he also began playing as a guest musician in his brother's band and learning from such legends of jazz as Coleman Hawkins, Buster Bailey, Louis Armstrong, and Don Redman that were working for the Fletcher Henderson Orchestra. During a Smithsonian Institution sponsored oral history interview with Tom MacCluskey, Horace recalled late night jam sessions at Hawkins' (Hawk) apartment where they would play through pieces from "Fletch's" library and analyze each individual's performance. We would "stop and discuss what had transpired during that session, you know, that particular tune. And man, that was a lesson...It was a session that was actually to help everybody, so that they would try things out and take another tune, and use these particular little points that Hawk would tell 'em.'"

Until the 1930s, the Fletcher Henderson Orchestra was the principal model for big jazz bands. However, his management of the band and its finances led to frequent band break-ups. In 1934, severe financial problems forced Fletcher to sell some of his best arrangements to Benny Goodman. Horace Henderson and others suggested Goodman's rapid rise in popularity among swing bands for white audiences was largely due to Fletcher Henderson's innovative band arrangements. Fletcher Henderson continued to lead bands until 1939 when he joined Goodman's orchestra as a full time staff arranger. In 1941 he returned to band leading and arranging, but suffered a severe stroke in 1950. Fletcher was partially paralyzed from the stroke, and died on December 29, 1952.

Horace, also, formed many bands throughout the 1930s and 40s, and became a sideman for leaders such as Don Redman (1931-33) and, most notably, his brother. He was a pianist and arranger for Fletch's band intermittently between 1931 and 1947. During this time, Horace spent a lot of time in Chicago with Fletcher's band at the Grand Terrace, and formed his own band at Swingland. Horace also worked as a freelance arranger for Benny Goodman, Charlie Barnet, and Earl Hines3. From November 1942 through August 1943, Horace was the leader of the 732nd Military Police Band in Joliet, Illinois. The position was first offered to Louis Armstrong, who turned it down and recommended Horace for the position. After leaving the army, he played with Fletcher's band for two years. Horace began writing for Charlie Barnet in 1944, where he first came across Lena Horne. During a job at the Paramount, Charlie had Called Horace to say that his vocalist had laryngitis, and he needed a new singer. Horace went to the Apollo in Harlem in search of some talent, and they sent him to the Regent where he could find Lena Horne. She joined Charlie's show the next day, and from there went on to fame. Horace joined her for an extended tour as a pianist and arranger, and later worked with Billie Holiday3.

Horace moved to Denver with his wife, Angel, in the late 1960s. The Horace Henderson Combo performed at many nightclubs and resorts in the Denver area, including Estes Park, the Broadmoor Hotel, and the Petroleum Club. He began playing the organ in 1970 because the clubs didn't want to pay for four or five piece bands, and with an organ to replace the piano, a bass player was no longer necessary3. Horace continued to lead bands in the Denver area until his death on August 29, 1988.

Although both brothers had a major impact on the future of jazz, Horace is often thought of merely as a shadow to his more celebrated brother. Fletcher Henderson's career as a pianist, bandleader, and arranger is one of the most important in jazz history. Bands of leaders such as Count Basie, Charlie Barnet, Tommy and Jimmy Dorsey, and Benny Goodman all played arrangements, which were either written or influenced by Fletcher Henderson. Fletcher constantly surrounded himself with the most talented musicians of his era, and patterned the basic formula, which were imitated throughout the big band era. However, at least thirty of Fletcher's arrangements, many for Benny Goodman, are accredited as Horace's work. His arrangement Hot and Anxious was based on the traditional riff that later became the basis for Glenn Miller's In the Mood. Christopher Columbus is the most notable example of Horace's potent piano style, which is often noted to be stronger than his brother's. Although the brothers had differences, Horace insists that they did not involve music. Fletcher's style and success had a huge influence on Horace's career, and he was incredibly grateful for all his brother taught him. In an interview in April of 1975, he was quoted as saying, "I idolize his way of thinking because he was successful. You don't fight success, you join it." 3

Sources

1. Biographical information derived from The New Grove Dictionary of Jazz, edited by Barry Kernfeld (New York: Macmillan Press Ltd, 1988). 2. The Pace Phonograph corporation was the first African-American-owned recording company in the United States. Historical information derived from The Greenwood Encyclopedia of Black Music; Biographical Dictionary of Afro-American and African Musicians, by Eileen Southern (USA: Greenwood Press, 1982).

3. Interview with Horace Henderson, April 2-12, 1975, Smithsonian Institution, Washington, DC.
Provenance:
The Fletcher and Horace Henderson collection was acquired by the museum in December of 2001, donated by Barbara and Barry Lewis.
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.
Topic:
Music -- 20th century -- United States  Search this
Genre/Form:
Audiocassettes
Audiotapes
Manuscripts -- Music -- 20th century
Parts (musical)
Photographs -- 20th century
Citation:
Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0797
See more items in:
Fletcher and Horace Henderson Music and Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0797
Online Media:

Clotilde Arias Papers

Topic:
Star-spangled banner (Song)
Donor:
Arias, Roger  Search this
Creator:
United States. Dept. of State  Search this
Arias, Clotilde, 1901-1959  Search this
Thompson, J. Walter (advertising agency).  Search this
Extent:
3 Cubic feet (8 boxes)
Type:
Collection descriptions
Archival materials
Immigration records
Music
Contracts
Correspondence
Compact discs
Scrapbooks
Sheet music
Parts (musical)
Songbooks
Photographs
Commercial art
Date:
1919-1957
2009
Summary:
This collection documents the life and career of Peruvian musician, composer, and translator Clotilde Arias. Her work includes a Department of State-commissioned translation of "The Star-Spangled Banner" titled "El Pendón Estrellado", advertising jingles, original compositions, and translations of music originally written in English. She also was heavily involved in numerous Pan-American organizations including La Unión de Mujeres Americanas/United American Women.This collection contains correspondence, music manuscripts, photographs,newspaper clippings and printed materials, and four compact discs.
Scope and Contents:
The collection documents the life and career of Clotilde Arias, who was chosen by the U.S. State Department to write a Spanish translation to "The Star Spangled Banner," during the years of the Good Neighbor Policy. In addition to materials related to her translation of the National Anthem, entitled "El Pendón Estrellado," the collection includes music manuscripts, lyrics, composition notebooks, parts for instruments, and correspondence with the State Department. This collection also contains papers related to Arias's work in advertising, her work as a translator, and her own business records. Personal papers include correspondence, immigration and naturalization documents, printed material, and photographs as well as items from a scrapbook. Also included are compact discs containing images from items in the collection.
Arrangement:
This collection is composed of six series.

Series 1: Personal Papers, 1923-1956

Series 2. Music Materials, 1921-1953

Series 3. "El Pendón Estrellado"/"The Star Spangled Banner," 1919-1954, 2009

Series 4. "Himno de las Américas"/"Hymn of the Americas," 1939-1945

Series 5. Miscellaneous Printed Materials, 1942-1956

Series 6. Photographs and Scrapbook, 1939-1957
Biographical / Historical:
Clotilde Arias was a Peruvian-born musician, composer, and translator who lived in New York City following her migration from Iquitos, Peru, to the United States in the 1920s. Her full name was Maria Clotilde Arias and she briefly took her husband Jose Anduaga's last name during their marriage from 1929 to 1942 but was known most often as Clotilde Arias. With Jose Anduaga, Arias had one son, Roger Arias. While she is known for her Department of State-commissioned translation of "The Star-Spangled Banner" titled "El Pendón Estrellado," Arias worked diligently as a translator and musician in a variety of contexts as well as working with a variety of organizations that promoted Pan-Americanism. Prior to her life in the United States, Arias worked for the Iquitos newspaper El Oriente writing satirical pieces related to local issues. Arias died in 1959 in New York City.
Provenance:
Donated to the Archives Center, National Museum of American History, by Clotilde Arias's son, Roger Arias in 2010.
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.
Occupation:
Composers  Search this
Topic:
Translations  Search this
Translators  Search this
Good neighbor policy  Search this
National songs  Search this
advertising  Search this
Women musicians -- 1930-1950  Search this
Women musicians  Search this
Advertising agencies  Search this
Women in the advertising industry  Search this
Women -- Peru  Search this
Women composers  Search this
Music by women composers  Search this
Women composers -- United States  Search this
Pan-Americanism  Search this
Commercial art  Search this
Jingles (Advertising songs)  Search this
Jingles (Advertising songs) -- Writing and publishing  Search this
Minorities in advertising  Search this
Music in advertising  Search this
Women translators  Search this
Naturalization records  Search this
Genre/Form:
Immigration records
Music -- Manuscripts
Contracts
Correspondence -- 20th century
Compact discs
Scrapbooks -- 20th century
Sheet music -- 1920-1960
Parts (musical)
Songbooks
Photographs -- 20th century
Commercial art
Citation:
Clotilde Arias Papers, 1919-1957, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1164
See more items in:
Clotilde Arias Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1164
Online Media:

Just a settin' and a rockin' [music]

Composer:
Ellington, Duke, 1899-1974  Search this
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Lyricist:
Gaines, Lee  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (manuscript, 32 cm.)
Type:
Archival materials
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
Just a settin' and a rockin' is contained in one folder consisting of 1 part in f minor concert -- in pencil -- in unidentified hand.
Part for piano. Part is noted on the verso of a part for "Sophisticated lady," Folder B. -- from the Ruth Ellington Collection.
Biographical / Historical:
Statement of responsibility taken from Popular Music, 1920-1979, ed. Nat Shapiro.
General:
Parts for "Things ain't what they used to be" and "I got it bad" are also noted on the bottom and verso of the part for "Sophisticated lady." Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: brittle.
Unsigned Ellington-Strayhorn composition.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Manuscripts -- Music -- 20th century
Music
Parts (musical)
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 3: Performance Materials
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1

Boogie bop blue [music]

Composer:
Ellington, Duke, 1899-1974  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
2 Items (copy scores, 32 cm.)
Container:
Box 5, Folder 9
Type:
Archival materials
Copy scores
Music
Parts (musical)
Short scores
Manuscripts
Scope and Contents:
1 part and 1 score.
Boogie bop blue is contained in one folder consisting of 1 four page short score in C Major concert, and 1 part in D Major concert (?) -- in ink -- in unidentified hands (Whaley, other?).
Short score indicates parts for Jimmy, sax, baritone, Ray, Dud, trumpets, Tyree, trombones, bass, piano. Part for unidentified treble instrument. Part appears incomplete. -- from the Ruth Ellington Collection.
Biographical / Historical:
Short score copyright by Tempo Music, Inc.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Date from www2.bioglobe.ne.jp.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Copy scores
Music
Parts (musical)
Short scores
Manuscripts -- Music -- 20th century
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1001

Bull in the china closet, The [music]

Composer:
Jenkins, Freddie  Search this
Hawkins, David J.  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (manuscript, 32 cm.)
2 Items (copy scores, 32 cm.)
Container:
Box 5, Folder 15
Type:
Archival materials
Manuscripts
Copy scores
Music
Parts (musical)
Piano vocal scores
Scope and Contents:
1 part and an indefinite number of scores
The bull in the china closet is contained in one folder consisting of 2 two page piano vocal scores and 1 part in F Major concert -- in ink and pencil -- in unidentified hands (Jenkins, other?).
Piano vocal score lyrics begin "Bump, bump, bump, bump, what is that bumpin' I hear ...". Part for unidentified treble instrument. -- from the Ruth Ellington Collection.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair, torn.
Other Title:
The bull in the china closet.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Manuscripts -- Music -- 20th century
Copy scores
Music
Parts (musical)
Piano vocal scores
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1014

Camel walk [music]

Composer:
Jenkins, Freddie  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (mixed score(s) and/or part(s) (holograph), 32 cm.)
Container:
Box 5, Folder 16
Type:
Archival materials
Holographs
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
Camel walk is contained in one folder consisting of 1 part in C Major concert -- in ink -- in unidentified hand (BS?).
Part for piano. -- from the Ruth Ellington Collection.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: worn.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Holographs
Manuscripts
Music
Parts (musical)
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1019

Carnival [music]

Composer:
Ellington, Duke, 1899-1974  Search this
Tizol, Juan, 1900-  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (copy score, 31 cm.)
Container:
Box 5, Folder 19
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
Carnival is contained in one folder consisting of 1 part in C Major concert -- in ink -- in unidentified hand (Tizol?).
Part for unidentified treble instrument. -- from the Ruth Ellington Collection.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair.
Other Title:
Spanish carnavar.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1027

Carrying you back to Old Kentucky [music]

Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
2 Items (mixed score(s) and/or part(s) (holographs), 28 cm.)
Container:
Box 5, Folder 20
Type:
Archival materials
Holographs
Lead sheet
Manuscripts
Music
Parts (musical)
Scope and Contents:
2 parts
Carrying you back to Old Kentucky is contained in one folder consisting of 1 lead sheet and 1 part in a minor concert -- in pencil -- in unidentified hand (BS?).
Lead sheet and part for unidentified treble instrumnet. -- from the Ruth Ellington Collection.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: worn, brittle.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Holographs
Lead sheet
Manuscripts
Music
Parts (musical)
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1028

Cashmere cutie [music]

Composer:
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (copy score, 32 cm.)
Container:
Box 5, Folder 21
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
Cashmere cutie is contained in one folder consisting of 1 part in Eb Major concert -- in ink -- in unidentified hand (Whaley?).
Part for piano. -- from the Ruth Ellington Collection.
Biographical / Historical:
Copyright by Tempo Music, Inc.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1029

Charlotte Russe [music]

Composer:
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (mixed score(s) and/or part(s) (holograph), 31 cm.)
Container:
Box 5, Folder 24
Type:
Archival materials
Holographs
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
Charlotte Russe is contained in one folder consisting of 1 part in Bb Major concert -- in ink -- in unidentified hand (BS?).
Part for piano. -- from the Ruth Ellington Collection.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: worn, tape, brittle.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Holographs
Manuscripts
Music
Parts (musical)
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1034

Chile bowl [music]

Composer:
Ellington, Duke, 1899-1974  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (part (photocopy), 28 cm.)
1 Item (part (photocopy), 27 cm.)
1 Item (copy score, 32 cm.)
Container:
Box 5, Folder 29
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Photocopies
Scope and Contents:
3 parts
Chile bowl is contained in one folder consisting of 3 parts in G Major concert -- in ink and photocopy -- in unidentified hand (Whaley?).
Parts for piano (3). -- from the Ruth Ellington Collection.
Biographical / Historical:
Copyright by Tempo Music, Inc.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair, tape.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Photocopies
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1043

Choctau [music]

Composer:
Gonsalves, Paul  Search this
Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (copy score, 31 cm.)
Container:
Box 5, Folder 30
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
Choctau is contained in one folder consisting of 1 part in C Major concert (?) -- in ink -- in unidentified hand (Whaley?).
Part for unidentified treble instrument. Part appears incomplete. -- from the Ruth Ellington Collection.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1045

Circe [music]

Collection Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Extent:
1 Item (copy score, 31 cm.)
Container:
Box 6, Folder 1
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
Circe is contained in one folder consisting of 1 part in d minor concert (?) -- in ink -- in unidentified hand (Whaley?).
Part for unidentified instrument. -- from the Ruth Ellington Collection.
Biographical / Historical:
Copyright by Tempo Music, Inc.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: torn.
Related Materials:
Ruth Ellington Collection Music Manuscripts (Series 3), 1940-1991
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction. Copyright restrictions exist. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Ruth Ellington Collection of Duke Ellington Materials / Series 1: Music Manuscripts, Scripts, and Compositional Materials / 1.1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0415-ref1048

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