Arrangement of Materials The collection was organized by the dealer J. & J. Lubrano into four "sections": 1. Correspondence Between American Composers and Ray Green at American Music Edition; 2. Manuscripts of Printed Music of Various Composers; 3. Business Papers Relating to American Music Edition; and 4. Materials Relating to Ray Green. It was reorganized into five series: 1. Personal Correspondence; 2. Business Records; 3. Ray Green Papers; 4. Manuscript Scores; and 5. Published Scores. Series 1 consists primarily of materials from the dealer's Section 1; however, correspondence originally in this section that relates to the performance of a composer's compositions was moved to Series 2 and manuscript scores and proofs found in Section 1 were moved to Series 4.
The collection includes numerous printed and reproduced scores or excerpts from scores, many of them enlarged for teaching purposes, representing different styles of graphic notation. The collection also includes designs for the Philips Pavillon of the Brussels World Fair Expo '58. "The pavilion is a cluster of nine hyperbolic paraboloids in which music, Edgar Varèse's Poème électronique, was spatialized by sound projectionists using telephone dials. The speakers were set into the walls, which were coated in asbestos, creating a textured look to the walls. Varèse drew up a detailed spatialization scheme for the entire piece which made great use of the physical layout of the pavilion, especially the height of it. The asbestos hardened the walls which created a cavernous acoustic. As audiences entered and exited the building Xenakis's musique concrète composition Concret PH was heard"--Wikipedia
Papers collected or generated by Higgins, documenting his involvement with Fluxus and Happenings art movements, pattern and concrete poetry; new music, and small press publishing from 1972 to 1994, with some letters dated as early as 1960 -- Correspondence primarily consists of carbons of Higgins' letters, with many responses and, in some cases, extensive exchanges with Fluxus, Mail Art and Art and Language artists, Concrete and Sound poets, New Music composers, and Small Press publishers and poets; also includes art pieces and manuscripts by these correspondents. Also, a substantial quantity of Higgins' published works in original manuscript form, some with annotations and correspondence; works rejected by Higgins; production material on 26 of Higgins' 45 published books from Something Else Press, Printed Editions and elsewhere; books by four other authors; and one killed project. The collection also has a small quantity of miscellaneous personal papers and extensive research and ... Read More
Major Figures in American Music is the core unit of Oral History of American Music. The unit consists of interviews with approximately 320 composers, performers, and other significant musicians. Each interview covers a wide range of the subject's work and life experiences, and many subjects have been interviewed on more than one occasion, often over a number of years. In addition to interviews with the primary subjects, Major Figures in American Music also includes testimonies from secondary sources about Harry Lawrence Freeman, George Gershwin, Percy Grainger, Quincy Porter, and Arnold Schoenberg
Arrangement of Materials Arranged in 5 series: 1. Manuscript scores; 2. Correspondence; 3. Calendars; 4. Scrapbooks; 5. Sound recordings. Due to the unusually large size of Moran's graphic score manuscripts, Series 1 is arranged in two subseries: 1. Folio; 2. Oversize; the contents of both subseries are arranged chronologically. Series 2-5 are unprocessed.
No. 1: 69, August 6, Vienna, Austria [to] Robert Moran, San Francisco (with envelope) -- No. 2: 1969, December 28, Vienna [to] Robert Moran, San Francisco (with envelope) -- No. 3: 71, November 4, Berlin [to] Robert Moran, San Francisco (postcard) -- No. 4: 1971, June 2, Vienna [to] Robert Moran, San Francisco (postcard) -- No. 5: 1972, March 2, Palo Alto, Calif[ornia] [to] Robert Moran, San Francisco (with envelope)