Hagley Museum and Library - Manuscripts and Archives Department
The papers document Olson's professional life and career at RCA. They include notebooks, research & development records, publications, patents, correspondence and other materials spanning the length of Olson's career. The files were taken directly from Olson's file cabinets at the Sarnoff Laboratory and were in no discernable order. They were arranged in 11 series by the Sarnoff Library staff prior to their transfer to Hagley
Dartmouth College - Rauner Special Collections Library
Contains correspondence, documents relating to the music department at Dartmouth College, the Dartmouth International Electronic Music Competition, the Dartmouth Foreign Study Program in Tonga, the 1992 Vermont Senate race, as well as newspaper and magazine articles, publicity materials, music reviews, programs, photographs, and a scrapbook of Appleton's early political involvement. The collection also includes various forms of digital media, including computer disks and programs for the Synclavier. There are reel to reel master tapes of many of Appleton's pieces as well as musical scores. Much of the material relates to Appleton's time as a professor of music at Dartmouth, and his involvement and work in the field of electronic music
Stanford University
Collection consists largely of correspondence between Chowning, the Yamaha Corporation, and the Technology Licensing Office at Stanford, 1974-97; other items include patents and related documents, 1978-87, technical writings (not all by Chowning), 1974-87, publications and leaflets on Yamaha products, and miscellaneous notes. The technical writings include "Excerpts from Computer Music Proposal Submitted to National Science Foundation," July 1974; "Sine Summation Formula Synthesis," ca. 1976; and "Progress Report on the Development of the FM-type Musical Instrument for the period of March 1979 to February 1980.".
Hagley Museum and Library - Manuscripts and Archives Department
The Herbert Belar Collection consists of official RCA files pertaining to his work on the synthesizer and phonetic typewriter. Belar's research notes and calculations make up the bulk of the collection and require the user to be well-grounded in both electrical engineering and music. There are, however, sufficient summary reports and correspondence that explain the projects in ordinary language. The files include charts, photographs of the apparatus, sheet music for the pieces used as test subjects, and a 45 RPM record of music produced on the synthesizer. Among the correspondence is a 1955 letter from Robert Moog, then an undergraduate at Queens College but already deeply involved in electronic music, requesting Belar's advice in getting access to technical information for his own efforts
Hagley Museum and Library - Manuscripts and Archives Department
The Roland A. Lynn collection consists of copies of official RCA files pertaining to Lynn's work on the Mark I and Mark II music synthesizers, the first full-range electronic music synthesizers. The records include Lynn's original hand-written notes and copies of RCA research bulletins and product literature for the various components used in the synthesizers, requiring the user to be well-grounded in both electronic engineering and music. Lynn's work was heavily focused on the components needed to produce individual instrument sounds and on high-fidelity sound and phonograph pickup generally. The files include sheet music for the orchestration of test songs such as "Three O'Clock in the Morning," "Flight of the Bumblebee," "Silent Night," and others
New York Public Library
In this program, composer Milton Babbitt comments on a new piece, Piano concerto no. 2, as well as a 1974 piece called Reflections, which was created using a synthesizer. Pianist Robert Taub joins Babbitt in the discussion and plays selections from Piano concerto no. 2 and the piano accompaniment to Reflections in its entirety. The commentators discuss the musical structure of Piano concerto no. 2, which lacks extended piano cadenzas but is composed in a series of phrases orchestrated for piano and four additional instruments, which vary during any given passage
University of Washington
Professional tips and secrets from rock musicians for those serious about learning to play rock and roll
New York Public Library
This program includes a panel discussion about collaborations between poets and composers, interspersed with performances of three such collaborations, and with unaccompanied readings by the poets. Panelists discuss the origins of and processes involved in the creation of their works, and the employment of technology such as synthesizers and computers in their compositions

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