Publicity Photo. Irene Heskes' "favorite one," 1952
The Irene Heskes Collection at the Library of The Jewish Theological Seminary consists almost entirely of the papers of American Jewish musicologist Irene Heskes (1923-1999). At the time of their donation these included her archival papers, 1883-1999; two hundred thirty-four titles of early American Yiddish Theatre music, 1897-1923; and numerous scores and books on music collected by Heskes for performance and research purposes. This inventory describes Heskes' archival papers. The fifteen books authored, coauthored, or edited by Heskes, 1965-1994, that were part of the J.T.S. Music Library before the donation, may be accessed through the library's Aleph on-line catalog. The donated scores and books on music were given special bookplates, and, also, catalogued and integrated within the Music Library's collection. The Yiddish Theatre sheet music — mint, unsold copies from the defunct Hebrew Publishing Company — shall be catalogued at a later date and become part of the general collection as well.
Note: All the musical scores and published books may be accessed through the JTS Library Catalog (Search under "Heskes, Irene" or title)
The archival papers of Irene Heskes represent a lifetime of
scholarly research by a multi-faceted writer, lecturer, performer
and passionate advocate for Jewish music. There are drafts and
correspondence related to the publication of Heskes' books, 1981-1997;
periodicals and tear sheets with her numerous articles and reviews,
1953-1995; typescripts of her lectures, ca.1973-1997; as well
as family photographs, 1924-1998. Though she pursued a broad range
of Jewish music topics embracing Europe, Russia, the Middle East
and several historical periods, Heskes' greatest passion appears
to have been the music of American Jews living in the twentieth
century. Along with the Yiddish sheet music mentioned above, there
is extensive research on New York's Yiddish Theatre, 1883-1997.
There are also official memos and correspondence from Heskes'
years as Music Consultant as well as Director of the National
Jewish Music Council, 1968-1980; almost all of that organization's
publications, 1946-1979; and a complete run of bulletins from
New York's Theodor Herzl Institute, where Heskes frequently lectured
between 1960 and 1976.
Poster. Jewish Music Council's annual Jewish Music Festival, 1974.
Irene Newman Heskes was born in Brooklyn, New York on June 15, 1923. She was a second-generation American Jew who — unlike many of her generation — sought to embrace both her American and Jewish heritages. As a musicologist this gave her a unique perspective, and probably set her on the pioneering path of investigating America's Jewish music. The focus of her research provides an important bridge between an earlier generation of American Jewish musicologists who had strong ties either to Europe or the American immigrant experience and the present day generation with its firm ties to the American academic community.
Little can be ascertained about Irene Heskes' early life from her papers. According to her family, she was the Valedictorian for the Class of 1939 at Lincoln High School, Brooklyn, N.Y. She graduated Summa Cum Laude from New York University in 1943, and that same year was awarded the William Mason Fellowship for graduate study in music at Columbia University. She married Jacob Heskes (1920-2002) on May 18, 1946, and did not complete her studies at Columbia. Around this time Heskes began teaching music in Hebrew schools in the New York metropolitan area. One of her bios describes her activities as, "Music Education Specialist, Choir Leader," 1950-1958. She also began performing and giving musical demonstrations and lectures. Irene Heskes was listed in the 1948 Jewish Welfare Board's Lecture Bureau catalogue as "Soprano pianist; leader of group singing." She was featured as "Singer-Pianist, Lecturer" in every edition of the Board's biannual Directory of Artists from ca.1952-1970. Heskes stopped performing in 1970, though she continued to lecture through the final year of her life (1999).
Irene Heskes was accepted into The Jewish Theological Seminary's training program for teachers of Jewish Music in September 1947. She eventually received a Teacher's Certificate from the Hebrew Union School of Education in 1951. According to another bio, Heskes pursued studies in voice and piano at the Juilliard School from 1941 until 1950. She received a degree in Cantorial Studies from the Cantors Institute at The Jewish Theological Seminary in 1963, studying there with Cantor Max Wohlberg. In 1969 Heskes received a Music Educator's Administrative Certificate from the Eastman School of Music, and certification in Arts Administration from Harvard University's Graduate School in 1971. She pursued additional studies in Jewish musicology at the Hebrew Union College-Jewish Institute of Religion School of Sacred Music, and often referred to musicologist Eric Werner as her "mentor." She also appears to have had a collegial relationship with Cantor Gershon Ephros. Both Werner and Ephros were faculty members of the H.U.C.-J.I.R. School of Sacred Music.
Heskes' daughter Deborah Aviva was born in 1949 and her son Walter Morris in 1953. During 1954, and perhaps some other years, she had her own weekly radio program on WEVD, New York's Jewish radio station. She published her first article in The Jewish Teacher in November 1953 and then began making periodic contributions as music reviewer and music consultant for Congress Weekly, the national publication of the American Jewish Congress, 1954-1966. Heskes was a prolific writer whose published articles and reviews are too numerous to list here. She did, however, manage to compile a bibliography of her articles published between 1954 and 1966. This bibliography as well as most — perhaps all — of Heskes' published articles, 1953-1995, may be found in Sub-Series D2; "Writings, Published Articles."
Heskes had a long, fruitful association with some Jewish organizations. From 1960-1976 she was staff music consultant and frequent lecturer for New York's Theodor Herzl Institute. As early as 1963, she was appointed to the nominating committee of the National Jewish Music Council. Her association with the Council would last until 1980.
Irene Heskes' years at the Jewish Music Council were not — to this author — her most important creative years; however, they would provide the necessary background for her later groundbreaking work in the field of American Jewish musicology. She began freelancing for the Jewish Music Council in 1965, editing the monograph, A.W. Binder: His Life and Work. Continuing in this capacity, in 1967 she co-edited with Arthur Wolfson, The Historic Contribution of Russian Jewry to Jewish Music. From 1968 until the end of 1980 Heskes worked one to three days a week as a staff member of the Council. She served initially as Music Consultant, 1968-1972, then Director, 1972-1980. One of her duties during this time must have been preparing the organization's annual catalogue, as her name is on most of those published between 1972 and 1979. Other important publications that Heskes edited for the Jewish Music Council are, The Cantorial Art, 1966; and, in association with Suzanne Bloch, Ernest Bloch: Creative Spirit, 1976. Her first major book grew out of her work with the Council, when she edited Studies in Jewish Music: Collected Writings of A.W. Binder (New York: Bloch Publishing, 1971).
Tee-Shirt. Worn by Heskes and staff organizing Yiddish Theatre music on New York's Lower East Side, 1980.
1980 was an important year in Irene Heskes' professional career for a variety of reasons. First, she left the Jewish Music Council. Founded in 1944, under the auspices of the National Jewish Welfare Board, the Council ceased to be a functioning organization after budgetary constraints forced Heskes out at the end of 1980. Then, almost simultaneously, she founded the Yiddish Theater Music Restoration and Revival Project. This project originated with the donation of six hundred boxes of mint condition Yiddish Theatre music to Heskes from the Hebrew Publishing Company in March 1980. She was contracted to develop educational uses for the collection and that summer was assisted in its organization and cataloging by deaf students on New York's Lower East Side. (A sample of the tee-shirt from the project worn by Heskes and the students may be found in Box 34.) Heskes donated six cartons of this music to the Library of Congress in 1987; these titles were combined with the Library's Lawrence Marwick Roster of Copyright Entries, then catalogued and annotated in Heskes' third major book, Yiddish-American Popular Songs, 1895-1950 (Washington: Library of Congress, 1992). This volume begins with her highly informative twenty-three page essay on Yiddish Theatre music, and is followed by introductory summaries for each year and 3,427 salient annotations.
Heskes' departure from the National Jewish Music Council marked the beginning of her final and most fruitful professional period. Convinced by her son-in-law, History professor Alan Kraut, that her best work lay ahead, she began writing books recognizing the legitimacy of Jewish music in the United States. This was probably her greatest contribution to the history of Jewish music. In 1985 she published her second book, The Resource Book of Jewish Music: a Bibliographical and Topical Guide to the Book and Journal Literature and Program Materials ( Westport, Conn. Greenwood Press). Heskes describes this reference work as "an annotated roster of published English textual resources." It was to be the first in-depth annotated bibliography prominently featuring American Jewish musical sources.
After Yiddish-American Popular Songs, 1895-1950, Heskes published her fourth and final book, Passport to Jewish Music: Its History, Traditions, and Culture (Westport, Conn.: Greenwood Press, 1994). This book presents a concise and approachable survey of Jewish musical practices around the world. Much of the text comes from Heskes' earlier articles, lectures and book introductions. Her writing on Jewish music in twentieth-century America is particularly valuable, benefiting from her thorough knowledge of the available sources — particularly publications of the National Jewish Music Council. It is also rich in anecdotes from primary sources she knew from her years at the Council. Heskes' forty-nine page essay, "Three Hundred Years of Jewish Music in America," is packed with information on a topic few scholars had ever deemed worthy of serious interest.
Through the nineties Heskes edited and wrote textual material for three anthologies of Jewish music: The Music of Abraham Goldfaden (1990); The Golden Age of Cantors (1991); and The Society for Jewish Music in St. Petersburg (1998) — all of them published by Tara Publications in Cedarhurst, New York. She continued lecturing and writing up to the very end of her life. From 1996-1998 she gave many talks throughout New York state on Yiddish Theatre music for the State Council for the Humanities. In a letter dated January 12, 1999, Heskes wrote that she was "well into my next book … [on] an in-depth history of Jewish music in America from the Colonial beginnings." Her daughter cites a personal diary entry of December 29, 1998 stating, "Home research for new book." It remains unclear how far along Heskes was on this project; no manuscript has been found, and, unfortunately, her computer files had been deleted after her death. Heskes served as editor for the 1999 edition of Musica Judaica: Journal of the American Society for Jewish Music, but, during its preparation, she suddenly became very ill; was hospitalized; diagnosed with severe aplastic anemia; and then died on October 14, 1999.
On April 30, 1997 Irene Heskes was invited to a special preview of the American Treasures of the Library of Congress exhibition. An 1897 Yiddish Theatre poster she had donated had been chosen to be part of this permanent exhibition. There Irene Heskes sat in the newly remodeled Thomas Jefferson Building, listening to readings from the Library's collections by President Bill Clinton, Speaker of the House Newt Gingrich, Senate Majority Leader Tom Daschle, and Chief Justice of the Supreme Court William Rehnquist. It was a fitting place for an American Treasure such as herself.
Note: biographical information comes from the Irene Heskes Papers as well as the following sources:
Newsom, John. "In Memoriam: Irene Heskes (1923-1999)." Musica
Kraut, Deborah. Electronic mails to cataloguer.
8 January 2003, 16 January 2003, 22 January 2003.
Script from Judischen Faust. Performed by Regina Prager with the Lemberger (Lwow) Jewish Opera Theater, ca. 1893.
On January 13, 2000 Irene Heskes' daughter and son-in-law, Deborah and Alan Kraut, donated eighteen cartons of her music and general reference books to the Library of The Jewish Theological Seminary. Prior to this the J.T.S. Music Library only possessed a few books authored by Irene Heskes in their circulating collection. Later that day the Krauts decided to donate ten cartons of archival material, which contained all of Irene Heskes' personal files. Among these cartons there were two that contained mint condition sheet music from New York's Yiddish Theatre, 1897-1923. These two hundred thirty-four titles were most likely Irene Heskes' personal research copies from the initial donation to her by the Hebrew Publishing Company. One of the clauses of the March 10, 1980 agreement between Heskes and the Hebrew Publishing Company states: "It is the ultimate intention of both parties to donate to various cultural, educational, and governmental organizations, copies of the collection." On January 21, 2003, the Krauts donated nineteen personal family photos, 1924-1998; a laminated New York Times newspaper article (July 19, 1980); and a tee-shirt from the American Yiddish Theatre Music project, which took place during the Summer of 1980. The Kraut family retains possession of over thirty of Irene Heskes' personal daily planner books.
Invitation to Mailamm reception for émigré composer Arnold Schoenberg, New York, 1934.
Boxes 1-3; 34
This sub-series was created to include miscellaneous folders and materials that do not quite fit in with the other four sub-series. Highlights include: "Conference[s] and academic events" attended and participated in by Heskes, 1981-1998 ( Box 1, folder 3); publicity handbills with photographs, ca.1947-ca.1985 ( Box 2, folder 3); a selected list of Heskes' publications, ca.1983, as well as biographical information found in résumés (2/1) and Who's Who (3/4). Box 34 is a flat box that contains nineteen personal photographs of Irene Newman Heskes, 1924-1998, as well as laminated newspaper articles and a tee-shirt from the 1980 American Yiddish Theatre Music project. Heskes also considered it important enough to create a separate folder of "Letters received from 'notables' over the years," 1954-1992 (2/4). These include a few letters from Jewish musicologists, Ruth Rubin, 1963-1991, and Judith Kaplan-Eisenstein, 1981-1992; composer Miriam Gideon, 1971-1977; and Yiddish singing-actress Molly Picon, 1980. The tone of all these letters is friendly and casual.
The subject heading is Heskes' own. These files contain thank-you letters, newspaper clippings and programs related to Heskes' earliest performances and presentations, 1947-1962 (4/1). There is much official correspondence from her years as Music Consultant, 1968-1972, then Director of the National Jewish Music Council, 1972-1980 (5/1 through 8/1). Heskes subtitled Box 7, folder 2 "struggle starts," which most likely refers to her last, struggling years working for the National Jewish Music Council, 1979-1980. Other highlights in this sub-series include: personal correspondence with Hollywood producer Dore Schary, 1976-1980, who served as Chairman for the Jewish Welfare Board's Bicentennial Conference on the Jewish Cultural Arts (6/2); and a few letters intimating that Heskes was "well into … an in-depth history [book] of Jewish music in America …" when she passed away in the Autumn of 1999 (10/2).
Box 11, folders 1-3
This sub-series includes material related to a speech denouncing anti-Semitism given by composer Arnold Schoenberg before the Jewish music organization Mailamm in New York City on April 29, 1934. There is correspondence with the Schoenberg heirs and Schoenberg Archive; an original invitation to the event; and a photocopy of Schoenberg's typed and edited speech, 1934-1980 (11/2).
Box 11, folder 4-Box 14
The bulk of these materials center around a book Heskes was planning to write in 1993 on the life and influence of Cantor Aron Friedmann (1855-1936) of Berlin. Of note are some of Aron Friedmann's books and articles that were given to Heskes by Friedmann's son at one of her lectures. There are signed editions of Aron Friedmann's book, Lebensbilder berühmter Kantoren, III Band, 1927; and the pamphlets, 50 Jahre in Berlin (1878-1928), 1929; Abraham Zwi Idelsohn: zu seinem 50. Geburtstage, 1932; and Musikalische Betrachtung über einige traditionelle Synagogenmelodien, 1936 (11/ 4 through 12/1). This sub-series also includes Heskes' research papers on Jewish music, written for her Nusah (liturgical prayer modes and repertoire) class at the Cantors Institute of The Jewish Theological Seminary, 1963 (12/3).
Photo. Irene Heskes standing in front of Library of Congress display case with donated Yiddish Theatre poster, 1997.
Here is a rich body of research, much of it utilized in Heskes' book, Yiddish-American Popular Songs, 1895-1950 (15/3). The "1980, Summer Yiddish Songs Project" folder contains correspondence about Heskes' Yiddish Theater music project on New York's Lower East side as well as copies of the resulting article in The New York Times, 1980 (18/4). A hand-written inventory of the six cartons of music that she donated to the Library of Congress in 1987 may be found in Box 17, folder 3. In addition, a Hebrew Publishing Company catalogue with every music item numbered and underlined may be found in Box 17, folder 1.
This sub-series also includes a folder with multiple published versions of the Yiddish Theatre song Eli, Eli, which, curiously, came to be considered a Yiddish folk song of Russian origin, 1906-1955 (16/1). Finally, there are some unique materials that had been given to Heskes by the daughter of Yiddish Theatre primadonna Regina Prager (1874-1949). These include a handwritten Yiddish script of the Judischen Faust by Moritz Schwarz, from the "Lemberg Jewish Opera Theatre," ca. 1893; a pamphlet in German, Ein jüdisches Operntheater und seine Primadonna, by Hermann Schärf, published in Czernowitz, 1893, that gives biographical information on Prager; a libretto from theYiddish theatrical Chachmot Nashim (The Wisdom of Women) at the Bowery's Windsor Theatre in 1899; (all, Box 17, folder 4); and an 1897 Yiddish Theatre poster with Prager's photo, from the Bowery's Thalia Theatre. Irene Heskes donated this poster to the Library of Congress in 1992 and it was installed in their permanent "American Treasures" exhibit in 1997. She attended the opening of the exhibit, which featured the singing of mezzo-soprano Marilyn Horne as well as readings by President Bill Clinton, Speaker of the House Newt Gingrich, Senate Majority Leader Tom Daschle, and Chief Justice of the Supreme Court William Rehnquist (18/1).
Box 19-Box 20, folder 2
Box 19, folder 2 contains a large number of Heskes' lecture texts written between 1973 and 1985. She summarizes their topics as: "Yiddish/Theater; Americana/European; History/General; Liturgical; Holidays; [and] Holocaust." Also worth mentioning is Heskes' 1997 lecture on composer Miriam Gideon (1906-1996), which contains both biographical and bibliographical information (19/5).
Box 20, folder 3-Box 22
Heskes compiled a bibliography of her earliest published articles and reviews, 1953-1966 (20/3). It lists and abstracts her contributions to the magazines collected here (20/4 through 21/2). The magazines are: Congress Bi-Weekly, 1954-1966; World Jewry, 1960; Jewish Affairs, 1956, Le Judaisme Sephardi, 1961; Kol Sepharad, 1964; Jewish Frontier, 1960-1961; The Reconstructionist, 1961; The Jewish Teacher, 1953-1954; Adult Jewish Leadership, 1955-1956; UPTA Beacon, 1963; Recall, 1963; Tatzlil=The Chord, 1964; and Herzl Institute Bulletin, 1964. Heskes also collected tear sheets of her assorted articles published between 1947 and 1995 (21/3).
Box 23-Box 25
This sub-series organizes Heskes' folders focusing on her larger published works. The materials contained within them include early drafts, correspondence, contracts, publicity and research relevant to these publications. Highlights include a copy of The Jewish Music Forum Bulletin, 1949-1955, used for Heskes' 1997 American Music article, "Shapers of American Jewish Music: Mailamm and the Jewish Music Forum, 1931-1962" (23/1); as well as an original typescript of "The Ideas and Theories Behind My Synagogue Composition" by A.W. Binder, 1966, one of many essays edited by Heskes in her book, Studies in Jewish Music: Collected Writings of A.W. Binder, 1967-1970 (23/2). There is correspondence and information regarding the publication of her two books, Passport to Jewish Music, 1990-1994 (24/1), and The Resource Book of Jewish Music, 1981-1993 (24/3 through 25/1). Finally, there are drafts and correspondence related to "Jewish Music in North America," written for the yet-to-be-published encyclopedia, The Universe of Music: A History, 1982-1991 ("… UMH …," Box 25, folder 2). A revised version of this monograph was published under the title "Three Hundred Years of Jewish Music in America," in Heskes' book, Passport to Jewish Music.
Heskes collected almost all of the Council's publications during her years there (1968-1980) as well as additional annual publications that predated her tenure, 1942; bulk 1946-1979 ( Boxes 27-28 ). She also collected posters from the Council's annual Jewish Music Festival, 1967-1981 (26/2) as well as a complete run of the organization's bi- or triennial supplement, Jewish Music Notes, 1946-1968, published in the Jewish Welfare Board's bimonthly periodical, JWB Circle. (26/1). Heskes began contributing short articles to Jewish Music Notes in 1965.
Bound paperback publications of the National Jewish Welfare Board include Learning for Jewish Living, 1960-1978 (Box 29), and The Jewish Arts: A Directory of Artists Represented by JWB Lecture Bureau, published biannually, ca.1952-1970 (Box 30). In every edition of The Jewish Arts, Irene Heskes is featured as "Singer-Pianist, Lecturer."
Heskes began lecturing at the Herzl Institute in 1960. She had an annual lecture series from 1961 until 1976, presenting several lectures on topics as diverse as "The Bible in Music," 1962-1963, "The Tapestry of Israel's Music," 1974-1975 and "American Jewish Music, 1975-1976." The lecture topics and dates are listed in "Program Preview[s]," 1960-1967 (31/1); as well as in a complete run of Herzl Institute Bulletins, 1964-1976 (31/2 through Box 33).
These fourteen published books were either part of the J.T.S. Music Library or part of Heskes' personal collection at the time her papers were donated. They include her four major books, 1971-1994, as well as paperback publications from the National Jewish Music Council, 1965-1980. (See National Jewish Music Council above.)
Note: All the musical scores and published books may be accessed through the JTS Library Catalog (Search under "Heskes, Irene" or title)
These 234 titles appear to be personal research copies kept by Heskes from the Hebrew Publishing Company's original 1980 donation. (See Biographical Note, Provenance, and Yiddish Music/ Yiddish-American Popular Songs, 1895-1950, above.) These scores have not yet been cataloged and are currently being stored in a secure location.
Eliott Kahn, D.M.A.
January 22, 2003
Titles in [brackets] by cataloguer; other titles by Irene Heskes
A. SUBJECT FILES, 1924-1999
|1||1||American Jewish Historical Society, 1995|
|2||[Committee for Preservation of Jewish Russian Music], Russian project, [David] Wolfson, 1998-1999|
|3||Conference and academic events, attendance and participation, 1981- 1998|
|2||1||[Heskes bios, proposals], Materials re: HUC-JIR per Saul Steinberg, 1973-1990|
|2||[Heskes clippings, programs, miscellaneous], 1941-1999|
|3||[Heskes publicity], ca.1947-ca.1985|
|4||Letters received from "notables" over the years, 1954-1992|
|5||[Materials donated to NYPL]: Don McCormack, Rodgers & Hammerstein Recording, NYPL-L Center, 1996|
|3||1||[Materials donated to NYPL]: Songbook inventory, 1995|
|2||Music research needed, n.d.|
|3||[United States Bicentennial, Jewish celebrations], 1956-1976; bulk 1975-1976|
|4||Who's Who listings, domestic, Israeli, and European, 1979-1995|
|34||(flat)||Family photos, tee-shirt, newspaper article, 1924-1998|
B. SIGNIFICANT LETTERS, DOCUMENTS, AND LECTURE PUBLICITY, 1943-1999
Significant letters, documents, and lecture publicity, 1943-1962
|2||Significant letters, documents, and lecture publicity, 1963-1965|
|5||1||Significant letters, documents, and lecture publicity, 1966-1968|
|2||Significant letters, documents, and lecture publicity, 1969-1972|
|6||1||Significant letters, documents, and lecture publicity, 1973-1975|
|2||Significant letters, documents, and lecture publicity, 1976 Bicentennial,and Dore Schary, 1976-1980|
|7||1||Significant letters, documents, and lecture publicity, 1977-1978|
|2||Significant letters, documents, and lecture publicity, "struggle starts," 1979|
|8||1||Significant letters, documents, and lecture publicity, 1980|
|2||Significant letters, documents, and lecture publicity, 1981-1982|
Significant letters, documents, and lecture publicity, 1983-1988
|2||Significant letters, documents, and lecture publicity, 1989-1992|
|10||1||Significant letters, documents, and lecture publicity, 1994-1997|
|2||Significant letters, documents, and lecture publicity, 1998, |
C. RESEARCH, 1883-1997
1. American Jewish Music, 1934-1980
|11||1||American Jewish hymnology, source materials, 1949-1976|
|2||Arnold Schoenberg … Mailamm, 1934-1980|
|3||[Bloch, Ernest], 1955-1976|
2. Central European Synagogue Music/ Cantor Aron Friedmann Project, 1927-1995
|11||4||Aron Friedmann, writings already translated into English, 1929-1933|
|12||1||Aron Friedmann … writings to be translated, 1927-1936|
|2||Correspondence, research contacts, Germany, Berlin, 1972-1994|
|3||General material on Jewish music history …, 1955-1982; bulk 1961-1963|
Germany, historical background research, 1993-1995
|2||Historical background materials … 19 th and 20 th century Europe …, 1968-1995|
|3||Historical background materials … 19 th and 20 th century Europe …, 1968-1995|
|14||1||Kurt Weill/ Cantor Albert Weill, 1994-1995|
|2||Ongoing correspondence and contacts for Friedmann Project, 1993-1995|
|3||Other European cantors of 19 th-20 th centuries relevant to … Aaron Friedmann, 1948-1974|
3. Yiddish Music/ Yiddish-American Popular Songs, 1895-1950, 1883-1997
|15||1||Abraham Goldfaden, 1938-1985|
Contrafacta materials, 1912-1964
|3||Correspondence … for LC Yiddish songs book, 1984-1992|
|16||1||Eili, Eili, 1906-1955|
|2||Follow-up materials for LC Yiddish-American Popular Songs, 1983-1995|
|17||1||Hebrew Publishing Company and National Yiddish Book Center and YIVO, 1979-1992|
|2||Imber-Freidus, Hatikvah, 1909-1996|
|3||[Materials donated]: Israel, Hebrew U[niversity] Nat[ional] Library; Library of Congress, Music Division, 1980-1992|
|4||[Prager, Regina, materials], 1883-ca.1900|
|18||1||Thalia Theatre poster … LC Division of Prints, 1997|
|2||[Yiddish-American Popular Songs], Some additional source material, ca.1895-ca.1925|
Zunser, Eliakum, n.d.
|4||1980, Summer Yiddish Songs Project, 1980|
D. Writings, 1946-1998
1. Lectures, ca. 1973-1997
|19||1||Broad sweep, Jewish Music, historical overview, ca.1980|
|2||Lecture texts, 1973-1985|
|3||[Lectures, assorted, with outlines], n.d.|
[Lectures, miscellaneous], n.d.
|5||"Miriam Gideon, 1906-1996 …," 1975-1997|
|20||1||[Yiddish Theatre music I], ca.1973|
|2||[Yiddish Theatre music II], ca.1973|
2. Published Articles, 1947; 1953-1995
[Bibliography of Heskes magazine articles], 1954-1966
|4||Congress bi-Weekly, 1954-1960|
Congress bi-Weekly, 1961-1966
Jewish Affairs, 1956 … Kol Sepharad, 1964, 1956-1964
|2||The Jewish Teacher, 1953-1954 … Tatzlil (The Chord), 1964, 1953-1964|
|3||Tear sheet copies of articles, reviews, and other writings, 1947; bulk 1965- 1995|
|22||1||[Assorted clippings, articles], 1965-1989|
[Assorted clippings, articles, programs], 1963-1989
3. Publications: Drafts, Correspondence, Press, 1946-1997
… American Music, [article for], 1946-1997
|2||[Binder, A.W., clippings, articles, programs], 1967-1970|
|3||Encyclopedia of U.S. Popular Culture …, 1993-1997|
MLA Book Review, Wagner, 1995-1996
… Passport to Jewish Music, 1990-1994
|2||Promo pieces for books, 1981-ca.1996|
|3||… The Resource Book of Jewish Music, correspondence, contract, 1981-1993|
|25||1||… The Resource Book of Jewish Music, reviews and follow-up, 1985-1987|
|2||… UMH, [The Universe of Music: A History] … American Jewish Music, 1982-1991|
E. Organization Publications, 1942-1981
1. National Jewish Music Council, 1942-1981
Jewish Music Notes, 1946-1968
|2||[Jewish Music Festival posters], 1968-1981|
|27||[Publications], 1942; 1946-1968|
2. National Jewish Welfare Board, 1948-1980
|29||[Assorted Publications], 1949-1951; 1957-1980|
|30||The Jewish Arts: A Directory of Artist s Represented by the Jewish Center Lecture Bureau, 1948-1970|
3. Theodor Herzl Institute, 1960-1976
"Program Preview," 1960-1967
Herzl Institute Bulletin, 1966-1968
Herzl Institute Bulletin, 1964-1966
|32||Herzl Institute Bulletin, 1969-1972|
Herzl Institute Bulletin,1973-1976
A. SUBJECT FILES, 1924-1999
|34||(flat)||Family photos, tee-shirt, newspaper article, 1924-1998|