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Title: Bruno Nettl Papers, 1949-2010
Primary Creator: Nettl, Bruno (1930-2020)
Extent: 20.75 cubic feet
The Bruno Nettl Papers were initially arranged into two distinct Series: Series 1) Correspondence and Series 2) Sound Recordings in 2006. After restrictions on the collection were lifted in 2009 and additional materials were acquired from Bruno Nettl in 2013, the papers were re-arranged keeping the original order of the 2006 arrangement in tact. All materials recevied after 2013 were arranged either chronologically or alphabetically. The 2019 arrangement partitioned the papers into four distinct series: Series 1: Administrative Records, Series 2: Correspondence, Series 3: Research, and Series 4: Sound Recordings. A fifth series was created with the 2021 addition: Series 5: Recognition and Photographs.
Series 1: Administrative Records is arranged into two sub-series: 1) University of Illinois Musicology Department Files and 2) Course Files for Musicology Courses, Anthropology Courses, and Other University Residencies. Starting with the 2019 acquisition, Subseries 1 and 2 are arranged chronologically when possible and alphabetically by subject when not.
Series 2: Correspondence is arranged into three sub-series: 1) Administrative Correspondence, 2) Professional Organization and Committee Correspondence, and 3) Personal and Research Correspondence. Subseries 1) Administrative Correspondence was arranged alphabetically in 2013. Subseries 3) Personal and Research Correspondence was arranged chronologically.
Series 3: Research is arranged into three sub-series: 1) Writings, Lectures, and Grant Applications, 2) Field Notes, Transcriptions, and Primary Research Materials, and 3) Secondary Sources and Annotations. Starting with the 2019 arrangment, Subseries 1 and 2 were arranged chronologically and Subseries 3 was arranged alphabetically by author's last name and chronologically by publication date when necessary. The 2021 addition follows the 2019 arrangement, with the addition of two further sub-series: 4) George Herzog Project (1928-1999) and 5) Paul Nettl Papers. Sub-series 4 is arranged alphabetically by name, and sub-series 5 is arranged chronologically.
Series 4: Sound Recordings is arranged chronologically and by collection and tape number therein. All undated tapes have been arranged alphabetically by subject. The sound recordings acquired in 2021 were arranged into three sub-series: 1) Field Recordings and Research, 2) Demonstrations, Lectures, and Example Recordings, and 3) Commercial Recordings. Sub-series 1 and 2 were arranged chronologically, and by collection and tape number where applicable, with undated tapes arranged alphabetically by title. Sub-series 3 is arranged alphabetically by performer.
Series 5: Recognition and Photographs is arranged into two sub-series: 1) Diplomas, Awards and Honorary Degrees and 2) Photographs. Subseries 1 and 2 were arranged chronologically.
Date Acquired: 01/13/2006. More info below under Accruals.
Subjects: Champaign, Illinois, Ethnography, Ethnomusicology, Folklore, Folk music, Folk music - Instruction and study, Folk music - Music teachers, Indian Dance, Indians of North America -- Music, Music, Music, School of, Music -- India, Music - Instruction and study, Music -- Iran, Music -- Montana, Music -- Native American, Tehran, Iran, World Music
Languages: English, Persian, Persian, Spanish;Castilian, German, Czech, Korean, Italian, Chinese
Consists of administrative records, correspondence, published and unpublished research, and field recordings of Bruno Nettl while a professor of Musicology for the University of Illinois School of Music. The papers document Nettl's career as a teacher, administrator and internationally recognized researcher. Of particular interest is correspondence between Dr. Nettl and other renowned musicologists including Gerard Behauge, Stephen Blum, Philip Bohlman, Charles Hamm, Daniel Neuman, Stephen Slawek, Theodore Solis, Christopher Waterman, and Robert Witmer. In addition, these papers contain his field notes, field recordings, and melodic transcriptions from his three main research inquiries: the Blackfoot Native Americans, Persian Classical Music, and Indian Music. Additional areas of interest documented in The 2021 addition to the collection are Nettl's engagement with the work of other renowned musicologists Paul Nettl this father) and George Herzog, and the international commercial recordings collected by Nettl through his research.
Bruno Nettl (1930-2020) was born March 14, 1930 in Prague, Czechoslovakia. He is the son of the late musicologist Paul Nettl, who taught at Indiana University from 1946-1964. After emigrating to the United States at the age of nine, he began studying music. In 1950, he graduated from Indiana University with a bachelors degree in music. In 1951, he wrote his master's thesis entitled, "The Musical Culture of the Arapaho." Nettl completed his doctoral studies with the eminent musicologist, George Herzog, and graduated with a PhD in musicology from Indiana University just two years later. His dissertation, "American Indian Music North of Mexico: It's Styles and Areas," would later be expanded in several articles and books on Native American musics. After receiving his first faculty position as a musicologist at Wayne State University in 1953, Dr. Nettl received a Fulbright Lectureship at the University of Kiel in Germany in 1956. Four years later, Dr. Nettl received a master's degree in library and information science at the University of Michigan.
In 1964, Dr. Nettl was hired as an Associate Professor of Music at the University of Illinois. After being promoted to Professor of Musicology and Anthropology in 1967, he served as the head of the musicology department at Illinois from 1966-1968, 1969-1972, 1975-1977, 1982-1985, and 1987-1989. Dr. Nettl was instrumental in establishing a curriculum for the discipline of Ethnomusicology and his early courses at the University of Illinois show the interdisciplinary nature of his design. He offered a year-long survey in world musics as well as specific area studies geared toward graduate and undergraduate students. During his time at the University of Illinois, he served as the dissertation advisor to several important musicologists including: Stephen Blum, Philip Bohlman, Doris Dyen, Martha Ellen Davis, Marcello Sorce Keller, Daniel Neuman, Ronald Riddle, Ali Jihad Racy, Stephen Slawek, Theodore Solis, Christopher Waterman, and Robert Witmer. In 1992, he became Professor Emeritus and began teaching part-time. In 2000, Dr. Nettl and his wife, Wanda, endowed an annual lecture series featuring the work of eminent musicologists at the University of Illinois. Some of the participants of this lecture series include: Philip Bohlman, Pamela Potter, Thomas Turino, Martin Stokes, Jeff Todd Titon, Portia Maultsby, Alejando Madrid, and Kay Kauffman Shelemay.
Dr. Nettl's research includes three principal areas: Blackfoot Native American Music, Persian Classical Music (Radifs), and South Indian Music (Carnatic Music). Principally, his field research took place in Montana, Tehran, Jerusalem, and Madras between 1965 and 1982. In 1965 he began conducting research on various Blackfoot reservations in Montana. His research on the Blackfoot People would also bring him the Museum of the Southwest in 1984, where he consulted hundreds of early audio recordings of Blackfoot music. In 1966, he received a Fulbright Research Fellowship to conduct research in Iran. While in Tehran, he studied with the eminent Iranian pedagog Nur Ali Borumand. In the early 1970s, Nettl continued his research on Persian Radifs in Jerusalem, examining audio recordings at the Lachman Collection. His research on Blackfoot and Iranian music resulted in two of his most famous ethnographies: The Radif of Persian Music: Studies of Structure and Cultural Context (1987) and Blackfoot Musical Thought: Comparitive Perspectives (1989). In addition to these two primary research interests, he has written extensively about the history of the discipline of Ethnomusicology. His work on this subject includes the following books: Theory and Method in Ethnomusicology (1964), The Study of Ethnomusicology: 29 Issues and Concepts (1983), Encounters in Ethnomusicology, a Memoir (2002), The Study of Ethnomusicology: 31 Issues and Concepts (2005), and Nettl's Elephant: On the History of Ethnomusicology (2010). Dr. Nettl has also written and edited several editions of the popular world music survey Excursions in World Music (1992-2012) and has written several definitions related to his world music research for Oxford New Grove Dictionary of Music as well as The Garland Encyclopedia of World Music.
Dr. Nettl has served on numerous national and international councils related to ethnomusicology and folk music. In 1961, he became the editor of the Society for Ethnomusicology (SEM) Journal, Ethnomusicology. The Society for Ethnomusicology had been founded only six years prior to his engagement as editor. He would later serve as the society's president from 1969-1971 and as editor of the journal once more from 1985-1989 and from 1998-2002. In 1983, he was awarded the Charles Seeger Lecturer Prize and in 2005 the Society awarded him a lifetime service award as well as the title of "Board Member Emeritus." Since 2012, the Society for Ethnomusicology has offered the Bruno Nettl Prize for historical studies on the field of Ethnomusicology. Beginning in 1972, he served as the general editor for the Detroit Studies in Music Bibliography (DSMB). Between 1974-1977, he served as the editor to the Journal Yearbook of the International Folk Music Council. He has also served on the editorial boards for the Harvard Dictionary of Music, The Garland Encylcopedia of World Music, and Chicago Studies in Ethnomusicology. He became a member of the Executive Board of the College Music Society in 1977 and served until 1981. In 1985, he acted as the Spivacke Consultant to the Music Division of the Library of Congress. He also served on the Board of the International Society for Music Educators (ISME) In the early 1990s.
Dr. Nettl has also won several major awards for his research and his contributions to the field of Ethnomusicology. In 1981 he was named a fellow of the American Insititute for Indian Studies and a Senior Fellow for Independent Study and Research. Most recently in 2009, he received a Mellon Distinguished Emeritus Fellowship. He died after a short illness on January 15, 2020.
Folk music - Instruction and study
Folk music - Music teachers
Indians of North America -- Music
Music, School of
Music -- India
Music - Instruction and study
Music -- Iran
Music -- Montana
Music -- Native American
Repository: The Sousa Archives and Center for American Music
Accruals: Papers were initially acquired on January 13, 2006 and were restricted until 2009. An additional two boxes of sound recordings and one box of correspondence was added on May 4, 2013. Four additional boxes of files were added on May 2, 2019. An additional seven boxes of files and twelve boxes of sound recordings were added on July 21, 2021. An addition of two boxes of files and one box of cassette recordings were added on July 25, 2022.
Access Restrictions: Collection restricted until January 13, 2009, opened January 14, 2009.
Acquisition Source: Bruno Nettl
Acquisition Method: Gift
Other Note: Pages
This series contains sound recordings made by Dr. Nettl on his research trips, duplications of recordings he studied, and mixed recordings he used as audio examples for his courses. This series also contains a number of recordings from the Wayne State University Library Archive of Ethnomusicology and the University of Illinois Ethnomusicology Archives of Sound Recordings, both of which were founded by Bruno Nettl. Of particular note are field recordings and interviews Nettl conducted while on Fulbright in Tehran while studying with Nur Ali Borumand, who rarely performed or recorded his performances. Also of note are copies of Persian music found in the Lachman Collection in Jerusalem; Nettl's field recordings of Arapaho, Shawnee, Blackfoot, and Kiowa music; and Nettl's field recordings of South Indian music from Madras.
See Also: (12/5/75) School of Music Ethnomusicology Archives of Sound Recordings.
See Also: Box 12, Folder 17.
Includes Pre-recorded examples of pow-wows from around the country. 7 1/2 ips. 1 side, 1/4 track. 1/4 inch polyester tape on 7 inch reel.
Side 1: 1. Heydari (continued) 2. Ebadi, Varzandeh, Majd
Side 2: 1. Majd (continued), Badi'i, Safrat
Side 1: Safrat (continued), Bahari, Safrat
Side 2: Safrat; Badi'i, Sajjadi
Side 1: 65/11 Sajjadi
Side 2: 65/11-12
Side 1: Zurkhane music
Side 2: Popular songs
Side 1: KMS Sivo + group: wedding music
Side 2: continued from side 1, including Kriti Nagnmomn near end of song 1
Side 1: Bhajan, Bangalore 1/6/82 (continued from previous tape)
Side 2: Tyagaraja Ardhana, Jan. 14: end of a kriti; chant (Vedic); and background.
Side 1: excerpts from Tyagaraja Aradhana festival. Nadaswaram, Vedic Chant (Jan. 14, 1982) Flute performance/group singing, 2 songs.
Side 2: continued from side 1, Kritis by Tyagaraja
Side 1: radio concert - Jan. 29, 1982, begins after 5 minutes. Madurai N. Krishnan, vocal.
Side 2: continued. Continued on tape 11, side 2, second half.
Side 1: Ramanathan Concert, Feb. 9, 1982 (continued from tape 19 for 15 minutes), K.V. Narayanaswamy, TN Krishnan, Feb. 17, 1982.
Side 2: continuation of Narayanaswamy concert.
Side 1: Continuation of Narayanaswamy concert, Feb. 17, 1982 (last piece has interrruption).
Side 2: Continues after interruption for approx. 2 minutes.
12-inch direct-cut disc. Transcriptions may be found in box 25, folder 26.
Handwritten label: 1A1,2,3,4,5,6,7; 1B3,4; 2B3,4 (side A); 2A2,4; 1B2; 2B2,5; 3A2; 3B1 (side B).
12-inch, direct-cut disc. Transcriptions may be found in box 25, folder 26.
Handwritten label: 2A1,3; 2B1; 1B1; 1A2 (side A); 1756A1; 1758A1,2 (2 strips); 1760B1; 1761A1.
12-inch direct-cut record. Transcriptions may be found in box 25, folder 26.
Handwritten label: 1730A (side A), 1730B (side B).
12-inch direct-cut LP. Transcriptions may be found in box 25, folder 26.
Handwritten label: 1748A (side A), 1748B (side B).
12-inch direct-cut LP. Transcriptions may be found in box 25, folder 26.
Handwritten label: 1741A1,2; 1730B2 (side A); 1728B1; 1750B2 (side B).
12-inch direct-cut record. Transcriptions may be found in box 25, folder 26. Handwritten label:
Side A - Greek: 2B1,2 (beg.); 2A (A.C. Morris). Side B - Rumania: 6A1,2,3; 6B1.
12-inch, direct-cut record. Transcriptions may be found in box 25, folder 26.
side A: 1) Watusi Drums 2) Pomo Perambulating Chant 3) Kouyou Women's Dance 4) Yaswa Marimbas.
side B: 1) Navajo Night Chant 2) Peyote Cult Song (Dakota) 3) Kwakiutl Chieftaness Dance.
12-inch direct-cut disc. 78 rpm. Transcriptions may be found in box 25, folder 26.
side A: 1) Lakota Flute 2) Papago Medicine Song 3) Zuni Corn Grinding
side B: 1) Hopi 2) Seminole Medicine 3) Navajo Night Chant
12-inch direct-cut disc. Transcriptions may be found in box 25, folder 26. Handwritten label:
Side A - Rumania: 1B; 3B. Side B - Moravian-Slovak (N.Y.C): 1B; 2A beg.; 4A1
12-inch direct-cut disc. Performed by Sofia Novoa. Transcriptions may be found in box 25, folder 26.
Includes handwritten label: 5B4; 6B4; 7A1,3; 7B1; 8B3 (side A); 3A1; 3B1; 4A3,4; 5A1; 5B2 (side B).
12-inch, direct-cut disc. Performed by Sovia Novoa. Transcriptions may be found in box 25, folder 26.
Includes handwritten label: 7B3; 8A1,2; 9B2,3; 10B3 (side A); 10A2; 10B2,4,5 (2 strips); 11A2; 12A5; 12B5,4,2 (side B).
12-inch direct-cut disc. Transcriptions may be found in box 25, folder 26.
Includes handwritten label: 6A2,3,4; 6B2,3; 1B5; 1A2; 2A2 (side A); 1A1; 5B1,2,3,4; 6A1 (side B).
Side A: improvisation in Abu Atta, side B: improvisation in Mahour.
Bahari (kamantsche), Ayan (tombak), and Motebassem (tar)
Typed tracklist included. 1. Erlosung vom Galgen 2. Durchs Genster hinab 3. Edelmann und Schaefer 4. Ulinger ("Lady Isabel") 5. Maria ud der Schiffmann 6. St Odilia 7. St. Odilia, 2nd version 8. Die Kreuzauffindung 9. Das letzte Gericht
Side B -- Calendic songs from DG albu. I.10 to I.14; II.1 to II.6
Includes typed tracklist.
Side I: 1. Arapaho Sun Dance 2. Blackfoot War Dance 3. Blackfoot Scalp Dance song 4. Zuni Rain Dance song 5. Papago Medicine song 6. Mohave song (with "rise") 7. Mohave (with complex rise) 8. Navajo Night Chant 9. Navajo Corn grinding song 10. Western Apache song 11. Kwakiutl Hamatsa song 12. Pawnee Ghost Dance song 13. Iroguois Eagle dance 14. Alaskan Inuit 16. Kwakiutl Wolf dance song 17. Sioux flute song 18. Kiowa Peyote song
Side II: 19. Navajo women's song 20. Taos gambling song South America and Mexico 21. Guajiro (Venezuela) - 2 examples 22. Siriono (Bolivia) - 2 examples 23. Amuesha (Peru) 24. Huancaya, Peru, horns (2 examples), then band 25. Campa (Paru, Amazon) -drinking music 26. Aymara (Peru) panpipes 27. Peru, Highlands mestizo music 28. Mazatec mushroom ceremony 29. Yaqui Deer dance song 30. Mapuche female shaman's song 31. Macusi women's grinding manioc song 32. Ona shaman song
Side 1: Short epic, from Herzog recording
Side 2: beginninf of Epic of 1941, Croatia, Lomax recording; Youth of Derdelez Aiya; Song of Bagdad (Barry recording)
Side A: Bayate Tork - Neyriz
Side B: Bayate Esfahan - Neyriz
From University of Illinois Ethnomusicology Archive. Collection no. 31, tape no. 1.
Includes written track listing: "Oriental, mixed Ã¢?? copy of "Musik des Orients" collection.
1. Japan (1-5), 2. Japan (5-9), 3. Japan (9-12.5), 4. Japan (12.5-16), 5. China (16-20), 6. China (20-24), 7. China (24-27), 8. Java (27-30), 9. Java (27-30)."
From University of Illinois Ethnomusicology Archive. Collection no. 31, tape no. 2.
Includes written track listing: "Oriental, mixed Ã¢?? copy of "Musik des Orients" collection, reel 2:
10. Java (1-5), 11. Bali (5-8), 12. Bali (8-12), 13. Bali (12-15), 14. Bali (15-18), 15. Bali (21-25), 16. Siam (21-25), 17. India (25-28), 18. India (28-31)."
From University of Illinois Ethnomusicology Archive. Collection no. 31, tape no. 3.
Includes written track listing: "Oriental, mixed â?? copy of "Musik des Orients" collection, reel 3:
19. Persia (1-5), 20. Egypt (5-9), 21. Egypt (9-14), 22. Egypt (14-18), 23. Tunis (18-21), 24. Tunis (21-24)."
Includes Handwritten track listing: "Pat Bonner - fiddle, J. Gillespie - guitar
1. Fisher's Hornpipe (000), 2. Rouse Maggie (017), 3. Calligan's Reel (029), 4. A Shottised (043), 5. Highland Fling (085), 6. Speed the Plow (085), 7. The Gravel Walk (108), 8. Talking, Old Square Dance Enterprize (120), 9. The Old Folks (157), 10. The Two Sisters (171), 11. Right of way, tape end (187), 12. Haste to the Wedding (195) 13. Fragment (211), 14. Boy O'More (217), 15. The Tenblehouse (235), 16. Old Man & Old Woman (248), 17. Buffalo Girls (267), 18. Flower of Edinboro (282), 19. Arkansas Traveler (300), 20. Sweet Genevieve, Gillespie and wife (341)."
Includes handwritten track listing: English, Indiana, C.C.
558.1 The Oxford Girl (1-2), 558.2 Come All Young Friends (2-4), 558.3 Young Beichan (4-7), 559.1 Darling Betsy (7-10), 559.2 Lass of Loch Royal (10-12), 559.3 Wife of Usher'n Well (12-14), 559.5 Lady Isabel & Elf Knight (14-16), 559.6 Erlinton (16-19), 559.7 Cambic Shirt (19-22), 560.1 Lord Thomas & Fair Ellender (22-23), 560.2 House Carpenter (23-24), 560.4 Fiddle Tune (Solder's Joy) (24-25), 560.8 Golden Vanity (25-29), 561.6 Lass of Lock Royal (24-28), 561.7 House Carpenter (28-30), 561.8 Edwin in the Lowlands (30-)."
Side A: American Indian Lecture (Louisville, Urbana)
Side B: Taqsim Nahawand
1) Varnam. Raga Bhairavi, Kanada ata tala, flute and vl.
2) Kriti: Banturiti by Tyagaraja, Raga Hamsanadhana
3) Kriti Jnana Mudaivane wighsvawars, raga Hamsadhinadi
4) Kriti Raghuvamsa - vina - raga Kadanakuthuhalam
5) Alapana Shankarabharanam
6) Alapana vina - Kalyani
7) Tana, - vina
8) Tanam - vocal (brief) and violin
9) Niraval theme (90 sec)
10) Niraval variations - with mrdangam and kanjira
11) Svara kalpana - Ramnad Krishnan
12) Niraval and svara kalpana - Rag Kalyani Gayathri
13) Svara Kalpana - Balamurali Krishna
14) Tillana - S. Ramanathan
15) Mangalam - Subbalakshmi
1) The Two Sisters (Child 10): a) Virgina, 1939 - Botkin record, b) Jean Ruthie, 1936, c) Artus Moser with dulcimer, d) Andrew Rowan Summers with dulcimer
2) The House Carpenter (Child 243): a) Kentucky 1943 (Lomax rec), b) Virgina 1941 (Lomax rec)
3) The Gipsy Laddie (Child 200): a) A.L. Loyd, b) Woody Guthrie, 1940
4) Edward (Child 13): a) A Californian from Missouri 1941, b) Virginia 1941, c) Ewan McColl
5) The Golden Vanity (Child 286): a) Ewan McColl, b) Kentucky, 1937
6) Lamkin (Child 93): a) North Carolina 1937, b) A.L. Lloyd
7) The Maid Freed from the Gallows (Child 95?): a) A.L. Lloyd
8) Lord Bateman (Child 53): a) Molly Jackson 1935, b) California 1940, c) Pleaz Mobley (Kentucky) with guitar, d) A.L. Lloyd
9) The Bishop of Canterbury (Child 45?): a) California 1938
10) Our Goodman (Child 274): a) Ewan McColl (Scots), b) Tennessee 1943
11) The Farmer's Curst Wife (Child 278): a) A.L. Lloyd, b) 1941, c) Virginia 1942, d) Artus Moser (same version as c)
12) The Wife Wrapped in Wether's Skin (Child 227): a) Ewan McColl
13) The Cherry Tree Carol (Child 54): a) Kentucky 1937, b) A.L. Lloyd
14) The False Knight Upon the Road (Child 3): a) Artus Moser
15) Sir Hugh (Child 155): a) A.L. Loyd
Label on Tape reads: Collection 68: Iran--Chahargah, Example 12 (end) (hesar)
Inside container is set list from U of I Ethnomusicology Archive Collection 68: Recordings of Hesar/Persian Music Demonstration Tape.
setlist inside container reads: TAPE 1 - Dastgah Shur
1st daramad, 2nd daramad, kereshmeh, gusheh-e rohab, 1st naghmeh, 2nd naghmeh, zirkesh-e salmak bamollanazi, salmak, golriz, majles-afrouz, ozzal, safa, bozorg, dobeyti, khara, qajar foroud, hazine
Shur paindaste, gusheh-e rohab, moqadame-ye greyli, razavi, foroud, shahnaz, qaracheh, shahnaz
1) Negah Kon. Viguen Derderian. ("Greek" style)
2) Safar kardeh ("Journey finished"" - Delkash-Chahargh
3) Tik tik-e soat ("Ticking of the clock") Mahtab
4) Qese-ye vafa ("Song of Fidelity") - Gougoush
5) Leili va Majnum - folk song from Shiraz, piano accomp.
6) Dokhat-re farash bashi ("The servant's daughter it will be") - Khorasan. Setarzadeh with dotar
7) Biyad zelzel-e Khorasan ("Memorial of the earthquake of Khorasan") Nejan Alladin with zorah.
8) Delam divaneb shod ("My heart went crazy") Homeria. spoken poem. Then violin solo, Tajvidi.
9) Sufi song ("All my soul"
10) Gol amad, bahar amad ("Flowers came, spring came") Puran
11) Arus Jazireh ("Island wedding") - uran
12) Dokhtar'e falghir ("Peasant's daughter") - Banan long intro
13) Gol keshti ("You planted a flower") Elaheh ("Russian" style?)
14) Songs from film about Golpayegani, "Mard-e henjare-ye tala'i") variety of styles, including classical and folk
15) Music with Indian influence. Mehrpuya, sitar.
16) Chahar mezrab, Segah. Tajvidi, violin
17) Raghs-e arabi ("Belly Dance") - Kasai, flute
18) Darbasteh ("Closed") - Vigen and orch
19) Ateshe Caravan ("Caravan fire") - Delkash
20) Baran, Baran-eh ("It's rain, it's rain") - Vigen and orch
Setlist inside reads: Music 337 - Music in the Czech Lands - Piano Music (short pieces) on folk or national themes.
Side A: Smetana. Czech Dances I (1877) - Polka in A minor, Polka in F., Polka in F-sharp (1878), Czech Dances II (1879) - some pieces are excerpts: Slepicka ("The Hen" - polka), Oves ("Oats" - folk song from Erben), Furiant (dance - the word means "showoff"), Dupak (duple dance - folk song from Erben), Cibulka ("little onion" - folk song from Erben), Medved ("the bear" - folk song from Erben), Hulan ("Uhlan" - calvary officer - folk songn from Erben), Obkrocak (fast dance like polka - 2 songs from Erben)
Side B: Dvorak, 2 Furiants, op. 42 ca. (1978)
Janacek. V Mlhach ("In the Fog") 1st and 2nd of four pieces - (1912). Good Night and The Owl from collection ca. 1907.
Martinu. Sketches for 3 Czech dances (1927)
Side A: Smetana: "Dalibor" - Act 1, scenes 1-4
Side B: Dvorak: "Rusalka"
1) Overture Bec.
2) Act I, 20 min. To Rusalka Solil
3) Venibab Incant. Hunter's song
Side A: Smetana- Dalbor Act I, Scene 1-4
Side B: Dvorak- Rusalka
Side A: "Dvodrak, Amer. Themes"
Side B: "Dvorak, songs"
Tape label reads: "B. Fibich, Karlstein"
Works by Zydenek Fibich.
Side A. From "Moods, Impressions, and Reminiscences," opus 41. (Excerpts from a total of 367 short pieces)
1. #126 - Andante
2. #127 - Commodo
3. #128 - Andante
4. #129 - Poco allegro
5. #130 - Lento
6. #131 - Andante
7. #132 - Allegro Moderato
8. #133 - Andnate
9. #134 - Allegro moderato
10. #135 - A la Polka
11. #136 - Grave
12. #137 - Andantino grazioso
13. #138 - Quasi fantasia
14. #139 - Lento
15. #140 - Allegro moderato / attacca/
16. #141 - Serioso
17. #142 - Sostenuto
18. #143 - Allegro fuoco
19. #144 - Allegro moderato
20. #145 - Con moto
21. #146 - Allegretto
Side B: A night at Karlstein Castle, Overture to the comedy by Jaroslav Vrchlicky, op 26.
Tape Label reads--
Side A: Peyote History, 49 History
Side B: 1st Grade examples
Recordings for Music 317. Note inside reads:
Yugoslav epic poetry: brief excerpts
Side 1: short epic form George Herzog recording
Side 2: a) Beginning of epic dealing with 1941, sung in Croatia, b) The Youth of Djerjelez Aly, c) Song of Bagdad