arranged and described by ELIOTT KAHN, DMA, February 2007
The Joseph Yasser Collection at The Library of the Jewish Theological Seminary consists almost entirely of the papers of Joseph Yasser (1893–1981), the Russian-American organist, music theorist, and musicologist. Included are Yasser's subject files, 1895–1979, which contain photos, programs, correspondence (Russian and English), research notes, and typescripts of several articles and scholarly papers. The papers also comprise Yasser's teaching materials, 1951–ca. 1960, and a few of his manuscript musical compositions and sketches, ca. 1920–1928. The original titles of Yasser's folders and their numbering system have been retained. All of the aforementioned material is stored in eighteen archival boxes (five with flat tops) and organized into five series: 1) Subject files, Jewish music; 2) Subject files, general music; 3) Subject files, correspondence, photos, misc.; 4) Index/file cards for research; and 5) Notebooks containing lectures and courses, music scores for teaching, and musical compositions.
Also included in the collection are Yasser's two books: A Theory of Evolving Tonality (New York, 1932) and Medieval Quartal Harmony (New York, 1938), plus his pamphlet Bibliography of Books and Articles on Jewish Music (New York, 1955) and Albert Weisser's pamphlet Selected Writings and Lectures of Joseph Yasser: an Annotated Bibliography (New York, 1970).
Note: All published books may be accessed through The Library Catalog at:
(Search under "Yasser, Joseph" or title)
Series 1, Subject files, Jewish music, consists of over two boxes of folders devoted to Yasser's Jewish musicological research. He was a co-founder and active member of the foremost U.S. Jewish musical organizations of the twentieth century: Mailamm, 1932–1941, The Jewish Music Forum, 1939–1962, and The National Jewish Music Council, 1944–1980. Of note is the folder containing brief correspondence with other Jewish musicians, including correspondence in Russian with composers Yitzchak Edel and Lazare Saminsky and musicologist Gershon Swet, 1938–1948, (Box 1, folder J2). There are also typescripts of several of Yasser's published articles, ca. 1941–1970 (1/J1; 2/J11), and a folder on anti-Semitism that contains one Krone of currency from the Terezin concentration camp, 1943 (2/J17). Unfortunately, several of Yasser's unpublished Jewish music lectures that were cited in Albert Weisser's 1970 bibliography were not found among these files.
Series 2, Subject files, General music, highlights Yasser's careers as performer, music theorist, and musicologist. Included are photos of his Russian colleagues and teachers, ca. 1917 (Box 3, folder 5), and programs and posters from Yasser's early organ concerts in Moscow, 1918–1919 (3/5) and the United States, 1926–1927 (3/6). There is also a fair amount of biographical information concerning his 1931 application for a Guggenheim Fellowship (8/52). Composer and colleague Herman Berlinski described Yasser as a "musicologist by training, innate talent, and temperament," which his papers reflect. Several of his articles published in English, from 1924 to 1959, can be found in Box 5, folder 26. These include articles published in the Musical Courier, from 1924 to 1928, among which is one on Chinese music, with notes, sketches of musical instruments, and transcriptions of melodies from his years in China, 1921–1922 (see 4/14 and 6/27). His research on the pentatonic scales of China became one of the foundations upon which he built his A Theory of Evolving Tonality. This 1932 book was the first publication of the American Library for Musicology, for which Yasser served as Vice-President. The American musicologist Charles Seeger was its President. In 1930, both men helped found the New York Musicological Society [NYMS], the precursor to the American Musicological Society [AMS]. Bulletins 1 to 3 of the NYMS, 1931–1933, can be found in Box 6, folder 31, together with the early AMS Constitution and By-laws, ca. 1934. Simultaneously with co-founding the NYMS, Yasser led theoretical discussions with the "Russian Group of Musicologists in New York City." Minutes of these discussions, as well as the original manuscript of Yasser's paper "The Theory of Supra-tonality," read before the group's first meeting in 1930, may be found in Box 4, folder 16.
Series 3, Subject files, Correspondence, Photos, Misc. contains Yasser's extended correspondence with colleagues and friends. On folder J2 Yasser wrote: "See separate envelopes for J. Achron, H. Loewenstein, S. Rosowsky, E. Werner, J. Weinberg, et al." Unfortunately, the folders for correspondents A–R are missing. Only the folders for correspondents S–W, such as Weinberg and Werner, are part of the library's collection. These include a separate folder for the music theorist Joseph Schillinger, another co-founder of the NYMS, who was initially Yasser's close friend (Box 12, folder ). There are photos, promotional materials, and a letter (dated 1931) from Schillinger describing an electronic instrument built by Leon Theremin for the composer Henry Cowell (another co-founder of the NYMS). Yasser's unpublished, handwritten essay "Schillinger at Close Range" (21 pp.) is a frank assessment of the theorist's ideas and personality. There is also much correspondence between Yasser and his friend and colleague, musicologist Alfred Sendrey (Box 12, folders 81-83), as well as a few letters crackling with intellectual energy—and barely concealed animosity—with musicologist Eric Werner (12/88).
The correspondence (in Russian) between Yasser and Jacob Weinberg, a composer, pianist, and pedagogue (Box 12, folder 87) is a dialogue between two brilliant musicians who held the highest regard for each other. Both appear to have complemented each other perfectly, with Weinberg the more creative and Yasser the more analytical of the two. A number of letters signed by Yasser were returned to him after Weinberg's death in 1956. The correspondence began on September 24, 1926, when Weinberg wrote about the possibility of his moving from Palestine to New York City. Both men had lost contact with each other since ten to twelve years previously in Moscow. Yasser describes at length the myriad musical activities he had to undertake in order to earn a living in New York. In a letter dated January 18, 1927, he congratulated Weinberg on his opera, The Pioneers, which won first prize at the Philadelphia Exposition. He provided him with additional advice on how to emigrate. After Weinberg's arrival in the United States, both friends surely met together in New York but their correspondence only takes place over the summer, while both are vacationing. Together they discussed a broad variety of topics. In a letter (dated August 4 ), Weinberg confessed that he was "provoked to write a new Sabbath service" because of the inadequacies he perceived in the services of [F.] Jacobi, [J.] Achron, and [E.] Bloch. He went on to describe what he believed the role of the organ should be in the Jewish worship service. In a letter of March 16, 1942, Weinberg discussed nationalism in music and vehemently disagreed with Yasser for asking Russian composer Alexendre Gretchaninoff to set two Hebrew psalms to music: "So, if you decide to stimulate his new work, it should be in Russian vocal music only. You shouldn't pull his hair to compose Psalms and make him kosher, because neither Jews nor Russians will benefit from this." During the 1950s they discussed Weinberg's new oratorio The Life of Moses and the influence of a spoken national vernacular on vocal music. To counter Yasser's argument that Mussorgsky used music from his early French opera Salammbô in the seminal Russian opera Boris Godunov, Weinberg cleverly replied, "He was just trying to retrieve this music which he sent to the wrong address" (July 31, 1953). Though there was much healthy disagreement between them, it never became vitriolic. Perhaps Yasser felt a filial attachment to the older Weinberg, with whom he studied piano as a boy in Moscow.
Series 4, Index/File cards for research (Box 13), includes notes about specific books, all arranged alphabetically by Yasser.
Series 5 contains mostly teaching materials for Yasser's courses at the Cantors Institute of the Jewish Theological Seminary, ca. 1951–1960. Often in "loose-leaf" format and now bound together with cloth tape, titles of the courses and lectures can be found on the box list in Boxes 14 thru 17. Box 18 contains a leather-bound typescript (129 pp.) of an 18th century theoretical treatise, The Geometrical Scale of Music. Also in the same box are some of Yasser's manuscript musical compositions and sketches, most notably a "Symphonic Quintet" for string orchestra in three movements, ca. 1920–1928.
On June 30, 2005 I retrieved four cartons of archival material from a file cabinet inside the library of the Lucy Moses School of Music. Formerly known as the Hebrew Arts School, it is located inside the Elaine Kaufman Cultural Center on West 67th Street between Broadway and Amsterdam Avenue in Manhattan. These cartons contained the papers of musicologist Joseph Yasser. Upon closer examination of Yasser's meticulous notes and numbering system, it became apparent that several items were missing from the collection: folders 1–4 and 56–57, a scrapbook, and the folders of correspondence with last names beginning A–R. The Executive Director and Librarian of the Lucy Moses School explained that the folders had been improperly stored for many years after their initial donation. Thus far, a search of the premises has yielded no results and the additional material remains lost.
Joseph Yasser was born April 16, 1893 in the Polish city of Lódz, at that time part of the Russian Empire. At the age of six he was brought to Moscow, where he studied piano for several years with pianist/composer Jacob Weinberg. Yasser entered the Moscow Conservatory in 1912. He graduated with high honors in 1917, after studying piano with A. Goedicke, organ with B. Sabaneev, and music composition with N. Morozov. After the death of Sabaneev, Yasser succeeded him, in 1918, as head of the Conservatory's organ department. He was also appointed Chief Organist of the Imperial Opera (Bolshoi Theatre) in 1919. From 1920 to 1921 he toured Siberia as a pianist and lecturer with a state quartet. Yasser left the newly formed Soviet Union for Shanghai, China, where for the next two years, 1921–1922, he directed the "Shanghai Songsters" choral society and played concerts, which included a piano quintet of his own composition. He traveled throughout the surrounding region and began investigating Chinese melodies as well as Chinese instruments and their tuning.
Yasser emigrated to the United States in 1923, settling in New York City. An article in the December 8, 1923 issue of Musical America described him as having "been in the United States only a short time." For income Yasser published articles in music periodicals and worked as a freelance musician. He gave organ recitals in 1927 and 1928, successfully performing his own transcription of Franz Lizst's Totentanz for organ and orchestra. He conducted the chorus for a benefit performance of Stravinsky's Les Noces at the Metropolitan Opera House in 1929. Composers Marc Blitzstein, Aaron Copland, Louis Gruenberg, and Frederick Jacobi each played the piano accompaniment. Yasser began playing organ in New York synagogues in 1927, ultimately finding full-time employment as organist and choir director at Congregation Rodeph Sholom in 1929. He would retire from this position in 1960.
Yasser's passion for music theory surfaced with two articles on Chinese music published in the Musical Courier (Jan. 17 and Apr. 3, 1924, resp.). He elaborated on his theories about musical temperament with the publication of "Decitones–Centitones–Millitones" and "The Supra-Diatonic Scale" in Pro-Musica Quarterly (Mar. 1928 and Mar.–June 1929, resp.), as well as "The Future of Tonality" in Modern Music (Nov.-Dec. 1930). These culminated in the publication of his book, A Theory of Evolving Tonality (New York, 1932). In it, he traced the development of pentatonic and heptatonic scales and proposed dividing the musical octave into nineteen equal parts. Thanks to Charles Seeger and his benefactress, Mrs. Blanche Wetherill Walton, the book was published by the American Library of Musicology, an organization founded, in 1931 by both Yasser and Seeger.
1930 was an important year for Yasser. On January 19th, he co-founded the NYMS with Seeger and Otto Kinkeldey and the composer/theorists Henry Cowell and Joseph Schillinger. In 1934 this fledgling organization became the AMS. On February 10, 1930 he began leading theoretical discussions—in Russian—with the extraordinary "Russian Group of Musicologists in New York City" that included such émigré musicians and composers as Joseph Achron, Alexandre Gretchaninoff, Nicholas Medtner, Lazare Saminsky, Jacob Weinberg, and the theorists Joseph Schillinger, Nicholas Slonimsky, and Leon Theremin. They only met seven times, primarily in Yasser's apartment, from 1930 to 1932.
Yasser's theories on musical harmony were published in his second book, Medieval Quartal Harmony: A Plea for Restoration. In it, he argued convincingly for a system of harmonizing pentatonic melodies, including Jewish biblical chant, that is based upon the interval of a perfect fourth. The book was first published in three installments in the Musical Quarterly (April 1937, July 1937, and July 1938), and then published in full by the American Library of Musicology.
It was a 1931 presentation on biblical cantillation by composer/theorist Solomon Rosowsky that awakened Yasser's interest in the theoretical study of Jewish music. His interest in Jewish music, which grew during the 1930s, became the main focus of both his musicological and theoretical work throughout the 1940s and 1950s. In January 1932 he helped Joseph Achron and Lazare Saminsky found Mailamm, an organization of musicians and lay people dedicated to the cause of Jewish music in the United States and Palestine. Mailamm hosted Arnold Schoenberg as one of its speakers when he first came to the United States in 1934. The organization, which lasted until 1941, presented concerts and lectures in New York and Los Angeles, and also helped establish a National University Music Library and Conservatory of Music in Jerusalem. In November 1939 Yasser helped the composer A.W. Binder found the Jewish Music Forum [JMF], a professional organization devoted specifically to the "public reading of scholarly papers . . . and the presentation of new and original works . . . ." It included among its active members such New York composers as Jacob Beimel, Herman Berlinski, A.W. Binder, Isadore Freed, Frederick Jacobi, Reuven Kosakoff, Lazare Saminsky, Mark Silver, Jacob Weinberg, and Lazar Weiner. Its active musicologists were Yasser, Eric Werner, Alfred Sendrey, Solomon Rosowsky, and Gershon Ephros. Yasser frequently presented papers at the Forum, served as its chairman from 1945 to 1948 and became editor-in-chief of its Bulletin, which contained mainly abstracts and a few of the papers, as well as the musical programs from the Forum's monthly meetings. Their national membership list, which included prominent Jewish musicians of the time, boasted over 300 members in one of those years. The JMF disbanded in 1962. Yasser was also an active member of the National Jewish Music Council [NJMC]. Founded in New York in 1944, this organization dedicated itself to promoting and "raising the standards" of Jewish music in the U.S. by sponsoring commissions, promoting an annual "Jewish Music Month" in American synagogues, and publishing a biannual newsletter. It lasted until 1980.
Joseph Yasser began teaching at the newly-founded Cantors Institute at the Jewish Theological Seminary in 1951. There he focused on historical and theoretical topics in Jewish music and was an important mentor to younger musicians, especially the composer/pianist Herman Berlinski, to whom he taught organ. In 1960 he retired from Rodeph Sholom and ca. 1960 from the Cantors Institute. After this time he produced or presented an occasional article or lecture. In 1967 he contributed an article on "The Hebrew Folk Society of St. Petersburg: Ideology and Technique" to The Historic Contribution of Russian Jewry to Jewish Music (New York: NJMC). A year later the NJMC brought out a special supplement to The Historic Contribution of Russian Jewry to Jewish Music, which honored Yasser on his 75th birthday. The volume contains biographies of both him and his co-honoree Lazar Weiner. Yasser was again honored in 1970, this time by the Jewish Liturgical Music Society of America, with the publication of Albert Weisser's Selected Writings and Lectures of Joseph Yasser: an Annotated Bibliography. It contains 147 items, many of them unpublished lectures.
Over a forty-year period, Joseph Yasser published articles on a variety of Russian musical topics in the daily newspaper Novoye Russkoye Slovo. He never lost interest in his theories on tonality, presenting an expanded version of them to the Greater New York Chapter of the AMS, in 1945, as "The Highway and Byways of Tonal Evolution." In 1960, Yasser published an article in the Journal of the American Musicological Society which combined his interest in both Jewish and general musicology. Entitled "The Magrepha of the Herodian Temple," it attempts to reconstruct the look and sound of this Biblical instrument from textual and pictorial sources. The article was written in 1958 for a Festschrift celebrating the eightieth birthday of AMS co-founder Otto Kinkeldey.
According to his student and colleague Herman Berlinski, Yasser spent his late years as something of a recluse. A life-threatening reaction to a wasp sting in the early 1960s made him fearful to be outside for extended periods of time. He and his wife Marie had no children but he continued with his musicological and other pursuits, though at a much slower pace. His correspondence reveals that his mind neither lost its acuity nor its visionary perspective. He died in New York City on September 6, 1981.
Note: biographical information comes from The Joseph Yasser Collection and from the following sources:
Berlinski, Herman, "Joseph Yasser (1893-1981): a Personal Recollection," Musica Judaica, 4-1 (1981–1982).
Heskes, Irene, Passport to Jewish Music (1994).
Kaplan-Eisenstein, Judith, "Music Notes," The Reconstructionist, 8-20 (5 February 1943).
Saleski, Gdal, Famous Musicians of Jewish Origin (1949).
Weisser, Albert, Selected Writings and Lectures of Joseph Yasser: an Annotated Bibliography (1970).
Folder headings and numbering system are Yasser's unless noted with [brackets]
1. SUBJECT FILES, JEWISH MUSIC, ca. 1927–1970
|1||J1||Jewish music, various items, 1937–ca. 1968|
|J2||Correspondence with Jewish musicians, 1938–1966 (See separate envelopes for J. Achron, H. Loewenstein, S. Rosowsky, etc. [Missing])|
|J3||The "Magrepha" 1, and kindred subjects 1, 1958–1960|
|J4||The "Magrepha" 2, [article], designs; correspondence with Prof[essor] R. Goodenough, 1967|
|J5||Hebrew musical references in Russian Medieval ballads, source material, notes, n.d.|
|J6||Long excerpts from S. Asch and Merejowski on Jesus; random material on Jewish music, 1934; 1939; 1953|
|J7||Sundry material pertaining to Romanos Melodos, ca. 1927–1949|
|2||J8||World Center for Jewish Music in Palestine; other Jewish music organizations, 1937–1955|
|J9||Kinah rhythm, Maskil and Miktam, etc., n.d.|
|J10||Restoration of Jewish music, ca. 1940–1946|
|J11||Typescripts of published articles by J.Y., ca. 1941–1955|
|J12||National Jewish Music Council, published articles, 1946–1969|
|J13||What is biblical chant? and cognate subjects, 1947|
|J14||Jewish musicians at royal courts … typescript[s], n.d.|
|J15||A special program of music in honor of Dr. Joseph Yasser…, 1959|
|J15a||Archaic elements in Jewish music, 1944; "Cantor's place in Jewish musical research," 1964|
|J16||Anti-semitism and Philo-semitism, clippings, Russian, ca. 1943–1967|
|J17||Anti-semitism and Philo-semitism, clippings, English, 1934–1965|
|3||J18||Moses and music, ca. 1957-1959|
|J19||Jewish Theological Seminary [bio]; Jewish Liturgical Musical Society, 1954-1970|
|J20||Scattered material and notes for unpublished lectures, ca. 1959|
2. SUBJECT FILES, GENERAL MUSIC, ca. 1895–1973
|5||Programs and announcements [with photos] concerning J.Y.'s musical and concert activities 1, Russia and China only, ca. 1895–1922; ca. 1950 (See Large scrap book–[Missing])|
|6||Programs and announcements concerning J.Y.'s musical and concert activities 2, U.S.A. only, 1923–1956|
|7||Programs and announcements concerning J.Y.'s musical and concert activities 3, Jewish music only, 1933–1958|
|8||Programs, bulletins and announcements relating to J.Y.'s musicological activities; mostly lectures, 1932–1968|
|9||Press reviews, J.Y.'s musicological work, 1929–1960 (See Scrap Book-[Missing])|
|10||Lectures during the Siberian tour and on Evolving Tonality, 1920; ca. 1957|
|4||11||Organs in Russia 1, ca. 1947–1966|
|12||Organs in Russia 2, ca. 1946|
|13||Organs in Russia 3; Boris Sabaneyev, 1907–1973|
|14||Prototypes of organ in Art; Far East; [Sketches by Yasser], ca. 1920|
|15||American Library of Musicology, [RE: copyright for Yasser's book], ca. 1932–1968|
|16||Tonality, sundry materials including lectures 1, 1927–1932; 1957|
|5||17||Tonality, sundry materials including lectures 2; "Highways and byways," ca. 1945|
|18||A revised conception of tonality, 1935|
|19||Evidences of quartal harmony in Russian folk music, n.d.|
|20||Russian published articles by J.Y.; [clippings], ca. 1931–1957|
|21||Russian published articles and critical reviews, duplicates, ca. 1941-1960|
|22||Random notes; materials on pentatonicism, n.d.|
|23||Original diagrams and musical examples from various J.Y. articles, n.d.|
|24||Paganini; "The variation form and synthesis of arts," [both by J.Y.], ca. 1955–1956|
|25||Organ, articles, concert programs, iconographical material; Registration for "Dies Irae," 1922–1967|
|26||Some English … published articles by J.Y., 1924–1959|
|6||27||Chinese music and theatre; correspondence with F. Kuttner, 1922; 1975|
|28||Music and murder 1, clippings, random notes, etc., ca. 1948–1961|
|29||Music and murder 2, excerpts from various sources, n.d.|
|30||Musical and other projects; correspondence with Columbia, Harvard, A. Copland, 1944–1954|
|31||Musicological societies; minutes of the Russian group of musicologists; message of Romain Rolland, 1930-1949|
|32||Materials pertaining to the chant "Dies Irae," ca. 1920–1955|
|33||Medieval music, smaller quotations, bibliographies, n.d.|
|34||Medieval music, Quilisma, including statistical data, n.d.|
|7||35||Medieval music, lengthy excerpts from books, n.d.|
|36||Medieval quartal harmony, n.d.|
|37||Medieval quartal harmony, earlier version … for the lecture at AMS, 1937|
|38||Medieval music, random notes; (See large sheets for musical examples), ca. 1932–1961|
|39||Boris Gudonov 1, ca. 1952–1969|
|40||Boris Gudonov 2, clippings from the press, 1928–1968|
|41||Books of possible interest, announcements, criticisms, etc., ca. 1960|
|42||Prince Odoyevsky's articles on Russian folksongs and plainchant, n.d.|
|43||Greek, Byzantine and Russian church music, ca. 1934–1959|
|44||Copied excerpts from books, ca. 1923-1964|
|8||45||Music in the Moscow Art Theatre 1, [clippings], ca. 1948–1958|
|46||Music in the Moscow Art Theatre 2, excerpts, notes, sketches, n.d.|
|47||A[merican] M[usicological] S[ociety], [additional materials], 1936–1970|
|48||Russian folk music, scattered notes, bibliographical material, n.d.|
|49||Don Cosack folksongs; Denisov's notes by Savitsky, ca. 1925|
|50||Music of children and of primitives, n.d.|
|51||Negro music; (See large sheets for quartal harmonizations …), ca. 1934|
|52||Guggenheim Foundation; Council of Learned Societies; [Yasser biographical information], ca. 1931–1933|
|53||Items of artistic interest 1, traditional, clippings in English, 1928–1950|
|54||Items of artistic interest 2, modern, clippings in English, ca. 1935–1968|
|55||Items of artistic interest 3, catalogues, clippings in Russian, ca. 1943–1968|
|58||Items of literary interest 1, mostly clippings in English, ca. 1948–1962|
|59||Items of literary interest 2, mostly clippings in Russian prose, ca. 1948–1963|
|60||Items of literary interest 2, mostly clippings in Russian poetry, ca. 1960–1967|
|61||Items of musical interest 1, mostly clippings in English, ca. 1941–1958|
|62||Items of musical interest 2, mostly clippings in Russian, ca. 1945–1968|
|63||Items of musical interest 3, iconography, folk song, in English ca. 1942–1955|
|64||Items of pedagogical interest, clippings; musical unionism, ca. 1937–1946|
|10||65||Musical catalogues, ca. 1952–1953|
|66||Music and mathematics 1, 19-tone scale and cognate subjects, ca. 1933–1949|
|67||Music and mathematics 2, Golden Section and other notes, clippings, ca. 1948–1956|
|68||Music in the Soviet Union 1, clippings, ca. 1944–1963 (See separate envelope, "Alexei Ogolevetz"-[Missing])|
|[68a]||Music in the Soviet Union 2, J.Y.'s articles and unpublished material, ca. 1943–1954|
|69||Printed programs of various concerts, [catalogues], ca. 1942–1948|
|||The Transtonator, n.d.|
|||Christ as musician 1, iconography, n.d.|
|11||||J.S. Bach, [programs, clippings, catalogues], 1928–1953|
|||J.S. Bach and the Russians 1, [notebooks, sketchbooks], n.d.|
|||J.S. Bach and the Russians 2, [notes, essay], n.d.|
|||J.S. Bach and the Russians 3, [notes, index cards], n.d.|
|||J.S. Bach and the Russians 4, [index cards], n.d.|
|||Beethoven's Hebrew quartet, [notes], n.d.|
|||Chopin's C minor prelude, preliminary material for article, ca. 1960|
3. SUBJECT FILES, CORRESPONDENCE, PHOTOS, MISC., 1917–1979
|12||[Correspondence A-R, Missing]|
|||Sabaneef, Leonid 1, clippings of his articles, [Russian], 1954–1966|
|||Schillinger, Joseph, includes correspondence with J.Y. and other materials, ca. 1931–1950 (See "M. Bukinik"-[Missing])|
|||Sendrey, Alfred 1, correspondence, 1943–1954|
|||Sendrey, Alfred 2, correspondence, 1955–1957|
|||Sendrey, Alfred 3, correspondence, 1958–1972|
|||Siloti, Alexander 1, correspondence, additional materials, ca. 1926–1967|
|||Siloti, Alexander 2, printed material, photocopies, 1928–1963|
|||Slonimsky, Nicolas, [correspondence, printed material], ca. 1931; ca. 1959|
|||Weinberg, Jacob, correspondence and other materials, 1926–1957|
|||Werner, Eric, correspondence and other materials, 1940-1971; Wunsch, I., [Weiner, L.], and other writers pertaining to Jewish music, 1958–1979|
|||[Correspondence, miscellaneous], 1932–1940|
|||[Photos], ca. 1917; ca. 1970|
4. INDEX/ FILE CARDS FOR RESEARCH, n.d.
|13||Index/ File cards for research, A-Z|
5. NOTEBOOKS CONTAINING LECTURES AND COURSES; MUSIC SCORES FOR TEACHING, 1951-ca. 1960; MUSICAL COMPOSITIONS, ca. 1920-1928
|||Introduction to Jewish music|
|15||||Jewish prayer: in general and in connection with Gregorian chant|
|||Music that Jesus heard and chanted|
|||[Notes on Jesus and music]|
|||Parables, etc., Lord's prayer|
|16||||The Philosophy of improvisation|
|||Poetical rhythm, notes by J.Y.|
|||Restoration of the ancient Hebrew music|
|17||||[Additional teaching materials]|
|||Basic music, pedagogical material|
|||Counterpoint, pedagogical material|
|||Harmony I, pedagogical material|
|||Harmony II, pedagogical material|
|||Materials for lectures, general|
|||Materials for lectures on Jewish music|
|18||||The Geometrical scale of music; or the Gam-ut reduced to geometrical proportions / by Mr. Gaudy|
|||[Yasser ms. compositions and sketches], ca. 1920–1928|