Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-t5tsf Total loading time: 0 Render date: 2024-11-18T12:25:28.544Z Has data issue: false hasContentIssue false

11 - Music Resources at the American Academy in Rome

from Part Four - Primary Sources

Published online by Cambridge University Press:  25 October 2017

Christina Huemer
Affiliation:
educated at Mount Holyoke College and held a MLS from Columbia and a MA in art history from Cornell University.
Get access

Summary

Several articles in this volume have shed light on the early history of the music program at the Academy. How much of that history is documented at the Academy itself? What can a new fellow in musical composition learn about the work of his illustrious predecessors? How can we ensure that his or her own work here is preserved for the future? As librarian, I have taken a special interest in our music resources since my arrival. These are a well-kept secret, unfortunately: we have some treasures, but on the whole I would characterize our resources as incomplete, dispersed, not fully cataloged, in need of preservation, and underutilized. We have made some progress in documenting our own history, but much more remains to be done. I would like to summarize what is here, what isn't, and what needs to be done.

The music collection originated in 1918 with a gift of over two hundred scores from Kate Freeman Carter, the wife of the Academy director Jesse Benedict Carter. These, and a handful of books on music, were originally kept in the Villa Chiaraviglio, the first home of the new music department of the School of Fine Arts. The music program was presided over by Felix Lamond. The music collection was transferred to the main library in 1932, and promptly relegated to the basement. In 1937–38, several rare music titles came to the library as part of a gift of books from the Rev. Harry de Nancrède, canon of the English Church in Rome. The music collection became a significant scholarly resource, however, only in the late 1970s and early 1980s with the donation of the personal musicological library of Professor W. Oliver Strunk (1901–80, author of Source Readings in Music History and an expert on Byzantine music). After that almost no purchases were made for about a decade, then purchasing resumed on a small scale, using the Randall Thompson Endowment Fund. In 2002 Professor Thomas Forrest Kelly, FAAR 1986, RAAR 2002, a musicologist from Harvard University, helped us update our collection, using special funds from the Department of Education.

Type
Chapter
Information
Publisher: Boydell & Brewer
Print publication year: 2014

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×