User:Kosboot/sandbox

User:Kosboot/Sandbox, User:Kosboot/sandbox2

Learning_patterns


 * http://notes.wikimediadc.org/p/timeline
 * https://meta.wikimedia.org/wiki/IRC/wikipedia/Guidelines
 * https://commons.wikimedia.org/wiki/Commons:Structured_data/Overview

Sutro: Women in Music and Law https://books.google.com/books?id=LGJIAAAAYAAJ&dq=sutro%20women%20and%20the%20law&pg=PA27#v=onepage&q=sutro%20women%20and%20the%20law&f=false

=Kathi Meyer-Baer= Kathi Meyer-Baer was a musicologist, librarian and bibliographer, "arguably the most significant, and surely the most productive, female musicologist of her generation."

Katharina Gertrud Meyer was born to a prosperous Jewish family in Berlin on July 27, 1892. She attended a girls' gymnasium and later attened She studied piano with Frieda Kwast-Hodapp. She attended the University of Berlin studying in particular with Hermann Kretzschmar and Johannes Wolf. Her dissertation Der chorische Gesang der Frauen was initially rejected by Kretzschmar who provided no reason, so in 1915 she transferred to Leipzig University and submitted it to Hugo Riemann who accepted it immediately. As she had taken a second major in acoustics, she took exams with Johannes Wiener, who congratulated her upon passage of the exams.and was awarded the Ph.D. in 1916.. Her dissertation was published the following year.

She was the first woman to earn a Ph.D. as a musicologist.

She worked as the resident musicologist for bibliophile Paul Hirsch.

"In the end, she had no choice but to live her life as an independent scholar. She did so with grace, courage,  perseverance, and enormous productivity."

Fetis

 * BORDÈSE, Luigi By: Fétis, F. J., Pougin, Arthur M., Biographie universelle des musiciens et bibliographie générale de la musique, 1878 0101, Vol. 1, Issue Supplément et complément


 * 30 leçons de chant à 2 voix (Choudens);
 * 36 leçons de chant faciles et graduées (Gérard);
 * L’Art de vocaliser, d’après Rossini (id.);
 * Messe solennelle de Gloria, à 3 voix, chœur et orgue (Schonenberger);
 * Messe du Saint Esprit, à 2 voix, chœur et orgue (id.);
 * messe de Requiem à 2 voix (id);
 * Messe complète à 3 voix (id.);
 * La Semaine religieuse des demoiselles, 8 motets à 1 voix (id.);
 * Nouveau mois de Marie, 12 prières à la Vierge, à 1 ou 2 voix (id.);
 * 100 Chants sacrés à 4 voix d’hommes, avec accompagnement d’orgue ou d’harmonium (id.);
 * Le Trésor musical des enfants, 90 chants et prières à 1 ou 2 voix (id.);
 * Bouquet musical et religieux, 10 morceaux à plusieurs voix, pour le mois de Marie (id.),
 * Solennités religieuses, 101 solos, duos et trios pour différentes voix, sur paroles latines, avec accompagnement d’orgue ou d’harmonium (id.);
 * Fiori d’Italia, 14 chants (id.);
 * Frère et sœur, Fais ce que dois, le Moulin des oiseaux, Oreste et Pylade, Fort comme un Turc, les Orphelines, Royal-Dindon, le Miracle des Roses, la Fête des Fleurs, les Deux Turennes, Assaut de Soubrettes, opérettes pour pensionnats; Noë, David chantant devant Saül, les rois Mages, Bethléem, la Prophétie, Judas, Jérusalem, l’Aveugle de Jéricho, scènes bibliques; le Pêcheur roi, Faust, Jocelyn, la Vision de Jeanne d’Arc, le Doigt de Dieu, l’Enfant égaré, la Jeune Martyre, Cora, la Jeune Négresse, Charlotte corday, la Vierge de Vaucouleurs, Chimène, Clotilde, reine des Francs, Jeanne Grey, le Songe de lady Macbeth, Jeanne d’Arc à Rouen, Sapho, scènes dramatiques et lyriques; les Fêtes bénies, album de *12 chants religieux à 1, 2 ou 3 voix; 3 hymnes
 * Sacrées, pour 2 voix égales; 4 mélodies religieuses; 6 chœurs pour distributions de prix; 21 chants célestes, à 3 voix; les Femmes de la Bible, 12 morceaux à 1 voix. Enfin, à tout cela, il faut ajouter encore plusieurs centaines de mélodies, *Romances, chansons, airs, cavatines, duos, trios, chœurs, motets, morceaux de genre, etc. M. Bordèse avait fait recevoir en 1867, au Théâtre-Italien de Paris, un opéra semi-sérieux en 3 actes, la Fioraia, qui n’a pas été représenté.

Bio dict

 * Biographical Dictionary of Musicians: With a Bibliography of English Writings on Music
 * BORDÈSE (Luigi). Italian comp., Naples, 1815. S. at Naples Cons. Went to Paris, 1834. Resided there from 1834. He has composed a number of light operas, such as Zelimo e Zoraide, 1834; La Mantille, 1837; L’Automate de Vaucanson, 1840; Jeanne de Naples, 1840; Les Deux Bambins, 1848, which have achieved temporary popularity.

Stieger
[Titel des Werkes]	[Gattung des Werkes]	[Anzahl der Akte]	[Textautor(en)]	[Nähere Aufführungsdaten]
 * Opernlexikon / Opera catalogue / Lexique des opéras / Dizionario operistico. II: Komponisten 1977. p. 135-136 Language: German. ISBN: 978-3-7952-0203-3.
 * I promessi sposi || Oper ||	Checcherini, Gius. Checcherini || Neapel inv. 1830 t. Nuovo
 * Zelimo e Zoraide = Il califo riconosciuto	|| für Turin1834, aber n.g.
 * La mantille || Opéra comique	||1 ||	 Planard u. Goubeaux, Hautefeuille	|| Paris || 31.12.1837 Op.com.
 * L'automate de Vaucouson	|| Opéra comique ||	1	|| Leuven	|| Paris || 9.1840 || Op.com.
 * La reine Jeanne (de Naples) ||	Oper || 3	|| Leuven u. Brunswick (m.Monpou )	|| Paris || 2.10.1840 Op.com.
 * I Quindici	|| Oper ||	Tarantini, Leopoldo Tarantini	|| Neapel ||1842|| t.S.Carlo
 * I Gemelli di Preston	|| Oper	|| 2||	Giacchetti, G. Giacchetti	|| Turin || 11.1842 t. Carignano
 * Le Sultan Saladin	|| Opéra comique	||1	|| Dupin	|| Paris || 8.2.1847 Op.com.
 * Les deux Bambins ||Opéra comique	||1||	Leuven u. Brunswick	|| Paris || 4.12.1848 Op.com.
 * Frère et soeur	||Operette		||Plouvier	||Paris ||1854 priv.
 * Les deux comtesses	||Operette		Flan, Marc Alex. Flan	||Paris ||1861 priv.
 * La Fioraia	||Oper	||3		|| ||1867für Paris, n.g.
 * Les mensonges de la marquise	|| Operette	||1	||Tourte, F. Tourte	||Paris ||1882
 * Fais ce que dois	|| Operette	|| || ||
 * Le moulin des oiseaux	|| Operette		|| Plouvier	u.a. || in Nancy || 21.2.1898
 * Oreste et Pylade	||Opéra comique	||1	||Flan	u.a. in ||Paris 23.10.1892 Rue de Turenne
 * Fort comme un Turc	||Operette	||1	||Flan	u.a. ||in Le Havre ||16.5.1897
 * Les orphelines || || || ||
 * Royal Dindon	||Operette	||1	||Flan	u.a. in ||Paris ||5.6.1887 Salle Horticulture
 * Le miracle des roses || || || ||
 * La fete des fleurs	Operette	1	Joly, A. Joly
 * Les deux Turenne	Operette	1		u.a. in Orleans 24.2.1887
 * Assaut des Soubrettes	Operette		Flan
 * Un concert chez les demoiselles de Saint-Cyr	Operette
 * L'esprit et le coeur	Operette	1	Flan
 * Fleur des champs	Operette	1	Nac, Paul Nac	1888
 * Le malade malgré lui	Opéra comique	1		u.a. in Creuzot 6.7.1896
 * Le marché aux domestiques(servantes)	Operette	1	Trefeu	u.a. in Creuzot 3.2.1889
 * Chien et chat	Operette
 * Judith et Suzon	Operette		Tourte, F. Tourte
 * La poule noire	Operette		Tourte, F. Tourte
 * Le Sultan Aboul-Azor	Operette

Dramatische und lyrische Szenen: [Titel des Werkes]	[Gattung des Werkes]	[Anzahl der Akte]	[Textautor(en)]	[Nähere Aufführungsdaten]
 * Le pecheur roi
 * Faust
 * Jocelyn
 * La Vision de Jeanne d'Arc
 * Le Doigt de Dieu
 * L'Enfant egaré
 * La jeune Martyre
 * Cora
 * La jeune Negresse
 * Charlotte Corday
 * La vierge de Vaucoulais
 * Chimène
 * Clotilde reine de France
 * Jeanne Grey
 * Le songe de Lady Macbeth
 * Jeanne d'Arc à Rouen
 * Sapho
 * Attila			Camp, A. de Camp	1882

Biblische Szenen:
 * Noé
 * David chantant devant Saul
 * Les rois mages
 * Bethléem
 * La Prophetie
 * Judas
 * Jérusalem
 * L'aveugle de Jéricho

=Drexel 5612=

=List of music theory software=

Programs

 * Artusi - https://www.artusi.xyz
 * Auralia - https://www.risingsoftware.com
 * Musition6 - https://www.risingsoftware.com/musition
 * Harmonia - https://harmonia.illiacsoftware.com/frontpage
 * Music Theory Tutor - https://www.emediamusic.com/music-theory-software/music-theory-tutor-complete.html
 * EarMaster - https://www.earmaster.com/
 * Practica Musica -https://www.ars-nova.com/home6.html
 * Counterpointer - https://www.ars-nova.com/home6.html - other programs
 * PicardyLearning - https://picardylearning.com/
 * uTheory - https://utheory.com/
 * Groove 3 - www.groove3.com


 * Music Lessons - www.mibac.com (obsolete)
 * Mastering Music - https://datasonics.com.au/masteringmusic

Reviews - https://www.choraldirectormag.com/articles/technology/music-theory-ear-training-software-2/


 * Essentials of Music Theory - https://www.alfred.com/alfreds-essentials-of-music-theory-ear-training-cds-1-2-combined-for-books-1-3/p/00-17254/ -SUPPLEMENTS BOOKS

Reviews

 * https://www.choraldirectormag.com/articles/technology/music-theory-ear-training-software-2/

=Joseph Muller= From Internet MUS document: Born of German-Belgian parents, Joseph Muller (b. Frankfurt-am-Main, 1877?; d. Closter, NJ, May 9, 1939), who started collecting during his student days, studied violin at the Brussels Conservatory, where, as a student of Alexandre Cornélis, he won first prize (with distinction) in July 1895; but his love of travel led him to a career as a ship's steward. During his many travels he sought out print dealers worldwide, adding to his growing collection. He collected music manuscripts and letters in addition to portraits (not surprisingly he was especially attracted to those of string players). His interest in music and collecting led him to do extensive research, making him an authority on early music and early American music in particular. In his 1935 publication The Star-Spangled Banner: Words and music issued between 1814-1864 (New York: G. A. Baker & Co.), Muller compiled an annotated and richly illustrated bibliography, tracing variant early publications of the text and tune of our national anthem. An amateur artist, Muller drew copies of prints and, to a lesser degree, made portraits from life (usually at the back of a concert hall). Some of these drawings are included in the Muller Collection as well.

=Carmella Ponselle=

Carmella Ponselle (June 7, 1892—June 13, 1977) was a soprano. She was the elder sister of soprano Rosa Ponselle.

Born in Schenectady, New York. Together with her sister they appeared as the Ponzillo Sisters in 1916-1917. Her serious career began in 1923 singing Amneris in Aida at the Polo Grounds. Her Metropolitan Opera debut began on with a Sunday evening concert on January 11, 1925 where she sang "O don fatale" and the Aida-Amneris duet. Her role debut occurred on December 5, 1925 again in the role of Amneris. Other roles included Santuzza in Cavalleria Rusticana, Laura in La Gioconda'' in which she appeared with her sister Rosa.

Physical description
The manuscript measures 30.5 x 24 cm.

From RISM:  https://opac.rism.info/search?id=000105070&View=rism

Disbound ms., individual leaves separated at the folds and encapsulated in mylar sleeves; the sleeves have been bound into two albums with cloth-covered boards, fastened with screws, each laid into a four-fold conservation box. (A photocopy of the old case, dated September 17, 1936 and now discarded, is laid into the container of album 1.) The ms. contains principally pieces for keyb compiled from various sources, including Elizabeth Rogers Virginal Book, the Fitzwilliam Virginal Book, and Elizabeth Plume's Virginal Book. Also included are arrangements for keyb of pieces composed for other instruments or voices and instruments Score: 278p.

Dating
RISM: 1750-1799

Provenance
In the publication "Popular Music of the Olden Time," William Chappell makes reference to "This tune is in Sir John Hawkins's Transcripts of Music for the Virginals." In a 1967 article John Ward quotes Chappell and adds that it is assumed that this work of Hawkins is Drexel 5609.

It is not known how the manuscript came into the possession of Edward Francis Rimbault. A musicologist and a voracious collector of British manuscripts, it is not surprising that the manuscript would become one of Rimbault's holdings. After his death in 1876, the manuscript was listed as lot 1391 in the 1877 auction catalog of his estate. Purchased for ₤75, the manuscript was one of about 600 lots acquired by Philadelphia-born financier Joseph W. Drexel, who had already amassed a large music library. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the Astor Library to become the New York Public Library, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 5609 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at Lincoln Center.

Historical context

 * Organization
 * Handwriting
 * Musical content and style
 * Significance

Other content
PMOT = Popular music of olden time

The version of Greensleeves in Drexel 5609 is one of two versions that include a romanesca for the form of both divsions of the song.

John M. Ward noticed the resemblance between the untitled song on page 37 and the song "I would I were in my own country."

Musicologist John Wendland noted that the Renaissance tune Madre non mi far Monaca is associated with many other titles, including The Queen's Almaine which appears in Drexel 5609, page 113.

Issue of meaning of the word "thumpe." It is a form of pizzicato. The piece "Thumpe at my cousin" is in Drexel 56096, pages 134-135. The Queen of Bohemia's Dumpe, page 122.

List of songs
RISM entry for entire volume: https://opac.rism.info/search?id=000105070&View=rism

WooldridgeC 1893 = OEPM = Old English popular music by William Chappell, 1893.

Article
Marya Freund (12 December 1876—21 May 1966) was a German soprano.

She was born in Breslau. She studied violin with Pablo de Sarasate and with Ivan Zajc. She studied voice with Julius Stockhausen, Raimund von zur-Mühlen and Ernesto Colli. She made her debut in 1909. She made concert tours of Europe and the United States. She appeared with the Leipzig Gewandhaus under Artur Nikisch, the Concertgebouw under Willem Mengelberg, the Boston Symphony Orchestra under Pierre Monteux, as well as conductors Gabriel Pierne, Wilhelm Furtwängler, Hermann Scherchen and others. She was known for Lieder interpretations as well as for pioneering contemporary music. She was particularly tied to the music of Arnold Schoenberg. She created the part of the Waldtaube in the first performance of Gurre-Lieder and was well-known for her interpretation of Pierrot Lunaire as as The Book of the Hanging Gardens as well as the soprano solo in the String_Quartets_(Schoenberg). She sang the Waldtaube again in the Viennese premiere in 1914 as well as in the French premiere in 1927 (singing the part in French). She appeared in Spain, Italy, Denmark and Austria. She sang Erik Satie's Socrate in Paris in 1925. She also sang works by Ernest Bloch, Zoltan Kodaly, Darius Milhaud, Alfredo Casella, Karol Szymanowski, Francis Poulenc, Ildelbrando Pizzetti, Serge Prokofiev, Georges Auric and Gian Francesco Malipiero. For many years she taught singing in Paris where she taught a course in the interpreation of classic, romantic and modern music. She taught masterclasses at Lausanne. Her son was bass Doda Conrad (born in 1905).

= Fred S. Stone = See fr. wikipedia.org = Tom Martelle = Drag performer - appears on 1923 sheet music.

= Judson Hall =

Judson Hall was a medium sized concert call located at 165 West 57th Street in New York City.

The former name of the hall was Carl Fischer Hall. The building was owned by the Carl Fischer publishing company. It was sold to Columbia Artists Management in 1959. It was renamed Judson Hall in honor of Arthur Judson, long-time head of Columbia Artists Management.

Works consulted


= Elizabeth Seguin =

Elizabeth Seguin (10 July 1812—14 January 1870) was an English soprano opera singer.

Sara Smythe

Born Elizabeth Eleanor Seguin. Father was Ralph Arthur Seguin, mother was Sarah. baptised 2 October 1816 at Saint Mary-St Marylebone Road,St Marylebone,London

birth/death dates and location. She was born and died in London. Soprano. Sister of Arthur Edward Seguin, bass (wife: Anne Seguin-Childe) and William Henry Seguin, bass (wife: Miss Gooch).

Seguin married the Wallachian boyar Demetrius Parepa, Baron Georgiades de Boyescu of Bucharest. Their daughter was Euphrosyne Parepa-Rosa who married Carl Rosa (1842-1889).

Kutsch-Riemens: z

Seguin died at her home at 10 Warwick-crescent Paddington, Middlesex, London, leaving an estate of less than 4,000 pounds.

From the article
La solita forma (or multipartite form) is an operatic term used to define the formal design of scenes in 19th century Italian opera from the bel canto era of Rossini, Bellini, Gaetano Donizetti to the late operas of Giuseppe Verdi. The English phrase "multipartite form" is most often used by American musicologist Philip Gossett, beginning with a 1974 essay, where he refers to a general framework of melodramatic scene types, especially duets. Each scene gradually progresses from an opening static lyric moment to a finale through several standard musical tempos and set pieces, gradually adding characters and adding or unraveling complexity in the plot.

Because composers wrote operas in short spans of time, the standardized form of scenes ensured a time-tested dramatic and musical structure. The term itself comes from a work of criticism by Abramo Basevi

Background
For each genre there developed certain rules about internal structure, rules that could be observed, bent, or broken, but which composers and librettists recognized.

the most basic division was between poetry intended for recitative and that intended for formal numbers.

Italian prosody
The most basic division was between poetry intended for recitative and that intended for formal numbers. An Italian settenario is not really a “seven-syllable” line of verse, since it can have six, seven, or eight syllables, depending on whether the line is:
 * (a) tronco (concluding with an accented syllable, a so-called masculine ending, hence six syllables);
 * (b) piano (the form according to which the poetic meter is measured, concluding with an accented syllable and an unaccented one, a so-called feminine ending, hence seven syllables); or
 * (c) sdrucciolo (concluding with an accented syllable and two unaccented syllables, hence eight syllables).

Notice that, in Italian verse, the final vowel of one word and the first of the next elide and are considered a single syllable: hence “[fe]-ste al,” “Se i,” and “[gl̓oc]-chi il” are counted as single syllables. Similar considerations affect senari, ottonari, decasillabi, and endecasillabi verses (“six,” “eight,” “ten,” or “eleven” syllables, respectively, but which can normally exist in tronco, piano, or sdrucciolo forms).

Verses for recitative were written in what is known as versi sciolti, poetry consisting of endecasillabi and settenari freely mixed, with only an occasional rhyme. A single line of poetry could be assigned to a single character, or divided among several characters, and grammatical units might well run on from one verse to the next.

The division of a single line of verse among characters, the irregular (though not unplanned) changes in the length of lines, the occasional but not prevalent use of rhyme, all imply a musical setting in a freer, declamatory style, that is, recitative. Faced with such a text, composers usually set them accordingly.

The division of a single line of verse among characters, the irregular (though not unplanned) changes in the length of lines, the occasional but not prevalent use of rhyme, all imply a musical setting in a freer, declamatory style, that is, recitative. Faced with such a text, composers usually set them accordingly.

That does not mean, however, that recitative verse, versi sciolti, can never be set lyrically. Indeed, one of the ways in which the operas of the generation of Bellini and Donizetti differ from those of Rossini and composers of his time is in the extent to which later composers pepper their recitative scenes with lyrical periods, even when the verse forms do not easily lend themselves to this practice.

Verses intended for formal numbers are quite different. In the simplest case, solo arias, they consist of stanzas of rhymed poetry in a single meter, or first in one meter, then in another.

Poetry in fixed meters was used not only for lyrical sections but also for dialogue falling within musical numbers (as opposed to the versi sciolti employed for dialogue falling between musical numbers). The difference is significant, and using the term “recitative” to refer indiscriminately to both kinds of music hides distinctions that are important for how we must hear and perform the passages in question. Within a musical number dialogue (or parlante as it was often called in the nineteenth century) was frequently organized into more regular rhythmic units, with the orchestra providing continuity and structure, while the vocal line fits itself into the texture more freely, following the implications of the dramatic situation.

By purely poetic means, then (the use of different meters, the use of stanzas of verse for a single character, the use of dialogue, etc.), librettists—often in consultation with the composer—materially influenced the structure and character of both the entire opera and each individual piece. They provided composers with recitative verse and with formal numbers, so that the poetry shaped important musical decisions. For the most part, composers took the structural parameters implicit in the poetry, fashioning each composition accordingly and from those parameters developing the shape of the entire opera.

Versi sciolti: "loose verse": an alternation of eleven- and seven-syllable lines - no stanzaic structure and only occsional rhymes. Often set as recitative, with "kinetic" action - texts that moves the action forward.

Gossett's first example: "Ebben, a te, ferisci" from Rossini's Semiramide.

Four parts (as evidence by text).
 * Part 1: parallel poetic stanzas; dialogue
 * Part 2: cantabile: lyrical contemplation of the dramatic situation
 * Part 3:arioso; short melodic phrases; simple chordal background
 * Part 4: cabaletta; in aria consists of lyrical period, often concluding coloratura;

Donizetti accepts Rossini's formal model, though with different melodic style.

Verdi was seeking new forms. By mid 19th-century, the four parts had become two, the slow and lyrical cantabile followed by the contrasting cabaletta. Example from La Traviata, Alfredo-Violetta duet: [part one] Colpevol sono; [part 2] Parigi, o cara; [part 3] Ah non più; [part 4] Gran Dio! morir si giovine. Gossett: the text forces a change of the character of each section, although the four-part structure is maintained. Despite ambivalence, Verdi maintained solita forma in Aida, example: Già i sacerdoti adunansi [part 1]; Morire! Ah! tu dei vivere! [part 2]; Di lei non più [part 3]; Chi ti salva, sciagurato [part 4; cabaletta].

Origins
From: Trends in Rare Book and Documents Special Collections Management. Primary Research Group Inc, 2008 ISBN 1574400959
 * Collection background and scope
 * Acquisitions and development
 * Pre-screening procedures and security
 * Outreach and publicity
 * Exhibits
 * Lending
 * Cataloging
 * Digitization and online exhibits
 * Preservation

[Special Collections, Issue 57]

http://books.google.com/books?id=8aHiAAAAMAAJ&printsec=frontcover&dq=%22special+collections%22&hl=en&sa=X&ei=UDPfUfDWNbLC4APArYG4Cw&ved=0CDAQ6AEwAA


 * http://www.ala.org/acrl/standards/comp4specollect
 * http://www.arl.org/focus-areas/research-collections/special-collections
 * http://www.arl.org/focus-areas/research-collections/special-collections/2482-statements-principles-and-reports-of-arl-special-collections-working-groups
 * http://www.arl.org/storage/documents/publications/special-collections-task-force-final-status-report-july2006.pdf

= Wikipedia articles to create related to NYPL-MUS =

Infobox for manuscripts
= Other NYPL articles to create =
 * Drexel 5609, 5611, 5612
 * Individual works listed in: Virginia Brookes, British Keyboard Music to c.1660: sources and thematic index (New York : Oxford University Press, 1996), p. 58-72.
 * Hilda Gervers, "A manuscript of dance music from seventeenth-century England : Drexel Collection Ms. 5612," Bulletin of The New York Public Library 80, no. 4 (Summer 1977), p. 503-552.
 * Candace Bailey, "New York Public Library Drexel MS 5611," Fontes Artis Musicae 47, no. 1 (Jan.-Mar. 2000), p. 51-67.
 * Drexel 5061 - "Ayres for viols"
 * Drexel 4300 - contents list and notes in Richard Charteris, "Correspondence" Music and Letters (2008), p. 698-700.
 * Vladimir Heifetz

=Merrill additions= Saturday Evening Post interview "Fannie Brice Tells Her Story" as told to Palma Wayne. Saturday Evening Post, November 21, 1925.

= Publications =
 * Bulletin: bequest of Katherine Drexel Penrose: 23:11, 176 ; 24:130.
 * Publications:
 * Gibbons (Bulletin): 27:121
 * Byrd: 28:5