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The Harold Jantz collection of early manuscripts, music manuscripts, and autograph albums, 1477-1905 and undated, is arranged by size (each item numbered) and includes the following noncontiguous subgroups: Autograph Albums (1633-1857 and undated), Early Music Manuscripts (1818-1874 and undated), Early Manuscript Prayerbooks (1744-1801 and undated), and Early Manuscript Songbooks (1712-1896 and undated). These subgroups are described more fully below.

The collection consists primarily of bound manuscripts, many illustrated, from the 15th through the early 20th centuries. Most materials are in German or English, with some materials in French, Hebrew, Italian, Spanish, Swedish, Greek, or Latin. In addition to the above noted subgroups, the collection includes medical texts (nos. 28, 47, 77); historical chronicles, mostly German (nos. 25, 58, 59, 84, 127); and alchemical/astrological/occult treatises (nos. 9, 20, 53, 74, 114, 120, 122, 129, 148, 161, 165). Among the identified authors are Georg Fabricius (22), Edward Young (29), Sebastian Chiesa (33), Henry Marchant (49), Jacob Böhme (67), J.M. Firmenich (156), and Carl and Julius Dresel (117-119). Printed books, most with manuscript addenda, comprise approximately 10% of the collection.

The subgroup Autograph Albums (1633-1857 and undated) chiefly comprises bound volumes (guestbooks, Stammbücher) of 18th-and 19th-century German, English, and American provenance. These typically contain poems (many original), quotations, and maxims, as well as signatures. Many are illustrated and have laid-in mementoes. This group contains the following numbers from the main collection: 3 (J.C.Waechtler), 4 (Caspari), 5 and 6 (C.F.M. Timaus), 8 (a freemason), 11 ( E.D.), 60, 61, and 62 (Elizabeth J. Noble), 63 ( Miss Kate), 65 (Sarah T. Hopkins), 68 (Ebr. Denison), 69 ( Cornelia), 72 and 104 (Annie Mckay), 106 (Lucinda Olcott), 107 (Eliza Sabin), 108 (Emeline Ronnsville), 117 (Carl Dresel von Geisenheim) and 134.

The subgroup Early Music Manuscripts (1818-1874 and n.d) includes fife music, Spanish songs, a 19th century English tune book, and a vocal dialogue with text entitled Das Bauern Mädchen und der Stadt Junge, as well as works by Harriette Gould Bark, Johann Adolf Hasse, Georg Philipp Telemann, and Isaac C. Day. It comprises numbers 1, 7, 10, 48, 71, 116, 126, 136, and 141 of the main collection.

The subgroup Early Manuscript Prayerbooks (1744-1801 and undated) consists chiefly of 18th-century Roman Catholic prayerbooks and devotional exercises (including 3 copies of Crönung Mariae) in German and Latin. Many are illustrated. It includes numbers 17, 27, 30, 31, 34, 66, 81, 94, 101, and 131-133 of the main collection.

The subroup Early Manuscript Songbooks, (1712-1896 and undated) includes both sacred (chiefly Roman Catholic) and secular song texts without music. The collection contains some German hymns. Items 13, 24, 36, 73, 86, 87, and 139 of the main collection comprise this group. Numbers 86 and 87 are 19th-century transcriptions from the 16th-century Heidelberger Liederhandschrift (Cod. Pal. 343) and Wernigerode Liederhandschrift Zy 15.

Some items from the Jantz Collection have been cataloged separately. To locate these, search the catalog under author: Harold Jantz Collection (David M. Rubenstein Rare Book & Manuscript Library)

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Jane L. Berdes papers, 1525-1993 79.5 Linear Feet — 46,000 Items

The Jane L. Berdes Collection (1525-1993) has as its focal points the four Venetian welfare institutions known as the Ospedali Grandi and their role as providers of musical training for girls and women. The inclusive dates for the collection begin with the dates of primary materials Berdes collected and extend through her lifetime. The collection consists primarily of Berdes's research notes and materials on the Ospedali Grandi, and photocopies or microfilms of primary sources, including musical scores in manuscript and printed editions. It also contains correspondence, photographs, recordings and printed materials. Berdes identified the maestri of the Ospedali Grandi, the music performed, and the names of over 800 women who were members of the cori , but relatively little is known about them individually with the exception of Maddalena Lombardini Sirmen. In addition, the collection features general materials pertaining to other women in music throughout history. The user is advised that some photocopies are unattributed and, where Berdes did not indicate composer or author, no attempt has been made to provide one. The archive contains very few of Berdes's personal papers.

The bulk of the collection is found in the Research Notes and Materials Series, which contains information gathered in preparation for her books on the Ospedali Grandi and Maddalena Lombardini Sirmen (MLS). The heart of this series is the Ospedali Grandi data designated as "Raw Materials," which contains information culled from primary sources and arranged by subject. Most subseries provide documentation for Raw Materials, including copies of primary and secondary sources, pictures of instruments and iconography, and a bibliography. Similar materials pertaining to Sirmen are here also, as is general information about women in music.

The Music Series contains manuscripts and early printed editions of music performed at the Ospedali Grandi in the form of photocopies or microfilms (printed scores in modern edition are grouped with Printed Materials). There is particular emphasis on the compositions of Sirmen, including some recordings of her music. Works by Bertoni, Galuppi, Hasse, Jommelli, Vivaldi and others are grouped alphabetically by composer. The Correspondence Series contains both general professional correspondence and "Thesis Correspondence," that is letters from other scholars, libraries, archives, museums, and churches in Italian, French and English concerning the Ospedali Grandi and Sirmen. The Miscellaneous Series includes Berdes's other publications on both musical and nonmusical subjects, music criticism, course notes from classes she taught or attended, and memorabilia from her years at Oxford University. A selection of pertinent reference books from Berdes's library is found in the Printed Material Series, as are some libretti, and musical scores by Vivaldi in modern edition.

The user is advised to consult Box #1 for an introduction to the contents of the collection. It contains a copy of Berdes's book Women Musicians in Venice: Musical Foundations, 1525-1855; two copies of her dissertation, entitled Musical Life at the Four Ospedali Grandi, 1525-1855; two binders described by the donor as "the road map to the collection" and a videotaped review of its contents prepared by Berdes.

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Manuscript Sheet Music collection, circa 1800s-1900s 0.3 Linear Feet — 1 oversize folder; 20 piece

Collection includes 20 pieces of collected manuscript sheet music, circa 1830s-1900s. The scores, which cover multiple genres, were most likely copied by hand from other sources.

Collection includes 20 pieces of collected manuscript sheet music, circa 1830s-1900s. The scores, which cover multiple genres, were most likely copied by hand from other sources.

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Phillip Rhodes papers, 1957-2008 and undated 60 Linear Feet — 60 linear feet

North Carolina born and raised composer, Duke alumnus, and composer-in-residence and professor at Carleton College. Collection comprises primarily scores, music sketches, recordings, professional files, and correspondence that follow the development of Rhodes' compositional career. Includes published compositions and unpublished student works for both vocal and instrumental ensembles, as well as concert programs, newspaper clippings, and other publicity related items from performances of his music.

Collection comprises primarily scores, professional files, and correspondence that follow the development of Rhodes' compositional career. Name and Correspondence files consists mainly of correspondence between Rhodes and a variety of professional organizations, but also includes Rhodes' handwritten notes, some publicity materials, and other administrative documents. Personal Files includes unpublished works and music sketches from Rhodes' time as a student at both Duke and Yale, as well as some correspondence and biographical publicity materials more generally related to his career. Events and Programs consists of assorted concert programs from performances of Rhodes' music. Rhodes' music has been divided into four series based on genre: Chamber and Solo Instrumental Works, Choral and Solo Vocal Works, Operas and Oratorios, Orchestral and Wind Ensemble Works. The series include music sketches, drafts, revisions, original manuscripts, master sheets, piano reductions, published scores, conductor's scores, and when noted, instrumental parts.