- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"22 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"43 boxes", "unit"=>"containers"}], "supress_display"=>true}
- unitid
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{"value"=>"JPB 06-25", "type"=>"local_call"}
{"value"=>"20427", "type"=>"local_mss"}
- unittitle
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{"value"=>"Jack Briece papers"}
- repository
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{"value"=>"<span class=\"corpname\">The New York Public Library for the Performing Arts.</span> <span class=\"subarea\">Music Division.</span> <div class=\"address\"><span class=\"addressline\">New York, New York</span></div>"}
- abstract
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{"value"=>"Born in 1945, Jack Briece was an American composer, organist and pianist, video artist, educator, and author, whose creative output was original and inventive. Most of this collection contains Briece’s diary, written on index cards and documenting his personal study of astrology, planetary movements, and the I-Ching, which informed every aspect of his life and inspired much of his output as an artist. However, of particular interest are the music series and the records surrounding Briece’s travels in Finland. The music materials demonstrate Briece’s use and personal development of conventional as well as modern and experimental orchestration techniques. The materials related to Finland represent a particularly active and creative time for the composer, his involvement with the newly developing videotape medium, and the culmination of much of his work up until his untimely death in 1988."}
- prefercite
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{"value"=>"<p> The Jack Briece Papers, JPB 06-25. Music Division, The New York Public Library for the Performing Arts.</p>"}
- origination
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{"value"=>"Briece, Jack, 1945-1988", "type"=>"persname"}
- bioghist
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{"value"=>"<p> Jack Briece was a composer, organist and pianist, video artist, educator, and author, whose creative output was original and inventive. Born in Oklahoma City, January 28, 1945, Briece attended Kansas State College of Pittsburg in Pittsburg, Kansas where he earned his Bachelor of Music in Organ Performance in 1967, and his Master of Music in Composition and Theory in 1970. He also studied at Fontainbleau with Nadia Boulanger in the summer of 1966, and at the New England Conservatory in the Master of Music program in composition during the 1966-67 academic year.</p> <p>Jack Briece designed the music program for the Escuela Americana in Tegucigalpa, Honduras, where he taught from 1967-69. In 1970-71 he was organist and music theory instructor at Prairie View Agricultural and Mechanical College in Texas. In 1973 he co-founded the MusicMusic Corporation with the mission of promoting new music composition and performance. The organization developed an international music exchange program with Mexico, Brazil, and England, in which Briece was active. In 1973-74 he began experimenting with the newly developing videotape medium. Throughout the seventies he produced several concerts and concert series such as Les Salons Vides and Nanny Goat Hill. His own instrumental music has also been performed in Central America, Europe, and the United States and at the Rothko Chapel in Houston, Texas (1973), the Biblioteca Benjamin Franklin in Mexico City (1977), and the Santa Fe Festival of the Arts (1983). His music has been published in Soundings and Ear magazines. He was also a member of the American Composers Alliance, a non-profit organization dedicated to American classical music, and publisher of American composers.</p> <p>With a foundation in the classical music tradition he also embraced modern 20th century innovations and championed John Cage among others. While some of his works take a more conventional approach, the influence of Cage is evidenced in others; moreover, he recorded Cage’s 62 Mesostics Re Merce Cunningham for 1750 Arch Records. Also of great importance to Briece’s life and works was his ongoing study of astrology, planetary movements, and the I-Ching. These would come to inform every aspect of his life and inspire much of his output as an artist. In his own words, “The cosmological, magical and political connotations of musical conceptions are of particular interest and have manifested in my work in various ways.” Briece was eager to stretch the bounds of form as well as experiment with new media and technologies.</p> <p> Having developed a keen interest in the music, arts, and culture of Finland, Briece sought the opportunity to travel, study and work there, and received grants to visit in 1985 and again in 1987. He published articles about his experiences and findings in Musical America and Nordic Sounds. Serving on the Board of Directors for the Sibelius Society, Ltd., he also published his Letter[s] from Finland in that organization’s newsletter. His grant activities in Finland were divided between music and video concentrations. Concerning the former, Briece was collecting information about music in Finland and focused on getting to know Finnish composers and their music. Concerning the latter, he was presenting information and working to raise public consciousness about video art and encourage its official recognition. Briece arranged opportunities to exhibit the work of American artists in both music and video, including: Charles Amirkhanian, Beth Anderson, Eugenia Balcells, Chris Berg, Chris Brown, Robert Campbell, Larry Cuba, Peter Garland, Tony Gnazzo, Ron Gregory, Phil Harmonic, Jerry Hunt, Neil Rolnick, Bob Sheff, Steina & Woody Vasulka, Joseph Weber, and Reynold Weidenaar, among others. In a letter to his parents in 1972, Briece describes the goal of an artists’ placement program “to give concerts, lectures and … rouse the general cultural climate.” These words, in short, also exemplify Briece’s own interests and indeed his successes.</p> <p>In 1988 Briece was commissioned by the Santa Fe Community Orchestra to compose a piece for winds, brass, and percussion, for a concert to be held the following year. The opportunity seemed to commemorate his steadfast efforts and he was very excited to produce the work, however he never got to see it to fruition. Jack Briece died of AIDS in Aptos, California at the age of 43 on March 26, 1988.</p>"}
- scopecontent
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{"value"=>"<p> The Jack Briece Papers contain documents primarily of a personal nature that provide not only details of Briece’s life but a snapshot of the landscape of contemporary music and art in America during the 70s and 80s. While Briece’s interests focus on music and the emergence of the video medium, they overlap with the plight of other independent contemporary artists searching for creative outlets and financial support.</p> <p>Most of this collection contains Briece’s diary, much of which was written on index cards that document his personal study of astrology, planetary movements, and the I-Ching. However, of particular interest are the music series and the records surrounding Briece’s travels in Finland which can be found within the professional papers and correspondence series. The music materials demonstrate Briece’s use and personal development of conventional as well as modern and experimental orchestration techniques. The evidence related to Finland represents a particularly active and creative time for the composer, and the culmination of much of his work up until his untimely death.</p> <p> The collection lacks examples of works on video although descriptions can be found in the proposals folder within the series of professional papers, also in the publicity series, and descriptions of the pieces <span class=\"title\">Monkey Eighty</span> and <span class=\"title\">Summer Music</span> can be found in the music series.</p>"}
{"value"=>"<p class='list-head'>The Jack Briece papers are arranged in eight series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/20427#c620666'>Series I: Correspondence</a></div>\n<div class='series-date'>1966-1988 and undated</div>\n<div class='series-description'><p>This series contains correspondence both of a personal and a professional nature, and the distinction between the two is often blurred. Documents related to Briece’s endeavors in Finland are the most prevalent. There are also numerous letters and cards to and from family and friends.</p></div></li><li><div class='series-title'><a href='/mus/20427#c620741'>Series II: Personal Papers</a></div>\n<div class='series-date'>1945), 1960-1988 and undated</div>\n<div class='series-description'><p>This series contains assorted personal information such as documentation of Briece’s memorial services including the guest book and sympathy cards, notes, identifications, high school year books, and other personal documents.</p></div></li><li><div class='series-title'><a href='/mus/20427#c620770'>Series III: Diary</a></div>\n<div class='series-date'>1974-1988 and undated</div>\n<div class='series-description'><p>The materials in this series are unique as Briece recorded his daily journal on index cards and their content deals almost entirely with his astrology studies, and his inquiries of the I-Ching. While most of these cards are undated, when he does record the date he gives the year along with the associated Chinese astrological animal. Also contained herein are annotated annual astrology guides and other personal writings.</p></div></li><li><div class='series-title'><a href='/mus/20427#c620806'>Series IV: Music</a></div>\n<div class='series-date'>1963-1987 and undated</div>\n<div class='series-description'><p>This series contains numerous and varied examples of Briece’s compositions. There are two examples that were not composed by Briece: <span class=\"title\">Face</span>, by Erkki Jokinen, and <span class=\"title\">Missa de angelis</span>, by Jouko Linjama.</p> <p> Many of the scores employ conventional orchestration procedures, such as: <span class=\"title\">Passacaglia and Allegro</span> (1966), <span class=\"title\">Plutonian Rabbit</span> (1987), or <span class=\"title\">Nine Dragons</span> (1987). Other pieces demonstrate modern and experimental techniques using diagrams and/or verbal directions: <span class=\"title\">Lemon Fresh Joy</span> (1971), and <span class=\"title\">Music Walk for Heinz Klaus Metzger</span>. There are examples of both types of approach throughout Briece’s career. Other pieces, like <span class=\"title\">Monkey Eighty</span>, were composed as video music works; these pieces are meant to accompany video, but, in some cases, may also be performed instrumentally.</p> <p> The series also contains notes and studies related to Brice’s process and development as well as an assortment of unidentified scores or pages of music.</p></div></li><li><div class='series-title'><a href='/mus/20427#c620840'>Series V: Professional Papers</a></div>\n<div class='series-date'>1960-1988 and undated</div>\n<div class='series-description'><p>The series of professional papers contains information related to Briece’s work. There is significant documentation of his endeavors in Finland, examples of his writings are contained herein. There is also much biographical information including his resumes and publicity materials.</p></div></li><li><div class='series-title'><a href='/mus/20427#c620865'>Series VI: Financial Records</a></div>\n<div class='series-date'>1975-1988 and undated</div>\n<div class='series-description'><p>This series contains assorted financial documents, including bank statements, bills, receipts, tax papers, and other financial records.</p></div></li><li><div class='series-title'><a href='/mus/20427#c620885'>Series VII: Photographs</a></div>\n<div class='series-date'>1982, 1985 and undated</div>\n<div class='series-description'><p>This series contains photographs that were left almost entirely unidentified. It appears that these are mostly Briece’s own, personal snapshots primarily of friends and family. There are also numerous slides and negatives.</p></div></li><li><div class='series-title'><a href='/mus/20427#c620897'>Series VIII; Oversized Materials</a></div>\n<div class='series-date'>1970-1988 and undated</div>\n<div class='series-description'><p>The series of oversized materials contains mostly larger musical scores as well as an assortment of clippings, publicity materials, and personal writings.</p></div></li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p> <ul> <li>Series I: Correspondence, 1966-1988 and undated</li> <li>Series II: Personal Papers, 1945, 1960-1988 and undated</li> <li>Series III: Diary, 1974-1988 and undated</li> <li>Series IV: Music, 1963-1987 and undated</li> <li>Series V: Professional Papers, 1960-1988 and undated</li> <li>Series VI: Financial Records, 1975-1988 and undated</li> <li>Series VII: Photographs, undated</li> <li>Series VIiI: Oversized Materials, 1970-1988 and undated</li></ul></p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>The Jack Briece Papers were donated to the Music Division in 1993 by his sister Carol Briece McKay and the Briece family.</p>"}
- userestrict
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{"value"=>"<p>For permission to publish, contact the Chief, Music Division.</p>"}
- unitdate
-
{"value"=>"1945", "type"=>"inclusive", "normal"=>"1945"}
{"value"=>"1960-1988", "type"=>"inclusive", "normal"=>"1960/1988"}
- date_inclusive_start
-
1945
- date_inclusive_end
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1988
- keydate
-
1945
- processinfo
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{"value"=>"<p>Processed by Anders Griffen; Machine-readable finding aid created by Anders Griffen.</p>"}
- extent_statement
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22 linear feet (43 boxes)
- date_start
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1945
- date_end
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1988