- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"24.25 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"61 boxes", "unit"=>"containers"}], "supress_display"=>true}
- unitid
-
{"value"=>"JPB 04-27", "type"=>"local_call"}
{"value"=>"20320", "type"=>"local_mss"}
- unitdate
-
{"value"=>"1897-1991", "type"=>"inclusive", "normal"=>"1897/1991"}
- date_inclusive_start
-
1897
- date_inclusive_end
-
1991
- keydate
-
1897
- unittitle
-
{"value"=>"John J. Becker papers"}
- repository
-
{"value"=>"<span class=\"corpname\">The New York Public Library for the Performing Arts. <span class=\"subarea\">Music Division.</span></span> <div class=\"address\"> <span class=\"addressline\">New York, New York</span></div>"}
- abstract
-
{"value"=>"John J. Becker was the only Midwestern member of a group of ultramodernist American composers known as the “American Five”. He was known for his use of difficult techniques of counterpoint and harmony. Becker’s most important works include <span class=\"title\">Symphonia Brevis</span> (1930-1931), <span class=\"title\">A Marriage with Space</span> (1935), and <span class=\"title\">Privilege and Privation</span> (1939). The bulk of the collection consists of scores, correspondence, and papers relating to his professional life as a composer, conductor, and educator."}
- langmaterial
-
{"value"=>"English"}
- prefercite
-
{"value"=>"<p>John J. Becker Papers, JPB 04-27. Music Division, The New York Public Library for the Performing Arts.</p>"}
- origination
-
{"value"=>"Becker, John J", "type"=>"persname"}
- bioghist
-
{"value"=>"<p>John Joseph Becker was an ultramodernist composer, conductor, and educator. He was born in Henderson, Kentucky on January 22, 1886 and he spent most of his life in the Midwest. Indeed, he has been called the “Midwestern Musical Crusader”. His early teachers included <span class=\"persname\">Alexander von Fielitz</span>and <span class=\"persname\">Wilhelm Middelschulte</span>. Becker became an educator himself, working at the University of Notre Dame (1918-1928), St. Mary of the Spring (1928-1929), St. Thomas University (1929-1933), and Barat College of the Sacred Heart (1943-1957). He also spent six years working for the W.P.A., as the Director of the Federal Music Project for the state of Minnesota (1935-1941), before returning to academic life. Throughout his career he wrote about music and culture, as well as serving as an editor and advisor of <span class=\"title\"> New Music</span> magazine alongside founder and friend, <span class=\"persname\">Henry Cowell</span>. Meanwhile, he and his wife Evelyn raised four children: Mary Cecilia, John A., Eugene (Gene), and Bruce.</p> <p>Becker is known as leader of an ultramodern, arguably dissonant, distinctly American style of music that broke away from European styles of composition. Along with the other four of the “American Five” (<span class=\"persname\">Charles Ives</span>, <span class=\"persname\">Henry Cowell</span>, <span class=\"persname\">Carl Ruggles</span>, and <span class=\"persname\">Wallingford Riegger</span>) he shattered preconceived notions of composition, employing difficult techniques of counterpoint and harmony. Becker wrote seven symphonies, as well as concertos, orchestral suites, songs, and choral works (especially religious works). In <span class=\"title\">Musicalia</span> (ca.1931), <span class=\"persname\">Henry Cowell</span> explains that Becker “bases his style on the art of the great early vocal polyphonists of the Catholic Church - Palestrina, Vittoria, etc.”. He named many works “soundpieces”, a literal English translation of the word “sonatas” - which gives an indication of the principles on which he based his work. Among his notable works, <span class=\"title\">A Marriage with Space</span> (1935) is often cited as most representative of his ideas of new forms for the stage by incorporating sound, light, dance, and poetry. He was honored late in his career (1958) when his <span class=\"title\">Symphonia Brevis</span> (written in 1930-1931) was performed at Carnegie Hall as part of Bernstein’s series on important American composers. John J. Becker died on January 21, 1961, one day before his 75th birthday.</p>"}
- scopecontent
-
{"value"=>"<p>The John J. Becker Papers cover the breadth of his professional career, especially his most active period, from roughly 1920 to 1950. The music series, specifically the Scores sub-series, makes up the largest section of the collection. The scores range from original pencil sketches to final published works and spans Becker’s career. Programs and clippings can help orient the researcher by putting performances in context. Series III: Professional Papers gives a fuller picture of John J. Becker’s career outside of pure composition. The final series, Oversized Materials, simply records Becker’s academic degrees and the posters document some of the many W.P.A. concerts Becker organized. Correspondence may provide a bit of insight into Becker’s personal as well as professional life. There is very little of a personal nature in the collection outside of some of the correspondence. Evelyn Becker, John J. Becker’s widow, retained control over the collection for many years after his death, organizing and annotating many of the papers. For example, Series IV: Interviews and Speeches is almost entirely composed of Evelyn’s thoughts and comments about her late husband’s works.</p>"}
{"value"=>"<p class='list-head'>The John J. Becker papers are arranged in eight series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/20320#c563850'>Series I: Correspondence, ;</a></div>\n<div class='series-date'>undated</div>\n<div class='series-extent'>16 boxes</div>\n<div class='series-description'><p>This series includes correspondence to and from both John J. Becker and Evelyn Becker. After John’s death in 1961, Evelyn was unrelenting in her quest to keep his memory and music alive and wrote many letters on his behalf.</p> <p> <ul> <li>Sub-series 1 - General, 1905-1991; undated</li> <li>Sub-series 2 - Thematic, 1938-1982; undated</li></ul></p></div></li><li><div class='series-title'><a href='/mus/20320#c564126'>Series II: Music</a></div>\n<div class='series-date'>1897 - 1969; undated</div>\n<div class='series-description'><p>Music includes lists of Becker’s compositions, notes on his and others’ music, librettos, and scores. Scores is by far the largest sub-series and includes sketches, handwritten manuscripts, and published scores.</p> <p> <ul> <li>Sub-series 1 - Lists of works and dates, 1956-1969; undated</li> <li>Sub-series 2 - Notes, undated</li> <li>Sub-series 3 - Librettos, 1927-1939; undated</li> <li>Sub-series 4 - Scores, 1897-1960; undated</li></ul></p></div></li><li><div class='series-title'><a href='/mus/20320#c564302'>Series III: Professional Papers</a></div>\n<div class='series-date'>1908 - 1979; undated</div>\n<div class='series-description'><p>This series includes papers relating to all of Becker’s professional roles including that of teacher, composer, committee member, musical director and writer. The Activities sub-series details his various accomplishments.</p> <p> <ul> <li>Sub-series 1 - Academic Papers, 1908-1952; undated</li> <li>Sub-series 2 - Activities, 1909-1961; undated</li> <li>Sub-series 3 - American Composers Alliance, 1939-1960; undated</li> <li>Sub-series 4 - Catalogs, 1933-1978; undated</li> <li>Sub-series 5 - Conferences, 1928-1979; undated</li> <li>Sub-series 6 - Photographs, 1933-1958; undated</li> <li>Sub-series 7 - W.P.A. (Works Progress Administration), 1935-1942; undated</li> <li>Sub-series 8 - Writings, ca. 1927-1976; undated</li></ul></p></div></li><li><div class='series-title'><a href='/mus/20320#c564383'>Series IV: Interviews and Speeches, 1941 - 1980;</a></div>\n<div class='series-date'>undated</div>\n<div class='series-description'><p>This series is concerned with public speaking - both the notes prepared before and the transcripts produced later. The notes are entirely Evelyn Becker’s, and the transcripts predominately so.</p> <p> <ul> <li>Sub-series 1 - Notes, 1973-1980; undated</li> <li>Sub-series 2 - Transcripts, 1941-1980</li></ul></p></div></li><li><div class='series-title'><a href='/mus/20320#c564398'>Series V: Legal and Financial Papers</a></div>\n<div class='series-date'>1916 - 1978; undated</div>\n<div class='series-description'><p>This series includes papers related specifically to Becker’s music such as appraisals, contracts and invoices, and copyrights, as well as those related to general household finances like stocks, tax returns, and other miscellaneous documents.</p></div></li><li><div class='series-title'><a href='/mus/20320#c564407'>Series VI: Programs</a></div>\n<div class='series-date'>1911 - 1991; undated</div>\n<div class='series-description'><p>This series includes programs of performances of Becker’s works, as well as those of his contemporaries. The better portion are from the 1930s, which Becker began by teaching at St. Thomas University and later became the State Director of Music for the Federal Music Project (of the W.P.A.). Of special note is a 1958 Carnegie Hall performance that included Becker’s <span class=\"title\">Symphonia Brevis</span>, in which <span class=\"persname\">Van Cliburn</span> played piano and <span class=\"persname\">Leonard Bernstein</span> conducted.</p></div></li><li><div class='series-title'><a href='/mus/20320#c564417'>Series VII: Clippings</a></div>\n<div class='series-date'>1920 - 1986; undated</div>\n<div class='series-description'><p>This series includes short published articles that are either about, or sometimes by, John J. Becker. The articles by Becker date circa 1926-1929, when he wrote a regular column for the <span class=\"title\">South Bend News-Times</span>. 1936-1941 sees a large increase in the sheer quantity of clippings, as in these years Becker was organizing performances throughout Minnesota for the Federal Music Project (of the W.P.A.).</p></div></li><li><div class='series-title'><a href='/mus/20320#c564455'>Series VIII: Oversized Materials</a></div>\n<div class='series-date'>1922 - ca. 1941</div>\n<div class='series-description'><p>This series contains Becker’s diplomas (1922, 1923, and 1928) and posters advertising performances for the Federal Music Project of the W.P.A.</p></div></li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p> <ul> <li>Series I: Correspondence, 1905-1991; undated <ul> <li>Sub-series 1 - General, 1905-1991; undated</li> <li>Sub-series 2 - Thematic, 1938-1982; undated</li></ul></li> <li>Series II: Music, 1897-1969; undated <ul> <li>Sub-series 1 - Lists of works and dates, 1956-1969; undated</li> <li>Sub-series 2 - Notes, undated</li> <li>Sub-series 3 - Librettos, 1927-1939; undated</li> <li>Sub-series 4 - Scores, 1897-1960; undated</li></ul></li> <li>Series III: Professional Papers, 1908-1979; undated <ul> <li>Sub-series 1 - Academic Papers, 1908-1952; undated</li> <li>Sub-series 2 - Activities, 1909-1961; undated</li> <li>Sub-series 3 - American Composers Alliance, 1939-1960; undated</li> <li>Sub-series 4 - Catalogs, 1933-1978; undated</li> <li>Sub-series 5 - Conferences, 1928-1979; undated</li> <li>Sub-series 6 - Photographs, 1933-1958; undated</li> <li>Sub-series 7 - W.P.A. (Works Progress Administration), 1935-1942; undated</li> <li>Sub-series 8 - Writings, ca. 1927-1976; undated</li></ul></li> <li>Series IV: Interviews and Speeches, 1941-1980; undated <ul> <li>Sub-series 1 - Notes, 1973-1980; undated</li> <li>Sub-series 2 - Transcripts, 1941-1980</li></ul></li> <li>Series V: Legal and Financial Papers, 1916-1978; undated</li> <li>Series VI: Programs, 1911-1991; undated</li> <li>Series VII: Clippings, 1920-1986; undated</li> <li>Series VIII: Oversized, 1922-ca. 1941</li></ul></p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>TheJohn J. Becker Papers were donated to the Music Division in 1984 by the Evelyn Becker.</p>"}
- userestrict
-
{"value"=>"<p>For permission to publish, contact the Chief, Music Division.</p>"}
- note
-
{"value"=>"Audio Materials to Rodgers and Hammerstein Archives of Recorded Sound Vinyl discs Credo, undated (For a capella men’s chorus. The Greek Byzantine Chorus.) Credo, 1933 New Music Quarterly recordings, undated Volume I, Number 1 Volume I, Number 2 Volume I, Number 3 (Includes Wallingford Riegger.) Volume I, Number 5 (Includes Charles Ives and Carl Ruggles.) Volume II, Number 1 (Includes Henry Cowell.) Volume II, Number 4 (Fourth Sonata for violin and piano.) Volume II, Number 5 Volume II, Number 6 Unnumbered (Includes Charles Ives and George Antheil.) Piano music of Henry Cowell: the composer speaks about his music, 1951 Nov. 8 Song, 1953 Dec. 17 (Performed by Welch Chorale in Town Hall.) Soundpiece #I, undated Soundpiece #IV, 1948 July 26 Soundpiece #IV, 1955 (Walden String Quartette. Album was printed with title Soundpiece # 2, but Evelyn Becker has noted that it is actually Soundpiece #4, as indicated by the record sleeve.) Soundpiece #5, undated (Two 78s, same recording? Ernst Krenek on piano.) String Quartet Number 2, undated (By Charles Ives. Played by the Walden String Quartet.) Cassettes The American Visionaries, 1982 (Holland Festival) 5\" reel-to-reel Contata for Wartime, undated Mozart and Couperin, undated John J. Becker talking with his son, John A. Becker, undated 7 1/2\" reel-to-reel Abongo, 1963 May 16 (The Manhattan School of Music percussion ensemble.) Abongo, 1969 and 1971 (University of Illinois - Urbana.) American Composer Radio Program #356, 1967 Feb. 13 (On WAKW. The music of John Becker, Wallingford Riegger, and Charles Ives. Karol Fahnestock was the producer/host/narrator.) American Five Concert, 1974 June 22 Becker-Benaroya interview, undated (Tape I.) Becker-Benaroya interview, undated (Tape II. Discussion about piano as percussion, Soundpiece #I, and Becker’s opinion on chamber music.) Becker-Krenek St. Paul Concert, 1975 Nov. 4 (Part I. Includes When The Willow Nods.) Father Bruckberger concert, undated (Includes Horn Concerto, Credo, Piano Sonata, Quartet #2, Soundpiece #1 and When the Willow Nods.) John Becker, Reel #1. 1975 Aug. 27 (Side A has the Symphonia Brevis/Symphony #3, Abongo, and Credo?) John J. Becker, Reel #2 1975 Aug. 27 (Side A has Soundpiece #5, Soundpiece #1. Side B has Soundpiece #8 and Concerto Arabesque.) John Becker Day, 1974 June 22 (Don Gillespie on Becker and Ives at St Thomas. Includes a symposium with Evelyn Becker.) Madeleine et Judas, 1959 (A-“Clear”.Theatre Fontaine.) Madeleine et Judas, 1959 (B-Prelude. Theatre Fontaine.) Madeleine et Judas, 1959 (C-“Lots of music towards the end”. Theatre Fontaine.) Madeleine et Judas, 1959 (D-long introduction. Theatre Fontaine.) Men and Mountains, 1958 Oct. 18 (By Carl Ruggles. Leonard Bernstein conducting the New York Philharmonic Orchestra. Includes an interview of Van Cliburn.) Missa Symphonica and Mourning Song, 1976 Oct. 24 (Performed by the Dale Warland singers.) Music for keyboard instruments, undated (Barat College radio program.) Music for keyboard instruments, undated (Becker and Benaroya.) Our American Music, 1976 June 7-1976 June 11 (Week long presentation of Becker programs on WFMT.) Soundpiece #1, undated Soundpiece #8, 1975 July (String quartet #3. First two movements plus fragment of last movement. Recorded at KPFA in Berkeley, California.) Symphonia Brevis, 1958 Oct. 18 (Leonard Bernstein conducting. The New York Philharmonic Orchestra.) Symphonia Brevis, 1958 Oct. 18 (Leonard Bernstein conducting. The New York Philharmonic Orchestra. Includes talk by Bernstein and Van Cliburn.) Symphonia Brevis, 1958 Oct. 18 (Leonard Bernstein conducting. The New York Philharmonic Orchestra. Inscribed by Julie and Ed Abbott.) Twentieth Century Music For Orchestra, 1976 Jan. 13 (Tape #1. Robert Sadin, Music Director and Conductor. Includes Concertino Pastorale by John Becker.) Twentieth Century Music for Orchestra, 1976 Jan 13 (Tape #2.) Twentieth Century Music for Orchestra, 1976 Jan. 13 (Tape #3 - continued from tape #2.) WFMT, 1976 July (Concertino Pastorale and Soundpiece #7.) WFUV in New York, 1975 Aug. 27 (Reel # 1.) WFUV in New York, 1975 Aug. 27 (Reel # 2.) WFUV in New York, 1975 Aug. 27 (Unnumbered. Moderated by Cole Gagne at Fordham University.) Unidentified (2 reels.)"}
- physloc
-
{"value"=>"*ZB-4365 [Microfilm]", "type"=>"local_call", "supress_display"=>true}
- altformavail
-
{"value"=>"<p>Selections from vocal and instrumental music (Boxes: 18, f. 2, 6; 25, f. 5; 27, f. 1; 31, f. 4; 32, f. 2; 39, f. 3; 48, f. 5; 49 f. 5; 50, f. 3) Available also in microfilm as part of the John J. Becker papers; service copy classmark: *ZB-4365</p>"}
- processinfo
-
{"value"=>"<p>Processed by Jennifer L. Winters; Machine-readable finding aid created by Jennifer L. Winters.</p>"}
- extent_statement
-
24.25 linear feet (61 boxes)
- date_start
-
1897
- date_end
-
1991