Meredith Monk archive

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id: 4270
origination: Monk, Meredith
date statement: 1959-2006
key date: 1959
identifier (local_mss): 18184
org unit: Music Division
call number: LPA Mss 2006-001
b-number: b16539564
total components: 2980
total series: 10
max depth: 6
boost queries: (none)
component layout: Default Layout
Extended MARC Fields: false
Extended Navigation: false
created: 2013-04-01 15:04:59 UTC
updated: 2026-01-20 20:40:24 UTC
status note: (missing)
Display Aeon link: true

Description data TOP

physdesc: {"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"130 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"300 boxes", "unit"=>"containers"}], "supress_display"=>true}
unitid: {"value"=>"LPA Mss 2006-001", "type"=>"local_call"}

{"value"=>"18184", "type"=>"local_mss"}
unitdate: {"value"=>"1959-2006", "type"=>"inclusive", "normal"=>"1959/2006"}
date_inclusive_start: 1959
date_inclusive_end: 2006
keydate: 1959
unittitle: {"value"=>"Meredith Monk archive"}
repository: {"value"=>"The New York Public Library for the Performing Arts. <div class=\"address\"> New York, New York</div>"}
abstract: {"value"=>"The Meredith Monk Archive documents the art of Meredith Monk and the history of The House Foundation For The Arts, Monk’s management and production company. The Archive contains correspondence, media clippings, concert programs, publicity material, writings, piece and project files, scores, business and financial papers, photographs and drawings, posters, and books."}
prefercite: {"value"=>"Meredith Monk Archive, LPA Mss 2006-001, The New York Public Library for the Performing Arts."}
origination: {"value"=>"Monk, Meredith", "type"=>"persname"}
bioghist: {"value"=>"Meredith Monk (born New York, NY, Nov. 20, 1942) is a composer, singer, director/choreographer and creator of new opera, music theater works, films and installations. She pioneered what is now called \"extended vocal technique\" and \"interdisciplinary performance.\" During a career that spans more than 40 years she has been acclaimed by audiences and critics as a major creative force in the performing arts. Since graduating from Sarah Lawrence College in 1964, Monk has received numerous awards, including the MacArthur Foundation \"Genius\" Award in 1995, two Guggenheim Fellowships, a Brandeis Creative Arts Award, three \"Obies\" (including an award for Sustained Achievement), two Villager Awards, two \"Bessie\" awards for Sustained Creative Achievement, the 1986 National Music Theatre Award, the 1992 Dance Magazine Award and a 2005 ASCAP Concert Music Award. She is a fellow of the American Academy of Arts and Sciences and holds honorary Doctor of Arts degrees from Bard College, the University of the Arts, the Julliard School, the San Francisco Art Institute and the Boston Conservatory. She is also a fellow of the MacDowell Colony. Monk’s recordings Dolmen Music (ECM New Series) and Our Lady of Late: The Vanguard Tapes (Wergo) were honored with the German Critics Prize for Best Records of 1981 and 1986. Her music has been heard in many films, including La Nouvelle Vague by Jean-Luc Godard and The Big Lebowski by Joel and Ethan Coen. A publishing relationship with Boosey & Hawkes has made Monk's music available to a wider public. In 1968 Monk founded The House, a company dedicated to an interdisciplinary approach to performance. In 1978 she formed Meredith Monk and Vocal Ensemble to expand her musical textures and forms. Monk has made more than a dozen recordings, most of which are on the ECM New Series label. Her music has been performed by numerous soloists and groups including The Chorus of the San Francisco Symphony, Musica Sacra, The Pacific Mozart Ensemble, Double Edge, and Bang On A Can All-Stars, among others. Monk is a pioneer in site-specific performance, creating works such as Juice: A Theater Cantata In 3 Installments (1969) (performed at the Guggenheim Museum), and American Archeology #1: Roosevelt Island (1994). She is also an accomplished filmmaker who has made a series of award-winning films including Ellis Island (1981) and her first feature, Book Of Days (1988), which was aired on PBS, shown at the New York Film Festival and selected for the Whitney Museum’s Biennial. A retrospective art exhibition, Meredith Monk: Archeology of an Artist, opened at The New York Public Library for the Performing Arts at Lincoln Center in 1996. Other art exhibits have included Art Performs Life at The Walker Art Center in Minneapolis; Shrines, at the Frederieke Taylor / TZ Art Gallery; ev +a 2002 Exhibition at Limerick City Gallery of Art in Ireland; and a group exhibit, Show People, at Exit Art. A monograph, Meredith Monk, edited by Deborah Jowitt was published by Johns Hopkins Press in 1997. In October 1999 Monk performed a Vocal Offering for His Holiness the Dalai Lama as part of the World Festival of Sacred Music in Los Angeles. In July 2000 her music was honored by a three concert retrospective entitled Voice Travel as part of the Lincoln Center Festival. Her CD mercy was released on the ECM New Series label in November 2002. Monk’s first orchestra piece, Possible Sky, commissioned by Michael Tilson Thomas for the New World Symphony, premiered in April 2003 in Miami. Stringsongs, her first composition for string quartet, was commissioned by the Kronos Quartet and had its world premiere at the Barbican Center in January 2005. Monk continues to compose and create new musical and theater works."}
scopecontent: {"value"=>"The Meredith Monk Archive contains substantial documentation of both the artistic and business aspects of Monk’s career and the workings of her company, The House Foundation For The Arts. Major elements of the Archive include personal correspondence; comprehensive collections of concert programs, media clippings, publicity materials and posters; piece and project files, some of which contain Monk’s notes and sketches detailing the evolution of certain works; writings by and about Monk; scores; photographs and drawings; financial and other papers documenting the work of The House Foundation since its inception in 1968; and a collection of books about Monk and the art forms in which she works. The personal correspondence consists mainly of short notes and fan letters to Monk from friends and admirers. Clippings and concert programs can be researched in two different series, one set organized chronologically and the other by associated piece or project. The piece and project files mostly detail the performance history and media reception of Monk’s work; earlier files generally contain more of Monk’s notes and sketches than later files. Many project files from throughout Monk’s career also contain photographs of her work in rehearsal and performance (see Series VIII). Pieces with substantial historical documentation include 16 Millimeter Earrings, American Archeology #1: Roosevelt Island, Art Performs Life, Atlas, Book Of Days, Education Of The Girlchild, Quarry, and the Tour series. In addition to articles and essays by Monk, the writings include many interviews and interview transcripts with her, as well as academic dissertations and other writings about Monk and her work. While the Archive includes some music scores, they do not form a significant portion of the collection because written scores have never been an important part of Monk’s working method. The papers of the House Foundation constitute major portions of the Archive and consist mostly of financial, tax, development and other business records. The touring and activity records of the House document Monk and her company’s many tours around the United States and the world and include travel and booking records as well as itineraries and repertory information."}

{"value"=>"The Meredith Monk archive is arranged in ten series:\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/18184#c605577'>Series I: Correspondence</a></div>\n<div class='series-date'>1959-2006 and undated</div>\n<div class='series-extent'>5 boxes</div>\n<div class='series-description'>This series consists primarily of personal and fan letters to Monk from friends, collaborators and, in some cases, strangers. Correspondents include Björk, David Byrne, Michael Cerveris, Blythe Danner, Kenneth King and Rob McBrien (the latter two are longtime friends and collaborators of Monk), as well as Monk’s family and other close friends. Many of the letters are of congratulations following major events such as significant New York performances or the announcement of Monk’s MacArthur Fellowship. There are also nine folders of unidentified correspondents, arranged chronologically.</div></li><li><div class='series-title'><a href='/mus/18184#c605635'>Series II: Clippings</a></div>\n<div class='series-date'>1963-2006 and undated</div>\n<div class='series-extent'>9 boxes</div>\n<div class='series-description'>This series consists of an extensive set of media clippings documenting every stage of Monk’s career, beginning while she was still a student at Sarah Lawrence College. Most of the earlier clippings are from New York area newspapers and magazines, but in later years Monk and her staff collected myriad clippings while on tour around the world, and others were sent at a later date by local presenters. Another set of clippings, overlapping with the content of this series, is arranged by project in Series V, Piece And Project Files. See also Oversized Clippings in Box 293, Folder 1, and anthologized journalism in Box 28, Folders 6-7.</div></li><li><div class='series-title'><a href='/mus/18184#c605767'>Series III: Programs, Flyers and Press Releases</a></div>\n<div class='series-date'>1960 - 2006 and undated</div>\n<div class='series-extent'>11 boxes</div>\n<div class='series-description'>Composed mainly of performance programs, this series also contains press releases and other promotional material for Monk’s work. Many of the earlier posters and flyers were designed and produced by Monk herself. Programs for many of Monk’s pieces can also be found in Series V, Piece And Project Files, arranged by project name. Series VII, Sub-series 2, Development, contains programs for benefits for The House Foundation for the Arts in which Monk performed. See also posters in Oversized Material, Boxes 293-296.</div></li><li><div class='series-title'><a href='/mus/18184#c605818'>Series IV: Writings</a></div>\n<div class='series-date'>1969-2006 and undated</div>\n<div class='series-extent'>3 boxes</div>\n<div class='series-description'>This series consists of Monk’s writings and public addresses and writings about Monk by critics, academicians, students and other artists. It also contains a set of interview transcripts of Monk, as well as student papers and theses. See also dissertations and other writings about Monk in books in Series X.</div></li><li><div class='series-title'><a href='/mus/18184#c605877'>Series V: Piece and Project Files</a></div>\n<div class='series-date'>1966-2006 and undated</div>\n<div class='series-extent'>31.5 boxes</div>\n<div class='series-description'>This series consists mainly of clippings and programs relating to each of Monk’s pieces and other projects. Occasionally there is other documentation, at times extensive, including sketches; notes; correspondence; venue, lighting and other stage information; box office records and other business documentation; and promotional material. Pieces with important documentation beyond programs and clippings include 16 Millimeter Earrings, American Archeology #1: Roosevelt Island, Art Performs Life, Atlas, Book Of Days (much documentation of all its manifesations), Education Of The Girlchild, Quarry, and the Tour series. See also Series VIII: Photographs, which has separate files for many of the pieces found in this series.</div></li><li><div class='series-title'><a href='/mus/18184#c606136'>Series VI: Scores</a></div>\n<div class='series-date'>1972-2005 and undated</div>\n<div class='series-extent'>2 boxes</div>\n<div class='series-description'>Scores have never been an important or common part of Monk’s work process; many of her vocal techniques are difficult to notate, and she rarely has proclaimed any of her musical works finished enough to be codified in the form of a score. This series contains full, “finished” scores for Our Lady Of Late and The Politics Of Quiet, and a “working score” for Atlas: an opera in three parts(for rehearsal use only, not for publication). The latter two scores contain explanatory notes from Monk. Other pieces, such as music for Quarry and MATA Chant, consist only of melodic sketches. Other works in this series includeTablet for women’s voices, piano and recorder; Totentanz for six voices and keyboard; and informal pieces like Wedding Song For Andrea And Bert. See also Box 32, Folder 7 and correspondence in Box 38, Folder 3.</div></li><li><div class='series-title'><a href='/mus/18184#c606154'>Series VII: House Foundation for the Arts</a></div>\n<div class='series-date'>1959-2006 and undated</div>\n<div class='series-extent'>225 boxes</div>\n<div class='series-description'>Most of this series documents the business and financial workings of The House, a non-profit organization that Monk founded in 1968 to run her business and present her work. The first two sub-series, Financial Records and Development, consist mostly of business documents, though Development also has some performance documentation because Monk performed for many of her own benefits. The Activity Files and Touring sub-series mostly document Monk’s performance activities, and have some overlapping content; the Activity Files document Monk’s vocal workshops and art installations in addition to tours and performances, and includes contracts and presenter correspondence, while the Touring Files contain information on the mechanics of booking, networking, travel and publicity surrounding Monk’s tours. The last sub-series, General, contains House papers not directly related to Monk’s performance activities or financial records.</div></li><li><div class='series-title'><a href='/mus/18184#c608393'>Series VIII: Photographs and Drawings</a></div>\n<div class='series-date'>1965-2004 and undated</div>\n<div class='series-extent'>5 boxes</div>\n<div class='series-description'>This series mostly documents Monk’s work in performance through photographic prints, contact sheets and negatives, covering most of her major pieces from 16 Millimeter Earrings (1966) to Impermanence (2004), as well as various incarnations of Meredith Monk and Vocal Ensemble and Monk’s art installations. There are also some informal photographs of performances and personal photographs of Monk, as well as drawings and sketches by Monk and others. Series IX, Oversized Material, also contains photographs.</div></li><li><div class='series-title'><a href='/mus/18184#c608509'>Series IX: Oversized Material</a></div>\n<div class='series-date'>ca. 1965-2005</div>\n<div class='series-extent'>5 boxes</div>\n<div class='series-description'>This series contains photographs, clippings, programs and posters. The photographs are, like those in Series VIII, mostly of particular pieces in performance or for publicity. The posters mostly promote Monk performances.</div></li><li><div class='series-title'><a href='/mus/18184#c608533'>Series X: Books</a></div>\n<div class='series-date'>1965-2004</div>\n<div class='series-extent'>4 boxes</div>\n<div class='series-description'>All the books in this series are signed by their authors and/or are inscribed with a message to Meredith Monk. Among the books are two doctoral dissertations and an Italian scholarly journal containing an article about Monk.</div></li></ul>\n", "type"=>"arrangement"}
arrangement: {"value"=>"The Archive is organized into 10 series and 11 sub-series. They are:<ul> <li>Series I: Correspondence, 1959-2006 and undated</li> <li>Series II: Clippings, 1963-2006 and undated</li> <li>Series III: Programs, Flyers And Press Releases, 1960-2006 and undated</li> <li>Series IV: Writings, 1969-2006 and undated <ul> <li>Sub-series 1 – By Meredith Monk, 1972-2004 and undated</li> <li>Sub-series 2 – By Others, 1969-2006 and undated</li></ul></li> <li>Series V: Piece And Project Files, 1966-2006 and undated</li> <li>Series VI: Scores, 1972-2005 and undated</li> <li>Series VII: House Foundation For The Arts, 1959-2006 and undated <ul> <li>Sub-series 1 – Financial Records, 1980-1999</li> <li>Sub-series 2 – Development, 1976-1997 and undated</li> <li>Sub-series 3 – Activity Files, 1972-2005</li> <li>Sub-series 4 – Touring, 1969-2006 and undated</li> <li>Sub-series 5 – General, 1959-2005 and undated</li></ul></li> <li>Series VIII: Photographs And Drawings, 1965-2004 and undated<ul> <li>Sub-series 1 – Contact Sheets and Negatives, 1965-2000s and undated</li> <li>Sub-series 2 – Prints and Drawings, 1965-2004 and undated</li></ul></li> <li>Series IX: Oversized Material, ca. 1965-2005<ul> <li>Sub-series 1 – Photographs, 1969-1988</li> <li>Sub-series 2 – Clippings, Programs and Posters, ca. 1965-2005 and undated</li></ul></li> <li>Series X: Books, 1965-2004</li></ul>", "supress_display"=>true}
acqinfo: {"value"=>"The Meredith Monk Archive was donated to The New York Public Library For The Performing Arts in 2006 by Meredith Monk."}
separatedmaterial: {"value"=>" <ul> <li>Printed Publications Held By The Music Division <ul> <li> 1996 International Year Book. New York: Collier’s, 1996.</li> <li> 5. Festival Filmowy: Era Nowe Horyzonty. Guide to Polish film festival, 2005.</li> <li> ‘60’80 attitudes/concepts/images. Catalog of exhibition at Stedelijk Museum, Amsterdam, 1982.</li> <li>Agus, Massimo. Corpo Che Danza: Fotografie di Massimo Agus. 1995</li> <li>Ammer, Christine. Unsung: A History Of Women In American Music. Portland, Amadeus, 2001.</li> <li> Anzaï. Catalog of exhibition of Shiego Anzaï at Museum of Modern Art, Kamakura, Japan, 1994.</li> <li> Aperture. No. 164, Summer 2001.</li> <li>Arai, Yoshio and Kazuto Ohira. Broadway! Broadway!Japanese book.</li> <li>Armstrong, Richard et al. 1991 Biennial Exhibition. New York: Whitney Museum of American Art, 1991.</li> <li> Art Performs Life. Program for exhibition at Walker Art Center, Minneapolis, 1998.</li> <li>Arthurs, Alberta and Glenn Wallach, eds. Crossroads: Art And Religion In American Life. New York: New Press, 2001.</li> <li> Artsreview: America’s Opera. Vol. 5, No. 1. Winter 1988. Published by The National Endowment For The Arts.</li> <li> ASCAP Biographical Dictionary. New York: Bowker, 1980.</li> <li> Aterforum. Italian journal, 1988.</li> <li>Au, Susan. Ballet & Modern Dance. London: Thames & Hudson, 1988.</li> <li>Baas, Jacquelynn and Mary Jane Jacob. Buddha Mind In Contemporary Art. Berkely: University of California, 2004.</li> <li>Balk, H. Wesley. The Radiant Performer: The Spiritual Path To Performing Power. Minneapolis: University of Minnesota Press, 1991. (Foreward by Meredith Monk.)</li> <li>Banes, Sally. Reinventing Dance in The 1960s: Everything Was Possible. Madison, WI: University of Wisconsin, 2003.</li> <li>Banes, Sally. Terpsichore In Sneakers: Post-Modern Dance. Boston: Houghton Mifflin, 1980.</li> <li>Banes, Sally. Writing Dancing In The Age Of Postmodernism. Hanover, NH: Wesleyan University, 1994.</li> <li>Bennington College Judson Project. Judson Dance Theater: 1962-1966. Catalog for exhibition at Bennington College, 1981.</li> <li>Bergman, Billy and Richard Horn. Recombinant Do Re Mi. New York: Quill, 1985.</li> <li>BITEF Theater Festival program book, 1990.</li> <li>Blank, Carla. Rediscovering America: The Making of Multicultural America, 1900-2000. New York: Three Rivers, 2003.</li> <li>Briscoe, James R., ed. Contemporary Anthology of Music by Women. Bloomington: Indiana University Press, 1997.</li> <li> Broadway 1975-1980. Japanese book.</li> <li> Broadway 1981-1985. Japanese book.</li> <li>Brooklyn Academy Of Music 1984 Next Wave Festival program book.</li> <li>Brooklyn Academy Of Music 1987 Next Wave Festival program book.</li> <li>Broyles, Michael. Mavericks And Other Traditions In American Music. New Haven: Yale University, 2004.</li> <li>Burns, Kristine H. Women And Music In America Since 1900: An Encyclopedia. Volume One A-K. Westport, CT: Greenwood, 2002.</li> <li>Chinoy, Helen Krich and Linda Walsh Jenkins, eds. Women In American Theatre. New York: Theatre Communications Group, 1987.</li> <li>Cohen, Selma Jeanne, ed. Dance As A Theatre Art: Source Readings In Dance History From 1581 To The Present. New York: Dodd, 1974.</li> <li> Conjunctions: Bi-Annual Volumes Of New Writing. No. 28, 1997. Contains article by Monk about Our Lady Of Late.</li> <li> Contretemps No. 6, April 1986. Contains interview with Monk.</li> <li>Corner, Philip. In And About And Round-About In The 60s: New York In The Center. Lebanon, NH: Self-published, 1995.</li> <li> A Creative Legacy: A History Of The National Endowment For The Arts Visual Artists’ Fellowship Program, 1966-1995. New York: Harry N. Abrams, 2001.</li> <li> Danspace Project: 25 Years. New York: Danspace Project, 1999.</li> <li> Dialogue. No. 2, April 1997.</li> <li> Divadlo Archa/Archa Theatre. Prague: Archa Theatre, 2000.</li> <li> Djerassi Resident Artists Program Annual Report. 1993.</li> <li>Dorfles, Gillo. Il Divenire Della Critica. 1976.</li> <li>Duckworth, William. 20/20: 20 New Sounds Of The 20th Century. New York: Schirmer, 1999. Includes CD.</li> <li>Duckworth, William. Talking Music: Conversations With John Cage, Philip Glass, Laurie Anderson, and Five Generations Of American Experimental Composers. New York: Schirmer, 1995.</li> <li>Eichenbaum, Rose. Masters Of Movement: Portraits Of America’s Great Choreographers. Washington, DC: Smithsonian Books, 2004.</li> <li> EV+A 2002: Heroes + Holies. Exhibition program for show in Limerick, Ireland, 2002.</li> <li>ECM Records 1983 calendar.</li> <li> ECM New Series record catalogs <ul> <li>1989</li> <li>1992</li> <li>1999</li> <li>2001</li></ul></li> <li>Ehrlich, Dimitri. Inside The Music: Conversations With Contemporary Musicians About Spirituality, Creativity, And Consciousness. Boston: Shambhla, 1997.</li> <li> Festival D’Automne A Paris 1972-1982. Paris: Temps Actuels, 1982.</li> <li> Fictions Catalogue 1994.</li> <li> File Of Laforet Museum 1982-1993. Japanese museum catalog.</li> <li>Foster, Susan Leigh. Reading Dancing: Bodies And Subjects In Contemporary American Dance. Berkely: University of California Press, 1986.</li> <li> Frauen Musik. 2000 calendar. German.</li> <li> Fundacao Calouste Gulbenkian: Encontros Acarte 92.</li> <li>Gere, David. Swallowing Technology: An Ethnomusicological Analysis Of Meredith Monk’s \"Quarry\". Master’s Thesis, University of Hawaii, 1991.</li> <li>Gottschild, Brenda Dixon. The Black Dancing Body: A Geography From Coon To Cool. New York: Palgrave, 2003.</li> <li>Henri, Adrian. Total Art: Environments, Happenings, and Performance. New York: Praeger, 1974.</li> <li>Highwater, Jamake. Dance Rituals Of Experience, Third Edition. Pennington, NJ: Princeton Book Company, 1992.</li> <li>Hornick, Lita. The Green Fuse. New York: Giorno Poetry Systems, 1989.</li> <li> Il patalogo uno: Annuario dello spettacolo. 1979</li> <li> Il Patalogo due: Annuario 1980 dello Spetacolo. Volume One. 1980.</li> <li> Il tempo e gli ambienti di Meredith Monk. Venice: La Biennale di Venizia, 1976.</li> <li> Invenzione Di Un Teatro Diverso. 1984.</li> <li> The John Simon Guggenheim Memorial Foundation 1925-2000: A Seventy-Fifth Anniversary Record. New York: The Foundation, 2001.</li> <li>Johnson, Roger, ed. Scores: An Anthology of New Music. New York: Schirmer, 1981.</li> <li>Johnson, Tom. The Voice Of New Music: New York City 1972-1982. Eindhoven, The Netherlands: Apollo Art About, 1989.</li> <li>Jowitt, Deborah. Dance Beat: Selected Views And Reviews 1967-1976. New York: Marcel Dekker, 1977.</li> <li>Jowitt, Deborah. Time And The Dancing Image. Berkeley: University of California Press, 1988.</li> <li>Kaye, Nick. Site-specific Art: Performance, Place and Documentation. London: Routledge, 2000.</li> <li>Kernodle, George, Portia Kernodle and Edward Pixley. Invitation To The Theatre, Third Edition. San Diego: Harcourt, 1985.</li> <li>Key, Susan and Larry Rothe. American Mavericks. Berkeley: University of California, 2001.</li> <li>Kostelanetz, Richard. The Theatre Of Mixed Means. New York: Dial, 1968.</li> <li>Kreemer, Connie. Further Steps: Fifteen Choreographers On Modern Dance. New York: Harper & Row, 1987.</li> <li>Large, Kelly. QSL Audio Publication. Middlesbrough, UK: Middlesbrough Institute of Modern Art, 2004. Includes CD.</li> <li>Levine, Mindy N. New York’s Other Theatre: A Guide To Off Off Broadway. New York: Discus, 1981.</li> <li> L’Evidence, Nos. 9/10, 1997.</li> <li>Livet, Anne, ed. Contemporary Dance. New York: Cross River Press, 1978.</li> <li>Lloyd, Carol. Creating A Life Worth Living. New York: HarperPerennial, 1997.</li> <li> Lotus International. No. 17, 1977.</li> <li>Low, Jackson Mac. The Pronouns: A Collection Of Forty Dances For The Dancers. Barrytown, NY: Station Hill, 1979.</li> <li> The MacArthur Fellows: The First 25 years 1981-2005. Chicago: The John D. and Catherine E. MacArthur Foundation, 2005.</li> <li> The MacArthur Fellows Program: The First Fifteen Years 1981-1996. Chicago: The John D. and Catherine E. MacArthur Foundation, 1997.</li> <li>Marranca, Bonnie. Theatre Writings. New York: Performing Arts Journal Publications, 1984.</li> <li>McAdams, Dona Ann. Caught In The Act. New York: Aperture, 1996.</li> <li>McDonagh, Don. The Rise And Fall And Rise Of Modern Dance. New York: Outerbridge & Dienstfry, 1970. Hardcover & paperback copies.</li> <li>Mekas, Jonas. Trys Draugai. Lithuania: Baltos Lankos, 1998.</li> <li> Millenium Film Journal. Nos. 23/24, Winter 1990-1991.</li> <li>Mitoma, Judy, Ed. Envisioning Dance On Film And Video. New York: Routledge, 2002.</li> <li>Montano, Linda M. Performance Artists Talking In The Eighties. Berkeley: University of California, 2000.</li> <li>Moore, Peter. Peter Moore Photographs. Tokyo: Gallery 360, 1989.</li> <li>Morrissey, Lee, ed. The Kitchen Turns Twenty: A Retrospective Anthology. New York: The Kitchen Center, 1992.</li> <li> The Music-Lover’s Birthday Book. New York: The Metropolitan Museum Of Art, 1987. Two copies.</li> <li> Musical America. Annual directory issue, 1971.</li> <li> MusikTexte: Zeitschrift Für Neue Musik. Nov. 44, April 1992.</li> <li> MusikTexte: Zeitschrift Für Neue Musik. Nov. 46/47, Dec. 1992.</li> <li> National Video Festival. Festival program, 1983.</li> <li>Nauman, Bruce. Bruce Nauman : image/texte, 1966-1996. Paris: Centre Georges Pompidou, 1997.</li> <li> Neuland: Ansätze Zur Musik Der Gegenwart. No. 4, 1983/1984.</li> <li> The New Generation Of Mystery: Künstler Des XXI. Jahrhunderts. Köln: Maria de Alvear World Edition, 2000.</li> <li> Outside The Frame: Performance And The Object: A Survey History Of Performance Art In The USA Since 1950. Cleveland: Cleveland Center For Contemporary Art, 1994.</li> <li> Panta. Quadrimestrale 1997, No. 15. Contains interview with Monk.</li> <li> Paper Air. Vol.2, No. 3, 1965.</li> <li> Parkett. No. 23, 1990. Contains article “The Anti-Narrative: Meredith Monk’s Theatre” by Nancy Spector. Two copies.</li> <li>Pendle, Karen, ed. Women & Music: A History. Bloomington: Indiana University Press, 1991.</li> <li> Performing Arts Journal. No. 40, Jan. 1992.</li> <li> Performing Arts Review. Number 2, 1997.</li> <li>Podesta, Patti, ed. Resolution: A Critique Of Video Art. Los Angeles: Los Angeles Contemporary Exhibitions, 1986.</li> <li>Pym, Rebecca. The Voice As Gesture In Meredith Monk’s Atlas. MA thesis, McGill University, 2002.</li> <li>Roth, Moira, ed. The Amazing Decade: Women and Performance Art In America 1970-1980. Los Angeles: Astro Artz, 1983.</li> <li> Sarah Lawrence College Alumnea/i Directory 1983.</li> <li>Scarpetta, Guy. Le Festival D’Automne De Michel Guy. Paris: Editions du Regard, 1992.</li> <li>Schaubühne: Am Halleschen Ufer Am Lehniner Platz 1962-1987. Frankfurt: Propyläen, 1987.</li> <li>Schaefer, John. New Sounds: A Listener’s Guide To New Music. New York: Harper & Row, 1987.</li> <li> Set In Motion: The New York State Council On The Arts Celebrates 30 Years Of Independents. New York: The Council, 1994.</li> <li>Shackson, Julie. Music For Music’s Sake: Systems Of Analysis In Music, Art And Philosophy. Undated.</li> <li>Siegel, Marcia B. At The Vanishing Point: A Critic Looks At Dance. New York: Saturday Review, 1972.</li> <li> Silesian Dance Theatre 1992-2002.</li> <li>Smith, Geoff and Nicola Walker Smith. New Voices: American Composers Talk About Their Music. Portland: Amadeus, 1995.</li> <li> “So There, Orwell” Catalog of exhibition produced by The Beard’s Fund for Artworks ’84, 1984.</li> <li> Soundings/Neuberger Museum. Catalog of exhibition at State University of New York at Purchase 20 Sept. – 23 Dec. 1981.</li> <li>Strickland, Edward. American Composers: Dialogues On Contemporary Music. Bloomington: Indiana University, 1991.</li> <li> Teatro In Europa. Number 7, 1990.</li> <li> Theatre Journal. Oct. 2000.</li> <li> Toga Festival ’82: First International Theater Festival In Toyama. Photographs by K. Furudate, M. Watanabe and M. Nagaoka.</li> <li>Rinder, Lawrence R. et al. Whitney Biennial 2002. New York: Whitney Museum of American Art, 2002. Includes CD.</li> <li> Who’s Who in America, 42nd Edition, 1982-1983. Vol. 2, L-Z.</li> <li> Who’s Who of American Women: 12th edition 1981-1982. Chicago: Marquis, 1981</li> <li>Wuthnow, Robert. Creative Spirituality: The Way Of The Artist. Berkeley: University of California, 2001.</li> <li>Zaimong, Judith Lang, ed. The Musical Woman: An International Perspective 1983. Westport, CT: Greenwood, 1984.</li> <li>Zorn, John, ed. Arcana: Musicians On Music. New York: Granary, 2000.</li> <li>Zurbrugg, ed. Art, Performance, Media: 31 Interviews. Minneapolis: University of Minnesota, 2004.</li> <li>Unidentified Japanese book, 2000.</li> <li>Unidentified Japanese book, undated.</li></ul></li> <li>Sound Recordings and Documentation Held By The Rodgers and Hammerstein Archives of Recorded Sound <ul> <li> Atlas, 1990-1991. Fourteen two-track and four-track work and rehearsal cassette tapes, with four-track recorder/player.</li> <li> Atlas, 1991. Let’s Go To The Opera media kit with tape of exerpts and booklets about opera and Meredith Monk.</li> <li> Candy Bullets And Moon, 1967. Meredith Monk, voice and bass, and Don Preston, organ and drums. Two copies of demonstration disc (33 1/3).</li> <li> Key. Increase Records. Vinyl LP, wrapped, and proof of sleeve and insert.</li> <li> Learning From Performers, Apr. 24, 1999. Sanders Theatre. Lecture/discussion with Meredith Monk. One cassette.</li> <li>Meredith Monk interview with Evonne Cutliffe, Irish radio station, Oct. 13, 2001. One compact disc.</li> <li> Music From Under And Above. Reproduction of record sleeve.</li> <li> Our Lady Of Late, 1973. Minona Records. Vinyl LP, wrapped.</li> <li> Stringsongs, Dec. 17, 2004. Kronos String Quartet. First run-through of piece. One compact disc.</li></ul></li></ul>"}
userestrict: {"value"=>"For permission to publish, contact the Chief, Music Division."}
relatedmaterial: {"value"=>"The papers of Meredith Monk’s mother, the singer Audrey Marsh, are held by the Music Division, JPB 06-76."}
processinfo: {"value"=>"Processed by Matthew Snyder; Machine-readable finding aid created by Matthew Snyder."}
extent_statement: 130 linear feet (300 boxes)
date_start: 1959
date_end: 2006

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