Finding Aid for William Brooks Papers, 1936-2013 | The Sousa Archives and Center for American Music

By D. Baron, K. Reiser, B. Murphy, C. Fuller, L. Graham, A. Small, K. Hewitt, J. Shelly, A. Bishop, J. Holton, R. Senese, G. de Keersmaecker, M. Djenno, L. Booker, and C. Berthold

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Collection Overview

Title: William Brooks Papers, 1936-2013

ID: 12/5/31

Primary Creator: Brooks, William (1943-)

Extent: 24.55 cubic feet

Arrangement: Organized in seven series: Series 1: Biographical Materials and Calendars, 1943-2003; Series 2: Correspondence, 1964-2011; Series 3: Course Papers and Instructional Resources, 1970-2002; Series 4: School of Music; Series 5: Writings, Presentations and Research, 1936-2000; Series 6: Music Composition and Performance Programs, 1961-2012; Series 7: Audio-Visual Recordings, 1964-1992.

Date Acquired: 03/30/2001. More info below under Accruals.

Subjects: Cage, John, Faculty Papers, Music, Music, School of, Music - United States, Musical Repertoires, Music Composition, New Grove Dictionary of Music and Musicians, Teaching, Vocal music

Formats/Genres: Papers

Languages: English

Scope and Contents of the Materials

Consists of correspondence; teaching materials including lectures notes, student records and evaluations, and student dissertations; audio-visual recordings; research notes; and original compositions documenting Brooks' career as a student, composer, performer, musicologist, and educator at the University of Illinois [UIUC] (1969-1973 and 1987-2000), University of California at Santa Cruz [UCSC] (1973-1975); University of California at San Diego [UCSD] (1975-1977); University of Keele (1977-1978), Middlebury College (1982), the Institute for Studies in American Music at Brooklyn College (1983), Goldsmiths College, London (1995-1996), and University of York (2006). Organized in seven series: Series 1: Biographical Materials and Calendars, 1943-2003; Series 2: Correspondence, 1964-2011; Series 3: Course Papers and Instructional Resources, 1970-2002; Series 4: School of Music; Series 5: Writings, Presentations and Research, 1936-2000; Series 6: Music Compositions and Performance Programs, 1961-2012; Series 7: Audio-Visual Recordings, 1964-1992. Of particular interest are Brooks's research and publications on John Cage and his research collaborations with the editors of The New Grove Dictionary of Music and Musicians and Gilbert Chase.

Biographical Note

William Brooks (1943-) is an American composer, performer, conductor, musicologist, and educator. He earned his Bachelor of Arts degree in music and mathematics from Wesleyan University (1965), and his Master of Music in musicology (1971) and Doctorate of Musical Arts in composition-theory (1976) from the University of Illinois at Urbana-Champaign. Brooks served on the music faculty at the University of Illinois between 1969-1973 and 1987-2000 as Professor of Composition, Director of the Contemporary Chamber Singers, and Chair of the Composition-Theory Division for many years. His other faculty positions included appointments at the University of California, Santa Cruz (1973-1975) and University of California, San Diego (1975-1977). Between 1977 and 1987 he worked as a freelance composer, scholar and performer. Brooks has also held visiting appointments at the University of Keele (1977-1978), Middlebury College (1982), the Institute for Studies in American Music, Brooklyn College (1983), and Goldsmiths College, London (1995-1996). He was also a Senior Research Fellow at the Orpheus Institute, Ghent, Belgium (2009-2010). Brooks also served as Associate Professor Emeritus of Composition and Theory at University of Illinois at Urbana-Champaign (1987-2000), and beginning in 2000 became Reader in Music at the University of York. He became full Professor in 2006.

Brooks is closely associated with John Cage as both a performer and scholar. He played in the world premiere of Cage's HPSCHD and directed several productions of Cage's Song Books. Brooks has published extensively on 20th-century American music, especially on John Cage and Charles Ives, vocal music, popular music, and musical instruments. He served as the adviser for the article, "19th-century Music," for The New Grove Dictionary of American Music. He is composer of American experimental music whose work focuses on mappings between music and other fine arts. He has received commissions from the British Arts Council (1978), the Gulbenkian Foundation (1981) and the Kronos Quartet (1986). In addition his research and compositions have been sponsored by the National Endowment for the Arts, the Gulbenkian Foundation, the Smithsonian Institution, and the Fulbright Scholar program.

Subject/Index Terms

Cage, John
Faculty Papers
Music
Music, School of
Music - United States
Musical Repertoires
Music Composition
New Grove Dictionary of Music and Musicians
Teaching
Vocal music

Administrative Information

Repository: The Sousa Archives and Center for American Music

Accruals: Additions acquired 12/20/2002, 5/23/2012, 8/6/2013, 12/2/2013 (items from Northwestern University acquired on this date), March 27, 2017, and July 2, 2021 (transfer from the Music and Performing Arts Library).

Acquisition Source: William Brooks

Acquisition Method: Gift

Processing Information: The Brooks Papers were re-processed in June 2012 by the LIS590AA class to accomodate the significant addition of materials that were donated to the Sousa Archives and Center for American Music in May 2012. Additions made on 8/6/2013 were processed on 8/7/2013.

Box and Folder Listing

Browse by Series:

[Series 1: Biographical Materials and Calendars, 1943-2003],
[Series 2: Correspondence, 1964-2011],
[Series 3: Course Papers and Instructional Resources, 1970-2002],
[Series 4: School of Music, 1987-2000],
[Series 5: Writings, Presentations and Research, 1936-2000],
[Series 6: Music Composition and Performance Programs, 1961-2012],
[Series 7: Audio-Visual Recordings, 1964-1992],
[All]

Series 6: Music Composition and Performance Programs, 1961-2012

Consists of original music sketches, parts, and scores; sheet music; concert programs and event posters; and newspaper clippings documenting Brooks' compositional and performance careers between 1961 and 2012. The materials are organized in two subseries: Subseries 1, Music Sketches, Parts and Scores, 1967-2011, and Subseries 2, Performances, 1961-2011.

Sub-Series 1: Music Sketches, Parts and Scores, 1967-2013

Contains music sketches, drafts, and scores documenting William Brooks' compositional career. Of particular interest is his 1972 composition, Untitled. Folders containing the title "Unidentified" denotes a composition that has no title. Folders labelled with "Untitled" denotes Brooks' music composition titled by the composer as "Untitled."

Box 4

Folder 16: POEMPIECE I: whitegold blue, 1967: Photocopy of instructions and published score. For solo flute. See also Box 18, Folder 64; Box 35, Folder 1, and Box 37, Folders 27 and 28.
Folder 17: Many Returns, 1977: Score (gift version: gifts for the other 1). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 18: Many Returns, 1977: Score (gift version: gifts for the other 1). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 19: Many Returns, 1977: Score (gift version: gifts for the other 1). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 20: Many Returns, 1977: Score (gift version: gifts for the other 1). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 21: Many Returns, 1977: Score (gift version: gifts for the other 1). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 22: Many Returns, 1977: Score (gift version: gifts for the other 1). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 23: Many Returns, 1977: Score (gift version: gifts for the other 2). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 24: Many Returns, 1977: Score (gift version: gifts for the other 2). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 25: Many Returns, 1977: Score (gift version: gifts for the other 2). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 26: Many Returns, 1977: Score (gift version: gifts for the other 2). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 27: Many Returns, 1977: Score (gift version: gifts for the other 2). Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.

Box 6

Folder 9: Untitled, 1972: First edition. Photocopies of fragments; assembled masters for singers' scores, choach's score, and instructions. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 10: Four from the Song of Solomon, 1967: Sketches, pencil draft, annotated pencil fair copy. For soprano, eight violas, flute, clarinet, bassoon, harp, and percussion. See also Box 24, Folder 1 and Box 38, Folder 4.
Folder 11: The Kitchen Sink and the Water in It, 1991: Photocopies of scores. For flute (piccolo), clarinet (Bb, Eb, and Bb bass), trumpet (cornet), two trombones, and percussion.

Box 7

Folder 1: Many Returns, 1977: Plans, drafts, fair copies. For voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 4, Folders 17-27; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.
Folder 2: A Peal for Calm, 1990: Sources, sketches, and drafts. For choir. Written for the Contemporary Chamber Singers. See also Box 24, Folder 8.
Folder 3: Untitled, 1972: Sources, plans, drafts, photocopies of fragments, fair copy of instructions. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 4: Untitled, 1972: First edition. Microfilm copies of time scores; annotated performers' scores; photocopies of annotated performers' scores. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 5: Untitled, 1972: First edition. Assembled locations scores and fragments. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 6: La Passion de Jeanne d'Arc, 1984: Plans, drafts, photocopies of scores. Newly composed parts for harp and percussion, for the film score by Leo Pouget and Victor Alix, written to accompany Carl Dreyer's La Passion de Jeanne d'Arc. Commissioned by Gillian Anderson.

Box 18

Folder 62: Three Early Songs, 1963

Scores (pencil and photocopy). For voice and piano. Texts by A.E. Housman.

Folder 63: Motet, 1965

Score. For male chorus, tenor solo, percussion, two conductors, and drone. Text excerpted from Isaiah chapters 5, 11, and 12.

Folder 64: POEMPIECE I: whitegold blue, 1967

Sketches, draft, and published score. For solo flute. See also Box 4, Folder 16; Box 35, Folder 1; and Box 37, Folders 27 and 28.

Folder 65: Ecclesiastes, 1967-1968

Fair copy. For oboe, reader, and two baritone voices. Text from Ecclesiastes 3:1-8.

Folder 66: Conversation Piece I and Sextet, 1973-77 and 1966

Folder contains two distinct works Conversation Piece I, 1973-77 and Sextet, 1966.

Conversation Piece 1: Draft and fair copy. For conversationalists. Written for Adela Basayne.

Sextet: Sketches and drafts. For flute, oboe, horn, piano, and two percussionists. See also Box 32, Folders 7 and 8.

Folder 67: Four Graduals, 1967-1968

Correspondence, sketches, and drafts. For church choir, soloists, and various instruments. Texts from the liturgy.

Folder 68: POEMPIECE II: how I fooled the armies, 1969

Draft and fair copy. For solo bass trombone. See also Box 32, Folder 5 and Box 37, Folder 26.

Folder 69: Por Ventura, 1972

Fair copy. For SATB chorus, 2 trumpets, and percussion. Text by St. John of the Cross.

Folder 70: Untitled, 1972

First edition, annotated. Location score: The Cauldron. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.

Folder 71: Many Returns, 1977

Bound set of photocopied excerpts. For voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 31, Folders 1-3; and Box 37, Folders 20-23 and 29.

Folder 72: Madrigals, 1978

Photocopy of score, US paper. For amplified SATB quartet. Texts by Orlando Gibbons and Stephen Foster. See also Box 18, Folder 73; Box 34, Folders 1-3; and Box 37, Folders 15-19.

Folder 73: Madrigals, 1978

Proofs (for Schott edition, never issued). For amplified SATB quartet. Texts by Orlando Gibbons and Stephen Foster. See also Box 18, Folder 72; Box 34, Folders 1-3; and Box 37, Folders 15-19.

Folder 74: Medley, 1978

Photocopy of score, US paper. For voice and piano. Text by Gertrude Stein. Commissioned by Meriel and Peter Dickinson. See also Box 32, Folder 3; Box 36, Folder 3; and Box 37, Folder 25.

Folder 75: The Legacy, 1978-1983

Correspondence and Sketches. Theatre piece for SATB quartet and electronics. Commissioned by Electric Phoenix. See also Box 18, Folder 75.

Folder 76: Duets, 1978

Correspondence, score, and photocopy of score on US paper. For vocalist and synthesizer. See also Box 37, Folders 10 and 11.

Folder 77: Doors, 1983

Correspondence, Sketches, and drafts. For mixed chorus, non-orchestral reed instruments, percussion and soprano with piano. Texts by Gertrude Stein and nonymous. For Richard Winslow. See also Box 31, Folder 5, and Box 37, Folders 8-9.

Folder 78: March Piece, 1988

Score as published in The Noble Snare. Realization of the fourth piece in Different Drummers. For solo snare drum. Written for Stuart Smith. Duplicates Box 37, Folder 24. See also Box 36, Folder 2.

Folder 79: Odes and Incidental Music for Promethus Bound, Medea, and The Frogs, 1985

Planning, sketches, and session notes. For women's chorus, brass quartet, clarinet, and percussion (Prometheus Bound); women's chorus, string quartet, guitar, oboe, and percussion (Medea); mixed chorus, brass, strings, clarinet, guitar, and percussion (The Frogs). Texts by Aeschylus, Euripides, and Aristophanes. Commissioned by National Radio Theatre. See also Box 21, Folders 21 and 22.

Folder 80: Odes and Incidental Music for Promethus Bound, Medea, and The Frogs, 1985

Performance scores for Prometheus Bound. For women's chorus, brass quartet, clarinet, and percussion. Texts by Aeschylus, Euripides, and Aristophanes. Commissioned by National Radio Theatre. See also Box 21, Folders 21 and 22.

Folder 81: Odes and Incidental Music for Promethus Bound, Medea, and The Frogs, 1985

Performance scores for Medea. For women's chorus, string quartet, guitar, oboe, and percussion. Texts by Aeschylus, Euripides, and Aristophanes. Commissioned by National Radio Theatre. See also Box 21, Folders 21 and 22.

Folder 82: Odes and Incidental Music for Promethus Bound, Medea, and The Frogs, 1985

Performances scores for The Frogs. For mixed chorus, brass, strings, clarinet, guitar, and percussion. Texts by Aeschylus, Euripides, and Aristophanes. Commissioned by National Radio Theatre. See also Box 21, Folders 21 and 22.

Box 19

Folder 1: Sins of the Fathers and Unnamed piece for drum set, 1998 and 1989: Sketches. For steel band (five movements projected); and for drum set.
Folder 2: in memoriam reducere studemus, 1996: Score. For SATB Soloist, SATB Chorus, and piano. Text by Pierre Joris and Notker Balbulus. Commissioned by Donald Nally and West Chester University. See also Box 32, Folder 4; Box 37, Folder 14; and Box 38, Folder 5.
Folder 3: KS/CH, 2002: Score. For solo flute. Written for Camilla Hoitenga.
Folder 4: Six Medieval Lyrics (version for choir), 2010: Sketches. For women's choir. Texts anonymous. See also Box 32, Folder 6.
Folder 5: A Wake of Music, 2009: Sketches, drafts, and proofs. For soprano, clarinet, cello, and piano. Texts by Emily Dickinson. Written for Laurie Matheson. See also Box 35, Folder 4.
Folder 6: An Everingham Legacy, 2010: Sketches and drafts. For mezzo-soprano and piano. Text assembled from titles published by J. Everingham. Dedicated to Roger Marsh.
Folder 7: In Memoriam WVL , 2011: Sketches and drafts. The third of Three Memorial Encores. Arrangement of the Fain-Kahal standard "I'll Be Seeing You." For choir. Written for The 24.
Folder 8: Jasmine Flower , 2011: Sketches and drafts. The fourth of Four Folk Songs. Text anonymous. For choir. Written for The 24.
Folder 9: Shenandoah, 2011: Sources and drafts. The third of Four Folk Songs. Text anonymous. For choir. Written for The 24. NB: on the reverse are sketches and drafts for The Master of Music; see also Box 19, Folder 18.
Folder 10: Sketches for The 24 Concert, February 1, 2012: Includes sketches for an arrangement of "Around the World" in counterpoint with "Be Kind to Your Web-Footed Friends." For choir. Written for The 24.
Folder 11: Three Monodies, 2003: Score, third movement only. For voice and prepared piano. Texts by St. John of the Cross. Written for Nicky Losseff, John Potter, and Rachel Rudich. See also Box 36, Folder 9.
Folder 12: Everlasting Voices, 2012: Sketches, script only. For actress, bass clarinet, and fixed media. Commissioned by Sound Weave.
Folder 13: Exhibit, 1978: Sketches, text only. Theatre piece for piano.
Folder 14: Timepiece I and II, 1978: Score. For piano solo.
Folder 15: Greensleeves, 2012: Sketches. The first of Four Folk Songs. Text anonymous. For choir. Written for The 24.
Folder 16: Back to Shoppin', 2011: Sketches. Adaptation of "To Love Again." Text by Jerry Vale. For choir. Written for The 24.
Folder 17: Security Announcement, 2007: Sketch. For soprano and percussion. Conceived for Damien Harron and Anna Friman. Unfinished.
Folder 18: The Master of Music, 2011: Sketch, text only. For choir. Commissioned by Kristina Boerger and Bob Demaree. Dedicated to Chet Alwes on the occasion of his retirement.
Folder 19: What Shall We Do With the Drunken Sailor?, 2012: Source and draft. Collage-arrangment, with "Home Sweet Home." For choir. Written for The 24.

Box 21

Folder 1: Program: Candlelight Concert, 1961
Folder 2: Untitled, 1972: Second edition (2000). Coach's score. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 3: Untitled, 1972: Second edition (2000). Singer's score: Agustin de Vedia. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 4: Untitled, 1972: Second edition (2000). Location score: Brimstone. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 5: Untitled, 1972: First edition. Location score: Brimstone. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 6: Untitled, 1972: Second edition (2000). Location score: The Cauldron. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 7: Untitled, 1972: First edition, annotated. Coach's score. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 8: Untitled, 1972: Second edition (2000). Location score: A Garbage Disposal. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 9: Untitled, 1972: First edition. Location score: A Garbage Disposal. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 10: Untitled, 1972: Second edition (2000). Singer's score: Luis Melian Lafinur. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 11: Untitled, 1972: Second edition (2000). Singer's score: Meximo Perez. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 12: Untitled, 1972: Second edition (2000). Singer's score: Napoleon. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 13: Untitled, 1972: Second edition (2000). Singer's score: The Negro Timoteo. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 14: Untitled, 1972: Second edition (2000). Singer's score: Olimar. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 15: Untitled, 1972: First edition. Location score: Vigils. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 16: Untitled, 1972: Second edition (2000). Singer's score: The Train. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 17: Untitled, 1972: First edition. Singer's score: The Train. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 18: Untitled, 1972: Second edition (2000). Singer's score: The Whale. For eight singers (SSSAATTBB) and two narrators. Texts by Jorge Luis Borges.
Folder 19: Untitled, 1972: Second edition (2000). Notes on Notation. For eight singers (SSSAATBB) and two narrators). Texts by Jorge Luis Borges.
Folder 20: Bryant's Ridge Disco Phase No. 1, 1978: Sketches, draft, and photocopy of score, US paper. For pulse instruments, high and low percussion, voices, harmony instruments, and bass instruments. Text by Roger Madison.
Folder 21: Odes and Incidental Music for Prometheus Bound, Medea, and The Frogs, 1985: Photocopied and annotated scripts for Prometheus Bound (two copies), for Medea (one copy), and for The Frogs (two copies). For women's chorus, string quartet, guitar, oboe, and percussion (Prometheus Bound); women's chorus, string quartet, guitar, oboe, and percussion (Medea); mixed chorus, brass, strings, clarinet, guitar, and percussion (The Frogs). Texts by Aeschylus, Euripides, and Aristophanes. Commissioned by National Radio Theatre. See also Box 18, Folders 79-82.
Folder 22: Odes and Incidental Music for Prometheus Bound, Medea, and The Frogs, 1985: Photocopied and annotated partial scores for Prometheus Bound and Medea. For women's chorus, string quartet, guitar, oboe, and percussion (Prometheus Bound); women's chorus, string quartet, guitar, oboe, and percussion (Medea). Texts by Aeschylus, Euripides, and Aristophanes. Commissioned by National Radio Theatre. See also Box 18, Folders 79-82.
Folder 23: Wallpaper Pieces, 1978-84: Photocopied score. For solo piano.

Box 22

Folder 1: Dancing on Your Grave - Bass A, 1990
Folder 2: Dancing on Your Grave - Bass B, 1990
Folder 3: Dancing on Your Grave - Bassoon, 1990
Folder 4: Dancing on Your Grave - Cello A, 1990
Folder 5: Dancing on Your Grave - Cello B, 1990
Folder 6: Dancing on Your Grave - Clarinet 1, 1990
Folder 7: Dancing on Your Grave - Clarinet 2, 1990
Folder 8: Dancing on Your Grave - Horn, 1990
Folder 9: Dancing on Your Grave - Trombone, 1990
Folder 10: Dancing on Your Grave - Trumpet, 1990
Folder 11: Dancing on Your Grave - Tuba, 1990
Folder 12: Dancing on Your Grave - Viola A, 1990
Folder 13: Dancing on Your Grave - Viola B, 1990
Folder 14: Dancing on Your Grave - Violin 1A, 1990
Folder 15: Dancing on Your Grave - Violin 1B, 1990
Folder 16: Dancing on Your Grave - Violin 1C, 1990
Folder 17: Dancing on Your Grave - Violin 1D, 1990
Folder 18: Dancing on Your Grave - Violin 2A
Folder 19: Dancing on Your Grave - Violin 2B
Folder 20: Dancing on Your Grave - Violin 2D

Box 23

Folder 1: Untitled - Drafts of Music Maps, 1972
Folder 2: Untitled: Agustin de Vedia (in mylar), 1972
Folder 3: Untitled: Gas (in mylar), 1972
Folder 4: Untitled: Luis Melian Lafinur (in mylar), 1972
Folder 5: Untitled: Napoleon (in mylar), 1972
Folder 6: Untitled: Negro Timoteo (in mylar), 1972
Folder 7: Untitled: Olimar (in mylar), 1972
Folder 8: Untitled: The Train (in mylar), 1972
Folder 9: Untitled: The Whale (in mylar), 1972

Box 24

Folder 1: Four from The Song of Solomon, 1967: Ink score, ozalid copy of score, and parts. For soprano, eight violas, flute, clarinet, bassoon, harp, and percussion. Duplicates Box 38, Folder 4. See also Box 6, Folder 10 and Box 38, Folder 4.
Folder 2: Untitled, 1972: Second edition (2000). Location Score: The Flesh Blanket. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 3: Untitled, 1972: Second edition (2000). Location score: Gas. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 4: Untitled, 1972: Second edition (2000). Location Score: Nine. For eight singers (SSSAATBB) and two narrators. Texts by Jorge Luis Borges.
Folder 5: The Legacy, 1978-1983: Drafts. Theatre piece for SATB quartet and electronics. Commissioned by Electric Phoenix. See also Box 18, Folder 75.
Folder 6: De Harmonium, 1986: Score. For amplified string quartet, amplified SATB quartet, and fixed media. Commissioned by Electric Phoenix and the Kronos Quartet.
Folder 7: Dancing on Your Grave, 1990: Score. For chamber orchestra. Includes hand-written conductor's note. Commissioned by the Cleveland Chamber Orchestra. See also Box 22.
Folder 8: A Peal for Calm, 1990: Score. For choir. Written for the Contemporary Chamber Singers. See also Box 7, Folder 2.
Folder 9: For Violin, 1990: Score. For solo violin. Written for Claudia Watson. See also Box 37, Folder 13 and Box 38, Folder 3.
Folder 10: Common Ground, 1995: Full Score. For wind ensemble and steel band. Written for the Centennial of the University of Illinois School of Music.
Folder 11: Small Talk, 2002: Score. For any four unlike melodic instruments. Written for Departure Lounge. See also Box 31, Folder 6.
Folder 12: Rubaiyat, 2001: Movement 1. For two sopranos, flute, cello, and harp. Texts by Rumi. Commissioned by Katharine DeBoer and Jacqueline Bobak.
Folder 13: Three Songs, 2003: Sketches and drafts. For voice and piano. Texts by Kenneth Rexroth. See also Box 36, Folder 10.

Box 25

Folder 1: 2x4 School of Music performance poster, 1990-1991
Folder 2: Untitled: Clubs (in mylar), 1972
Folder 3: Oversized Music Map of Untitled: The Plot, 1972
Folder 4: Oversized Music Map of Untitled: The Aleph, 1972
Folder 5: Oversized Map of Untitled: Pierre Menard: Author of the Quixote, 1972
Folder 6: Oversized Music Map of Untitled: A New Refutation of Time, 1972
Folder 7: Oversized Music Map of Untitled: Funes, The Memorious, 1972
Folder 8: Untitled: The Flesh Blanket Music Manuscript (in mylar), 1972
Folder 9: Untitled: Vigils Music Manuscript, 1972
Folder 10: Untitled: Nine Music Manuscript (in mylar), 1972

Box 31

Folder 1: Many Returns, 1977: Photocopy of gift version, realized, "Occasion" through "13th Return." Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. Duplicates Box 37, Folder 21. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 18, Folder 71; and Box 37, Folders 20, 22-23, and 29.
Folder 2: Many Returns, 1977: Photocopy of gift version, realized, "14th Return" through "28th Return." Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. Duplicates Box 37, Folder 22. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 18, Folder 71; and Box 37, Folders 20-22, and 29.
Folder 3: Many Returns, 1977: Photocopy of gift version, realized, "29th Return" through "50th Return." Voice and Piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. Duplicates Box 37, Folder 23. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 18, Folder 71; and Box 37, Folders 20-22, and 29.
Folder 4: Diamandagrama, 1981: Ink score. For theatrical vocalist. Written for Diamanda Galas. See also Box 37, Folders 6 and 7.
Folder 5: Doors, 1983: Ink score and annotated copy of realized canon. For mixed chorus, reed instruments, percussion, and soprano with piano accompaniment. Texts by Gertrude Stein and anonymous. For Richard Winslow. See also Box 18, Folder 77, and Box 37, Folders 8 and 9.
Folder 6: Small Talk, 2002: Sketches and drafts. For any four unlike melodic instruments. Written for Departure Lounge. See also Box 24, Folder 11.

Box 32

Folder 1: Stages, 1972: Sketches and draft. For soprano, actor, dancer, lights, and fixed media.
Folder 2: Stages, 1972: Score and rehearsal score. For soprano, actor, dancer, lights, and fixed media.
Folder 3: Medley, 1978: Performance score used for the recording made by William Brooks and Lucinda Lawrence in 1985. See also Box 18, Folder 74; Box 36, Folder 3; and Box 37, Folder 25.
Folder 4: in memoriam reducere studemus, 1996: Poser and poem by Pierre Joris printed as a broadside. See also Box 19, Folder 2; Box 37, Folder 14; and Box 38, Folder 5.
Folder 5: POEMPIECE II: how I fooled the armies, 1969: Score. For solo bass trombone. See also Box 18, Folder 68, and Box 37, Folder 26.
Folder 6: Six Mediaeval Lyrics (version for trio), 2006: Drafts, proof, and score. For women's trio. Texts anonymous. Written for Trio Mediaeval.
Folder 7: Sextet, 1966: Ink score, pencil fair copy, and ozalid copy of score. For flute, oboe, horn, piano, and two percussionists. See also Box 18, Folder 66.
Folder 8: Sextet, 1966: Parts. For flute, oboe, horn, piano, and two percussionists. See also Box 18, Folder 66.

Box 34

Folder 1: Madrigals, 1978: Photocopy of score, US paper, and drafts for revisions. For amplified SATB quartet. See also Folders 72 and 73; Box 34, Folders 2 qnd 3; and Box 37, Folders 15-17 and 19.
Folder 2: Madrigals , 1978: Photocopy of score, UK paper. For amplified SATB quartet. See also Box 18, Folders 72 and 73; Box 34, Folders 1 and 3; and Box 37, Folders 15-17 and 19.
Folder 3: Madrigals , 1978: Annotated (performance) photocopy of score; set of proofs for Schott edition (never issued), lacking movement 1 and with two copies of movement 4; and bound set of proofs for Schott edition (never issued). For amplified SATB quartet. See also Box 18, Folders 72 and 73; Box 34, Folders 1 and 2; and Box 37, Folders 15-17 and 19.

Box 35

Folder 5: A Wake of Music, 2009: Printed score and parts, revised; and CD of recording session. For soprano, clarinet, cello, and piano. Texts by Emily Dickinson. Written for Laurie Matheson.
Folder 6: Tracce (first version), 2015: Annotated sources, plans, sketches, draft, and annotated proofs. For amplified SATB quartet. Texts by Petrarch and J.M. Synge.

Box 36

Folder 1: 5 Strings, 1987: Sketches and drafts. For two violins and viola.
Folder 2: Different Drummers, 1992: Sketches, drafts, and proofs. A set of pieces for solo snare drum: 3 for 1, Silksmith, past tense, March Peace. Written for Stuart Smith. See also Box 38, Folder 2.
Folder 3: Medley, 1978: Sketches and drafts. For voice and piano. Commissioned by Meriel and Peter Dickinson. See also Box 18, Folder 74; Box 32, Folder 3; and Box 37, Folder 25.
Folder 4: The Walk to the Tarn, 2013: Sketches, drafts, and proofs. For piano. Written for Terry Holmes, on his eightieth birthday.
Folder 9: Three Monodies, 2003: Proofs. For tenor, flute, and prepared piano. Texts by St. John of the Cross. Written for Nicky Losseff, John Potter, and Rachel Rudich. See also Box 19, Folder 11.
Folder 10: Three Songs, 2003: Score. For voice and piano. Texts by Kenneth Rexroth. See also Box 24, Folder 13.
Folder 11: The Man I Love's Wonderful!, 2013: Drafts. Medley-arrangement of two Gershwin songs. For soprano and string quartet. Written for Sophie Simpson and Lisa Coates.
Folder 12: Two Septembers, 2013: Sources, sketches, draft. For choir. Written for The 24.

Oversize Portfolio Case 1

Item 1: Oversized Music Map -Untitled: A New Refutation of Time, 1972
Item 2: "Sunday Singing" poster

Oversize Portfolio Box 1

Folder 10: Oversize scores and posters, 1972-1988

Item 3: Analysis of Warren Burt's Nighthawk, circa 1974-1975: Analysis was done by William Brooks while in California, but it was never published.

Box 37

Folder 5: Bryant's Ridge Disco Phase No. 1 , 1978: Photocopy of score, US paper. For pulse instruments, high and low percussion, voices, harmony instruments, and bass instruments. Text by Roger Madison. Duplicates Box 21, Folder 20.
Folder 6: Diamandagrama, 1981: Drafts. For theatrical vocalists. Written for Diamanda Galas. See also Box 31, Folder 4 and Box 37, Folder 7.
Folder 7: Diamandagrama, 1981: Photocopy of score, US paper. For theatrical vocalist. Written for Diamanda Galas. See also Box 31, Folder 4 and Box 37, Folder 6.
Folder 8: Doors , 1983: Drafts. For mixed chorus, non-orchestral reed instruments, percussion, and soprano with piano accompaniment. Texts by Gertrude Stein and anonymous. For Richard Winslow. See also Box 18, Folder 77; Box 31, Folder 5; and Box 37, Folder 8.
Folder 9: Doors , 1983: Photocopy of published score. For mixed chorus, reed instruments, percussion, and soprano with piano accompaniment. Texts by Gertrude Stein and anonymous. For Richard Winslow. See also Box 18, Folder 77; Box 31, Folder 5; and Box 37, Folder 8.
Folder 10: Duets , 1978: Drafts. For vocalist and synthesizer. See also Box 18, Folder 76 and Box 37, Folder 11.
Folder 11: Duets, 1978: Bound Photocopy of score on US paper. For vocalist and synthesizer. See also Box 18, Folder 76 and Box 37, Folder 10.
Folder 12: Footnotes, 1981-1984: Sketches and drafts. For solo guitar.
Folder 13: For Violin, 1990: Sketches and drafts. For solo violin. Written for Claudia Watson. See also Box 24, Folder 9 and Box 38, Folder 3.
Folder 14: in memoriam reducere studemus, 1995-1996: Bound photocopy of first edition. For SATB soloists, SATB chorus, and piano. Text by Pierre Joris and Notker Balbulus. Commissioned by Bonald Nally and West Chester University. See also Box 19, Folder 2; Box 32, Folder 4; and Box 38, Folder 5.
Folder 15: Madrigals, 1977-1978: Sketches, drafts, and proofs. For amplified SATB quartet. Texts by Orlando Gibbons and Stephen Foster. See also Box 18, Folders 72 and 73; Box 34, Folders 1-3; and Box 37, Folders 16-19.
Folder 16: Madrigals , 1978: Proofs, movement 1 (for Schott edition, never issued). For amplified SATB quartet. Text by Orlando Gibbons. Duplicates Box 18, Folder 73. See also Box 18, Folder 72; Box 34, Folders 1-3; and Box 37, Folders 15 and 17-19.
Folder 17: Madrigals , 1978: Proofs, movement 2 (for Schott edition, never issued). For amplified SATB quartet. Duplicates Box 18, Folder 73. See also Box 18, Folder 72; Box 34, Folders 1-3; and Box 37, Folders 15-16 and 18-19.
Folder 18: Madrigals, 1978: Photocopy of score, US paper. For amplified SATB quartet. Duplicates Box 18, Folder 72. See also Box 18, Folder 73; Box 34, Folders 1-3; and Box 37, Folders 15-17 and 19.
Folder 19: Madrigals, 1978: Photocopy of score, US paper. For amplified SATB quartet. Text by Stephen Foster. Duplicates Box 18, Folder 72. See also Box 18, Folder 73; Box 34, Folders 1-3; and Box 37, Folders 15-18.
Folder 20: Many Returns, 1977: Annotated proofs, "Occasion" only. Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1-3; and Box 37, Folders 21-23 and 29.
Folder 21: Many Returns, 1977: Photocopy of gift version, realized, "Occasion" through "19th Return." Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. Duplicates Box 31, Folder 1. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 2 and 3; and Box 37, Folders 20, 22-23 and 29.
Folder 22: Many Returns, 1977: Photocopy of gift version, realized, "20th Return" through "39th Return." Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. Duplicates Box 31, Folder 2. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1 and 3; and Box 37, Folders 20-21, 23, and 29.
Folder 23: Many Returns, 1977: Photocopy of gift version, realized, "40th Return" through "50th Return." Voice and piano. Texts by Gertrude Stein. Written for Neely and Phyllis Bruce on the occasion of their wedding. Duplicates Box 31, Folder 3. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 18, Folder 71; Box 31, Folders 1 and 2; and Box 37, Folders 20-22 and 29.
Folder 24: March Piece, 1988: Score as published in The Noble Snare. Realization of the fourth piece in Different Drummers. For solo snare drum. Written for Stuart Smith. Duplicates Box 18, Folder 78. See also Box 36, Folder 2 and Box 38, Folder 2.
Folder 25: Medley, 1978: Photocopy of Linda Hirst's performance score, annotated by WB in 1986 when editing the recording made by Hirst and Neely Bruce. For voice and piano. Commissioned by Meriel and Peter Dickinson. See also Box 18, Folder 74; Box 32, Folder 3; and Box 36, Folder 6.
Folder 26: Poempiece II: how I fooled the armies, 1969: Photocopy of score. For solo bass trombone. See also Box 18, Folder 68 and Box 32, Folder 5.
Folder 27: POEMPIECE I: whitegold blue , 1967: Annotated fair copy (part 1 of 2). For solo flute. See also Box 4, Folder 16; Box 18, Folder 64; Box 35, Folder 1; and Box 37, Folder 28.
Folder 28: POEMPIECE I: whitegold blue, 1967: Annotated fair copy (part 2 of 2). For solo flute. See also Box 4, Folder 16; Box 18, Folder 64; Box 35, Folder 1; and Box 37, Folder 27.
Folder 29: Some Returns, 1977: Set of Photocopied excerpts from Many Returns, annotated by William Brooks for performance. For voice and piano. See also Box 4, Folders 17-27; Box 7, Folder 1; Box 31, Folders 1-3; and Box 37, Folders 20-23.

Box 38

Folder 2: Different Drummers, 1992: Score. A set of pieces for solo snare drum: 3 for 1, Silksmith, past tense, March Peace. Written for Stuart Smith. See also Box 36, Folder 2.
Folder 3: For Violin, 1990: Score. For solo violin. Written for Claudia Watson. Duplicates Box 24, Folder 9.
Folder 4: Four from the Song of Solomon, 1967: Ozalid copy of score. For soprano, eight violas, flute, clarinet, bassoon, harp, and percussion. Partly duplicates Box 24, Folder 1. See also Box 6, Folder 10.
Folder 5: in memoriam reducere studemus, 1995-1996: Sketches and Drafts. For SATB soloists, SATB chorus, and piano. Text by Pierre Joris and Notker Balbulus. Commissioned by Donald Nally and West Chester University. See also Box 19, Folder 2; Box 32, Folder 4; and Box 37; Folder 14.
Folder 6: Makers, 1991-1992: Sketches and drafts. Theatre piece for flute, clarinet, percussion, violin, and cello. Commissioned by the New York Music Ensemble.
Folder 7: Makers, 1992: Score. Theatre piece for flute, clarinet, percussion, violin, and cello. Commissioned by the New York New Music Ensemble.

Sub-Series 2: Performances, 1961-2013

Consists of programs, publicity materials, newspaper clippings, reviews, concert planning notes related to performances of both Brooks' original compositions as well as concerts he was directly involved in.