Series: Personal papers, 1847-1973
Arrangement of the Materials: Arranged into five subseries: Stratman-Thomas Family papers, genealogy research, correspondence, memorabilia, and school papers.
Scope and Content Note

Papers documenting the Stratman and Thomas Families include a few Stratman Family papers, primarily newspaper clippings documenting activities of Stratman-Thomas’s maternal grandfather and great-uncle. The papers of Stratman-Thomas’s parents, Warren H. and Helena Emma (née Stratman) Thomas include correspondence consisting almost entirely of letters written by Warren to Emma, extending from just after their initial meeting up until a month before their wedding; as well as few items such as Emma’s passport, an invitation to their wedding, and newspaper obituaries for both. The E.S. [Edward Shepherd] Thomas compositions were written by Stratman-Thomas’s paternal uncle. Included are complete sets of manuscript parts for several of his band compositions, primarily marches, as well as miscellaneous parts for those and other compositions. The Warren K. Stratman-Thomas material includes the army discharge papers and 1928 passport of Stratman-Thomas’s brother. Newspaper clippings document a few activities of various extended family members, and include obituaries for Helene and for her brother. The photographs are generally without attribution, but appear to be primarily of family and friends, as well as homes, other local buildings, and tombstones that may have family connections; some may be relevant to Stratman-Thomas’s Cornish folklore research as well.

Genealogical materials include correspondence primarily received from family members and official bodies, generally addressed to Warren; only the later correspondence is addressed to Stratman-Thomas herself. The correspondence with Pierre Haynes in particular deals exclusively with the history of the Kidwell branch of the family. General research consists primarily of Stratman-Thomas’s research notes and a Stratman family tree that she constructed. Thomas Family research includes information on E.S. Thomas’s tours under his stage name, “La Xenia,” from 1879-1888; as well a great deal of material on Johnathan Kidwell and other members of the Kidwell branch of the Thomas family. Also present are materials relating to Stratman-Thomas’s application to and membership in the Daughters of the American Revolution, as well as several slightly annotated copies of that organization’s magazine.

Correspondence consists primarily of letters received by Stratman-Thomas, organized chronologically. Through 1937, the majority of the correspondence is from her brother, Warren, although there are also letters from her father during this period, as well as a spate of correspondence between her father and brother during her brother’s residence in the Belgian Congo. Beginning in 1942 there is correspondence from other family members and friends, as well as from former UW students and faculty. Some of this later correspondence is addressed to Stratman-Thomas and her brother; and later, to Stratman-Thomas and her husband, Ambrose “Pat” Blotz.

Among the memorabilia are a few miscellaneous documents and notebooks. The two leather-bound notebooks are of uncertain origin; they date from the mid-19th century and are perhaps from Dodgeville. Also included are children’s drawings and other memorabilia. At least some of this material is the work of Stratman-Thomas’s brother Warren. There are also two scrapbooks that incorporate primarily photographs, news clippings, magazine articles, and concert programs. Some of this material represents performances in which Stratman-Thomas herself participated; one of the scrapbooks also contains clippings about Stratman-Thomas’s brother Warren’s Guggenheim Fellowship trip to the Belgian Congo.

Stratman-Thomas’s school papers include a small quantity of school notebooks and memorabilia, mostly from her days at Dodgeville High School, but in some cases from before that time. The remaining papers relate to her education at the University of Wisconsin and include class notes and exercises from a music survey course, as well as courses in harmony, counterpoint, and form and analysis; the first three of these courses were taken through UW-Extension while Stratman-Thomas was living in Minneapolis. There is some uncertainty as to whether some of the lecture notes belonged to Charles Mills or were notes that Stratman-Thomas took while enrolled in his classes. Also present is her 1929 bachelor’s thesis, “A survey of the development of song”; and her 1930 master’s thesis, “The influence of François Couperin, le Grand, upon Johann Sebastian Bach,” together with research materials and notes. Finally, there are graduation programs from 1919, when Stratman-Thomas graduated with a B.A. in Commerce; and from 1930, when she received her M.A.

Subseries: Stratman-Thomas Family papers

Stratman Family, 1879-1952; undated

Warren H. and Helena Emma (née Stratman) Thomas

Correspondence, 1892-1893; undated

General, 1888-1930; undated

E.S. [Edward Shepherd] Thomas compositions, undated

Marches, “La cascada” and “Last effort”

“Midwinter International Exposition march”

March, “Salute to Maryville”

March, “The Swedish Patrol”

“Danzon, la España”

Miscellaneous parts

Warren K. Stratman-Thomas, 1918-1928; undated

Newspaper clippings, 1928-1973; undated

Photographs, 1942-1963; undated

Subseries: Genealogy research

Correspondence

General

1923-1964

Undated

Pierre Haynes, 1929-1950

General research, undated

Index cards, undated

Thomas Family research

General, circa 1910-1946; undated

Kidwell branch, 1929-1957; undated

Index cards, undated

Book owned by Johnathan Kidwell, 1847

Daughters of the American Revolution

Papers, 1937-1946

Magazines, Daughters of the American Revolution

1963

1964

Subseries: Correspondence

General

1919-October 1930

November 1930-December 1937

December 1942-July 1972; undated

Erich Mayer, 1946-1966

Subseries: Memorabilia

Miscellaneous documents and notebooks, 1862-1875; undated

Children’s drawings and other memorabilia, 1901-1930; undated

Scrapbooks

1922-1934

1923-1927

Subseries: School papers

School notebooks and memorabilia, 1904-1911; undated

University of Wisconsin

Class notes and exercises

Harmony, 1927-1928

Elementary counterpoint, 1928

Music survey, 1928

Music survey, 1928

Form and analysis, 1929

Bachelor's thesis, "A survey of the development of song," 1929

Master's thesis

Research note cards, undated

Research notes and materials, undated

Thesis draft, manuscript, undated

Thesis, typescript, "The influence of François Couperin, le Grand, upon Johann Sebastian Bach,” 1930

Graduation programs, 1919, , 1930

Series: Professional papers
Arrangement of the Materials: Arranged into four subseries: Administrative, Classroom Teaching, Research and Performance Preparation, and Other Activities.
Scope and Content Note

Papers documenting Stratman-Thomas’ correspondence with other music faculty at UW-Madison include both incoming letters to Stratman-Thomas and drafts of outgoing letters written by her. Most of this material deals with her struggle to retain her position at the University of Wisconsin in the first half of the 1940s. The correspondence reveals her dissatisfaction with the Director of the University’s School of Music for much of that period, Carl Bricken. Later correspondence (from the 1960s) is sketchy at best, but includes Stratman-Thomas’s 1961 letter to S.T. Burns, then Chairman of the School of Music, announcing her retirement, as well as then-University President C.A. Elvehjem’s official response. News clippings compliment the faculty correspondence, as they mostly deal with the controversy generated by Bricken’s appointment as School of Music Director, as well as his resignation from that position in 1942. Like the faculty correspondence, the faculty meeting minutes are spotty, dealing primarily with the period following Dr. Bricken’s resignation as Director. From 1944 until at least 1946, the minutes were recorded by Stratman-Thomas herself in her capacity as Secretary of the School of Music Faculty. Dedications and memorials include the University Faculty’s Memorial Resolutions on the deaths of Miles L. Hanley and of Irene B. Eastman; Stratman-Thomas was a member of the latter’s Memorial Committee. There are also materials and historical information pertaining to the 1969 dedication of the new School of Music Facilities in the Humanities Building. Music school brochures include mock-ups and drafts of UW School of Music Brochures, as well brochures for music schools and summer music programs from a number of other universities and educational institutions.

Classroom teaching comprises materials used by Stratman-Thomas in course preparation and teaching, and is subdivided by subject into counterpoint, form, fugue, Medieval music, and 18th-20th century music. There are also miscellaneous teaching materials, including typewritten notes for a course entitled “Correlations of music and literature,” and a complete typescript outline of all six volumes of the first edition (1901-1905) of the Oxford History of Music.

Research (other than folk music) and performance preparation is divided between Michael Haydn and Lucy Woodworth Ricketts. The Michael Haydn material includes Stratman-Thomas’s paper “The choral works of Michael Haydn (1737-1806)” with accompanying musical examples and related research materials. She presented the paper at the 1940 conference of the Mid-Western Chapter of the American Musicological Society (AMS). Also included are handwritten scores and parts (onionskins and reproductions) for two of Haydn’s works, at least one of which was performed by students at the University. Also present is a typescript of the finished paper and its accompanying musical examples. The Lucy Woodworth Ricketts material consists of printing mockups of four of Ricketts’s songs, three of them setting poems by Edna St. Vincent Millay; as well as published versions of three of the songs that are the work of others.

Other activities include solo performance, which documents a few concerts in which Stratman-Thomas appeared as a soprano soloist. Also performance related was Stratman-Thomas’s directorship of the University Women’s Chorus, represented in the collection by a number of the chorus’s concert programs, as well as related letters of appreciation and newspaper clippings. Stratman-Thomas also served as musical director of the Presbyterian Student Center Foundation’s University Presbyterian Church, an activity reflected here by items such as church service programs and a photograph of the Church’s choir. As a student, Stratman-Thomas had been a member of the professional women’s music fraternity, Sigma Alpha Iota (SAI); after graduation, she continued to be active in the organization, serving as the University of Wisconsin’s Rho Chapter faculty advisor for a number of years. As with most of the activities documented in this subseries, the SAI records are not comprehensive, but they do include, among other things, a complete directory of members, 1921-1961, and manuscripts of songs used in SAI ceremonies. For a time, Stratman-Thomas managed the University’s Pro Arte quartet; this is reflected in a bit of correspondence and a few concert programs that in some cases include program notes that she herself wrote. Also present are a scant few records reflecting her activity as a member (and at one point, President) of the Haydn Club, which engaged in the study and performance of music. Miscellaneous concert programs and publications do not document activities in which Stratman-Thomas was directly involved.

Subseries: Administrative

Faculty correspondence, 1938-1967; undated

News clippings, 1934-1942; undated

School of Music faculty meeting minutes, 1940-1958

Dedications and memorials, 1954-1970; undated

Music school brochures, 1944-1969; undated

Subseries: Classroom Teaching

Counterpoint, undated

Form, 1930-1941; undated

Fugue, undated

Medieval music, undated

18th-20th century music, undated

Miscellaneous teaching materials, 1935-1951; undated

Outline, Oxford history of music (1901-1905), undated

Volumes I-III

Volumes IV-V

Volume VI

Musical instrument postcards, undated

Subseries: Research and Performance Preparation

Michael Haydn

Research, 1939-1940; undated

Research, 1939-1940; undated

Conference paper, "The choral works of Michael Haydn," 1940-1942

Michael Haydn, “Gradualien für die vier Sonntage des Advents, No. 3: Pro donimica i universi,” undated

Michael Haydn, “No. 2 Offertorium de omni tempore: Domine Deus,” undated

Lucy Woodworth Ricketts, 1930-1944; undated

Subseries: Other Activities

Solo performance, 1930-1944; undated

University Women's Chorus, 1944-1953; undated

University Presbyterian Church, 1941-1945; undated

Sigma Alpha Iota, 1931-1970

Pro Arte Quartet, 1946-1960

Haydn Club, undated

Miscellaneous concert programs and publications, 1926-1967

Wisconsin Idea Theater, 1947

Series: Wisconsin Folk Music Recording Project
Arrangement of the Materials: Arranged into six subseries: General Folk Music Materials, Field Recordings and Related Materials, End Products, and Cornish Materials
Scope and Content Note

This series consists of materials related to Stratman-Thomas’s Wisconsin and Cornish folk music research, writings, lectures, and radio broadcasts. Stratman-Thomas died before she could complete and publish her “Song trails through Wisconsin.” Manuscripts and research materials for Harry Peters’ Folk Song Out of Wisconsin, which incorporated and built on some of her work. Both works are included here. It should be noted that Peters’ and Stratman-Thomas’ records are sometimes mixed, particularly in the case of work done on individual songs.

Correspondence is organized alphabetically, with separate folders for correspondents Noble B. Brown, Charles Hoffman, Zida C. Ivey, H. J. Kent, The Library of Congress, Moses Morgan, the National Folk Festival, Louis Ropson, and Mary Agnes Starr (Mrs. Morton Hull Starr). Occasionally, newspaper clippings, concert programs, and the like are included with the correspondence. Outgoing correspondence was primarily written by Stratman-Thomas herself. These letters often explain the project and request participation from potential singers, or solicit assistance in identifying appropriate singers. There are also follow-up letters to project singers asking for additional details regarding the songs that they contributed. Some of the later correspondence reflects attempts to locate funding to continue the project, as well as a publisher for Stratman-Thomas’s proposed book on Wisconsin folk song. Incoming correspondence consists of responses to these letters, as well as a number of offers to participate after seeing newspaper articles or hearing later broadcasts about the project. There is also correspondence from researchers requesting information or leads on performers who might be useful in their own research.

Occasionally, some of the incoming correspondence is quite extensive, as in the case of Noble Brown, who contributed lumberjack songs to the project, including song texts and poems as well as letters in his correspondence. Folklorist Charles Hoffman came to Wisconsin in 1946 and recorded Native American music here, some of which was later released by Disc Records as American Indian Songs and Dances, a copy of which is included in the collection. Included with the Hoffman correspondence are allegations that he did not have permission from his informants to release their recordings commercially. Zida Ivey was Director of the Dwight Foster Historical Museum in Fort Atkinson and sent Stratman-Thomas song texts and other information, as well as typescript copies of a 1916 address by Edna Hoard Tratt entitled “The old time singing school” and some reminiscences by early Watertown piano tuner Max Gaebler (“Pioneer piano tuning”). The H. J. Kent correspondence reflects not only his assistance with the project but his activities as a composer, arranger, and researcher. Kent’s correspondence includes manuscript and published versions of his arrangement of “The star-spangled banner” and supporting historical research, as well as songs of his own composition, “Wisconsiana” and “The field of Old Glory.” Correspondence pertaining to the Library of Congress, a co-sponsor of the Project, includes letters to and from individuals such as Chief of the Music Division Harold Spivacke and Chief of the Folklore Section Duncan Emrich, as well as noted folklorist and ethnomusicologist Alan Lomax, who was in charge of the Archive of American Folk Song at that time. This correspondence deals primarily with the loan of recording equipment for the project, advice from Dr. Lomax on field techniques, and organization of the recordings transferred to the Library of Congress. Moses Morgan, a Pickett resident of Welsh descent, was involved in the Gymanfu Ganu singing festival at Peniel Church and facilitated Stratman-Thomas in her recording of it, which she later broadcast. The National Folk Festival correspondence is primarily from its director, Sarah Gertrude Knott, and generally has to do with requests for information about Wisconsin folk music festivals and folk music in general, as well as the possibilities for Stratman-Thomas’s and Wisconsin folk musicians’ participation in festival activities. The correspondence of Louis Ropson, an instrument maker from Luxemburg, Wisconsin who initially identified Belgian singers for the project, includes letters written at Stratman-Thomas’s request describing his own musical education for use in her classroom teaching. Mary Agnes Starr (Mrs. Morton Hull Starr) was a singer of French-Canadian descent who, besides her performing activities, served as Chairman of Folk Music Research in the Wisconsin, and later the National Federation of Music Clubs. Promotional material and concert programs are included in her correspondence.

General folk music materials includes folk song and folklore material that while not related directly to the Wisconsin Folk Music Recording Project, were nevertheless of use to Stratman-Thomas in the execution of the project and its resulting manifestations. Bibliographies include material on the subject of folk music in the United States and in Wisconsin, as well as more general Wisconsin history and folklore. Additionally, there are a number of index cards with folk song sources, organized by country or ethnicity. Research materials consist primarily of somewhat lengthy newspaper and magazine articles about folk music and customs, and includes material specific to Wisconsin. Newspaper clippings deal with various types of folk music and folklore, and their collectors; here, Native American and Ozark predominate. There are programs from nine National Folk Festivals from the 1940s and 1950s including programs from 1944 from an accompanying conference in which Stratman-Thomas participated, as well as material documenting the participation of a Milwaukee Polish folk dance group, Mazur. There are also a few programs from and newspaper clippings about Wisconsin events such as Milwaukee’s Midsummer Festival and Holiday Folk Fair, and New Glarus’s annual presentation of William Tell. With the exception of a single book of French songs, the songbooks are generic rather than collections of songs from a specific group or of a particular genre. Finally, brochures and programs consist primarily of book and recording brochures and catalogs, as well as concert, festival, and conference programs and commentary. A copy of Checklist of recorded songs in the English language in the Archive of American Folksong to July 1940 (3 volumes) is included.

Supporting materials include requests for funding and reports – funding for fieldwork and support for Stratman-Thomas’s proposed book on Wisconsin folk music, plus reports back to the funding agencies; financial records that mostly dealing with travel expenses; press releases encouraging publication of notices requesting information about local folk music performers in preparation for Stratman-Thomas’s fieldwork in the summer of 1946; and prospects and contacts, consisting of names and contact information of folk musicians and community members who could provide information or make introductions to folk musicians. Some of this information was typed or handwritten on 3x5 cards organized by community (town, village, county), and by individuals or musical groups with a brief record of correspondence and field recording included. A smaller group of community cards simply indicate the ethnic groups living there. Maps of Wisconsin are almost all state maps; a number are marked with travel routes and destinations, while one map from 1940 shows the distribution of ethnicities in the state. One or two of the maps showing travel routes appear to have been compiled by someone other than Stratman-Thomas from the information provided on her own maps. General research notes include extracts copied from books, and information regarding songs recorded during the course of the project. There is also a small amount of itinerary information for the 1946 recording trip. Finally, newspaper clippings include articles about or referring to the project, as well as articles about individuals and communities related to the project.

Field recordings include 229 audio discs (12", 78-rpm) dubbed circa 1948 by the Library of Congress from Stratman-Thomas' original recordings; these were digitized for purposes of preservation and access. Box 30 contains 114 original disc recordings (SoundScriber) that include Native American, Danish, English, Gaelic, and Welsh material recorded in 1945 and 1946; the disc sleeves include notes by Stratman-Thomas regarding their contents. Other than the disc recordings, most of the field recordings are included in online digital collection, Wisconsin folksong: the Helene Stratman-Thomas collection.

Songs recorded, with notes include a listing by disc and title of songs recorded during Stratman-Thomas’s three project field trips: August and September 1940, Archive of American Folk Song (AFS) call numbers 4159-4193& November 1940-August 1941, AFS 4948-5025& and July-November 1946, AFS 8362-8473. Accompanying notes include pertinent information such as performer, date and place of recording, etc. The AFS call numbers later assigned to each song have been added by hand. Each folder includes a numerical summary of songs by ethnicity or genre& the file for the second field trip includes a handwritten "Bibliography of references." The index cards are of two types& a small number of 4 x 8 cards organized by ethnicity or genre, but containing little other information& and 3 x 5 index cards of songs, organized by ethnicity or genre, that list the song title and genre, disc and cut number, performer, and place and date of recording. With these cards are included instructions for their use. There are photocopies of another set of 3 x 5 cards for some of the 1940-1941 recordings, headed by song or cut, from discs 1-24 (AFS 4159-4177 and AFS 4189-4193), discs 101-123 (AFS 4178-4188 and AFS 4948-4959), and discs 201-266 (AFS 4960-5025). These cards contain the same information, in a slightly different format, as the 3 x 5 cards& the originals are not present in the collection.

Field recording notes consist of a single sheet completed for each cut of a field recording, organized according to ethnicity or geographic origin of material or genre, as assigned by Stratman-Thomas; and then by record and cut number. They contain basic information about the performer, song, and date and place of recording, as well as occasional brief remarks. After 1940, preprinted forms were generally used to record this information.

Transcriptions and research consists primarily of transcriptions of the field recordings (tunes and texts) and/or related notes and other material – including publications and, in the case of the Croatian and Norwegian materials, photographs of tamburitza and psalmodicon ensembles, respectively. Although organized by ethnicity and genre (and, in a few cases, song title), it should be kept in mind that transcriptions of songs of different ethnicities were often transcribed onto the same sheet of staff paper; thus some songs will not be found in the appropriate folder and must be sought elsewhere. It should also be noted that some of this material may be Harry Peters’ rather than Stratman-Thomas’; such material would be from a later period than the circa 1940s date given to this sub-subseries as a whole. In general, publication mockups for individual songs (in subseries End products) should also be consulted for additional transcriptions and song research.

End products include correspondence, organized roughly chronologically, regarding Stratman-Thomas’ numerous speaking engagements on the subject of Wisconsin Folk Music and/or the recording project. There is also a folder of Library of Congress correspondence, arranged chronologically, primarily relating to the checklists of recorded songs and the album Folk music of Wisconsin. Finally, there is a folder of correspondence consisting mainly of requests for folk music – usually for copies of sound recordings, but occasionally for information about specific songs. This correspondence is organized roughly chronologically by request, and includes Stratman-Thomas’ responses.

Also included is a file containing various articles, newspaper clippings, and programs, all referencing activities in which Stratman-Thomas participated or otherwise contributed to.

Checklists of recorded songs list the songs recorded during the three project field trips, prepared for use by the Library of Congress in compiling their publications that detail the holdings in the Archive of American Folk Song. The lists consist of songs in alphabetical order organized by ethnicity or genre, and include the name of the singer, year and place of recording, and Library of Congress Archive of American Folk Song call number. The collection includes early drafts and related materials; the “1st” (clean) draft for the Library of Congress; and what appears to be a near-final draft, with only a few editorial corrections.

Badger State Folklore Society includes correspondence reflecting Stratman-Thomas’ tenure on the Board of Directors, and also includes a copy of the society’s constitution, other information about the society, a few copies of its publication, Badger folklore, and a draft of an article Stratman-Thomas wrote for that publication.

WHA Radio broadcasts consist primarily of edited script drafts and other working materials for some of Stratman-Thomas’ Wisconsin folk music presentations on WHA programs such as Women’s place, Wisconsin yarns with Robert Gard, and a series of University of Wisconsin School of Music broadcasts.

Folk music from Wisconsin, published by the Library of Congress in 1960, is a compilation of a selection of songs Stratman-Thomas collected as part of the project. Stratman-Thomas edited the album and wrote the liner notes for it; included here are her working materials and a final copy of her liner notes, as well as press releases and articles about the album.

Book drafts and manuscripts are made up of materials created and used by Stratman-Thomas, and also by Harry Peters. Those created by Stratman-Thomas include an outline, song checklists, manuscripts entitled “Play party games” and “Sea shanties,” two manuscripts entitled “Adventures in collecting folk music,” and one entitled “Song trails through Wisconsin.” This last was included almost in its entirety in Peters’ Folk songs out of Wisconsin (1977). It is unknown whether this published version is the one that Stratman-Thomas submitted to the University Wisconsin Press, which in 1953 declined to publisher her book (see her correspondence); or one that she might have submitted to Wisconsin House, Ltd., which indicated its intention to publish her book in 1972 (see her correspondence with Robert Gard, 26 August 1971). Besides the book manuscripts are accompanying mock-ups of songs (usually notation plus typescripts of the song text and accompanying information), some grouped by ethnicity, and others – the English-language material – by song title. Many of the English-language songs were used by Peters in his book, and the individual song files thus often contain material created both by Stratman-Thomas and by Peters, as well as their supporting research materials. Besides the files created by Stratman Thomas, additional files for songs used by Peters in his book have been created and are included here, designated by an asterisk (*). In addition to the song mock-ups in the collection are song offsets. Finally, Peters’ manuscript for Folk songs out of Wisconsin, as well as related correspondence and materials used in its preparation, and a copy of the book itself are included in the collection.

The Cornish materials reflect a special interest of Stratman-Thomas, and appear to reflect an offshoot of the Wisconsin Folk Song Recording Project. These materials cover quite a range of time and place, and are not limited to Wisconsin, as Stratman-Thomas sought material on Cornish culture both in the U.S. and from Cornwall itself. Correspondence is organized alphabetically by correspondent and reflects Stratman-Thomas’s wide-ranging search for information. The hand-written bibliographies on Cornish language and literature, Cornwall and its people, and of course its music, are supplemented by additional bibliographic material recorded by Stratman-Thomas on 4x8 index cards. As part of her research, Stratman-Thomas sent out questionnaires to Wisconsin residents (or former residents) from Cornwall or of Cornish descent. These are organized alphabetically by name of respondent and often have additional correspondence and other materials attached. Field and research materials include typed extracts of books and song collections that Stratman-Thomas consulted for this project, and a large number of 4x8 index cards recording information gathered through both library and field research, including bibliographic materials, recipes, field notes, Cornish language materials, information about specific songs, summaries of some of the information gleaned from the questionnaires, collected stamps, and records suggesting that she had intended to take a research trip to Cornwall in 1946. There is also a fair amount of published material on Cornish language and culture, and a few published Cornish songs and songbooks, and a microfilm of sea chanteys. There are included transcriptions, notes, and correspondence regarding a few specific Cornish songs, and a small mimeographed collection of Cornish carols that Stratman-Thomas arranged for four-part mixed chorus. Also included are a number of 19th century music manuscript books that contain handwritten songs, piano music, flute duets, and so forth; some of these are indexed. While two are of unknown authorship, others were created by emigrants from Cornwall and from England. This section includes the manuscript of the book, Carols, by Thomas H. Arthur, who taught at a singing school in Dodgeville, Wisconsin.

Subseries: General Folk Music Materials

Bibliographies

General, undated

Index cards, undated

Wisconsin, 1947-1961; undated

Research materials

General, 1925-1968; undated

Wisconsin, 1941-1959

Newspaper clippings, 1932-1958; undated

Folk festivals and performances

National Folk Festival programs, 1940-1957

Wisconsin folk festivals and performances, 1941-1951; undated

Songbooks, 1937-1956

Mon premier livre de chansons (with 2-7” sound discs), 1962

Brochures and programs, 1938-1971; undated

Checklist of recorded songs in the English language in the Archive of American Folksong to July 1940, 1942

A-K

L-Z

Geographical index

Subseries: Field Recordings and Related Materials

Correspondence, 1940-1971; undated

A, 1940-1962

B, 1940-1950

Brown, Nobel B., 1946-1949

C, 1940-1952

D, 1940-1971

E, 1941-1948

F, 1941-1959

G, 1940-1971

H, 1940-1949

Hoffman, Charles, 1946-1948

I, 1946-1951

Ivey, Zida C., 1941-1949

J, 1940-1949

K, 1941-1949

Kent, H. J., 1940-1949

L, 1940-1949

Library of Congress, 1940-1946; undated

M, 1941-1954

Morgan, Moses, 1940-1948; undated

N, 1940-1948

National Folk Festival, 1942-1958

O, 1942-1947

P, 1940-1971

Q, 1942-1946

R, 1941-1971

Ropson, Louis, 1941-1948

S, 1940-1957

Starr, Mary Agnes (Mrs. Morton Hull Starr), 1941-1958; undated

T, 1940-1948

U, 1946-1953

V, 1942-1948

W, 1940-1959

Y

Chief Yellow Thunder, 1940-1949

Z, 1941-1947

Supporting materials

Requests for funding and reports, 1940-1949

Financial records, 1945-1946; undated

Press releases, 1945-1946; undated

Prospects and contacts, 1941; undated

Cards, 1940-1946; undated

Maps of Wisconsin, 1939-1941; undated

Newspaper clippings

About the project, 1940-1957; undated

Related to the project, 1940-1952

General research notes

1946; undated

1946; undated

Recording notes

Songs recorded

1940, with notes

1941-1942, with notes and bibliography

1946, with notes

Index cards

By ethnicity/genre

Song index cards

1940-1946

, 1940-1941 (photocopies)

Field recording notes, 1940-1946

African-American songs

American songs of no particular origin

Appalachian songs

Austrian songs

Bavarian songs

Belgian and Luxemburger songs

Belgian songs, French language

Bohemian songs

Civil War songs

Cornish songs

Croatian tamburitza music

Danish songs

Dutch songs

English songs

Finnish songs

French-Canadian songs

German songs

Icelandic songs

Irish songs

Italian songs

Kashubian songs

Kentucky songs

Lithuanian songs

Lumberjack songs

Luxemburger songs

Norwegian hardanger fiddle music

Norwegian psalmodikon music

Norwegian songs

Old-time band music

Oneida songs

Ottawa songs and tunes

Polish songs

Square dance calls and tunes

Swedish songs

Swiss songs, tunes and yodeling

Ukrainian songs

Vulgar songs

Welsh songs

Winnebago songs and tunes

Transcriptions and research, circa 1940-1949

American ballads

American and English songs

Tanner, Dan

American, English and Irish songs

Bundy, Winifred

American lumberjack songs

American songs

Austrian songs

Bar room ballads

Belgian songs

Belgian songs, French language

"Desiré Maes"

Bohemian songs

Circus songs

Civil War songs

Cornish carols

Cornish songs

Croatian songs and tamburitza music

Dance tunes and calls

Danish songs

Dutch songs

English songs

Bundy, Winifred

Tanner, Dan

English and Irish songs

Warner, Ralph

Farm safety songs

Finnish songs

French-Canadian songs

Frontier songs

German songs

Icelandic songs

Farm safety songs

Irish language (lessons and literature abstracts)

Irish songs

Bundy, Winifred

Warner, Ralph

Italian songs

Kashubian songs

Kantucky songs

Lithuanian songs

Luxemburger songs

Milwaukee history songs

Native American songs and music

Norwegian songs and music

"Old Nigger Doc" songs

Oneida songs and music

Play party game songs

Polish songs

Sea chanteys

Sicilian songs

Slavic songs

Swedish songs

Swiss songs

Voyageur songs

Vulgar songs

War songs

Welsh songs

Winnebago songs

Wisconsin historical songs

Sound recording discs, with notes

Projector

Sound recording discs, blank

SoundScriber dictaphone

Instantaneous discs (12", 78-rpm; AFS 4185; 4191; 4913; 4950; 8365-8376; 8380-8465; 8467-8473)

Audiotape reel (7", analog, 7 1/2 ips) Nov, 30, 1950. "Emery DeNoyer, Rhinelander, folksinger, 1- The Merrill Tragedy, 2- On the Tomahawk where evergreens do grow (comp. by DeNoyer)--Tape box."

Subseries: End Products

Correspondence

Lecture engagements

1941-1946

1947-1961

Library of Congress, 1947-1971

Requests for folk music, 1940-1968; undated

Articles, newspaper clippings and programs, 1944-1957; undated

Checklists of recorded songs for the Library of Congress, undated

Working drafts and related materials

"Library of Congress, 1st draft"

Penultimate (?) draft

Badger State Folklore Society, 1947-1951

WHA Radio broadcasts, 1954; undated

LP Folk music from Wisconsin (AAFS L55), 1960

Working materials and drafts, undated

Liner notes and content list, 1960; undated

Articles and press releases, 1960-1964; undated

Book drafts and manuscripts, undated

Book outlines, typescript

"Play party games," typescript, with notes

"Sea shanties," typescript

"Adventures in collecting folk music," typescript, with notes

"Adventures in collecting folk music," typescript, with ethnicities

"Song trails through Wisconsin," typescript

Individual songs; offsets, reproductions and mockups, with notes

Non-project songs to be used in the book, circa 1948

Song checklist by category, circa 1948

Song offsets, numbered, onionskins

Oversized, unnumbered, onionskins

Belgian songs, French language

Danish songs

Dutch songs

Finnish songs

French-Canadian songs

"Marguerite"

German songs

Icelandic songs

Danish songs

Italian songs

Kashubian songs

Lithuanian songs

Luxemburger songs

Norwegian songs

Polish songs

Sicilian songs

Swedish songs

Welsh songs

"A-lumbering we will go"

"Alphabet song"

"Angels from the realms of glory"

"Angels proclaim"

"'Ark, 'ark, the 'eavenly angels sing"

"Awake, arise, you drowsy sleeper"

"Away to Wisconsin"

"Bigler's crew"

"Billy Vanero"

"Birdies' ball"

"Black-Eyed Susan and Sweet William"

"Blow the man down"

"Blushing Rose"

"Bold Benicia boy"

"Bold McIntyres"

"Bold outlandish knight"

"Boring for oil"

"Brennan on the moor"

"Broken ring"

"Brooklyn Theater Fire"

"Buck Billy Goat"

"Butcher boy"

"California boys"

"Captain Jinks"

"Charming young widow I met on the train"

"Chatsworth Wreck"

"Chase the buffalo"

"Come and I will sing you"

"Come, let us go in a childish way" (Cornish Christmas carol)

"Come philander"

"Couderay jig"

"Cranberry song"

"Crucifixion of Christ"

"Dan Doo"

"Dan McGinty"

"Dark-eyed sailor"

"Demon lover"

"Devonshire cream and cider"

"Dick Turpin and Black Bess"

"Dirandel"

"Dolan's ass"

"Donkey song"

"Doran's ass"

"Down at Muskoday"

"Dreary Black Hills"

"Driving saw logs on the Plover"

"Dying Christian"

"Dying Wisconsin soldier"

"Ella Rae"

"Engineer"

"Everybody's got a finger in the pie"

"Fatal oak"

"Farmer had a daughter"

"Father, dear father, come home with me now"

"Finnegan's wake"

"First Noel"

"Flat River girl"

"Flying trapeze"

"Fond du Lac Jail"

"Froggie went to take a ride"

"Froggie would a-wooing' go"

"Gambler's blues"

"Gambling man"

"Ghost song"

"Girl with the waterfall"

"Grandma's advice"

"Green Mountain"

"Gypsy Davy"

"Gypsy's warning"

"Harry Bale"

"Hicks Carmichael"

"Highly educated man"

"Homestead Strike"

"Hounds in the woods"

"How are you, conscript?"

"How happy is the sportsman"

"Hunter's chorus"

"Hunters of Kentucky"

"I heard Old Master pray last night"

"I never will marry"

"I once knew a girl"

"I stood upon the sandbank"

"I'll sell my hat, I'll sell my coat"

"I'm in love with a Tipperary miss"

"I'm in want of a substitute"

"In the baggage coach ahead"

"Indian lass"

"Innis Skillen"

"Irish barber"

"Irish jubilee"

"It's about three years ago"

"It's nine years ago"

"I've got a motto"

"Jam on Gerry's Rock"

"Jennie Jenkins"

"Jim Blake"

"Jim Bludsoe"

"Johanna Shay"

"Jordan's river I'm bound to cross"

"Just plain folks"

"Keep the working man down"

"Keyhole in the door"

"King William was King James' son"

"Kitty Grause"

"Kitty Wells"

"Lady Leroy"

"Lantern's gleam"

"Lass of Glenshee"

"Lass of Mowhee"

"Last Saturday night I entered a house"

"Little ball of yarn"

"Little brown bulls"

"Little Nell of Narragansett Bay"

"Little old log cabin by the stream"

"Liza"

"Lord Lovell"

"Lord Thomas and fair Elinor"

"Lost my handkerchief"

"Lost on the Lady Elgin"

"Man who wouldn't hoe corn"

"Manson's crew"

"Many brave boys must fall"

"McCarthy's widow"

"Milwaukee Fire"

"Mines of Caribou"

"Miss Fogarty's Christmas cake"

"Mistletoe bough"

"Mother, queen of my heart"

"Mother Shipman's prophesy"

"My father keeps a public house"

"My father was a Dutchman"

"My grandfather lived on yonder green"

"My name is McNamara"

"My old hen's a good old hen"

"Needle's eye"

"Newhall House Fire"

"Noble Skew Bald"

"Now he's sorry that he spoke"

"O'Bowery belles"

"O, pretty girls, won't you list a come"

"Of late I've been driven near crazy"

"Oh Mary dear, go ask your mother"

"Oh well, oh well"

"Oh yah, ain't that been fine"

"O'Kelly brothers"

"Old Dan Tucker"

"Old Hazeltine"

"Old man came home again"

"Old time lumberjacks"

"Old Willis is dead"

"On the banks of the little Eau Pleine"

"On the banks of the Old Mohawk"

"On the decks of the Baltimore"

"On the lakes of Pontchartrain"

"Once I courted a charming beauty bright"

"Once I courted a pretty little girl"

"Once I had two hands full of gold"

"Once more a-lumb'ring go"

"One more river"

"One morning in spring"

"One ship drives east"

"Paddy Doyle and Biddy O'Toole"

"Paddy Miles, the fisherman"

"Paper of pins"

"Pat Malone forgot that he was dead"

"Persia's crew"

"Pick and shovel"

"Pickled Jew"

"Pinery boy"

"Please, mister barkeeper"

"Polly Oliver"

"Pompey is dead and laid in his grave"

"Poor Rose of Lucerne"

"Pretty Mahmee"

"Pretty Polly"

"Rabbi's daughter"

"Ramsey County Jail"

"Red Light Saloon"

"Reuben Ranzo"

"Reuben Wright and Phoebe Brown"

"Riley and I were chums"

"Rise, my true love"

"Robin"

"Rock in the meadow"

"Rowan Country trouble"

"Sadie Rae"

"Sam Hall"

"Shanghai rooster"

"Shanty boy and the farmer"

"Shanty boy on the big Eau Claire"

"Shanty boys and pine"

"Shantyman's life"

"Ship carpenter"

"Ship set sail for North America"

"Ship that never returned"

"Ship was becalmed in a tropical sea"

"Shoo fly"

"Shots echoing 'round the mountain"

"Shule aroon"

"Sing lay the lily low"

"Six kings' daughters"

"So merry, so merry we are"

"Song of Mrs. Shattuck"

"Star of Bethlehem"

"Story of Harry Bale"

"Swamper's revenge on the Windfall"

"Sweet lass of Glenshee"

"Tassels on her boots"

"That old brown coat on me"

"There was a rich old farmer"

"There was an old woman in London"

"There were once three brothers"

"Those gambler's blues"

"Three crows"

"Three dishes and six questions"

"Three nations"

"Tippecanoe and Tyler too"

"Tomahawk Hem"

"Tomorrow shall be my dancing day"

"'Twas autumn and the leaves"

"'Twas on a cold and winter's day"

"Twenty-pound dog"

"Two orphans"

"Two solders lying as they fell"

"Very first time I saw my love"

"We will haul, we will pull"

"We wish you a merry Christmas"

"Welcome hoard"

"Well Met, well Met, my old true love"

"Welsh relation"

"What will I do with the baby-o"

"When she got there"

"Whiskey Johnny"

"White captive"

"Who is that under my bedroom window?"

"Wild Irishman"

"Willie and Mary"

"Wisconsin, land of beauty"

"Yankee ship came down the river"

"Young Charlotte"

"Young Jimmy Folier"

"Young Johnny"

"Young Mary"

"Harry Peters: Folk songs out of Wisconsin"

Correspondence, 1970-1976

Miscellaneous material (primarily non-folk), 1965-1979; undated

Book preparation materials, undated

Articles

Rickaby index

Songs lists

Songs not used

Book drafts, with notes

Book manuscripts, undated

P. 1-124

P. 125-299

P. 300-572

Folk songs out of Wisconsin

Subseries: Cornish materials

Correspondence, 1944-1949

A-R

S-W

Field and research materials

Bibliographies, undated

Music

Questionnaires on Cornish music, 1944-1945

A-O

P-W

Research materials

Notes and extracts, undated

Published booklets and pamphlets, 1858-1951; undated

Index cards, undated

Newspaper clippings, 1942-1964

Recipes, undated

Index of Cornish songs found in various sources, undated

Song transcriptions, notes and arrangements, undated

Asparagus song

"Come and I will sing you," 1941

"Ethel Green"

"Furry Day," carol

"Sans Day," carol

Cornish carol arrangements, mimeographed

Music books: manuscript and published, including copies and extracts

Arthur, Thomas H., manuscript book, Carols, 1871

Bosanko, John, manuscript book, Camborne, 1843

Bareis Dieter, Angeline, manuscript book, plus handwritten copy and index, 1889

Doidge, J. S., New and choice selection of Christmas carols, pieces & anthems, plus typewritten copy, undated

Dunstan Cornish song book, extracts, undated

Gilbert, Davies, Some ancient Christmas carols, with the tunes to which they were formerly sung in the west of England ..., handwritten copy and extracts, 1823

Old Cornwall, magazine extracts, 1925-1929

Sandys, William, Christmas carols ancient and modern, including the most popular in the west of England and the airs to which they are sung ..., handwritten copy and extracts, 1833

Stevens, John, manuscript book, circa 19th century

Thomas, Herbert, Cornish songs and ditties and other rhymes, undated

White, Olivia, manuscript book, circa 19th century

Manuscript book, source unknown, circa 19th century

Music, manuscript book, source unknown, circa 19th century

Other published song books and sheet music, 1911-1944; undated

Published sheet music, 1932; undated