• Incomplete full score: Combination of ink and pencil MS; pages in ink feature emendations in pencil. 64pp. total: 45 numbered pages, 35 of which contain musical content; 19 blank pages interleaved throughout;
• Sketch material that includes: –African Overture – C minor version. MS in pencil; emendations in colored pencil. 14pp. of music; –Finale Sequence – African Overture. MS in pencil; emendations in colored pencil. 2pp. of music; –O Dun De (Harvest Song). MS in pencil. 5pp. of music; –Unlisted pop tune/My Lady Please Explain. MS in pencil. 3pp. of music; –Ovothun. MS in pencil. 2pp. of music; –Yeke, Omo, Mi (Do not cry my child). MS in pencil. 2pp. of music; –Serenade to the God of Thunder. MS in pencil. 3pp. of music; –Menu – Diyeh. MS in pencil. 3pp. of music; –Oluwa Sanu Versions. MS in pencil; emendations in colored pencil. 18pp. of music; –My Lady Please Explain. MS in pencil. 2pp. of music; –Yeke, Omo, Mi (Do not cry my child). MS repro; reverse side contains a rhythmic sketch in pencil. 2pp. of music; –16pp. of unidentified fragments interleaved throughout. MS in pencil and colored pencil;
• Extant parts include: 2^nd bassoon, 4^th tenor saxophone, baritone saxophone, 2^nd tenor saxophone, 2^nd alto saxophone and 1^st MS repro. 40pp. of music;
• Documents pertaining to Michael B. Olatunji and the composition of African Fantasy. Combination of pencil MS, ink MS and typescript annotated in pencil and ink. 18pp. Accompanied by a program for a performance by Asadata Dafora and his Chologo Aloba African Dancers, featuring Michael B. Olatunji, that took place on May 31, 1958 at the United Mutual Auditorium in New York City. Annotations in pencil. 1p. Also accompanied by a copy of the liner notes for the “Folk Music of the Western Congo” LP. Ethnic Folkways Library P427. New York: Folkways Records and Service Corp., c1952. Annotations in pencil. 8pp.

• Full score: two copies (Copy 1: Combination of ink MS, MS repro and Ozalid MS in ink. 46pp. of music; Copy 2: June 1985 revision. Comb- bound MS repro; revisions, annotations and performance markings in pencil and ink. 45pp. of music);
• Extant parts include: —Prelude: Fascinating Rhythm: trumpets I and II, horn, trombone and tuba. Ink MS and MS repro; corrections and performance markings in pencil. 25pp. of music; —It Ain’t Necessarily So: trumpet I, trumpet II and trombone. MS repro. 9pp. of music; —Do It Again: trumpets I and II, horn, trombone and tuba. MS repro. 15pp. of music; —Liza: trumpet I (Copy 1: MS repro. 7pp. of music; Copy 2: MS repro. 6pp. of music); trumpet II (MS repro. 4pp. of music); horn (Combination of MS repro and ink MS. 9pp. of music), trombone (Combination of MS repro and ink MS. 7pp. of music), tuba (Combination of MS repro and ink MS; performance markings in pencil and colored pencil. 6pp. of music);
• Accompanied by pages extracted from various manifestations of the brass quintet parts. Combination of MS repro and ink MS; a number of pages bear emendations in pencil. 37pp. of music.

• My Friend The Guitar # 1. 5 copies. –Copy 1: Full score. MS repro. 12pp. of music. Accompanied by a list of titles. Ink MS. 1p; –Copy 2: Piano reduction. MS in pencil. 4pp. of music; –Copy 3: Full score. MS in pencil. 12pp. of music; –Copy 4: Lead Sheet. MS repro. 3pp. of music; –Copy 5: Lead Sheet. Ink MS; lyrics, tempo and metronome marking in typescript. 3pp. of music;
• My Friend the Guitar # 2. Two copies of full score. –Copy 1: MS in pencil. 11pp. of music; –Copy 2: MS repro. 11pp. of music;
• In Puerto Rico / The Spanish Guitar. 4 copies. –Copy 1: Full score. Repro of Ozalid master copy. “In Puerto Rico” written in ink above “The Spanish Guitar” on 1^st 18pp. of music; –Copy 2: “In Puerto Rico” lead sheet. MS repro. 1p. of music; –Copy 3: “In Puerto Rico” lead sheet. Ink MS; lyrics, tempo and metronome marking in typescript. 1p. of music; –Copy 4: “The Spanish Guitar” full score. Ozalid MS in pencil. 18pp. of music;
• Pickety Pockety. 4 copies. –Copy 1: Repro of Ozalid master copy; emendations in ink. 4pp. of music; –Copy 2: Lead sheet. Ink MS. 1p. of music; –Copy 3: Lead sheet. MS repro. 1p. of music; –Copy 4: Ozalid MS in pencil. 4pp. of music;
• Happy Hawaii. 3 copies. –Copy 1: Full score. Repro of Ozalid master copy. 2pp. of music; –Copy 2: Lead sheet. Ink MS. 1p. of music; –Copy 3: Lead sheet. MS repro. 1p. of music;
• O Sole Mio. Full score. Repro of Ozalid master copy; annotated in ink. 2pp. of music; pg. 2 is lacking;
• Dark Eyes. Full score. Repro of Ozalid master copy; annotated in ink. 3pp. of music;
• Blue-Tail Fly. Lead sheet. MS repro; annotated in ink. 1p. of music;
• Cowboy Guitar. Copyright 1970, Thomas English Music Publishing Company. Full score. 2 copies. –Copy 1: Ozalid MS in pencil. 7pp. of music; –Copy 2: Repro of Ozalid master copy; copyright information written in ink on page 1. 7pp. of music.

Scores are accompanied by an envelope labeled “‘Guitars’ Album. Golden Records – 1970 (Scores)” in ink.

• Conductor’s scores include: –Out of the Way of the People. Written by Dave Brubeck. Repro of score published by St. Francis Music Co. and Malcolm Music, Ltd, c1970; stage lighting cues in ink. 21pp. of music; –Two Contemporary Sketches. MS repro; performance markings in ink. 7pp. of music; –Ursa Major. Combination of MS repro and repro of music from a published version of the piece [publisher unspecified]; performance markings in ink. 19pp. of music; –Two Contemporary Sketches, Part II. MS repro; performance markings in ink. 16pp. of music; –Intro – New Heavenly Blue. MS repro. 6pp. of music; –Excerpts from Truth is Fallen: A cantata for rock group and symphony orchestra. Music by Dave Brubeck. Text selected and adapted by Iola Brubeck with original texts by Iola and Christopher Brubeck. Repro of score published by St. Francis Music Co. and Malcolm Music, Ltd, c1971; performance markings in ink. 62pp. of music.
• Documents include: –printed concert program; –card stock dividers, interleaved throughout, indicating names of programmed works and other directions, e.g. “Lights: Full Concert”; –carbon copy of a typescript letter to Music Art from Ray Wright, February 20, 1973 [original was signed by RW]. 1p; –typescript draft of the concert program with lighting and stage instructions in ink. 1p; –one page of Dave Brubeck’s rider, signed in ink to Ray Wright, Donald Hunsberger and Merritt Torrey from Nick Jones; –draft of the stage and lighting instructions. Ink MS. 3pp.

• Conductor’s score: Repro of Ozalid master copy; emendations and performance markings in pencil, colored pencil and ink. 3pp. of music.
• Extant parts include: –Violin A. Six copies (Copy 1: Ozalid MS in ink; Copies 2 – 6: Repros of Ozalid master copy; emendations in pencil); –Violin B. Four copies (Copy 1: Ozalid MS in ink; Copies 2 – 4: repros of Ozalid master copy; copy 4 bears emendations in pencil); –Viola. Three copies (Copy 1: Ozalid MS in ink; copies 2 & 3: repros of Ozalid master copy; copy 3 bears performance markings in pencil); –bass clarinet, cello, bass, guitar, celeste, harp and solo trombone. Repros of Ozalid master copies; emendations and performance markings in ink and pencil. 40pp. of music. Accompanied by a folder labeled “Ghost Of A Chance [Deshons] in ink.

• Disbound pages from the Boosey & Hawkes published score (London; New York: 1954. Pl. no. B. & H. 17546); emendations in pencil, colored pencil and ink and pasted-in emendations throughout in ink, pencil and colored pencil. 53pp. of music;
• MS in pencil, ink and colored pencil. 48pp. of music;

Accompanied by an envelope labeled “Glorianna [sic] of Britten – New Version 1969 Jan”. Inscribed in pencil to R. Wright, presumably from Tom Stewart whose name and address appear in ink above the inscription. Reverse side bears markings in ink and pencil

• Full score. Three copies. –Copy 1: Ozalid MS in ink. 5pp. of music; –Copies 2 & 3: 2 repros of Ozalid master copy; emendations in colored pencil. 10pp. of music;
• Parts: Four copies of each part. –Copy 1: Ozalid MS in ink. 5pp. of music; –Copies 2, 3 & 4: 3 sets of repros of Ozalid master copies. 15pp. of music.

• Our Waltz: –Conductor’s score: Repro of Ozalid master copy. 5pp. of music; –Extant parts include: A violins (6), B violins (6), viola (4), celli (3), bass (3) and percussion (3). 78pp. of music;
• Our Waltz – Part II (Radio City Music Hall 6085B): –Conductor’s score: Repro of Ozalid master copy; emendations and performance markings in pencil. 5pp. of music; –Extant parts include: flute II, oboe I, oboe II / English horn, clarinets I & II, bassoons I & II, horns I & II, trumpets I – IV, trombones I – IV, tuba, harp and piano. MS repro; oboe II part bears emendations in ink. 53pp. of music.

• Conductor’s score: Repro of Ozalid master copy; emendations and performance markings in pencil, colored pencil and ink. 3pp. of music;
• Extant parts include: –A–B violin. Three copies (Copy 1: Ozalid MS in ink; Copies 2 & 3: repros of Ozalid master copy; emendations and performance markings in pencil, colored pencil and ink). 7pp. of music; –Viola. Two Copies (Copy 1: Ozalid MS in ink; Copy 2: repro of Ozalid master copy; performance markings in pencil). 4pp. of music; –Guitar. Repro of Ozalid master copy; performance markings in ink and colored pencil. 2pp. of music.

• Conductor’s score: Repro of Ozalid master copy; emendations and performance markings in pencil and colored pencil. 3pp. of music;
• Extant parts include: –A violins. Four copies (Copy 1: Ozalid MS in ink; annotated in colored pencil. Copies 2 – 4: Repros of Ozalid master copy; copies 2 & 3 bear performance markings in pencil); –Violin B: Four copies (Copy 1: Ozalid MS in ink; annotated in colored pencil. Copies 2 – 4: Repros of Ozalid master copy; copies 2 & 3 bear performance markings in pencil; copy 4 features emendations in ink); –Viola. Three copies (Copy 1: Ozalid MS in ink; annotated in colored pencil. Copies 2 & 3: Repros of Ozalid master copy; performance markings in pencil); –solo trombone, flute, cello, bass, guitar, celeste and harp. Repros of Ozalid master copies; emendations and performance markings in pencil, colored pencil and ink. 35pp. of music.

Conductor’s score and parts are accompanied by a folder labeled “Why Was I Born [Deshons]” in ink.

• Long, Long Ago. Conductor’s score. Date (on cover): December, 1941. MS in pencil and colored pencil; title on cover written in ink. 14pp. of music;
• Short Brass Sextets. Score and parts. –Score: Dates (on page 1 and 11): September 8, 1941 & January 10, 1943. Arrangements include: The Fisherwoman by Werner Janssen (Latvian tune), Holy Boy by John Ireland and Binnorie O Binnorie by Ted Smith (Scottish tune). Comb-bound MS in pencil and colored pencil; emendations in ink. 11pp. of music. Accompanied by sketch material for Binnorie O Binnorie. MS in pencil. 2pp. of music. Also accompanied by 4pp. of untitled sketch material. MS in pencil and colored pencil. –Extant parts include: trumpet II, horn, tuba and trombones I & II. MS in pencil. 10pp. of music;
• “String parts to 3 orchestration excerpts”. Arrangements include: Little Prelude in F by J. S. Bach, Gavotte from the Fifth French Suite by J. S. Bach and Sonata, Op. 2, no. 2 by Ludwig van Beethoven; arr. for string quintet by R. Wright. Parts include: 1^st & 2^nd violins, viola, cello and bass. MS in ink and pencil. 10pp. of music;
• Trombone Quartets. Comb-bound ink MS; emendations and performance markings in pencil and colored pencil and pasted-in emendations in ink. Includes arrangements of: –No. 1. Über den Sternen. By Franz Abt; –No. 2. Frühlingslied. By Otto Fuchs; –No. 3. Waldandacht. By W. Köhler; –No. 4. Sarastro Arie und Chor. By W. A. Mozart; Du, O Schönes Wettegebaude. By J. S. Bach. 8pp. of music. Accompanied by two pieces of staff paper that bear arrangements of Bach’s Du, O Schönes Wettegebaude, Mit Fried’ und Freud’ ich fahr’ dahin and Jesus Christus, Unser Heiland. MS in pencil. 3pp. of music. Also accompanied by scale part books for trombones 1 – 3. Ink MS. 6pp. of music;
• Short Brass Sextets. Extant parts include: 1^st and 2^nd trumpets, horn, 1^st and 2^nd trombone and tuba. MS in pencil and ink. 11pp. of music. Accompanied by parts for The Fisherwoman by Werner Janssen. Extant parts include: 1^st and 2^nd trumpets, horn, 1^st and 2^nd trombone and tuba. MS in pencil, colored pencil and ink. 6pp. of music;
• Folder that contains: –Little Prelude in F. By J. S. Bach; arr. for string quintet by R. Wright. Full score. MS in pencil. 3pp. of music; –Prelude from Sonata in E major. By J. S. Bach. Incomplete conductor’s score. MS in pencil. 1p. of music; –Prelude from Violin Suite in E major. By J. S. Bach. Ink MS; emendations and annotations in colored pencil and pencil. 3pp. of music; –3 Part Invention. By J. S. Bach; arr. for 2 tenor trombones and bass trombone or tuba by R. Wright. Full score. MS in pencil; emendations in colored pencil. 4pp. of music; –Trombone Quartets. Parts. Ink MS; emendations in pencil and colored pencil. Each instrumental part is accompanied by the respective part for Wright’s arrangement of J. S. Bach’s Prelude. MS in pencil and colored pencil. 8pp. of music; –Scottish Folk Song – Binnorie. By Ted Smith; arr. for trombone quintet by R. Wright. Parts include: trombones 1 – 4 and bass trombone or tuba. Ink MS with emendations in pencil; 2^nd trombone part bears pasted-in emendations in ink. 6pp. of music;
• Woodland Idyl. By Camille Zeckwer; arr. by R. Wright. Extant parts include: trumpets 1 -3, Eb alto saxophone, baritone or Bb trombone, Bb trombone and tuba. Ink MS; emendations and performance markings in colored pencil and pencil. Baritone / Bb trombone part: MS in pencil. 7pp. of music;
• Two Part Fugue for Tenor and Bass Trombones. By Rayburn Wright. Date (on page 1): January 24, 1941. MS in pencil. 3pp. of music.

• Conductor’s scores and one copyist’s MS in pencil. 40pp. of music. Scores include: –King Cotton (The John Church Co., c1951); –El Capitan (The John Church Co., c1951); –Washington Post March (New York: Carl Fischer, 1889); –The Thunderer (New York: Carl Fischer, 1889); –The Fairest of the Fair (The John Church Co., c1951); –The Concoran Cadets March (New York: Carl Fischer, 1890); –Washington Post March (New York: Carl Fischer, 1889); –Nobles of the Mystic Shrine (New York: Sam Fox, 1972); –Hands Across the Sea (The John Church Co., 1951); –Semper Fidelis (New York: Carl Fischer, 1888); –The Black Horse Troop (New York: Sam Fox, 1925); –The Stars and Stripes Forever (The Heritage Music Press, 1975); –The U. S. Field Artillery March; arr. by M. L. Lake (New York: John Philip Sousa, 1918); –The U. S. Field Artillery March; arr. by M. L. Lake (New York: Carl Fischer, 1918); –Manhattan Beach (composite sketch) [Copyist’s MS in pencil. 3pp. of music];
• Extant parts include: –The Stars and Stripes Forever and Manhattan Beach [drums]; –The Liberty Bell [solo or 1^st Bb clarinet, piccolo, 1^st & 2^nd trombones, solo Bb cornet, basses and drums]; –Manhattan Beach [solo Bb cornet (conductor) or flugelhorn, solo or 1^st Bb clarinet, 1^st flute, basses, 1^st & 2^nd trombones and drums]; –The U. S. Field Artillery March [drums and timpani in Ab – Eb and bells]; –Hands Across the Sea [timpani (bells) and drums]; –Semper Fidelis March [timpani in C and G and bells and drums]. 11pp. of music.

• Full score: MS in pencil; emendations in colored pencil and ink. 11pp. of music;
• Extant parts include: –Piano. MS in pencil; emendations in colored pencil. 4pp. of music; –trombones I – IV, piano, bass, drums, violin I (3), violin II (3), viola (2) and cello (2). Repros of Ozalid master copies; some bear emendations in pencil. 36pp. of music.

• Song Of The Volga Boatmen. Russian folk song; arr. by Bill Finegan. New York: Mutual Music Society Inc., 1941. Full score and parts. Full score: Repro of copyist’s MS; performance markings in pencil. 11pp. of music. Extant parts include: alto saxophones I & II, tenor saxophones I & II, baritone saxophone, trumpets I – IV, trombones I – IV, piano, bass and drums. MS repro; emendations in pencil. 33pp. of music.
• A String Of Pearls. By Jerry Gray. Extant parts include: Alto I / Conductor, alto saxophones I & II, tenor saxophones I & II, baritone saxophone, trumpets I – IV, trombones I – IV, piano, bass and drums. Repro of copyist’s MS; performance markings and annotations in pencil. 39pp. of music. Alto I / Conductor’s score is accompanied by a draft of an address, presumably given during a performance with the Rochester Philharmonic Orchestra Strings with Bill Dobbins as the featured soloist. Word-processed document; emendations in pencil and ink. 1p.
• Little Brown Jug. By R. A. Eastburn; arr. unknown. Extant parts include: alto saxophones I & II, tenor saxophones I & II, baritone (alto), trumpets I – IV, trombones I – IV, guitar, piano, bass and drums. Repro of copyist’s MS. 42pp. of music.
• Tuxedo Junction. By Erskine Hawkins, William Johnson and Julian Dash; arr. unknown. Full score and parts. Full score: MS repro. 8pp. of music. Extant parts include: alto saxophones I & II, tenor saxophones I & II, baritone saxophone (alto V), trumpets I – IV, trombones I – IV, guitar, piano, bass and drums. Repro of copyist’s MS. 36pp. of music.
• American Patrol. By Frank W. Meacham; arr. unknown. Full score and parts. Full score: MS repro. 20pp. of music. Extant parts include: alto saxophones I & II, tenor saxophones I & II, baritone saxophone, trumpets I – IV, trombones I – IV, drum set, bass and piano. Repro of copyist’s MS. 41pp. of music.
• Moonlight Serenade. By Glenn Miller; arr. unknown. Extant parts include: clarinet, alto saxophones I & II, tenor saxophones I & II, baritone saxophone, trumpets I – IV, trombones I – IV, drums, bass and piano / guitar. Repro of copyist’s MS. 17pp. of music.
• Accompanied by checklists for the scores and parts for “Song of the Volga Boatmen” and “String of Pearls”. Word-processed documents; annotated in ink and pencil. 1p. each.
• Also accompanied by an envelope addressed to R. Wright from Jazz Impact / Lakeland Community College [Mentor, OH], postmarked February 23, 1981. Annotations in ink.

• A letter to Rayburn Wright from Susannah McCorkle dated May 22, 1981. Typescript; signed in ink by Susannah McCorkle, annotations in ink and pencil. 2pp;
• A note with the heading, “Good Companions”. Ink MS. 1p;
• A note to R. Wright from Cary [last name unknown]. No date. Ink MS. 1p;
• Vocal scores for: –If Someday Comes Ever Again. By Alec Wilder & Johnny Mercer; arr. by R. Wright. MS repro. 6pp. of music; –You’re Free. By Fran Landesman and Alec Wilder; arr. by R. Wright. MS repro. 4pp. of music; –I Like It Here. By William Engvick and Alec Wilder. Copyist’s MS in ink; emendations in pencil and ink. 3pp. of music;
• Program for Milford Fargo’s presentation, “I Remember Alec”, which presumably took place on February 16, 1981 in the Eastman School of Music’s Howard Hanson Hall. Typescript; annotations in ink. 1p; reverse side is annotated in ink;
• A memorandum to Ted DeDee from R. Wright, May 28, 1981. Typescript. 1p;
• A letter to Rayburn Wright from Thomas M. Hampson dated April 27, 1981. Typescript; signed in ink by Thomas M. Hampson.

• 17 concert programs from various band concerts, five of which are annotated in ink and pencil;
• A draft of Donald Hunsberger’s “Basic Principles of the Symphonic Wind Ensemble Concept”. Repro of a typescript draft; annotated in ink. “The Wind Ensemble: Issue 1” –on pg. 1. 18pp;
• 3 brochures;
• An annotated list of compositions. Ink MS. 2pp;
• A letter to R. Wright from Wilfred Roberts, May 2, 1969. Typescript; signed in ink by “Bob” [presumably Wilfred Roberts]. 1p. Accompanied by a program for an Adelphi University Band concert that took place on May 11, 1969 in the Woodruff Hall of Adelphi University, Garden City, New York. Emendations in ink;
• A list of repertoire prepared for Conducting 229 – 230: Seminar in Wind Ensemble Repertory. Repro of typescript; Wright’s initials written in colored pencil on page 1. 22pp;
• A press release from the University of Miami’s News Bureau dated May 8, 1967. 1p.

• “ETI [Educational Travel, Inc.] Contract”. Ink MS. 2pp;
• A card stock order form for admission to and merchandise from the Montreux International Jazz Festival. 2pp;
• An outline of Educational Travel, Inc.’s terms and conditions for services rendered. Word-processed document. 4pp;
• A memorandum to Janice Grimes, Patrice Lusk, Judith Ricker, Sherry Wermuth and Doris Wright from an unidentified individual, June 14, 1982. Word-processed document; emendations in ink. 1p;
• One page of notes. Ink MS. Accompanied by a Speed Letter ® to Margaret Engel from R. Wright dated September 22, 1981. Document is a carbon copy that contains Wright’s message to Ms. Engel. 1p;
• A blank equipment request form for the Montreux International Jazz Festival. 1p;
• A blank personnel list form, presumably generated by the administration of the Montreux International Jazz Festival. 1p;
• Miscellaneous notes. Ink and pencil MS. 9pp;
• A repro of Downbeat Magazine’s 1981 Student Recording Awards from the June 1981 issue. Categories citing Eastman faculty, ensembles and students have been highlighted. 4pp;
• A biographical sketch of Allen Vizzutti written by David Weiss of the Los Angeles Herald Examiner. Word-processed document. 3pp;
• A repro of an article printed in the Exponent, Purdue University’s (West Lafayette, Indiana) daily student newspaper, on November 20, 1981 that mentions the Eastman Jazz Ensemble’s appearance at the Montreux Jazz Festival. Inscribed to R. Wright from RK. 1p;
• Intramural correspondence: –1) To Ted DeDee; from R. Wright, August 25, 1981. Repro of a word-processed document. 2pp; –2) To R. Wright; from Robert Kraus, December 16, 1981. Word-processed document. 1p; –3) To R. Wright, Roger Lathan, John Santuccio and John Engberg; from Robert Freeman, August 18, 1981. Word-processed document; annotated and signed in ink by Robert Freeman. 1p. Accompanied by a letter to Robert Freeman from Dr. Klaus Zeitler dated July 24, 1981. Typescript. 1p;
• Repros of pages 954-956 and 967 from the Official Talent & Booking Directory [publisher and date of publication unknown]. 4pp;
• Letters: –1) To Dr. Wolfgang Graetschel; from Ramon Ricker, March 10, 1982. Word-processed document. 1p; –2) To R. Wright; from Vivian Naim, November 30, 1981. Word-processed document; signed in ink by Vivian Naim. 1p. Accompanied by two pages of notes. Pencil MS; –3) To Dr. Klaus Zeitler; from Robert Freeman, April 16, 1981. Word-processed document; annotations in ink. 1p; –4) To R. Wright, Brian Scanlon, Kim Scharnberg, Bill Grimes, Bruce Wermuth and Bevan Manson; from David F. Geppert, June 3, 1982. Repro of typescript signed in ink by David F. Geppert. 9pp;
• 4 brochures.

• A document bearing the heading “Montreux Names”. Ink MS. 2pp;
• A document titled “Some statistical summaries: (as of Nov. 81)”. Word-processed document. 1p;
• A document titled “Agreement and Authorization to Record and Purchase Tape”. Typescript on Mountain Studios S. A. (Montreux, Switzerland) letterhead; annotations in ink. 2pp;
• A letter of contract between R. Wright and the Montreux International Jazz Festival, represented by the Montreux Tourist Office, Mr. Michel Ferla, Administrative Director. Word-processed document with emendations in ink; signed in ink by R. Wright, April 1, 1982 and Michel Ferla, February 25, 1982. 2pp. Accompanied by three letters: –1) To R. Wright; from Michel Ferla, February 25, 1982. Word-processed document with annotations in ink and pencil; signed in ink by Michel Ferla. 1p; –2) To R. Wright; from Michel Ferla, May 19, 1982. Word-processed document with annotations in ink and pencil; signed in ink by Michel Ferla. 1p; –3) To Andree Buchler; from Bill Grimes, June 29, 1982. Repro of typescript signed in ink by Bill Grimes. 1p. Also accompanied by a brochure indicating the performance schedule for the 1982 Montreux International Jazz Festival. 2pp;
• A visitor’s guide book for the Chillon Castle near Montreux;
• A document titled “Important Information for Bands Involved in the 1982 Montreux International Jazz Festival”. Word-processed document; annotations in ink. 4pp;
• A 1982 Montreux International Jazz Festival concert poster. Annotations on reverse side in ink;
• A map of Montreux. Annotations in ink. 1p;
• A festival rider. 6pp;
• A map of the Montreux Casino and performance schedule. 2pp;
• 10 pages of notes. Ink and pencil MS;
• Repro of a University of Rochester Requisition for Purchases and Inter-Departmental Charges dated June 25, 1982. 1p. Accompanied by a cover sheet from Ted DeDee at the ESM Concert Office to R. Wright dated June 25, [1982]. Word-processed document; annotations in ink. 1p;
• A document titled “1981 – 82 General Pre-departure Bulletin by Educational Travel, Inc.”. Word-processed document; annotations in ink. 12pp;
• A document titled “Tentative Eastman Jazz Ensemble Itinerary” dated June 14, 1982. Repro of a word-processed document that was annotated in ink. 1p;
• A document titled “Eastman Jazz Ensemble: 1982 Tour to Europe Contract Rider”. Word-processed document. 1p;
• A Western Union Mailgram® to Michel Ferla from R. Wright, January 6, 1982. 1p. Accompanied by a Western Union Telegram to R. Wright from Michel Ferla, January 7, 1982. 1p;
• A letter of contract between R. Wright and the Montreux International Jazz Festival, represented by the Montreux Tourist Office, Mr. Michel Ferla. Word-processed document with emendations and annotations in ink and pencil; signed in ink by R. Wright, April 1, 1982 and Michel Ferla, February 25, 1982. 2pp;
• 17 letters. –1) To Michel Ferla; from R. Wright, December 23, 1981. Carbon-copy typescript; annotations in pencil. 2pp; –2) To Michel Ferla; from R. Wright, September 30, 1981. Carbon-copy typescript; annotations in ink. 1p; –3) To Michel Ferla; from R. Wright, March 28, 1981. Repro of typescript that was signed in ink by R. Wright; annotations in ink and pencil. 1p; –4) To R. Wright; from Michel Ferla, February 10, 1981. Typescript with annotations in ink; signed in ink by Michel Ferla. 1p; –5) To Michel Ferla; from R. Wright, January 27, 1981. Word-processed document; annotations in ink. 1p; –6) To Ray Burnwright [sic]; from Michel Ferla, December 3, 1980. Word-processed document; annotations in ink. 1p; –7) To R. Wright; from Paul F. Koutny, March 12, 1982. Word-processed document; signed in ink by Paul F. Koutny, annotations in pencil. 1p; –8) To R. Wright; from Paul F. Koutny, June 28, 1982. Word-processed document; signed in ink by Paul F. Koutny, annotations in pencil. 2pp; –9) To the Eastman Jazz Ensemble c/o R. Wright; from Aline Jaccottet, Mountain Studios S. A., May 28, 1982. Word-processed document; signed in ink by Aline Jaccottet, annotations in pencil and ink. 1p; –10) To R. Wright; from Paul F. Koutny, June 9, 1982. Word-processed document; signed in ink by Paul F. Koutny, emendations in ink. 2pp; –11) To Dr. Klaus Zeitler; from Robert Kraus, June 15, 1982. Repro of typescript signed in ink by Robert Kraus. 1p; –12) To Paul F. Koutny; from R. Wright, May 24, 1982. Typescript; signed in ink by R. Wright. 1p; –13) To R. Wright; from Paul F. Koutny, May 20, 1982. Word-processed document; signed in ink by Paul F. Koutny. 1p. Accompanied by an invoice generated by Educational Travel, Inc. Word-processed document. 1p; –14) To Paul F. Koutny; from R. Wright, May 19, 1982. Repro of typescript signed in ink by R. Wright; annotations in ink. 2pp; –15) To R. Wright; from Paul F. Koutny, April 23, 1982. Word-processed document; signed in ink by Paul F. Koutny, annotations in ink. 1p; –16) To R. Wright; from Joan E. Fox, April 8, 1982. Word-processed document; signed in ink by Joan E. Fox. 1p; –17) To R. Wright; from Paul F. Koutny, March 2, 1982. Word-processed document; signed in ink by Paul F. Koutny. 4pp;
• An itinerary for the Eastman Jazz Ensemble on Educational Travel, Inc. letterhead. Word-processed document; annotations in pencil. “3/82 jef” –at bottom of page. 1p;
• Intramural correspondence to R. Wright from R. Kraus, April 1, 1982. Repro of a word-processed document signed by R. Kraus. 1p;

An envelope addressed to R. Wright from the Montreux Official Tourist Office, postmarked March 2, 1982. Annotations in ink

• A document tilted “Jazz Ensemble Montreux Travel Fund: Update, April 16”. Word-processed document, annotations in ink and pencil. 2pp;
• A document with the heading “Expenses as of 6/11/82 (for 24 playing members)”. Ink and pencil MS. 1p. Accompanied by an additional copy of the “Jazz Ensemble Montreux Travel Fund: Update, April 16”. Annotations in ink and pencil. 2pp;
• 3 copies of the Eastman Jazz Ensemble’s Contract Rider in English and 3 copies of the German translation. Repro of typescript and ink MS. 12pp;
• Two 8 x 10” black and white photographs [taken by Louis Ouzer on November 20, 1981]: –1) R. Wright with the Eastman Jazz Ensemble. Reverse side annotated in wax pencil; –2) R. Wright conducting. Reverse side annotated in wax pencil.
• 2 press clippings;
• An “Eastman Jazz Ensemble Baggage List: Revised 6/29/82”. MS repro. 1p;
• A memorandum to R. Wright from Christine [last name unknown], June 7, 1982. Typescript on Etrav Cologne letterhead; signed in ink by Christine [last name unknown], annotations in ink. 1p;
• Intramural correspondence: –1) To R. Wright, Jon E. Engberg and John Santuccio; from Robert Freeman, September 28, 1981. Word-processed document; signed in ink by Robert Freeman, annotations in ink. 2pp. Accompanied by a letter to Dr. Klaus Zeitler from Robert Freeman, September 28, 1981. Word-processed document; annotations in ink. 1p; –2) To Ted DeDee, Robert Kraus, Robert Freeman, Jon Engberg and R. Ritchie; from R. Wright, s.d. Word-processed document. 1p; –3) To the Eastman Jazz Ensemble; from R. Wright, April 27, 1982. Word-processed document. 1p; –4) To Ramon Ricker, William Grimes, M. Lusk and Bruce Wermuth; from R. Wright, May 4, 1982. Typescript; emendations in ink. 1p; –5) To the Business Office; from R. Wright, May 4, 1982. Typescript, emendations in ink. 1p; –6) To the Eastman Jazz Ensemble; from R. Wright, June 25, 1982. Repro of a word-processed document signed in ink by R. Wright. 1p;
• A letter to Dr. Klaus Zeitler; from Robert Freeman, November 3, 1981. Repro of a word-processed document. 1p;
• 20 pages of notes. Ink and pencil MS;
• A document titled “03.07.82. K7333 – Eastman : Daily Programme”. Repro of typescript; annotations in pencil and ink. 2pp;
• A document titled “07.07.82 – do. K7333 Eastman Jazz Ensemble”. Word-processed document; emendations in ink. 3pp;
• 4 itineraries. Repros of word-processed documents; annotations in ink and pencil. 5pp;
• A document titled “Eastman Jazz Ensemble Revised Performance Schedule”. Word-processed document. 2pp;
• A brochure for the Hotel Europe in Montreux, Switzerland;
• German translations of introductory remarks, presumably given by R. Wright during performances of the Eastman Jazz Ensemble. Typescript. 1p;
• A document bearing the heading “Schallwand”. MS repro. 1p;
• A hotel list on Educational Travel, Inc. letterhead. Typescript; annotations in pencil. 2pp;
• A document titled “Jazz Ensemble Tour Book: 6/24/82”. Two copies (Copy 1: Word-processed document; annotations in ink and pencil. 2pp; Copy 2: Word-processed document; annotations in ink. 2pp);
• A repro of a news clipping from the November 29, 1981 issue of the Akron Beacon Journal (Akron, OH) titled “New Sound: Doc Severinsen”. Inscribed in ink to R. Wright from an unknown individual [illegible signature]. 1p;
• A draft article for “For Notes For Parents: Eastman Jazz Ensemble – Saxology”. Word-processed document; emendations in ink. Inscribed in pencil to R. Wright from Sara Schaffzin. 2pp;
• A folder with various annotations in ink and pencil. “Tour – ETI – Koutny” –in ink on spine. Accompanied by one page of notes. Ink MS.

• 7 letters. –1) To R. Wright; from Paul F. Koutny, March 10, 1983. Word-processed document; annotations in pencil, signed in ink by Paul F. Koutny. 1p; –2) To Paul F. Koutny; from R. Wright, October 29, 1982. Two copies (Copy 1: Typescript; emendations in ink. 2pp; Copy 2: Repro of typescript. 2pp); –3) A form letter from Ron Moss Management, presumably Allen Vizzutti’s management agency, August 10, 1981. Word-processed document; signed in ink by Ron Moss, annotations in ink. 2pp; –4) To R. Wright; from Werner Renz, s.d. Typescript on Schallwand letterhead; annotations in ink, signed in ink by Werner Renz. 1p; –5) To Werner Renz; from R. Wright, June 22, 1982. Carbon copy typescript; emendations in ink. 1p; –6) To Werner Renz; from R. Wright, May 14, 1982. Typescript; emendations and annotations in pencil. 1p; –7) To Ross Ritchie; from Bruce A. Burns, s.d. Typescript; annotated in ink, signed in ink by Bruce A. Burns. 1p;
• Intramural correspondence. –1) To R. Wright; from S. C., April 1, 19–. Word-processed document; annotations in ink and pencil. 1p. Accompanied by Heinz Czadek’s contact information. Ink and pencil MS. 1p; –2) To R. Wright; from Robert Kraus, April 1, 1982. Repro of a word-processed document; annotations in ink and in pencil on the reverse side. 1p;
• Documents pertaining to Heinz Czadek that include: –1) His contact information ca. 1982. Pencil MS. 1p; –2) A list of JCM Summer Session – 1977 attendees. Repro of a word-processed document; annotations in pencil. 1p; –3) A letter to R. Wright; from the Office of “Der Bundesminister für Wissenschaft und Forschung” of Vienna, Austria, July 29, 1982. Word-processed document; annotations in ink. 1p;
• A letter to Ruth [last name unknown] from R. Wright requesting translations of the Eastman Jazz Ensemble’s contract rider and “`emergency’ concert introductory remarks”. Typescript; signed in ink by R. Wright. 1p;
• A document titled “Quotes for Eastman Jazz Ensemble Brochure”. Typescript. 1p;
• A document titled “Eastman Jazz Ensemble Awards”. Typescript. 1p;
• 13 pages of notes. Ink and pencil MS;
• A document titled “Jazz Ensemble Tour Rooming List”. Word-processed document. 1p;
• A boarding pass for the Verkehrs – Aktiengesellschaft Nürnberg. Annotations in ink;
• Two copies of the program for the Eastman Jazz Ensemble’s Montreux Bon Voyage Concert that took place in Kilbourn Hall on June 29, 1982. Annotations in ink and pencil;
• Repros of press clippings from various Swiss press sources. 4pp. Accompanied by: –Intramural correspondence to Aimee Israel – Pelletier from Robert Kraus, December 27, 1982. Repro of a word-processed document signed by Robert Kraus. 1p. –A document, presumably a translation of one of the articles. Ink MS. 1p;
• 9 business cards fastened to a sheet of notebook paper, some of which bear annotations in pencil and ink;
• A copy of the publication, “Bad Neuenahrer Chronik: Sonderausgabe anläßlich der 1. Internationalen Musiktage”. An article on and a black and white photo of R. Wright and the Eastman Jazz Ensemble appear on page [7];
• Two press clippings;
• An “Eastman Jazz Ensemble Baggage List: Revised 6/29/82”. MS repro; emendations in ink. 2p;
• A document bearing the heading “Schallwand”. MS repro; annotated in ink. 2pp;
• A “Tentative Eastman Jazz Ensemble Itinerary” dated June 14, 1982. Word-processed document; annotated in ink and pencil. 1p;
• Two contracts between Brighton Sound, a sound equipment rental company based out of Rochester, NY, and the Eastman School of Music. Word-processed documents annotated in typescript, ink and pencil; contract dated December 12, 1981 signed in ink by R. Wright and an unknown individual [illegible signature], contract dated April 2, 1982 signed in ink by an unknown individual [illegible signature]. 4pp;
• An envelope addressed to R. Wright from Schallwand [Münster, Germany], postmark date illegible;
• A document titled “Eastman Jazz Ensemble 1982 tour to West Germany and Switzerland Stand-by sound equipment”. Word-processed document. 1p;
• Repros of pages 954-956 and 967 from the Official Talent & Booking Directory [publisher and date of publication unknown]. Annotations in ink. 4pp;
• A document titled “Some Eastman Jazz Ensemble alumni and their subsequent professional performing activities: (approximately chronological)”. Typescript; emendations in ink. 3pp;
• A repro of a program for an Eastman Jazz Ensemble and Saxology performance. Venue and date unknown. 1p;
• A copy of the June 1975 issue of the journal “Neue Heimat” [Berlin];
• A poster for the schedule for Tanzbrunnen International, Rheinpark, Köln, Germany, 1982. The Eastman Jazz Ensemble’s July 10, 1982 performance appears on the master schedule;
• A section of a folder bearing annotations in ink and pencil. “Tour Sound” — on spine.

• 5 press clippings;
• 11 letters. –1) To Rayburn Wright; from Dan [last name unknown], September 9, 1942. Typescript; signed in ink by Dan [last name unknown]. 2pp; –2) To Captain Thomas F. Darcy of the United States Army Band; from R. Wright, September 14, 1942. Typescript. 1p; –3) To the United States Selective Service System, Local Board No.1, Gratiot County, Alma, Michigan; from R. Wright, September 24, 1942. Typescript; signed in ink by R. Wright. 1p; –4) To R. Wright; from Captain Thomas F. Darcy, October 8, 1942. Typescript; signed in ink by Captain Thomas F. Darcy. 1p; –5) To Captain Thomas F. Darcy; from R. Wright, December 15, 1942. Typescript. 1p; –6) To R. Wright; from Captain Thomas F. Darcy, December 19, 1942. Typescript; signed in ink by Captain Thomas F. Darcy. 1p; –7) To the United States Selective Service System, Local Board No.1, Gratiot County, Alma, Michigan; from R. Wright, December 25, 1942. Typescript. 1p; –8) To Captain Thomas F. Darcy; from R. Wright, January 12, 1943. Typescript. 1p; –9) To R. Wright; from Anne B. Tremper, October 28, 1942. Repro of typescript signed by Anne B. Tremper. 1p; –10) To R. Wright; from Howard Hanson, May 27, 1942. Typescript; signed in ink by Howard Hanson. 1p; –11) To R. Wright; from Alan [last name illegible], June 3, 1942. Typescript; signed in ink by Alan [last name illegible]. 1p. Letters 1 – 8 are accompanied by: –R. Wright’s Notice of Classification card from the United States Selective Service System, Local Board No.1, Gratiot County, Alma, Michigan; –an Order to Report for Induction from the Selective Service System, January 11, 1943. Form letter with pertinent details in typescript; signed in ink by Robert Reid. 1p; –a draft of a letter or telegram to Captain Thomas F. Darcy from R. Wright. Typescript; emendations in pencil. 1p;
• Documents pertaining to R. Wright’s academic record and expenses during his time as an undergraduate student at the Eastman School of Music. Pages are comprised of typescript documents and MS in ink, pencil and colored pencil. 18pp;
• 3 concert programs;
• Two Western Union telegrams. –1) To R. Wright; from Margaret Grant, Berkshire Music Center, June 26, 1942. 1p; –2) To R. Wright and staff of The Score; from Heinrich Wiehn, May 13, 1942. 1p;
• A document titled, “Entering Freshmen 1941”. Repro of typescript. 1p.

• 28 photographic contact sheets;
• A brochure titled, “Know Before You Go: Customs Hints for Returning U.S. Residents”. Published by the Department of the Treasury: U.S. Customs Service, 1977. Signed in ink by R. Wright on cover; annotations in ink on back cover. Accompanied by a registration card for the Japan Band Directors Clinic;
• Notes bearing the heading, “Japanese school education and Band activities”. Repro of typescript; reverse side of pg. 15 is annotated in ink. 15pp;
• Repro of a document titled,” Background notes: Philippines”, that was published by the U.S. Department of State in 1977. 5pp;
• An attendance list. Repro of typescript and ink MS. 1p;
• A brochure, presumably generated by a rental vehicle company.

• An Eastman School of Music Business Office Deposit Ticket, dated September 12, 1983. Carbon copy of the original that was signed in ink by R. Wright. 1p;
• A lead sheet for Sackbut City by R. Wright. MS repro. 1p. of music;
• A repro of the contract between Allen Vizzutti and Mark Records that pertains to a royalty agreement regarding the Eastman Jazz Ensemble’s recording “Montreux!” 1p;
• A letter to Thomas English Music Publishing from Vincent S. Morette, President of Mark Records. No date. Repro of typescript. 1p;
• A letter to R. Wright from Vincent S. Morette, February 18, 1983. Typescript; signed in ink by V. S. Morette. 1p;
• A letter to Allen Vizzutti from Vincent S. Morette, February 19, 1983. Repro of typescript; source copy was emended. 1p;
• Intramural correspondence. –1) To Robert Freeman; from Ed Merck, May 5, 1988. Word-processed document; annotations in ink. 1p; –2) To Robert Freeman; from R. Wright, April 20, 1988. Three copies (Copy 1: Typescript. 2pp; Copies 2 & 3: typescript; annotations in ink. 1p); –3) To [Eastman] Jazz Ensemble members; from R. Wright, May 4, 1988. Two copies (Copy 1: Repro of typescript; signed in ink by Terence Goss, May 4, 1988. 1p; Copy 2: Repro of typescript. 1p). Accompanied by a repro of the American Federation of Musicians Guidelines for Phonograph Records Limited Pressings. 1p. Also accompanied by a document with the heading, “Proposed Budget for 1988 Jazz Ens. Recording as a Mark Records project”. MS repro. 1p; –4) To Robert Freeman; from Ed Merck, May 5, 1988. Repro of a word-processed document. 1p; –5) To Ed Merck; from R. Wright, May 9, 1988. 1p; –6) To Robert Freeman; from Ed Merck, May 5, 1988. Repro of a word-processed document that was annotated in ink. 1p. Accompanied by repros of intramural correspondence previously sent to R. Freeman from R. Wright, April 20, 1988 and Jazz Ensemble members from R. Wright, May 4, 1988, as well as the documents titled “AFM Guidelines for Phonograph Records Limited Pressings” and the “Proposed Budget for 1988 Jazz Ens. Recording as a Mark Records project”. 5pp;
• Two copies of the American Federation of Musicians of the United States and Canada’s Phonograph Recording Contract. 2pp;
• Intramural correspondence to Ed Merck; from Peg Greene, June 6, 1988. Repro of a word-processed document; annotations in pencil. 1p;
• Draft copy of the track listing for the Eastman Jazz Ensemble album: Spiral Galaxy. Word-processed document; annotations in ink and pencil. 1p;
• A letter to R. Wright from V. S. Morette, September 7, 1988. Repro of typescript that was signed in ink by V. S. Morette. 2pp;
• A letter to Allen Vizzutti from V. S. Morette, September 7, 1988. Repro of typescript that was signed in ink by V. S. Morette. 1p;
• A letter to Vincent S. Morette from R. Wright, September 17, 1988. Repro of typescript that was signed in ink by R. Wright. 2pp;
• Repro of a contract between the Eastman School of Music and Mark Records that was signed by the Eastman School of Music’s Assistant Director for Administration [name unknown, signature illegible] and Vincent S. Morette. 6pp;
• An envelope addressed to R. Wright from Mark Records, postmarked November 9, 1988; annotations in ink.

processed documents that were annotated in ink. 86pp. –Letters include:

• To R. Wright; from Doug Newton, May 29, 1987. Ink MS on Ron Levitt Enterprises letterhead; annotations in pencil and ink. 1p;
• To Fred Karlin, CC: R. Wright; from Robert J. Axelrod, Associate Editor of Schirmer Books, July 8, 1988. Repro of typescript on Schirmer Books letterhead that was signed in ink by Robert J. Axelrod. 2pp;
• To Fred Karlin and R. Wright; from Robert J. Axelrod, July 27, 1988. Typescript on Schirmer Books letterhead, signed in ink by Robert J. Axelrod. 1p;
• To Robert J. Axelrod; from R. Wright, July 26, 1988. Typescript. 2pp;
• To R. Wright, CC: F. Karlin; from Robert J. Axelrod, July 29, 1988. Typescript on Schirmer Books letterhead; signed in ink by Robert J. Axelrod. 2pp;
• To R. Wright and F. Karlin; from Robert J. Axelrod, August 25, 1988. Typescript on Schirmer Books letterhead; signed in ink by Robert J. Axelrod. 1p;
• To R. Wright and F. Karlin; from Maribeth Anderson Payne, August 31, 1988. Typescript on Schirmer Books letterhead; signed in ink by Maribeth Anderson Payne. 1p;
• To Michael Sander, Managing Editor of Schirmer Books, CC: R. Wright; from Fred Karlin, October 16, 1988. Repro of a word-processed document that was annotated and signed in ink by F. Karlin. 4pp; two copies of page 1;
• To F. Karlin and R. Wright; from Michael Sander, October 24, 1988. Typescript on Schirmer Books letterhead; signed in ink by Michael Sander. 2pp.

• The concert program for the series of performances that took place in Kilbourn Hall of the Eastman School of Music, October 30 – November 3, 1987;
• A stage and orchestra pit diagram. MS repro. 1p;
• A list of instrumentalists. Repro of typescript; emendations in ink. 1p;
• Piano / vocal score for Pay Some Attention To Me by George and Ira Gershwin. Repro of copyist’s MS; emendations in pencil. 5pp. of music;
• Piano / vocal score for Put Me To The Test by George and Ira Gershwin. Repro of copyist’s MS. 8pp. of music;
• Repro of an Order for Photoduplication to the Library of Congress Photoduplication Service filled out by John Mueller. 1p;
• A stage diagram. MS repro; annotations in pencil. 2pp. bound together with clear tape;
• 8 press clippings;
• 5 repros of press clippings;
• A note to R. Wright from Ralph Locke, November 4, 1987. Ink MS on a “Get the Message?” memo. 1p;
• A card to R. Wright from John Mueller, November 10, 1987. Ink MS. 1p;
• A letter to R. Wright from Ted DeDee, November 10, 1987. Typescript; signed in ink by Ted DeDee. 1p;
• A letter to R. Wright from Martin Fass, November 10, 1987. Repro of typescript signed by Martin Fass. 1p. Accompanied by a letter to Martin Fass from R. Wright, November 17, 1987. Repro of typescript signed by R. Wright. 1p.

• Performance Notes, 11/27/87. Word-processed document; annotations in ink and pencil. 5pp;
• Orchestration Records, 10/25/87. Word-processed document. 5pp;
• Orchestration Summaries, 9/7/87. Word-processed document; annotated in pencil. 1p;
• Arranger Summaries, 11/87. Word-processed document. 2pp;
• Orchestration Records, 10/25/87. Word-processed document; annotations in ink. 9pp;
• Orchestra schedule for Gershwin musical, 9/23/87. Word-processed document. 1p;
• Gershwin Musical orchestra, 9/30/87. Typescript; emendations in pencil. 1p;
• Gershwin Musical – Orchestra Set-up. MS repro. 1p;
• Orchestra Corrections 2, 10/25/87. Word-processed document; annotations in ink, annotations in pencil on reverse side. 1p;
• Rules of the Theater. Combination of MS repro and typescript repro. 1p;
• Intramural correspondence to R. Wright from Kirsten Benson Hampton, November 3, 1987. Word-processed document; emendations in ink. 2pp;
• Two lists of expenses. List 1: Ink MS. 1p; List 2: Typescript; emendations in ink. 1p;
• A copy of an agreement between the Tams – Witmark Music Library, Inc. and the University of Rochester. Repro of a word-processed document that was signed by R. Wright, Russell A. Schmidt, Christopher Smith and Betty Alles Olds (sp?); inscribed in ink to R. Wright from John Mueller. 12pp;
• Revised Foggy Day orchestra and score page layout, July 17, 1987. Word-processed document. 2pp;
• A letter to John Mueller from Louis H. Aborn, President of the Tams – Witmark Music Library, Inc., May 4, 1987. Repro of typescript signed in ink by Louis H. Aborn. 1p;
• Repro of a letter to John Mueller from Louis H. Aborn, April 21, 1987. Inscribed in ink to R. Wright from John Mueller. 1p;
• Intramural correspondence to Richard Pearlman and Robert Freeman from R. Wright, November 24, 1986. Repro of typescript. 2pp;
• Notes pertaining to collaborators. Combination of ink and pencil MS. 4pp;
• The Jolly Tar and the Milk Maid. Combination of piano / vocal score and repros of pages from an arrangement for solo voice, SATB chorus and piano. Piano / vocal score: Repro of score published by the Gershwin Publishing Corporation, New York, 1937. 4pp. of music. Arrangement for solo voice, SATB chorus and piano: MS repro. 6pp. of music;

A carbon copy of a University of Rochester Requisition for Purchases and Interdepartmental Charges. Source copy was annotated in ink and signed by Kathleen M. Sinel. 1p.

• An orchestra pit diagram. Pencil MS. 1p;
• Reaching for the Moon: Requisition for payment. Word-processed document. 1p;
• Intramural correspondence to R. Wright from Kathleen M. Sinel, June 22, 1987. Word-processed document; annotations in ink. 1p;
• Letter to R. Wright from Robert Freeman, June 18, 1987. Word-processed document; signed in ink by Jon Engberg in Robert Freeman’s absence and behalf. 1p;
• Intramural correspondence to Robert Freeman from R. Wright, May 20, 1987. Typescript. 1p;
• Reaching for the Moon: Cost totals as of 10/18/87. Word-processed document. 1p;
• Reaching for the Moon: Cost totals as of 11/15/87. Word-processed document. 1p;
• Intramural correspondence to Russ Schmidt from R. Wright, October 19, 1987. Word-processed document; annotations in ink. 1p;
• Intramural correspondence to Christopher Smith from R. Wright, October 19, 1987. Word-processed document; annotations in ink. 1p;
• Requisitions for payment to David Yackley and George Carter, October 9, 1987. Repros of word-processed documents that were annotated in ink. 2pp;
• Draft program notes. Typescript. 14pp;
• Gershwin Musical Orchestra, September 30, 1987. Repro of typescript that was annotated in ink. 1p;
• Reaching for the Moon: List of Numbers (Revised 9/21/87). Word-processed document. 2pp; reverse side of page 2 is annotated in pencil;
• Orchestra schedule for Gershwin musical. Word-processed document. 2pp;
• Performance commentary sheet. Ink and pencil MS. 2pp;
• Intramural correspondence to Cathy Sinel from R. Wright, July 21, 1987. Word-processed document; annotations in ink. 1p;
• Notes pertaining to expenses. Combination of ink and pencil MS. 12pp;
• A University of Rochester Requisition for Purchases and Interdepartmental Charges. Signed in ink by R. Wright and Kathleen M. Sinel, September 14, 1987. 1p;
• A letter to R. Wright from Thomas Wolfe. No date. Ink MS. 1p;
• A copying bill for “Prelude to Act 2” from Brian Gaber. Carbon copy typescript. 1p;

3 Letters of Agreement between the University of Rochester and Brian Gaber, James Schneider and Thomas Wolfe. –Letter to James Schneider: Typescript and ink MS. 1p. –Letters to Brian Gaber and Thomas Wolfe: Repros of typescript and ink MS. 2pp.

• A stage diagram and orchestra pit diagram. Pencil MS. 1p;
• Gershwin corrections 1: 10/14/87. Word-processed document. 1p;
• Intramural correspondence to Steve Crowley, then Stage Manager of the Eastman School of Music, from R. Wright, October 25, 1987. Word-processed document. 1p. Accompanied by a pit diagram. Ink MS. 1p;
• Score corrections. MS repro. 4pp;
• Orchestration Summaries, 9/12/87. Word-processed document; annotations in pencil. 1p;
• Rehearsal Schedule, 9/22/87. Word-processed document; emendations in pencil. 1p. Accompanied by a Post-It Note ® bearing a message to R. Wright from Heather [last name unknown];
• Gershwin Musical orchestra: 9/23, 1987. Word-processed document. 1p;
• Copyright information. Repro of word-processed documents. 2pp;
• Pit diagram and notes. Pencil MS; annotations in ink. 2pp;
• Repro of an intramural correspondence to David Effron and R. Wright from Steve Crowley, September 17, 1987. 1p;
• A stage and orchestra pit diagram. MS repro; emendations in pencil. 1p;
• Notes on “Foggy Day”. Word processed document; annotated in ink and pencil. 5pp; reverse side of first page bears pasted-on music MS, in ink and pencil, with notes on the vocal ranges of specific performers.

Scores include:

• (#1). Conductor’s score. Repro of copyist’s MS; annotations in pencil and ink. 18pp. of music. Reverse side of page 1 annotated in pencil;
• Opening – Part II: Act I [8/11/87 revision]. (1A). Piano / vocal score. MS repro; emendations in pencil. 15pp. of music; pasted-in emendations in pencil on page 10;
• Put Me To The Test (Bb version). (2). Piano / vocal score. MS repro; emendations in ink and pencil. 10pp. of music;
• A Foggy Day – Act 1 (9/1 revision). (#3). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]; emendations in pencil. 6pp. of music;
• For You For Me Forevermore. (4). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]; annotations in ink and pencil. 6pp. of music;
• The World Is Mine (9/1/87 Revision). (5). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]; emendations in pencil and ink. 9pp. of music;
• Nice Work If You Can Get It (Act I / reprise). (6). Piano / vocal score. MS repro; emendations in pencil, colored pencil and ink. 3pp. of music;
• He Loves And She Loves. (7). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]; emendations and performance markings in pencil and ink. 7pp. of music;
• I Don’t Think I’ll Fall in Love Today. (8). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]; emendations in ink. 11pp. of music;
• These Charming People. (#9). Piano / vocal score. Repro of a published arrangement; emendations and performance markings in pencil and ink. 10pp. of music;
• I Can’t Be Bothered Now. (10). Piano / vocal score. MS repro; emendations and performance markings in pencil, colored pencil and ink. 11pp. of music; pages numbered 10 and 11 are lacking;
• Prelude – Act II. (11). Piano score. MS repro. 5pp. of music;
• Sing Of Spring. (12). Piano / vocal score. MS repro; emendations in pencil. 6pp. of music;
• Let’s Call The Whole Thing Off. (13). Piano / vocal score. MS repro; annotations and performance markings in pencil. 11pp. of music;
• Things Are Looking Up. (14). Piano / vocal score. MS repro; emendations in pencil. 6pp. of music;
• Pay Some Attention To Me. (14A). Piano / vocal score. MS repro; emendations in pencil. 7pp. of music;
• Love Is Here To Stay (9/5 revision). (15). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]; emendations in pencil. 5pp. of music;
• Stiff Upper Lip. (16). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]; emendations in pencil. 7pp. of music;
• Love Walked In (transposed to E) / (Rev. 9/24). (17). Piano / vocal score. Combination of MS repro and repro of an emended piano / vocal score, originally published by the Gershwin Publishing Corporation, New York, 1938; emendations in ink and pencil. 6pp. of music;

No. 18: Put Me To The Test Reprise Act II. (18). Piano / vocal score. “Bb version 7/20/87” –on pg.1. MS repro. 4pp. of music.

• They All Laughed. (19). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]. 7pp. of music;
• But Not For Me (Db) / revised 9/11/87. (#21). Copyright 1930 WB Music Corporation. Piano / vocal score. MS repro; emendations in pencil. 11pp. of music;
• Love Walked In (reprise). (22). Piano / vocal score. Combination of MS repro and repro of music from a published arrangement [arranger and publisher unspecified]; emendations in pencil. 2pp. of music;
• Finale (revised 9/9/87). (23). Piano / vocal score. MS repro; emendations in pencil and colored pencil. 11pp. of music;
• Nice Work Reprise. (20). Piano / vocal score. MS repro; emendations in pencil. 3pp. of music;
• Repros of piano / vocal scores of various published Gershwin pieces and copyists’ manuscripts; some of which are annotated in pencil and ink. 72pp. of music.

• 20 photographs, two of which bear descriptive information in ink on the reverse side;
• 7 letters. –1) Presumably to R. Wright; from [unidentified individual; signature illegible], September 12, 194-. Ink MS. 8pp. French text; –2) To R. Wright; from [unidentified individual; signature illegible], June 18, 1945. Ink MS on American Red Cross letterhead. 8pp. Text in French and English; –3) To R. Wright; from [unidentified individual; no signature], “Wednesday nite” –pg. 1. Ink MS. 4pp; –4) To the United States Selective Service System, Local Board No.1, Gratiot County, Alma, Michigan; from Captain Thomas F. Darcy, Jr., September 28, 1942. Typescript; signed in ink by Captain Thomas F. Darcy, Jr. Bears stamp from the Local Board No.1, Gratiot County, Alma, Michigan and annotations in pencil. 1p; –5) To R. Wright; from Captain Thomas F. Darcy, Jr., September 16, 1942. Typescript; signed in ink by Captain Thomas F. Darcy, Jr. 1p; –6) To R. Wright; from [unidentified individual; signature illegible], no date. Ink MS. 4pp. Accompanied by 4 “Receipts for Remitter” dated January 28, 1946, February 2, 1946, and February 21, 1946 (2), that bear no explicit connection to the content of the letter; –7) To Henry [last name unknown] from [unidentified individual; signature illegible], no date. Pencil MS. 1p. “Sgt. Levine” written in pencil on reverse side;
• Orders sent from the Headquarters of the Kalamazoo Recruiting and Induction District in Kalamazoo, Michigan, January 20, 1943. Repro of typescript that was signed in ink by Sidney A. Moore, Captain, Infantry and Assistant Recruiting and Induction Officer. 3pp;
• 1 press clipping;
• A postcard to R. Wright from the Veterans Administration. Dated December 28, 1945; postmarked December 29, 1945. Signed in ink by E. MacKinnon, M & R Clerk;
• An advertisement for War College Mess Halls, Inc. Reverse side features a photo of R. Wright performing with the United States Army Band Orchestra. “March 1943” –in pencil under the typescript text;

Concert program for a performance by the U.S. Army Band at Capital University, Columbus, Ohio. No date

• Full score: Three copies. –Copy 1: Ozalid MS in ink; emendations in pencil; footnotes in typescript. 15pp. of music. Enclosed in a leaf of score paper; inscribed in ink to J. Whalen, presumably from R. Wright; –Copy 2: Repro of Ozalid master copy. 15pp. of music; –Copy 3: Repro of Ozalid master copy; emendations in pencil. 15pp. of music;
• Extant parts include: 1^st and 2^nd flute, oboe, clarinet, harp, bass clarinet, bassoon, horns, bass, piano / celesta and percussion. [Ink MS; emendation in pencil and colored pencil. 26pp. of music]; A violin (2), B violin (2), C violin (2), viola (2) and celli (2). [Repros of Ozalid master copies; emendations in pencil. 30pp. of music];
• Accompanied by an envelope addressed to R. Wright at the Radio City Music Hall from the MMS Music Writing Service, Inc. in New York City. Inscription to R. Wright in colored pencil. “String Writing Examples – Masters for Score” –in ink above return address.

• of handwritten notes. Combination of ink and pencil MS;
• A folder labeled “Rob Hudson” in ink. Folder contains word-processed documents and repros of pages from “Inside Facts (No. 1)” by Arnold Brilhart, a brochure published by the ARB Musical Instrument Company. 8pp;
• A folder labeled “Analyses of Jazz Arr’s.” in ink. Contains musical sketch material that bears the heading “John Van Olen I”. Pencil MS. 2pp. of music;
• A repro of David Wright’s “An Analysis of Reflets Dans L’Eau and Comparison to Modern Jazz”, a paper presumably written for a course taught by R. Wright. Housed in a three-ring folder. 38pp;
• A repro of an analysis by Todd Beaney of Sammy Nestico’s “Pressure Cooker”. 2pp. Accompanied by a repro of the full score published by Fenwood Music, Inc., 1981. Annotations in ink. 28pp. of music;
• A document titled, “University of Miami Jazz Studio Orchestra. Repro of typescript. 2pp;
• A repro of “Writings on Music by Chick Corea”. “Released to students of Jaime Faunt’s Creative Music Courses by special permission from Chick” –on pg. 1. “Rick Shaw, 10 July 1980” –on pg. 1. 16pp;
• Facsimiles of student assignments. MS repro. 18pp.

• 5 press clippings;
• 18 photographs;
• An invitation to the wedding of Elizabeth Withers and Rayburn Wright that took place on November 10, 1950 at the First Presbyterian Church in Winston-Salem, North Carolina;
• A letter to R. Wright from Paul and Anne Lovett, August 6, 1953. Ink MS. 2pp;
• A typescript price list on “McPhail’s” letterhead. 1p. Accompanied by notes pertaining to the planning of the wedding of Elizabeth and Rayburn Wright. Ink MS. 8pp;
• A handwritten copy of the poem “Death” by Maltbie D. Babcock. Ink MS. “Sent by Martha Wilson” –in pencil at top of page. 1p.