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James Tenney fonds
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Research and writing files

Series consists of material that documents Tenney's ongoing academic and professional interest in the field of music including material that documents his years as a professor of music at York University. It includes research material consisting of clippings, notes, drafts of articles and other material related to the the work of fellow composers such as John Cage, Edgard Varese, Harry Partch as well as Conlon Noncarrow. It also contains material that documents his interest in musical theory including drafts of articles written by Tenney as well as material related to his books "META-HODOS : a phenomenology of 20th century musical materials and an approach to the study of form" and "A history of 'consonance' and 'dissonance.'"

James Tenney fonds

  • F0428
  • Fonds
  • 1946-2000, predominant 1956-2000

Fonds consists of material that documents Tenney's career as an composer, musician and academic and contains personal and professional correspondence with friends and colleagues including copies of letters received from such people as Carolee Schneeman, Steve Reich, Stan Brakhage and Lionel Nowak, among others, as well as correspondence with Bell Telephone Laboratories that documents his efforts in developing programs for computer sound-generation. It also contains records in the form of musical scores, computer outputs, programmes, clippings and sound recordings that document his musical output and material that documents Tenney's ongoing academic and professional interest in the fields of composition, music theory and electronic music, among others. There is also correspondence, photographs and other material that documents his relationship with his family and, in particular, his father.

Tenney, James

Musical scores

Series consists of copies of drafts and completed copies of Tenney's musical scores in various formats including manuscript and computer generated form. Among the compositions included in the series are "Poem for flute," "Sonata for 10 wind instruments," "Canon for bass quartet," "Thirteen ways of looking at a blackbird," "Quiet fan for Erik Satie," "Essay # 3 for string orchestra," "Quintext," and "Changes : 64 studies" among others.

Correspondence files

Series consists of personal and professional correspondence including copies of letters received by Tenney from friends and colleagues including Carolee Schneeman, Lionel Nowak, John Pierce, Morton Feldman, John Cage, Steve Reich, Warren Burt, Phil Corner, Malcolm Goldstein, Edgard Varese, Stan Brakhage, Peter Garland and Gayle Young, among others. It also includes correspondence generated in his various professional capacities at educational institutions such as Yale University, the Polytechnic Institute of Brooklyn and Bennington College as well as correspondence, which documents his relationship and work with Bell Telephone Laboratories in developing programs for computer sound-generation, the Institute for Studies in American Music, the Canadian Music Centre and musical organizations or institutions.

Musical performance files

Series of consists of programmes, clippings, promotional material and/or audio recordings of Tenney performing his own compositions or performing work by others. It also includes material related to performances of Tenney's compositions by other ensembles with, in many cases, James Tenney conducting.

Audio recordings : "Medea"-organized sound

Item consists of #1 Prelude 1st Act and Nurse's Monologue / James Tenney. -- #2a Medea`s voice Death... Destruction... Let me die. / James Tenney. -- #2b "Ai....Ai" / James Tenney. -- #2c "Hear me...die" / James Tenney. -- #2d - "I will not be mocked.... Death (pp. 15-16) / James Tenney. -- Trumpet for Creon / James Tenney. -- #5 Thunder / James Tenney. -- #6 End of Act 1 / James Tenney. -- #7 Prelude to 2nd Act and Medea's Monologue / James Tenney. -- #8 From "I have heard evil" (p. 62) to "someone will bring us news" (p. 64) / James Tenney. -- #9 - Trumpet (p. 68) / James Tenney. -- #10 - Trumpets (p. 73) / James Tenney. -- #11 - Children's screams / James Tenney. -- #12 Opening of the doors on the children's bodies (p. 79) / James Tenney. -- #13 From "no, they are mine", thru end of play / James Tenney. -- Medea Tail end / James Tenney.

Audio recordings : 1) "Analog #1 (Noise Study)," Dec. 1961 2) "Five Stochastic Studies," Oct.-Dec. 1962 3) "Stochastic Quartet," Feb. 1963 4) "Radio Piece," July 1963 5) "Dialogue" (monophonic version), April 1963 5) "Dialogue" (monophonic version), April 1963

Recording of five recordings of computer music made between 1961 and 1964. Annotations on audio reel case include: 1)Analog #1 (Noise Study) Dec., 1961 2) Five Stochastic Studies - Oct. - Dec. 1962 3) Stochastic Quartet - Geb. 1963 L=R = 1 : 30 4) Radio Piece July 1963 5) Dialogue (monophonic version) April 1963

Audio recordings : 1) "Analog #1-Noise Study," Dec. 1961 2) "Five Stochastic Studies," Dec. 1962 3) "Collage #2 ("Viet-Flakes")," Dec. 1966 for the film by Carolee Schneemann 4) "Fabric for Che," Nov. 1967

Consists of an audio recording of electronic music by James Tenney. The tracks consist of "Analog #1 (Noise Study)," from December, 1961; "Five Stochastic Studies," December, 1962; "Collage #2 (Viet-Flakes)," from February, 1967, made for the film by Carolee Schneemann; and Fabric, written for Che Guevera, from November, 1967. There is a card attached to the reel case which reads: "Jerry Bruck Designing Services, Home Music Systems, Professional Tape Recording 185 Ave 'C' NY 9 NY OR 7-4082"

Tape Music - 1961

Consists of an audio recording of "The First of Three Improvisations from Medea." from February, 1961 and "Collage #1 - Blue Suede," from April, 1961 by James Tenney.

Audio recordings : Computer Music Fragments 1) Timbre Tests(1962) 2) Bell Clang tests (1962) 3) Stochastic Quartet (1963) 4) Radio Piece (7,63) 5) "Entrance/Exit Music" (Brecht-Tenney) (8/62) 6) "Improvisation for Medea" (2/61) 7) "Collage #1-Blue Suede" (4/61) 8) "Analog #1-Noise Study" (12/61)

Recording consists of eight recordings of computer music by James Tenney made between 1961 and 1963. Annotations on audio reel case include: 1) Timbre tests (1962) 2) Bell-clang tests (1962) 3) Stochastic Quartet (1963) 4) Radio Piece (7, 63) 5) Entrance/Exit Music (Brecht - Tenney) (8/62) 6) Improvisation from Medea (2/61) 7) Collage #1 "Blue Suede" (4/61) 8. Analog #1 - Noise Study (12/61)

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