ArchivesSpace at the University of Iowa

This article decribes the history and the musical inventions of Colon Nancarrow and his scores for his mechanical piano. -- Source of annotation: Marvin or Ruth Sackner.

This is Phillips' first musical score (Opus 1). The musical notations are composed of lines and rectangles presented as a constructivitic grid. One side of the print deals with Phillips' instructions for playing the piece. Depicted in Tom Phillips: Works Texts To 1974, page 248. The number is written in red ink adjacent to Phillips' signature on the envelope. -- Source of annotation: Marvin or Ruth Sackner.

This is Phillips' first musical score (Opus 1). The musical notations are composed of lines and rectangles presented as a constructivitic grid. One side of the print deals with Phillips' instructions for playing the piece. Depicted in Tom Phillips: Works Texts To 1974, page 248. This copy is unnumbered. -- Source of annotation: Marvin or Ruth Sackner.

This piece (Opus 5) was originally published by AIA gallery in 1966 in an edition of 100; the current copy was reprinted by Tetrad Press in 1972 in an undisclosed tirage. Depicted in Tom Phillips: Works Texts To 1974, page 250. -- Source of annotation: Marvin or Ruth Sackner.

This work (Opus 7) was included in Exit Magazine issue No.5-6. It is also depicted in Tom Phillips: Works Texts To 1974, page 252. -- Source of annotation: Marvin or Ruth Sackner.

This is the complete score of Phillips' opera, "Irma." -- Source of annotation: Marvin or Ruth Sackner.

This experimental music score is based upon a concrete poem by Decio Pignatari. -- Source of annotation: Marvin or Ruth Sackner.

This print was silkscreened by Dave Pike at Ipswich. This score (Opus 2) consists of wavy black heavy curved lines with thinner red line intersections. Phillips provides directions on one side of the folded print in his own handwriting. The letter to John (Furnival?) describes a broadsheet/poster drawing for publication. He mentions that the musical print is "...something David Bedford asked me to do - an indeterminate piece for any number of people (to use where he teaches) -so, for interest, I enclose that too." Depicted in Tom Phillips: Works Texts To 1974, page 249. -- Source of annotation: Marvin or Ruth Sackner.

In this score, the word "extraction" is repeated in a column on the left side of the page and coupled with different words or phrases on the right side of the page. -- Source of annotation: Marvin or Ruth Sackner.

This poster is the program of concerts presented by Jennifer Allora and Guillermo Calzadilla titled "Wake Up." Ulher's score is described as a starkly conceptual approach to Reveille. -- Source of annotation: Marvin or Ruth Sackner.

Albert Behar is the Sackners' grandson. This work is stored in the Albert Behar Archive box.This work is an 80th birthday gift for Marvin Sackner. It consists of a drawing of a music score that can be performed by voice or accordion as the intensity and timing of expiration and inspiration with an 1/8th note duration. In his letter, Albert Behar concludes that these 'two-way rhythms' ..."are based on panting patterns in the breath and can be played on the accordion, which, I realised is a giant musical lung!" -- Source of annotation: Marvin or Ruth Sackner.