Collection Summary
University of North Texas
P.O. Box 305190
Denton TX 76203-5190
Merrill Ellis
Merrill Ellis
Collection
1960-1981
Merrill Ellis
(1916-1981), founder of the electronic music program at North Texas, was active
as an experimenter with the medium from the time he came to Denton in 1962. He
persuaded Robert Moog, inventor of the synthesizer, to design and build another
example of the instrument (the second one ever made) for him and his students
to use. The current extensive computer music and intermedia program at North
Texas is an outgrowth of his early foresight.
Prinicpally in English; some
documents are in German, French, Italian, or other languages.
Biography of Merrill Ellis
Merrill Ellis was born 9 December 1916 in Cleburne, Texas, just south
of Fort Worth. He studied at Oklahoma University and the University of
Missouri.
He studied composition privately with Roy Harris, Spencer Norton and
Charles Garland. He studied at Oklahoma University from 1935, receiving a BFA
in 1939 and MM in 1941. His thesis in Oklahoma was “An Evaluation of the
Oklahoma Federal Music Project.” He went to further graduate study at the
University of Missouri from 1948 to 1951. He studied privately with Spencer
Norton (1940-1941), Roy Harris (1950-1960) and Darius Milhaud (1957).
He married Willa Naomi Wiggins, a BFA in Music Education and private
teacher of piano. They had five children, from 1942 to 1953. He taught band and
orchestra at Lefors High School, Lefors, Texas (1941-1943); band, orchestra and
choir at Hickman High School, Columbia, Missouri (1946-1952); band and music
education at Moberly Junior College, Moberly, Mo. (1943-1946); orchestra and
music education at Christian College, Columbia, Mo. (1946-1952); theory and
music history at Joplin Junior College, Joplin, Mo. (1952-1962).
From
1962 he was director of the Electronic Music Center at North Texas State
University, where he taught composition and theory. The EMC moved to the new
Music Building in January of 1979. The first concerts in the Intermedia Theater
were presented 27-28 March 1979.
He died on 21 July 1981. A concert of Martin Mailman’s Mirrors,
commissioned by the Merrill Ellis Foundation, was held in the Center for
Experimental Music and Intermedia (CEMI) on 3 and 4 November 1986. Mailman said
the following: “Merrill was a valued colleague and friend who was a true
pioneer in electronic and multimedia music. His works express, far more
eloquently than any words of mine could, his unique contribution to the music
of our time. Indeed, his creative vision was a cornerstone in the establishment
of CEMI. It has been a privilege to have an opportunity to celebrate his memory
in this environment that he inspired with his work and spirit.”
Scope and Contents of the Records
This collection includes performance materials for all of the
composer's works: tapes, cassettes, slides, films, instructions, masters, etc.
Also included are tapes of historical importance such as the John Cage Lecture,
the Roy Harris Informal Evening, and a tape of Ellis discussing plans for the
new music building.
Arrangement of the Papers
This collection is arranged by type of material, divided into four
series. Series 1, Correspondence; Series 2, Compositions (Scores); Series 3,
Recordings; Series 4, Visual Materials that accompany the compositions.
Restrictions on Access
Open for research.
Restrictions on Use
For reproduction of any music, recording, or visual material,
permission must be obtained from the manager of the estate. Further information
is available from the Head Music Librarian, UNT Libraries.
Related Materials
Other compositions by Merrill Ellis, and recordings of these may be
found in the online catalog of the Libraries.
Index Terms
These records are indexed under the following headings in the catalog
of the University of North Texas. Researchers wishing to find related materials
should search the catalog under these index terms.
Names:
Ellis, Merrill,
1916-
Organizations:
Subjects:
Electronic music --
History and criticism.
Composers -- United States
-- Biography.
Vocal music.
Instrumental
music.
Composers --
Correspondence.
Places:
Document Types:
Correspondence,
Photographs, Music scores, Sound recordings, films, slides.
Titles:
<?xm-replace_text {title as Subject}?>
Other Formats
Custodial History
Physical Characteristics and Technical Requirements
Some of the audiovisual materials in this collection require use of a
Slide projector with carousel, or a film projector.
Preferred Citation
Merrill Ellis Collection, University of North Texas, Music Library,
Denton, Texas
Detailed Description of the Collection
Series 1, Correspondence.
1960-1981.
5 boxes
Merrill Ellis, composer and professor at North Texas State
University (later named the University of North Texas), corresponded with
several other composers and musicians.
1
1
Technical information: technical information,
correspondence, 1971, 1972; orders; with Bill Hemsath.
1971-1972
1
2
Geo. Trautwein: 2 programs, correspondence; Ronald Ross
(Cincinnati trip, 1974), Arthur Cohn, George Trautwein (Minnesota Symphony)
(1973-74)
1973-1974
1
3
David Luce, correspondence
1971
1
4
Adrian Cummings, correspondence to Glen Weaver,
attorney; Adrian Cummings, Feb. 14: correspondence in 1975; much to local
performers; press releases by M. Ellis; drawing by M. Ellis; program of Feb.
14, 1975, at Southern Methodist University.
1975
1
5
Quote of Arthur C. Clarke, Cicero, Dryden
1
6
Ideas and projections: schedule John
Giordano.
1976
1
7
Dr. Jim Pearson: correspondence 1973-1974 NTSU; 1973
report on Multi-Media Center.
1973-1974
1
8
London: July 28/76 Travel Committee; memo on "Dream
Fantasy."
1976
1
9
Don Timberlake: correspondence.
1976
1
10
Okla. College of Liberal Arts: correspondence with
Horace English, 1977; Robert Garwell, 1969.
1969-1977
1
11
New proposal 79-80: 1979 forms to State Board of
Control; Grant Budget 79-80.
1979-1980
1
12
Summer Term 81: memos; program, Jeff Fallen.
1981
1
13
1981-82 Faculty Research Proposal: Grant Research data
and budget.
1981-1982
1
14
Personnel Affairs Comm.: calendar year 1973-1980 data.
Personnel Affairs Committee: calendar year 1973-1980
data.
1973-1980
1
15
Proposal 81-82: Grant proposal of April
1981.
1981-1982
1
16
Grant Report: Reports for 79-80, 78-79, 77-78, 76-77,
74-75.
1974-1980
1
17
Belgium: correspondence with Norbert Nozy, Elie Appear,
Morris Moore.
1976
1
18
Philadelphia Composers Forum: program 1974.
1974
1
19
Possible lecture topics: programs, real and proposed,
1969-1970.
1969-1970
1
20
Subotnick: correspondence with Morton Subotnick, 1971;
clippings on Morton Subotnick.
1971
1
21
Drake University: correspondence with Gerald
Lloyd.
1972
1
22
Letter to President Nolan: requests increase in contract
salary, 1973, with intermission.
1973
1
23
Ellis Faculty Professional Record: Radio and Television
Commission, 1975; students 72-73; Personal file 1972; correspondence with Cameo
Music, Calif.; faculty record form, includes birth, marriage, education, etc.,
1969.
1969-1975
1
24
New Building Media Arts Center. Script, "The Lift" 1976;
Ellis’ thoughts on new building, June 17, 1976; calculations, blueprint type
plans, preliminary report by Miles E. Anderson, VPAA.
1976
1
25
Richard Owens, Dallas; correspondence about possible
commission, work for voice and electronic sound, 1974; SMU, correspondence with
George Barkin.
1974
1
26
UTD Dallas; correspondence with Troy Ogilvy, University
of Texas at Dallas.
1978
1
27
Nashville, MENC, March 1; airline receipt of Feb. 1979;
MENC Feb. 1979; tape setup chart; expenses; correspondence from Thom Hutcheson
via Larry Austin, 1979; correspondence from Robert F. Schaumbaugh, 1979; Ellis,
2 sessions at MENC, demonstration of studios, concert of on March 1, 1979;
correspondence from Gil Trythall.
1979
1
28
Jorge Mester; Louisville Orchestra; correspondence 1969
to 1976 with Mester, and Dames D. Hicks, executive manager. Also, a phone
number for contact to Bill Mootz (journalist for newspaper in
Louisville)
1969-1976
1
29
Canadian Music Educators National Conference;
correspondence with Dr. Doreen Coultas.
1976-1977
1
30
Morgan, Glen E. Lycoming College;
correspondence.
1977
1
31
Texas Tech; correspondence with Norma Achter, 1974;
performance of "Song of the Rode" by Ellis, program at TTU; 24th Symposium of
Contemporary Music.
1974
1
32
Prospective Concert / Lectures; correspondence with
Frank Carroll, Centenary College, 1974; William McKee, University of Tulsa,
1970; James Rivers, Washburn University, 1969; John Blackwell, 1st
Presbyterian, Oklahoma City, 1970; Robert Whaley, Western Michigan University,
1970; Conrad DeJong, Wisconsin State University, River Falls, 1970; Olav Elling
Eidbo, University of Texas at El Paso, 1970; Gene Hemmle, Texas Tech
University, 1970; Thomas Hohstadt, Amarillo Symphony, 1967; schedule of
prospective lectures, 1969-1970.
1967-1974
1
33
TUBA ; correspondence with Tubists Universal Brotherhood
Association.
1978
1
34
Baylor University; correspondence with Herbert Calvin,
1970; proposed programs, expenses and correspondence with various people,
1970-1980.
1970-1980
1
35
R.A. Moog; contact information, probably 1960s.
Synthesizer inventor Robert A. Moog.
1961-1970
1
36
San Marcus State College; correspondence with Arlis
Herbert, 1972-1973. (Southwest Texas State University, San Marcos)
1972-1973
1
37
IRCAM; Institut de Recherche et Coordination Acoustique
Musique; correspondence with Jean Claude Risset and Arthur Cohn.
1977
1
38
College of the Mainland; correspondence with Carol
Veth.
1973
1
39
Nashville, July 7 ’74: correspondence with Aubrey
Hornsby, Metropolitan Parks, Nashville, May 1974; budget for
travel.
1974
1
40
University of Wisconsin -- R. Clark; correspondence with
Rosemary Clark.
1974
1
41
Georgetown, Texas; correspondence with Ellsworth
Peterson, Southwestern University.
1974
1
42
Charles Owen, Ann Arbor; correspondence with Charles
Owen.
1974
1
43
E.M.C. Brochure; (Electronic Music Center); internal
NTSU memos, 1980; composition dept., draft brochure; journalism brochure;
Percussion Group brochure from Cincinnati; draft of NTSU Electronic Music
Center, 1979 or 1980; data about Ellis for a professional directory; micro
history of E.M.C.
1979-1980
1
44
74-5 Proposed; Budgets 1974-75; correspondence with
Graham Donley, 1974; conference program, East Texas State University, May
1974.
1974-1975
1
45
Music 568 - Class Fall 1979; class plan.
1979
1
46
NEA Proposal Nov. 26, ’79; Grant application to National
Endowment for the Arts, for 1980-1981.
1979-1981
1
47
1980-81 Faculty Research Proposal -- New; May 1, 1980,
#35781, approved by Robert Toulouse, NTSU Grant; "To Develop new instruments
and techniques for artistic communication," a "One Year Project".
1980-1981
1
48
1979-80 Faculty Research Report; May 1, 1979 proposal
#35760, "One Year Project".
1979-1980
1
49
1980-81 Proposal; "One Year Project" draft; Budget for
Laser Beam Randomization Instrument.
1980-1981
1
50
MIC info and MIC related info; Grant request,
continuation request for 1976-77, $11,278.
1976-1977
1
51
Merrill Ellis Compositions; loose materials assembled in
folder Aug. 18, 2000; onion skin: Bach Chorale tune #1-- 4 players, reading
like a crab canon; draft sketch of Nüffun for percussion ensemble.
1963-1981
1
52
Brochures; SEE / HEAR, Vancouver, BC, 1969; Center for
Contemporary Music, Mills College; Berkshire, 1968; Rocky Ridge, 1968; NTSU
Music School Newsletter, Jan. 1968; NTSU Music School brochures; Workshop
brochure for NTSU, Electronic Music, for July 15, 1968.
1968-1969
1
53
No title; Blueprints of electronic
keyboards.
1961-1969?
1
54
Time sheets.
1973-1975
1
55
Frog Prince, 1966; sketches of song, words -- "The
secret of memory".
1966
1 folder black
notebook
1
56
Personal Monthly Plan Book; Intermedia Theatre Schedule,
June 1979 - June 1980.
1979-1980
1 folder blue
1
57
Personal Monthly Plan Book; Intermedia Theatre Schedule,
Sept. 1980 - July 1981.
1980-1981
1 folder yellow
1
58
Monthly Plan Book; Intermedia Theatre Schedule, Aug.
1981 - July 1982.
1981-1982
1 folder yellow
1
59
Sorcerer; script material; formerly loose; assembled in
folder, Aug. 18, 2000, by archivist.
1960-1980
1
60
Festivals; loose material assembled in folder, Aug. 18,
2000 by archivist; 20th Century Music, Eastfield College, 1965; correspondence
with James Rivers, Washburn University, 1973; correspondence with Fort Worth
Symphony, 1973; correspondence with James Wintle, Oklahoma, 1973;
correspondence with John Stewart, Alabama, 1973; clippings of the Denton Record
Chronicle, Aug. 8, 1971, Aug. 13, 1971; Program, NTSU, Oct. 1, 1971.
1965-1973
1
61
eml101 manual; by Electronic Music Laboratories, Vernon,
CT.
1970-1979
1
62
Drawing; sketches, stage plans; music in Morse Code,
including the name Merrill Ellis and NTSU.
1970-1979
1
63
Programs, Festival, Clippings; loose material assembled
in folder, Aug. 18, 2000 (by archivist); NTSU brochures, 1978, 1979, 1980;
Eastfield College; Stephen F. Austin University, 1977; Louisiana State
University, 1979; Denton Record Chronicle, Feb. 12, 1978; Concert of Electronic
and New Music, April 11, 1980, MENC, Miami, music of Merrill Ellis.
1978-1980
2
1
Style Analysis (1963); Lecture notes, Music 536 (1963);
Term papers by Mary Kay Higginbotham (1963); graphic of Well-Tempered Clavier,
fugue in D major, R. Ottman; photocopy of Lloyd Hibberd, "A note on musical
style"; mimeograph of Babbitt’s Composition for 12 instruments (1 page);
composition, Herman (or Hermon) Warford, Contrapunctus 9, 1 page; term paper by
Warren Story-Smith; plot of 3 act drama, interesting reminder by Merrill Ellis,
Love interest, sex.
1963
2
2
Style Analysis (1963b); French musical forms, J. D.
Malloch; "crab" canon, Aus meines Herzens; Grunde, chorale tune #1, harmonized
in the style of a Puzzle Canon; on onion skin, coded analysis of works by
Dvorak, Mozart, Haydn, Mendelssohn; term papers by Jim Jorgenson (1965), Lothar
Klein, Ronnie Bowlin, Julia Lansford (1963), Linda Hunt (1963), William
McMurtry (1963); Notes on experimental music, compiled by Billy Wiggins and
Wilbur Collin (mimeograph); printed "Listen to Electronic Music" from Book 6,
Holt, Rinehart Elem. series-- description of Leilya and the Poet (Halim
El-Dabh), Stereo Electronic music no. 1 (Bulent Arel), Composition for
Synthesizer (Milton Babbitt); Music 535 notes; mimeo biography of Benjamin
Britten (5 leaves); Keyboard Junior, Oct. 1964 issue.
1963-1965
2
3
Style Analysis Papers; James D Ator (1965), Terry
Segress -- on Ellis works (1964), Roger Rush (1964), C. M. Shearer -- on Ellis
works (1964), Byron Burleson, Hermon Warford, Robert Spencer (1966), Melody
Wheat.
1964-1966
2
4
Adv. Theory 55/56; lectures, preparatory notes; Paul
Pisk work copied.
1955-1956
1 folder yellowspiral music ms.
notebook
2
5
Orchestration Exams MU 433; mimeographs; answer key and
exam.
1960-1969
2
6
Urgent; material for Music Theory, MU 249.
1964
2
7
249 Har Quiz; similar to MU 249, quiz (1963-1969?).
Harmony.
1963-1969
2
8
249 Har. Choral Spelling Exam (1963); mimeographs and
mimeo master sheets. Harmony
1963
2
9
Quizzes, Music 139, Harmony, 1965; dictation sheets;
also Music 138, 1965; Music 248, 1963-1965.
1963-1965
2
10
Part. Final Har. 249; melodic dictation exercises.
(1963-1969?).
1963-1969?
2
11
Application for Rockefeller Grant; in clear plastic
folder, 1966; 2 copies in clear blue folders.
1966
1 folder clear
plastic
2
12
Misc. Articles: Dave McGuire -- syllabus to Music 528;
Hibberd article annotated "A Note on Musical Styles"; pages from Leon Stein’s
Structure and Style; papers by Marjory Crenshaw; mimeo by Grosvenor Cooper,
Rhythmic Structure of Music; Schenker analysis; Leonard Meyer’s "The End of the
Renaissance"; other articles (1960-1969).
1960-1969
2
13
Scores: manuscript sketches; some timed electronic
notation manuscript paper; electrocomp, chart of circuits (1960-1969).
1960-1969
2
14
Pean Music; correspondence with Martin Mailman, 1981;
Karen Mrotek, SMU, 1981; Ken Gooley, NYC, 1981; Dean Myers, 1981, with several
NTSU internal memos to various people from Merrill Ellis; Fulbright Hays
report, 1981; Senate Bill S. 1958, forming United Arts Foundation (1960).
1958-1981
2
15
Intro. to Music Final Quiz, 1959.
1959
1 folder yellow
spiral notebook
2
16
Laser Aesthetics, by Dr. Toth Maiman (1960).
1960
2
17
Time Sheets.
1976
2
18
Dallas Baptist College, correspondence with Wesley
Coffman.
1970
2
19
Oberlin College; correspondence with Gene Young and
Karen Dobbs.
1970
2
20
Okla. City 4/15 Church Arts Festival; correspondence
with Donald Jenson, 1970; festival programs, 1970, 1967, 1968,
1969.
1967-1970
2
21
Howard County Jr. Col. -- Big Spring; correspondence
with Ben Johnson.
1970
2
22
Glowacki - Hutchison; correspondence with John Glowacki,
1970; Warner Hutchison, 1968; New Mexico State University; Merrill Ellis visit
in April 1970..
1968-1970
2
23
Tucson Ariz.; correspondence with Gregory Millar, 1970;
handbill and program, 2nd International Music Festival; other correspondence
with Ruth McCreery, 1970..
1970
2
24
MTNA (Music Teacher National Association).
1970
2
25
W. Collins, Victoria; correspondence with Wilbur
Collins, Victoria College.
1970
2
26
Dallas Music Teachers Association, 1970; lecture
demonstration proposed in correspondence to Laura Mitchell.
1970
2
27
Tarrant County Jr. College; correspondence with James T.
Luck and Larry Wilcox, 1970; plans for lecture in Chicago, March 9,
1970.
1970
2
28
MENC (Music Educators National Conference) Convention,
Chicago March 9, 1970; correspondence with Eugene W. Troth, 1969..
1969-1970
2
29
Dallas Dec. 20 Convention, 1969; Dallas Symphony,
"Mutation" performed. correspondence with Dallas Symphony.
1969
2
30
Emerson Meyers; correspondence with Emerson Meyers,
Catholic Univ. of America, 1969; Electronic Music: a Bibliography by Richard
Lockhart, 1969; Program, June 16-18, 1969; History of Electronics Music
Laboratory, Catholic Univ. of America.
1969
2
31
Archie Jones; correspondence with Archie Jones, Univ. of
Missouri, 1969; EMARD newsletter about Ivan and Viera Stadtrucker.
1969
2
32
Illinois State University: 1969; program of symposium,
Phil Winsor featured, 1969; program of Ellis music May 11, 1969; correspondence
with Robert Oppelt.
1969
2
33
Millard Laing; correspondence with Kansas State College,
Pittsburg, 1969; clippings of Merrill Ellis in Pittsburg Headlight-Sun, May,
1969.
1969
2
34
Jim Smith Brass Speak at Tape; correspondence with Jim
Smith, 1969, Ouachita Baptist Univ.; program, Symposium of Contemporary Music,
April 1969.
1969
2
35
Oklahoma City University; correspondence with Frank
Payne.
1969
2
36
Dallas El Centro; correspondence with Dee Brook, Dallas
County Community College District.
1969
2
37
ETSU, Commerce; correspondence with Joy Neel, East Texas
State University.
1969
2
38
Dr. Walter Wehner, Midwestern; correspondence, 1969,
Midwestern State Univ., Wichita Falls; program, Festival of Fine Arts, Feb.
1969.
1969
2
39
McMurry Abilene; correspondence with Richard von
Ende.
1969
2
40
TCU, Winesanker; correspondence with Michael Winesanker,
Texas Christian University, Fort Worth.
1968
2
41
New Mexico Lecture; correspondence with Warner
Hutchison, Las Cruces.
1968
2
42
Wehner; TAMS Austin, April 6, 1968; correspondence with
Walter Wehner, 1967-1968; program of April 6, 1968.
1967-1968
2
43
George Frock; University of Texas;
correspondence.
1968
2
44
Thomas Hohstadt, Amarillo Symphony;
correspondence.
1967-1969
2
45
Lewis Dalvit; correspondence 1967-1968, Lewis Dalvit,
Jackson Mississippi Symphony Orchestra; contacts in Jackson, MS.
1967-1968
2
46
Raymond Haggh; correspondence and telegram; University
of Nebraska.
1967
2
47
U. of Okla. C.M. Stookey; correspondence, 1966; program
of Composers Symposium, University of Oklahoma, Feb. 1967.
1966-1967
2
48
Austin Recording Co. -- Ray Poole; short brochures:
Ampex AA-620, Ampex MM-1000, Gotham microphone, Ampex AG-440, Austin Custom
Records sheet, Austin Custom Records educational music recordings brochure.
1968 pocket date book from Ray Poole.
1966-1968
2
49
Maintenance Contract; 1974 memo from Dean Myers;
correspondence with Ralph Luke.
1974
2
50
Bob Rogers Report for faculty members; Merrill Ellis
performances, 1972-1974.
1972-1974
2
51
Teaching Fellows, 1974-1975; memo from Dean Cuthbert,
mimeograph; correspondence with David Stewart; resumé of David
Stewart.
1974-1975
2
52
Registration, 1976; MUSI 482 information; Spring
1976.
1976
2
53
Teaching Assistants / Fellows; information for Fall
1976; some memos from Spring 1976; list and description of Personnel; N.T.
Electronic Music Center.
1976
2
54
Care & Feeding of an Elec. Mus. Lab; Electronic
Music Laboratory; lecture notes, 1971.
1971
2
55
Jobs for Fall 1973; candidates includes Karl
Miller.
1973
2
56
To Do; Association for Computer Machinery, seminar,
Dallas, 1973; correspondence with Marjorie Farmer, Shawnee Press, 1973;
correspondence with Recorder Center, Dallas, 1973; correspondence with From
Music Foundation, 1973; Audio Engineering Society membership, 1973.
1973
3
1
Research Grant Report; 1972-73; 1973-74; 1974-75;
1975-76; 1976-77; Ellis vita information for 1974-1975.
1972-1977
3
2
Filing; correspondence with Howard Ellis, Wichita State
University, 1973; correspondence to various chairs of Student Entertainment
Committees at universities
1973
3
3
1978-79 Proposal; Faculty Research Grant Application,
May 1, 1978.
1978-1979
3
4
78-79 FacResP; more information on Faculty Research
Project, July 1978.
1978-1979
3
5
Proposal, 3rd year, 77-78; Faculty Research Proposal,
1977-1978; article by Marceau Myers on "Research Degrees in Music."
1977-1978
3
6
Ft. Worth, May; Lighting scenario for Nostalgia; notes
about Fort Worth Youth Orchestra, May, 1977; correspondence with Arthur Cohn of
Carl Fischer, 1977; correspondence with Sylvia Stoddard Ft. Worth Youth
Symphony, 1977.
1977
3
7
Scott Theatre; info on Scott Theatre, Fort Worth;
William Garber, director.
1976-1980
3
8
NEA (National Endowment for the Arts) Wash. D.C. grants;
1977 memos relevant to grant and information; Texas Commission on the Arts and
Humanities.
1977
3
9
Joplin, Mo. Bill Taylor; correspondence, 1972; Missouri
Southern College, Bill Taylor.
1972
3
10
Lloyd Blakely; correspondence, 1972; Lloyd Blakely;
Southwest Missouri State College, Springfield.
1972
3
11
Robt Rosen; correspondence 1980 with Uwharrie
clarinet-percussion duo, Robert Rosen; brochures.
1980
3
12
Baton Rouge; correspondence 1979; Louisiana State
University; with Everett Timm and Dinos Constantinides; budget 1978-1979;
clipping from The Baton Rouge Enterprise, Jan. 25-31, 1979, “Electronic
Composer to Give Workshop at LSU Festival.” Program of 34th Festival of
Contemporary Music.
1978-1979
3
13
Durant, OK; Jim Wintle; correspondence 1971-1972;
Southeastern State College, with Wintle mostly’ proposed program of Ellis’
music.
1971-1972
3
14
Central State College; correspondence, 1970; Central
State College, Edmond, OK; with Jack Sisson and Robert Dillon;
budget.
1970
3
15
George Massing; correspondence 1979-1980, with George
Massing, Richland College; program of Feb. 5, 1980.
1979-1980
3
16
Dr. Ron Yates; correspondence 1979-1980; Ron Yates, East
Texas State University.
1979-1980
3
17
MTNA Phoenix & Ariz. Concert; memo from John Haynie,
Coordinator of Faculty Travel; NTSU Faculty Travel Report.
1979-1980
3
18
U of Mo, Columbia; University of Missouri, Columbia;
correspondence with John Cheetham and Donald E. McGlothlin, 1979-1980;
correspondence with Margaret Jory, American Music Center, 1979; info about the
Missouri Contemporary Music Competition.
1979-1980
3
19
NT Pres. Commission, rec. Dec. 16, 1980; correspondence
with Martin Mailman, Royce Lumpkin, Hugh Ayer, Myers (Dean of Music); joint
commission of 6 works for President Frank E. Vandiver. Article: "Music
Commissioned for NT Inaugural," Denton Record Chronicle, 7 Oct. 1980, p.
5B.
1980
3
20
MENC National Convention 1980, Miami; written on label,
Dwight Gatwood. Budget, MENC, April 9-12, 1980, Miami. Equipment needs
submitted to Gatwood. Program, April 11, 1980, Ellis music; rehearsal schedule
at MENC; correspondence 1979-1980; St. Patrick Day letter, brown flair, from
Marjorie Farver; pamphlets, ASCAP grants and Boosey & Hawkes Dominick
Argento, David del Tredici, Alcides Lanza.
1979-1980
3
21
Lukas Foss; correspondence, 1981; Ellis sent Celebration
and Nostalgia to him.
1981
3
22
TMEA Convention San Antonio, Feb. 13, 1981; budgets,
plans to perform Eyes.
1981
3
23
Thos. C. Pierson, Kingsville, Tex.; correspondence,
1971-1972, with Thomas Pierson of Texas A & I University.
1971-1972
3
24
San Antonio Sequoio; correspondence 1976, with Irma Gray
and Sequoio for Festival Ballet of San Antonio.
1976
3
25
TAs Fall 80 & 600 Level records of teaching
assistants.
1980
3
26
Oral History (loose material assembled 1-28-2002);
possible oral history questions for Merrill Ellis, presented by Martin Mailman,
June 26, 1981; Recommendations for EMC in future; loose music: 2 cards labeled
J.4!44 Card, and 1 card labeled This is a sille card; several parts, resemble
marching band music.
1981
3
27
Hugh Davies, Paris France; correspondence 1966-1967,
with Hugh Davies; correspondence 1967, Stichtung Gaudeamus
(Netherlands)
1966-1967
3
28
Bob Kelly Concert; correspondence with Robert Kelly,
University of Illinois, Urbana Champaign, 1967-1968; Christmas card from Bob
Kelly.
1967-1968
3
29
Tarrant County Jr. College, Frank Whitehead;
correspondence, Pat Razook, TCJC, 1970; plans for program Oct. 14,
1970.
1970
3
30
Lawrence, Kansas; University of Kansas; correspondence
with Thomas Gorton.
1969
3
31
NATS Convention, Dec. 29, 1970, Dallas; Lecture planned
Dec. 28; correspondence with Mrs. Louis Antahades (Mary Ella Antahades) of
Grand Prairie.
1970
3
32
Paul Torgimson, Natchitoches, La.; correspondence with
Paul Torgimson, Northwestern State College, La., 1970-71; for program Feb.
18.
1970-1971
3
33
Bob Sutton, MTNA; correspondence, 1970-1971, with
William Fahrer, Robert Sutton, & Robert Levy. Program, March 23, 1971,
Ellis music.
1970-1971
3
34
R. Wienhorst, Valpariso Univ.; correspondence with
Richard Wienhorst, Valpariso University.
1971
3
35
Dr. Robert Holmes, Kalamazoo, Mich. Correspondence,
Robert Homes, Western Michigan University, 1971; for a program on March 24,
1971, cancelled.
1971
3
36
Ft. Worth, Winston Barney; correspondence with Winston
Barney, Texas Girls’ Choir, 1971; brochure of International Music Festival,
April 3-11, 1971; and festival schedule; Merrill Ellis on April 8.
1971
3
37
M.T.N.A. Convention, Mar. 15, 16, 17, ’71;
correspondence with Robert Sutton proposing program for 1970.
1970-1971
3
38
Dallas Mountain View College; correspondence with Russ
Benjamin, 1971; for program Oct. 30, 1971; Mountain View calendar /
brochure.
1971
3
39
Lloyd Sumner; photocopy with photograph of Sumner
appears to be copied from brochure.
1968-1981
3
40
Scott Huston, Univ. of Cincinnati; correspondence with
Scott Huston.
1970
3
41
Kalamazoo, Mich., Pierre Hetu; correspondence with
Pierre Hetu and Carlos Wilson; Kalamazoo Symphony, 1971; performs Mutations,
Mar. 23, 1971.
1971
3
42
Dr. Hugh Thomas; correspondence with William Baxter,
acting chairman, Birmingham Southern College, Alabama.
1971
3
43
Southern Ill. Univ. Edwardsville; correspondence with
William Tarwater, Grant Newman, Andrew Kochman; Southern Illinois
University.
1970-1971
3
44
Dr. James Rice; correspondence, 1970-1971; Richard
Johnson; Stephens College, Columbia, MO.
1970-1971
3
45
Memphis; correspondence with Robert Schnider, Memphis
State University.
1971
3
46
Jeanne Grealish; correspondence, 1971; University of New
Mexico.
1971
3
47
Ann W. Terzia; correspondence, 1970-1971, LSU
Shreveport, for program on Feb. 17, 1971.
1970-1971
3
48
Monroe, La.; correspondence 1970-1971, with Richard A.
Worthington, Northern Louisiana University.
1970-1971
3
49
Dwain Heller; information on Computer Technology Co. in
Dallas.
1968-1972
3
50
Marshall, Texas; correspondence 1970-1972; East Texas
Baptist College, with Mrs. Quinton Rogers and Robert Spencer. Travel plans for
April 17-18, 1972, lecture.
1970-1972
3
51
Dallas Hi Fi Show; correspondence and plans 1972 for
Hi-Fi Show, Dallas, Oct. 27-29, 1972.
1972
3
52
Point Lookout, MO; correspondence with Thomas Collins,
School of the Ozarks, 1971-1972; lecture was March 29, 1972.
1971-1972
3
53
Neal Fluegel; correspondence, 1971; Indiana State
University; discusses MTNA of 1971.
1971
3
54
Miami Trip Records; MENC brochure for Miami trip, April
9-12, 1980; correspondence and expenses; correspondence with Dwight Gatwood;
rehearsal schedules possibly 1980.
1980
3
55
Jack Pernecky; correspondence, Northwestern
University.
1971
3
56
U. of Ark. Fayetteville; correspondence with John
Cowell, Marx Pales, University of Arkansas, 1969-1970; Lecture Feb. 26-Mar. 1,
1970; program of concert, Feb. 27, 1970; 4 photographs of University of
Arkansas auditorium ... one with University of Arkansas orchestra; also lecture
schedule for Feb. 13, 1968 in New Orleans.
1968-1970
3
57
Stockton, Calif.; correspondence with David Goedeck,
University of the Pacific.
1971
3
58
Arthur E. Hall, Rice University; correspondence,
1970-1971; lecture-demonstration, Jan. 17, 1971; expenses.
1970-1971
3
59
Oklahoma City; correspondence with Tom Maguire and J.R.
Witt, 1969; Contemporary Arts Foundation.
1969
3
60
Shawnee; correspondence with Jim Niewald, Oklahoma
Baptist University, 1977; program of March 11, 1977.
1977
3
61
Drury College; correspondence, Wayne Johnson, 1970-1976;
draft of program, Mar. 21, 1971.
1970-1976
3
62
Computer Tools; NTSU Computer Task Force, minutes, 1978;
Report and Recommendations Concerning the Acquisition of New Computer Systems,
1978.
1978
3
63
New Computer Comp. Faculty Member Reco.; memo of Dean
Myers, Oct. 12, 1977; annotated. (Composition Faculty Member
Records)
1977
3
64
Dr. Jack Boyd; Abilene Christian College;
correspondence, 1971-1975; draft program, April 22, 1975;
schedules.
1971-1975
3
65
Tucson, Ariz.; correspondence with Jon Gibson,
University of Arizona, 1977; draft program, Sept. 28-29, 1977;
schedules
1977
3
66
Minn. Opera Co.; program for Argento’s Postcard from
Morocco; other information on operas in Minnesota and San Francisco;
correspondence with Richard Owens, American Institute of Musical Studies;
mentioned Ellis meeting [Judith] Bettina, 1973-1977
1973-1977
3
67
San Francisco Opera; correspondence with Edward
Corn.
1973
3
68
Wash. D.C. June; correspondence with Arthur Cohn, MCA
Music, 1973; William Yarborough, American University.
1973
3
69
Mester, Jorge. Folder has contact information. James
Turman. Carlene Parker, empty folder.
1970-1979
3
70
Jerry Hunt. Correspondence, 1976, about KCHU-FM
program.
1976
3
71
Eastern Illinois University, Hare; correspondence with
Robert Hare, 1973, EIU at Charleston.
1973
3
72
Lawrence, Kansas; correspondence, Thomas
Gorton.
1973
3
73
Monroe, La.; correspondence, Northeastern Louisiana
University.
1973
3
74
Ruston, La.; correspondence, Jimmie
Reynolds.
1971
3
75
Oberlin - Nuffun; correspondence, Mike Rosen, Oberlin
College, 1972-1973; about Ellis composition Nuffun.
1972-1973
3
76
University of Evansville; correspondence with Eulalie
Blesch.
1973
3
77
Six Flags; Wayne Tiogo; information about theatre
stapled on an otherwise blank folder.
1972-1979
3
78
Emporia Ka. St. College; correspondence Peter Ciurczak.
Emporia Kansas State College.
1973
3
79
Wichita, Kansas; correspondence, Howard Ellis, Wichita
State University.
1973
3
80
Manhattan, Kansas; correspondence, Robert Steinbauer,
Kansas State University.
1973
3
81
The Club; correspondence with Al Pearson, Birmingham,
Ala.
1973
3
82
LSU Baton Rouge; correspondence with William Blackwell,
1973-1974; correspondence with Tom Wiefer, editor, The Louisiana Musician,
1973.
1973-1974
3
83
Amsterdam Holland Concert; doodle of Kleenex box, above
is La Traviata; on side of box, Monte Verdi; plans for a Holland concert,
1976.
1976
3
84
Huntsville, Ala.; correspondence, 1971-1974, mostly to
Marx Pales, Huntsville Symphony; brochure with 1971-72 season; Ellis on Jan.
15, 1972.
1971-1974
3
85
78-79 Proposal; Grant proposal; memos of 1978-79;
computer generated budget sheets, 1979-1980.
1978-1980
3
86
T. V. Task Force; 1971 Univ. Task Force for Multi-Media
Planning; Report, Aug. 1, 1975.
1971-1975
3
87
Untitled -- loose materials; memo about stolen property,
1981; correspondence to Russ Berger, 1981; circuit drawing; program, 1979,
Steve Cooper’s music; Ellis ms. Eyes I; dictionary page on Eye by Plotinus;
text to Spectrum.
1979-1981
3
88
Lecture topic; Ellis’ proposed lectures available and
equipment lists.
1970-1981
3
89
Merrill Ellis (brown envelope); photographs, studio with
Ellis; 2 unidentified composers in photograph; one might be Robert
Moog.
1965-1981
3
90
Grade Sheets, 1967; registration information; workshop
information for 1965.
1965-1967
3
91
Electrocomp; correspondence with Norman Milliard,
1972-1974; diagrams.
1972-1974
3
92
Mus 119 Suggestions; 1977; Ellis’ “Hints on Notes”
chart; class roll; also 1976 roll.
1976-1977
3
93
79-80 Proposal; equipment descriptions; TEAC 2340
recorder; university budgets; various registrations.
1979-1980
3
94
Dean Myers; correspondence, Marsu Johnson, Lodz, Poland,
1980; Report to Dean Myers on NASM; internal memos; memo to Morris Martin,
1979; correspondence with Ralph Luke, Accent Audio, 1979; Karl Miller,
University of Arizona, 1979; Jim Fitch, Albuquerque, 1979; Bruce Creeson,
Baylor, 1979; 1976 thoughts on building new electronic music center;
correspondence to Andre Gabaud, Ambassador of France, 1977, about a visit to
IRCAM.
1976-1980
3
95
Correspondence; with Robert Spencer, Marshall, Texas,
1976; Litchard Toland, Eastman, 1976; F. Gerard Errante, Norfolk State College,
1976; Dwight Gatwood, University of Tennessee at Martin, 1976; Ruth Prindle,
New York City, 1976; Tom Macguire, Oklahoma City, 1976.
1976
4
1
New York; correspondence with Martin Bookspan, ASCAP,
1975-1976; John Sweeney, Belwin Mills, 1975; schedule for a New York trip;
correspondence with Arthur Cohn, Carl Fischer, 1975.
1975-1976
4
2
Merrill Ellis: A Curricula for Teaching Orchestration in
College; green notebook, 54 leaves of music.
1960-1969
4
3
JamesTenney; Teaching New Music in School; mimeograph of
"Manhattanville Music Curriculum Program" by Tenney.
1969-1972
4
4
Style Analysis, 1964; Guide to Aural Analysis; to do
lists; assignments, 1964, James Smith; photocopy of article “Jazz is a Serious
Art, a Composer’s Viewpoint,” by Merrill Ellis, Southwestern Musician, Oct.
1964, p. 18.
1964
4
5
Poems Programs Memos; loosed material assembled April
30, 2002; floor plans and equipment; memo, self-study steering committee, 1972;
libretto to Frog Lived Down by the Roots of a Tree; design, 4 x 6 cards, lines,
multicolor. Programs, 1971, “Developing Musicality,” TMEA. Tables, charts for
sound (1.5 Buffer Padding). Script to The First Company, probably about The
Sorcerer. Program, 1970, July 9, Student Composition Recital. Sille Card for
“Nag, nag, nag, for Pete’s sake” ... with melody.
1970-1972
4
6
Misc. programs: 1: NTSU newsletters, Jan. 1969, Jan.
1970; programs of Ellis’ music from 1961 to l980, in Denton, Houston, Wichita
Falls, Texas; Natchitoches, La., Illinois, Iowa, Mississippi, Missouri, Arizona
; reviews in New York Times (1971) of Kaleidoscope; article from New Records,
1971; Louisville Times (1970); Notation concert, Oct. 29, 1968, with Hewitt,
Michael Collins, Gardner Read’s music; Rocky Ridge Music Center,
1967-1968.
1961-1980
4
7
Misc. programs: 2: programs from 1970 to 1974; Fort
Worth, Texas; Louisville, KY; 20th Century Music Festival , Eastfield College,
Mesquite, Texas (includes photograph).
1970-1974
4
8
Misc. programs 3: Reviews in Cincinnati Post, 1974; Fort
Worth Star Telegram? (1974); Shreveport Times (1973); concerts in Denton,
Texas, Huntsville, Texas, Cincinnati, Fort Worth, 1973-1974
1973-1974
4
9
sketches 1
4
10
sketches 2; lecture plans in sketches 2
folder
4
11
phonetic alphabet: charts of phonetics
4
12
sketches 3
4
13
Two piano pieces, ending section, in green
spiral
4
14
sketches 4
4
15
sketches 5: Hints on notes included
4
16
sketches 6: unknown work
4
17
sketches 7: Tomorrow Texas; Scintallation
4
18
sketches 8: Fuguetta
4
19
gray spiral: 2 piano pieces, beginning
4
20
sketches 9: yellow binders with Psalm 24
4
21
sketches 10: line drawings from one of the major
compositions
4
22
Aubade, yellow spiral.
Adv. Theory, yellow spiral.
Cantata, yellow spiral, book 2.
Korean March, yellow spiral.
4
23
Sing Praise, yellow spiral; String quartet.
4
24
other sketch books from Joplin Missouri
1961-1963
4
25
sketches 11: correspondence with Mary Watson Hymon,
Grambling College, 1972; Twelve Tone statement of popular opinion in regard to
Arnold Schoenberg and his music.
4
26
sketches 12: unknown work
4
27
Green binder; The Frog Prince; annotated.
4
28
Clear folder; Electrocomp Users Manual; Tape talk
(glossary booklet)
4
29
Loose material assembled in folder, Aug. 18, 2000 (by
Ralph Hartsock); composition with various emoticons in graphic
notation.
5
6 steno pads with notes. Spiral steno pads; ideas,
budgets. Spiral notebooks: Business mileage; tape data books Roll books,
1968-1980. 6 slides labeled odds and ends: D.F. score slides. (Dream Fantasy)
1968-1980
Series 2, Compositions.
1960-1981.
21 boxes
Boxes 1-12 are scores of compositions by Merrill Ellis.
Boxes 13-21 are compositions by other composers. Ellis assigned catalog numbers
to several of the compositions by other composers.
1
1
Ellis, Merrill, 1916-Orchestra piece.
Sketch. Red ink on front:
Orchestra piece. Uses tape
recording.11 minutes plus.
62 pages numbered; 43 cm. Black pencil sketch with annotations in red or black marker.
1963-1981
For orchestra.
1
2
Ellis, Merrill, 1916- Kaleidoscope.
Sketch.In
pencil.35 numbered pages; 34 cm.
For orchestra.
1
3
Ellis, Merrill, 1916- Misc.
Sketches
Ellis, Merrill, 1916- Joan
7 p. ; 28 cm. Sketch in ink.
For mezzo soprano and alto flute.
Ellis, Merrill, 1916- Dance.
Pencil sketch.
Ellis, Merrill, 1916- Toti
Potent.
Pencil sketch.
Ellis, Merrill, 1916- Fanfare.
2 p. Pencil sketch.
For 3 horns and percussion. At end, Aug. 2/61, RR;
Epilogue on p. [4]
Ellis, Merrill, 1916- Epilogue on a Camp
Song.
Pencil sketch.
For F horn and voice; on p. [4] of Fanfare.
Ellis, Merrill, 1916-
Sorcerer.
Pencil sketches.
Ellis, Merrill, 1916- March Barnum &
Bailey.
Pencil sketches.
Ellis, Merrill, 1916- Listen Texas
Listen
Pencil sketch.
Title based only on first line; for narrator, chorus
(SATB) and tape.
Ellis, Merrill, 1916- What you
believe.
Pencil sketch.
Title based only on first line; for voice and
orchestra.
1
4
Ellis, Merrill, 1916- Misc. sketches no.
2
Lists; misc. sketches.
To-do lists; on legal yellow paper and memo paper.
Ellis, Merrill, 1916- Piano Piece.
20 numbered pages ; 32 cm.Pencil
sketch.
For piano.
Ellis, Merrill, 1916- Come to me
Willow.
Pencil sketch.
For voice.
Ellis, Merrill, 1916- Large WW. Ens.
Large woodwind ensemble.
33 numbered pages; 35 cm. Pencil sketch.
Pencil sketch.
Ellis, Merrill, 1916- It's Just the
Newest.
3 numbered pages; 32 cm. Pencil
sketch.
For voice and piano.
Ellis, Merrill, 1916- Gloria.
Pencil sketch; some in blue pencil.
Includes Gloria and Music Box accompaniment.
1
5
Ellis, Merrill, 1916- Misc. sketches no.
3.
Ellis, Merrill, 1916- Warm up.
[3] leaves; 22 x 36 cm.photocopy; piece with
hand signals; in ink on first page.
For Jorge Mester; poem from Aud by Rick Sale.
Ellis, Merrill, 1916- Space.
2 pages; 32 cm. Pencil sketch.
Nov. 25, 1962.
At end: Nov. 25 '62.
Ellis, Merrill, 1916- Sun, full moon.
[2] p.; 32 cm.Pencil sketch.
For voice and violin.
Title from first line only.
Ellis, Merrill, 1916- Sun, full moon.
[2] p.; 32 cm.In ink.
For voice and violin.
Title from first line only.
Words typed on sheets taped to first page.
1
6
Ellis, Merrill, 1916- 2nd
Sinfonietta
O-101
Ellis, Merrill, 1916- Second
Sinfonietta
Full score, 132 p.In green
binder.
For orchestra.
Ellis, Merrill, 1916- Second
Sinfonietta
Full score, 132 p.In black
binder.
For orchestra.
1
7
Ellis, Merrill, 1916- 2nd
Sinfonietta
Ellis, Merrill, 1916- Second
Sinfonietta
Masters parts, for 1st violin, 2nd violin, viola,
cello, contrabass, percussion. On onion skin paper.
For orchestra.
Ellis, Merrill, 1916- [2nd
Sinfonietta]
full score, 132 ms. leaves, onion skin
For orchestra.
1
8
Ellis, Merrill, 1916- Fantasy
16 p., loose, onion
skin
For organ.
1
9
Ellis, Merrill, 1916- Chamber
Symphony
O-100
Full score, 107 leaves, onion
skin
For orchestra.
1
10
Ellis, Merrill, 1916- Chamber
Symphony
Masters parts for 1st violin, 2nd violin, viola, cello,
bass. on onion skin paper.
For orchestra.
1
11
Ellis, Merrill, 1916- Chamber
Symphony.
Copied parts for concertmaster, 8 1st violins, 8 2nd
violins, 4 violas, 6 celli, 4 bass; some parts curled from being too
large.
For orchestra.
1
12
Ellis, Merrill, 1916- Incantations
2
32 p. Dark blue
binder.
For 2 pianos.
1
13
Ellis, Merrill, 1916- Incantations
2
32 p. Light blue soft
binder.
For 2 pianos.
1
14
Ellis, Merrill, 1916- Pastoral.
full score, 43 p. In black
binder.
For horn and band.
1
15
Ellis, Merrill, 1916-
Reflections
C-321
Ellis, Merrill, 1916-
Reflections
1947
14 leaves, taped together
For baritone solo, choir and piano. Reflections on the
23rd Psalm: a choral fantasy. At end, 1-26-47.
Ellis, Merrill, 1916-
Reflections
1947
14 p., copy
For baritone solo, choir and piano. Reflections on the
23rd Psalm: a choral fantasy. At end, 1-26-47.
1
16
Ellis, Merrill, 1916-
Reflections
C-322
Ellis, Merrill, 1916-
Reflections
1947
18 leaves. Onion
skin.
For baritone solo, choir and piano. Reflections on the
23rd Psalm: a choral fantasy.
Ellis, Merrill, 1916-
Reflections
1947
18 p., copy
For baritone solo, choir and piano. Reflections on the
23rd Psalm: a choral fantasy. 2 copies.
1
17
C-323
Ellis, Merrill, 1916- Pretty
Saro
Ellis, Merrill, 1916- Pretty
Saro
full score, 9 leaves, onion
skin
For chorus (SATB), a cappella.
Ellis, Merrill, 1916- Pretty Saro.
New York
Carl Fischer
1955
full score, 7 p.
For chorus (SATB), a cappella. Plate number N2171.
Publisher's no.: CM6787. 4 copies.
Ellis, Merrill, 1916- Pretty
Saro
full score, 9 p., copies
For chorus (SATB), a cappella. 4 copies.
1
18
C-324
Ellis, Merrill, 1916- Situation
Normal
1 score (2 p.)
Novelty for baritone voice and piano; at end, Aug. 29,
1947.
1
19
Ellis, Merrill, 1916- Tomorrow
Texas
33 leaves. Onion
skin.
For chorus (SSAATTBB), piano, hand percussion (sand blocks,
wood block, guiro, maracas); text by Arthur Sampley.
1
20
Ellis, Merrill, 1916- Tomorrow
Texas
C-325
Ellis, Merrill, 1916- Tomorrow
Texas
33 leaves. Staple bound.
For chorus (SSAATTBB), piano, hand percussion (sand
blocks, wood block, guiro, maracas); text by Arthur Sampley.
Ellis, Merrill, 1916- Tomorrow
Texas
33 leaves. Spiral bound.
For chorus (SSAATTBB), piano, hand percussion (sand
blocks, wood block, guiro, maracas); text by Arthur Sampley.
1
21
Ellis, Merrill, 1916- In a Drug
Store.
C-330
7 p.Onion skin.
For medium voice and piano.
Text by Ralph Robin, from Saturday. Review, Apr. 13, 1957;
composed in Joplin, MO.
1
22
Ellis, Merrill, 1916- Song
C-331
7 p.Onion
skin.
For soprano and piano.
Text by Anne Wickham.
1
23
Ellis, Merrill, 1916- 7 A Numbers
Game
C-333
Ellis, Merrill, 1916- A Numbers Game -or-
7.
score (14 p.) Onion
skin.
For chorus (SATB), bongo, piano, and string bass.
Ellis, Merrill, 1916- A Numbers Game -or-
7.
score (14 p.) Mimeograph
copy.
For chorus (SATB), bongo, piano, and string bass.
2
Ellis, Merrill, 1916- Husky
Computers
Oversize Pouch.
[13] leaves with music on both sides; 43 x 46 cm.
Pencil sketch.
For chorus and piano.
Authorship unknown.
First lines: Husky computers; Peoples racing erasing.
3
Numerical chart.
In pencil, red, blue, black, on graph paper;
notes in red.
Note accompanying chart: Stan, Please change note card;
Stan Please make P 2 change.
Ellis, Merrill, 1916- Frog.
40 pages; 29 x 44 cm.Sketch in black or blue
pencil, blue marker
In spiral binder.
4
Ellis, Merrill, 1916- Brass
piece
[16] p.; 29 x 44 cm.Pencil
sketch.
For 2 baritones and 2 tubas.
Ellis, Merrill, 1916- Eyes
[16] p.; 29 x 44 cm.Pencil
sketch.
Ellis, Merrill, 1916- Sketch.
ca. [17] p.; 29 x 44 cm. Pencil
sketch.
For flute, oboe, clarinet, bassoon, percussion, and tape.
Possibly Nuffun
Ellis, Merrill, 1916- Nuffun
[11] leaves; 29 x 44 cm.
Sketch.Blue
pencil.On onion skin
paper.
Ellis, Merrill, 1916- Listen Texas
Listen
[14] leaves; 32 x 48 cm.Sketch.
In blue and black pencil.
Ellis, Merrill, 1916- Sorcerer
29 x 44 cm. Sketch. In in black, red or blue pencil.
In spiral binder.
Ellis, Merrill, 1916- Now plunge in water.
Pencil sketch.
For chorus.
Title from first line only.
5
1
Ellis, Merrill, 1916- Einyah Festival.
1 score (26 p.) + 1 part (10 p.)Spiral bound.
For trumpet in C, percussion, and piano.
2 copies.
5
2
Ellis, Merrill, 1916- Einyah Festival.
C-1007
44 parts.
For band; with additional number on bottom, M8158.
5
3
Ellis, Merrill, 1916- Einyah.
1 score (26 leaves) + 1 part for trumpet (10 leaves).
Onion skin..
For trumpet in C, percussion, and piano.
5
4
Ellis, Merrill, 1916- Ecc homo
S&E 400
1 score (18 leaves) + 1 part (9 leaves).
Onion skin.
For cello and piano.
Revised version.
5
5
Ellis, Merrill, 1916- Fantasy
Impressionistic
S&E 401
Fantasy Impressionistic
1 score (12 leaves) + 1 part (5 p.).
Onion skin.
For clarinet and piano.
Ellis, Merrill, 1916- Fantasy
Impressionisctic
1 score (12 p.) + 1 part (5 p.)Copied. Score is in black,
spiral binder.
For clarinet and piano.
5
6
Ellis, Merrill, 1916- Pastoral for F.
Horn
S&E 406
Ellis, Merrill, 1916- Pastoral for F.
Horn.
37 pages of copy in
pencil.
For horn and orchestra.
Orchestration, Adolph Labbe.
Ellis, Merrill, 1916- Pastoral for F.
Horn.
6 partscopied
For horn and orchestra.
Parts for flute 1-2, oboe, clarinet 1-2, bassoon 1-2,
trumpets 1-2, trombone 1-2.
Ellis, Merrill, 1916- Pastoral for F.
Horn.
6 parts. Onion
skin.
For horn and orchestra.
Parts for violin 1, violin 2, viola, cello, bass,
percussion.
Ellis, Merrill, 1916- Pastoral for F.
Horn.
1 score (11 leaves). Onion
skin.
Version for horn and piano.
5
7
Ellis, Merrill, 1916- Pastorale for French
Horn.
1 score (8 p.) copied.
Copied by Ellis.
5
8
Merrill Ellis: Published Musical
Compositions
1980
4 leaves. Typescript.
List created by Merrill Ellis.
5
9
Ellis, Merrill, 1916-
Scintillation
Ellis, Merrill, 1916- Scintillation.
12 leaves. Onion
skin.
For piano.
Ellis, Merrill, 1916- Scintillation.
12 p. Copies.
For piano.
Copied by Merrill Ellis; for M.M.T.A., likely the Missouri
Music Teacher's Association.
5
10
Ellis, Merrill, 1916- Scintillation.
12 p. Black spiral
binder.
For piano.
5
11
Ellis, Merrill, 1916- Pastorale
Ellis, Merrill, 1916-
Pastorale
4 leaves. Onion
skin.
For harp.
Ellis, Merrill, 1916- Pastorale
Santa Monica, Calif.
Salvi Publications,
c1978.
3 p.
For harp.
5
12
Ellis, Merrill, 1916- Five plus One.
1 score (85 leaves) + 6 parts. Onion skin.
For woodwind quintet: flute, oboe, clarinet in Bb, F horn,
bassoon, contrabass (optional).
5
13
Ellis, Merrill, 1916- Five + One.
S&E 420
Ellis, Merrill, 1916- Five plus One.
6 parts. copies.
For woodwind quintet: flute, oboe, clarinet in Bb, F horn,
bassoon, contrabass (optional).
Ellis, Merrill, 1916- Five plus One.
1 score (85 p.) In black,
spiral binder.
For woodwind quintet: flute, oboe, clarinet in Bb, F horn,
bassoon, contrabass (optional).
Copied by Merrill Ellis.
5
14
Ellis, Merrill, 1916- Cape G Melody: Music
for Oboe and Strings
S&E 426
Ellis, Merrill, 1916- Cape G Melody.
Scherzo.
1 score (7, 11 leaves) Onion
skin.
1951.
For oboe, 2 violins, viola, cello, double bass.
At end: Nov. 12, '51.
Ellis, Merrill, 1916- Cape G Melody.
1 score (7, 11 p.) 2 copied
scores.