RESOUND A Quarterly of the Archives of Traditional Music

Volume 21, Number 3/4 July/October 2002 From the North to the Desert Southwest: Laura Boulton's FrOlll the Director Music Collecting Expeditions Daniel B. Reed Among Native North Americans ."Our grandfathers are smiling on us today": Christopher Geyer Why Archives Matter

PART TWO In pursuing our mission of preserving and disseminating the world's musical and cultural heritage, the ATM serves Part II: Laura Boulton's Field Recording numerous populations, including educators, researchers, Trip to the Southwest students, and the general public. No aspect of our work is more meaningful, however, than serving the communities In 1936, after returning to Chicago from fieldwork trips in whose recorded heritage we have been given .the great various areas, Laura Boulton began to make serious plans to responsibility, and great honor, of preserving. Every year, travel to the Southwestern United States and Mexico for field we receive many orders from Native American individuals recordings of Native American music, despite George and groups interested in obtaining copies of recordings of Herzog's negative advice.ll Again, Boulton was concerned their forebears. On occasion, we are fortunate to receive with obtaining the best available recording equipment to Native American visitors here at our facility. We were so capture these sounds. On April 7, 1936, Boulton wrote a blessed twice this spring, with visits of Meskwaki people lengthy letter to David Stevens of the General Education from Iowa and Assiniboine people from Saskatchewan and Board at Rockefeller Center in New York. Montana. These visits were coordinated by the staff of the I have received many inquiries from people, American Indian Studies Research Institute (AISRI) here at interested in preserving for all time the Indiana University. Both the Meskwaki and Assiniboine songs, speech and historical narratives of the visitors were interested in obtaining digital copies of North American Indians, as to the possibilities of my recording this material. The bes t opportunity of all has been presented just recently. Mr. John Harrington of the is quite anxious to have the recording done. The bare minimum expense would be $3000. When the area to be covered and the time to do this vast amount of recording is considered you will understand that this is not a money making venture, and it is proposed only because many of our historians, anthropologists and just plain friends of the Indians have been urging

"In recording the Aztec we get the basic of all the Indian nations of the southwest United States and Mexico."12

continued on page three Africa. By 1940 Boulton was able to return to the study of From the Arctic North to the Desert Native American music and she was able to get the funding Southwest for part of her proposed trip to the Southwest from the Continued from page one Museum of Modern Art in New York and the Bureau of Indian Affairs. Boulton then planned to return north to record the Yaqui She first traveled to Mexico as a delegate to the Inter­ and Opata Indians. From there she would head to Arizona~ American Conference on Indian Life and Culture in including the Pima Reservation near Tucson and then the Patzcuaro and then traveled and recorded music of Navajo Reservation where "the modern Indians speak a Mexican Indians (including the Tarascan, Yaqui, Otomi, language similar to that of the Alaskan Indians~" Boulton Mayan, and Zapotec), before doing fieldwork among the explained. The recording expedition would then travel to tribes of the Southwestern United States in Arizon~ New Gallup~ New Mexico~ to record the Zuni~ Grants~ New Mexico, and California. Boulton made recordings from the Mexico~ . to record the Acom~ and Albuquerque to record Hopi, Zuni, Navajo, Comanche~ Mohave, Papago, Pim~ the Apache~ then on to Oklahoma where Boulton planned to Apache, Paiute~ Mescalero, Laguna, Cochiti~ Winnebago, record in "the richest area of all~" which she said would take Chimehuevi, Cocopa, Yuma, and Shoshone tribes. Boulton thirty to sixty days~ the music and lore of "Chickasaw~ also made a silent film of a Gallup Intertribal Ceremonial, Choctaw, Cree~ Seminole~ Cherokee~ Sauks~ Fox~ Kickapoo~ Pueblo dwellings and daily life, games, dances, and songs. Pottawatomi~ Cheyenne~ Arapaho~ Kiowa~ Caddo~ Some of the Navajo and Mexican Indian music Boulton Comanches~ Apaches~ Wichita~ Tonkawa~ Poncas~ Osages~ collected was later released by Folkways.14 Thirty sound tape Pawnee~ Arikaree~ Yuchi~ Miami~ Ouspaw, Wyan-dotte~ reels from this expedition are housed at the Archives of Delawares~ and ."13 Traditional Music. Musical instruments that Boulton collected On November 5~ 1936~ V McMullen of the United included bull-roarers, several types of rattles, ''basket'' States Department of the Interior Office of Indian Affairs drums, "water" drums, and several .types of flutes (Boulton Field Service in Oklahoma City wrote to Boulton: 1940). Boulton was unable to travel to Oklahoma to record as many Indian groups as she had hoped. The traveling was For years, I have been endeavoring, with very little difficult and she was going through a difficult divorce battle success, to get phonographic recordings of Indian with her first and only husband Rudyerd. In Boulton's songs. I am of Indian blood (potawatomi), and autobiography, The Music Hunter, she wrote: want these for my own use, at home: also for the entertainment of other Indians who visit us. Traveling by train, car, and occasional by donkey Until the first of October, I was employed in the was extremely arduous. My usual heavy load of United Pueblos Agency, at Albuquerque, New recording equipment and supplies was enlarged to Mexico. One evening, Christina and Joe include a folding bed board because of a back Cassaquito and their families were visiting us (they injury suffered shortly before this trip ... are Indians of the Pueblo ofJemez), and I played Probably the hardest and certainly the loneliest for them a few of the Indian records which I have. thing I ever did was in my life was the under­ They told me that when they were at the Chicago taking of this expedition, the first I had World's Fair they sang some songs for a woman organized completely on my own. It was not a who was recording them for the Chicago point in my life when I wanted to be alone, for University. From Dr. Herzog, now at Columbia simultaneously with my injury, my whole University, I learn that you are the one who made personal life had been disrupted. I know now these recordings. Would it be possible to purchase that there is no tonic quite like concentrated work, duplicates of some of the recordings which you and the acceptance of new responsibilities is have? It seems strange, in this day and age, that, the best cure for combating loneliness and for with the countless number of phonograph helping one to reassemble physical and mental records which are made for sale, on this American resources. (Boulton 1969: 431) Continent it is not possible for Indians to procure phonograph records of real Indian songs. A letter from Boulton to her ex-husband from Phoenix, Arizona, dated October 11~ 1940, reveals her urgent need Boul ton was determined to change the trend in the lack for his alimony checks to make ends meet, and her of high quality and duplicable recordings available of correspondence during this period with him and various American Indian music. In 1937 and 1938 Boulton was part lawyers shows that he was often behind in his payments. of the Mandel West Indies Expedition~ traveling the Caribbean by yacht and recording music in Haiti~ the The Indian Service in Wash is sponsoring this Dominican Republic~ Jamaica~ the Bahamas, Cuba, and other recording project, giving me transportation by areas. In 1939 Boulton made a fieldwork trip to Southwest 3 auto (govt cars) from reservation to reservation, with the idea of buying a set of the between the researcher and the informant. records. In the meantime I have to finance (Boulton 1969: 428-29) myself and I need the usual check very much. I will be grateful if you rush by airmail Part III: The Canadian Arctic and the immediately the check to me c/o St. Francis Northwest Coast Hotel San Fran, Cal. by Oct 20. I will not be Laura Boulton had a peculiar talent for developing staying there but will pick it up from the Indian popular interest in the recording of traditional music, a fact School where I'll be working I hope that you have worked out satisfactorily the arrangements that perhaps allowed her unusual freedom in fteldwork and [for the divorce] so that we can wind up affairs acquisition of high quality recording equipment. On April 11, when I return thru Chicago about Nov. 1, as you 1941, -Bob Carr of Disney wrote Boulton a letter discussing requested. I am constantly reminded of Africa the possibility of her doing research in . "I had a long out here especially in this tropical desert region. talk about you with , Film Commissioner of Canada, and Stuart Legg, his New York representative. They Boulton also had problems with RCA, which was planning became very interested in your work. Mr. Legg would also a commercial release of the Southwest Indian music she like to discuss with you the possibility of your making a collected. In a letter from R.P. Wetherald from RCA music-recording expedition into Canada this summer."17 Recording and Record Sales on December 23, 1940, he In July 1941, after completing a fellowship from Tulane wrote: University to study African American and French songs in New Orleans, Laura Boulton was hired by the Canadian Film You are causing me sleepless nights and an Board and traveled throughout the country recording music increasing number of grey hairs. Where is the and fIlms until 1944. From July through October 1941, label and booklet copy on the Indian set??? I Boulton worked in , , Nova Scotia, and Prince hope you have a rotten Christmas unless I you Edward Island recording music from the many different get this copy in on time. ethnic groups settled in these areas. In 1942 Boulton recorded and fIlmed the Candian in the Eastern Arctic and Despite her personal and ftnancial difftculties, in her Hudson Bay Areas, the , and Northwest autobiography, Boulton described the importance of this Coast Native American groups in and the fteld recording trip as a memorable part of her career. Queen Charlotte Islands. After recording French Canadian music in July, 1941, Boulton planned to turn her attention to While the three men from the Indian Service in music in the Hudson Bay Area. Washington with whom I traveled went on their This trip was postponed for reasons not evident in round of duties through the reservations, I Boulton's correspondence or autobiography and she traveled settled down with specific tribes. It was at the to the Gaspe Peninsula with the Canadian anthropologist Hopi reservation that the local government agent Marius Barbeau.16 told me: ''You won't get any songs here." So­ and-so-he mentioned a musicologist by name­ In a memorandum to Boulton dated August 19, 1941 had jus t left and in three mon ths he did not get a from Graham McInnes of the Department of Trade and single song. The Hopis have religiously guarded Commerce, some of the details of the fteldwork trip were their ancient traditions and way oflife and have outlined. always been very reluctant to part with their The unit, with Mrs. Boulton in charge, Dr. Barbeau songs ... Before I had been with them twenty­ as research assistant, and Fraser as cameraman, will four hours, I was recording. By the time I left I proceed according to arrange-ments already made .. had recorded songs from their most sacred .. Transportation will be the National Film Board rituals, the Snake Dance and the Flute Dance. I sound truck. This will transport all recording, got these rare and precious songs because I lighting, and camera equipment. In addition, Dr. promised the medicine man to tell nobody, Barbeau is being paid for the use of his car, and during his lifetime, that he had sung these for has agreed that, on all occasions, the needs of the me. He made it quite clear that he would be film should be para-mount, and Mrs. Boulton has killed if it became known that he had performed complete them for anyone outside the tribe. As has authority to use it as and when she sees fit. happened so often in my life, the singer obviously sensed my deep seriousness in my Not everyone was happy with the arrangement. Canadian work. He understood that my interest was not folklorist Helen Creighton was also hired as Boulton's born out of curiosity but came from the heart. I research assistant and wrote a long letter to McInnes on learned very early from this man and great souls October 11, 1941, from Nova Scotia about her concerns like him the value of a trus ring friendship 4 regarding Boulton's music collecting approach. yesterday went part way on their boat to village of I t is a very simple matter to collect folk songs Metlakatla, - the rest of the way on Indian's boat. as Mrs. Boulton gets them. Anyone could do Found an Indian, Edward Leighton, who can act as it without previous training. Dr. Barbeau and interpreter, - is very intelligent but lives in Metlakatla I have worked agains t tremendous village. Except for some totem poles in the park, difficulties. You don't simply go into a place, which I have already covered, there is virtually no find singers and get to work. You comb a shooting possible in Prince Rupert. Scenic stuff from district thoroughly, and you often have to go here is out because of military defense restrictions. back over and over again. Some singers can That means all shooting must be done in the villages. only give you two or three songs at a time, particularly if they are aged and their In a letter from Marius Barbeau on April 22, Barbeau suggested memories are poor. In order to get one good that Boulton contact William Beynon (half ) as a guide songitis usually necessary to take down thirty and interpreter in that region, with the warning to "keep him poor ones. My collection is comparatively away from spirits." Barbeau advised Boulton to go to Hazelton small but it is very good, and I selected only and record a singer named Andrew Watson and to Carrier the best for recordings. There is no point in village, where she should be able to find Athabascan singers and recording a quantity unless the quality makes it worth while. a skin drum. William Beynon wrote to Barbeau on May 2 stating Now while Mrs. Boulton was out with me, I that he would be very busy working for the Canadian Fishing found that she was making plans to come Company. back here at some future date and work further in this district. You can't copyright a We had somewhat of a problem to face when the folk song, nor can you claim monopoly on a Japanese were taken from the fishing industry and it district. But there are some things one just was up to a few of us to then organize the natives to doesn't do. Yet I was wearing myself out replace them not only in the fishing but in the various driving Mrs. Boulton around and all the time works that the Japanese were engaged in. From now she was making plans to come back not in till the end of the salmon fishing will be a very poor collaboration with me, but on her own. To time to do effective work. my way of thinking that's not cricket. Dr. Barbeau and I are to enjoy the honor of Barbeau passed this information on to Boulton in a letter on being Research Assistants. I won't ask you to May 15, and suggested some other interpreters, but cautioned "I change that, but why should we be assistant fear you may not be there at quite the right season for the best to anybody? We are the ones who have done success."17 the research. She has simply come along with a most beautiful machine on which I confess Boulton's problems increased when she arrived in British I cast most envious glances, and with the Columbia. at a time when the Japanese were bombing and minimum of trouble has skimmed off the occupying the Aleutian Islands in nearby Alaska. In Boulton's cream. autobiography she wrote about her trip to filin and record the Haida on the Queen Charlotte Islands. Boulton was unable to tum her attention to Canadian Native peoples until the spring of 1942, when My work with them nearly came to an abrupt end she traveled to British Columbia to do field research when the Japanese war planes swooped down on the among the Northwest Coast tribes. Barbeau was unable Aleutian Islands. Everyone thought they would keep to make the trip but used his contacts to set up on to invade not only the naval installations on the Queen Charlotte Islands but also the West Coast of informants in advance for Boulton. In a letter dated Canada. The admiral in charge was reluctant to let us April 16, 1942, LeRoy Robbins wrote her a letter from remain in the islands, but I persuaded him to allow us the Hotel Prince Rupert, B.C. It is during this trip that the to finish our project there. (1969:393) war begins to have a direct impact on Boulton's recording efforts, and it was difficult to find lodging After recording Haida songs, Boulton traveled back to mainland because of the large numbers of military personnel in the British Columbia and recorded Tsimshian songs on the coast and area. Robbins wrote: Gitksan, and Carrier Athabascan music in interior villages along the . The Canadian films released from this trip They took the reservations but would not include ''People of the Potlatch" and "Totems: Indians of British promise rooms. People have actually been Columbia." In 1946 Boulton released an album on RCA/Victor sleeping in the [train] station. The Indian titled ''Indian Music of the Northwest." By the end of June agent, however, is most cooperative and 1942, Boulton was aboard the steamer S.S. Nascopie on its

5 annual trip to Hudson Bay Company trading posts in the In 1943 the Canadian film board released Boulton's films Eastern Arctic, where Boulton planned to record and film "Eskimo Summer" and "Eskimo Arts and Crafts." In 1946 music and culture. In her autobiography Boulton Boulton released an album on RCA/Victor titled "Eskimo wrote: Songs of the Eastern Arctic." Her recordings of Inuit music remain as examples of early high quality sound recordings, but The trip took 135 days largely because of war Boulton's Northwest Coast recordings, though undoubtedly conditions. The N ascopie left Montreal at night, top notch in sound quality for the time were never rereleased in a convoy of six ships sailing in complete by Folkways. Boulton was proud of her accomplishments of blackout throughout the three weeks journey to recording Inuit music, as her autobiography and later lectures Southampton Island, entering Hudson Bay the referred to their melodies as some of the most "exotic" in the day the ice broke in July. (1969:335) world. In Boulton's field notes from July 1941, she wrote: Part IV: Oregon, Washington, and Pt. Barrow, Alaska For three days a patrol plane circled the convoy. Laura Boulton's next and fmal field recording trips among The pas sengers were given life-boat drill and were divided into first-aid, fire fighting, and Native North Americans occurred in Seattle, Washington, in gun crews. The two anti-aircraft guns were never April, 1946, Pendleton, Oregon, in September 1946, and fired, but on July 16th British Navy gunners during a week in October 1946 at Point Barrow, Alaska. In had target practice with an iceberg. Seattle Boulton recorded songs sung by various Puget Sound groups including the Walla Walla, Skokomish, Klallam, and The Nascopie dropped off supplies in Labrador, New­ Yakima. At the Pendleton Round-Up she recorded more foundland, and Baffm Island, before reaching music from the Walla Walla and Yakima, and music performed Southampton Island where Boulton did most of her by Nez Perce and Cayeuse. These recordings were never filming and recording. From Southhampton Island, released commercially, and I found little background Boulton traveled on an Eskimo boat to Coats Island for a information on the circumstances surrounding these brief walrus hunt. In her autObiography she described the recording trips, which took place while Boulton was the conditions. Walk~r-Ames lecturer at the University of Washington. In October, Laura Boulton traveled to Pt. Barrow, Alaska, This was no pleasure cruise. Although it was with her assistant John Klebe, working for the U.S. arctic summer, I was never warm in spite of my Department of the Interior. John Klebe took detailed notes fur parka and three layers of wool. There were about their flights to Barrow. "Eleven people, two dogs, and no kitchen or bathroom facilities on board freight from camera equipment to butter and eggs on board." unless you counted the one-burner primus stove or a rus ty old bucket, hardly luxury They stopped in Anchorage, where they met the famous bush conveniences. No doubt I was the first white pilot Noel Wein who flew them to Fairbanks, where Boulton woman who had sailed with these Eskimos lectured at the University of Alaska, then to Tanana, Bettles, and such things as my comfort or modesty . and Wiseman to drop off supplies, as well as an unexpected never entered their minds. (1969:365-67) landing to pick up a stranded school teacher on the Koyukuk River. In Barrow, Boulton collected music at an Inviting-in or During this trip Boulton made the film that was later Messenger Feast and an Inuit frame drum, which was different released as ''Arctic Hunters." The Inuit boat then took in size and construction than the one she collected in the Boulton to the settlement of Churchill. Boulton wrote that Eastern Arctic. Boulton noted that she had to have special permission from the naval authorities to record in Barrow on arrival I walked in on the American officer in because of the U.S. Navy's petroleum project, which had "very charge of the U.S. Army camp there. He looked strict rules as to what we could photograph or discuss." up from his desk and stared in amazement at Regarding Barrow Inuit music, Boulton wrote "their songs are me in my Eskimo parka. Knowing full well that no ship or plane had arrived, he exclaimed: among the oldest music known to man" (1969:382-86). In 'How on Earth did you get here? (1 ~69:371) 1954 Folkways released a combination of recordings Boulton made in Barrow with earlier recordings from the Hudson Bay Boulton also recalled a story in her autobiography about area on a disc titled "The Eskimos of Hudson Bay and trying to explain to an Inuit man why all the white people Alaska," which to this day may be some of the best sound were gathered around a radio listening to news from the quality traditional and historical Inuit music recordings battle of Stalingrad. The bewildered man then asked a commercially available. While Boulton did not do long term question that Boulton called "so simple and so complex fieldwork among Native Americans, she was able to preserve that everyone in the room knew there could be no valuable early recordings. adequate answer: What do ,men fight about?" 6 Conclusion their areas of expertise in fears that Boulton's recordings Boulton's last recording trip among Native North would overshadow their hard work and accomplishments in Americans took place in Pt. Barrow in 1946, but she used places where they did extensive and long term fieldwork, the examples she collected among Native Americans in her only to have Boulton race through and record music with lectures throughout the rest of her career. Many recordings the latest and best available recording equipment, as was the of these lectures are housed in the Archives of Traditional case with Creighton and Herzog. Other scholars, such as Music. In some of these cases individual musicians attended Harrington and Barbeau seemed to respect Boulton and and performed. Boulton did make later recordings of delighted in her adventurous spirit. Boulton contributed Native American music, but only during het; lecture/ substantially to the field of , but in a non­ demonstrations, rather than during field recording trips to traditional academic fashion, which, even today, has tainted specific areas. her credibility as a scholar. Nevertheless, her recordings of Many scholars of the time, such as Helen Creighton, Native American music are indeed preserved for future disagreed with Boulton's approach to music collecting. . generations. Ethnomusicological and ethnographic archives Boulton often recorded as many different types of music as like the Archives of Traditional Music serve as valuable possible while traveling quickly to different areas and resources for understanding the history of the field. Laura recording many . This field collecting approach also Boulton's contributions to the field of ethnomusicology, goes against the grain of much contemporary ethno­ while unconventional compared with contemporary musicological research in which scholars are encouraged or ethnomusicological practice, serve as a tremendous asset to even required to spend a long period of time in one location the field as they are available for scholars interested in many among a particular group of people learning the language areas of the world to explore in sound a musical window and participating in daily life. Boulton's field collecting into the history of the cultures they study today. efforts serve a different intellectual purpose, and as such Notes should be taken seriously for their contributions to the field. 11 Boulton did fieldwork in West Africa in 1934, research in France and If Boulton had chosen to fmish her Ph.D. by studying England in 1935, and made a field recording trip to India in 1936. 12 Letter from Boulton to David Stevens, April 7, 1936. Laura Boulton Papers, intensively one group of people, we would not have such a Indiana University Archives of Traditional Music. variety and quantity of valuable and historic recordings 13 Ibid. available today. 14 In 1941 Boulton released " Indian Music of the Southwest," published by the Victor Company and Folkways FW 8850, and the film "The First Boulton was a pioneering public ethomusicologist in that Americans" (availability unknown). In 1942 Boulton released " Indian Music of she was one of the first scholars of music culture to attempt Mexico," published by Victor and now available on Folkways (FW 8851). to reach a wide audience with her recordings and lectures. 15 Letter from Bob Carr to Boulton, April 11, 1941 16 Marius Barbeau collected music, tales, and folk arts for the National Her correspondence includes letters to and from Disney, Museum of Canada from 1911-48. National Geographic, Orson Welles, and Ripley's "Believe it 17 Letter from Barbeau to Boulton May 15, 1941 or Not." Boulton was undeterred by the notion that the Bibliography study of so-called primitive music was an arcane pursuit, Boulton, Laura. The Music Hunter: The Autobiography of a Career. and she felt that the general public could stand to gain Garden City, NY: Doubleday, 1969. something from an introduction to the music of all the __. Letter to Waldo G. Leland, Nov. 28, 1932. world's peoples. __. Letter to George Herzog, March 9,1933. Boulton was not afraid to make broad generalizations __. Letter to Herzog, Oct. 4, 1933. about music cultures; of the Tsimshian of the Northwest __. Letter to Fay-Cooper Cole, Dec. 2, 1933. Coast she wrote: __. Letter to Herzog, Oct. 25, 1935. __. Letter to David Stevens, April 7, 1936. the scales are more exotic, the melodic range is __. Letter to , Oct. 11, 1940. more extensive, and the themes richer [than other Barbeau, Marius. Letter to Boulton, April 22, 1942. Indian tribes] and their similarity to Asian music __. Letter to Boulton, May 15, 1942. is not surprising since the Native tribes crossed Beynon, William. Letter to Barbeau, May 2, 1942. the Bering Strait, chased by Mongolian Hordes, Burdette, Alan. ''Ethnomusicology for the Masses: The Laura less than a thousand years ago. (1969:402) Boulton Collection at Indiana University." Laura Boulton Junior Fellowship project, 1993. While statements like these may sound unscientific today, they Carr, Bob. Letter to Boulton, April 11, 1941. were not uncommon among scholars of the day, and thus Creighton, Helen. Letter to Graham McInnes. Aug. 19,1941. Densmore, Frances. Letter to Boulton, Sept. 6, 1933. we must look at Boulton within a historical context and Fenn,John. "Philosophy, Practice, Product, and the Public examine the dialogues she had with other scholars such as (in Ethnomusicology of Laura Boulton." Laura Boulton Junior the case of this paper) Herzog, Densmore, Harrington, Fellowship project, 2000. Barbeau, and Creighton. We can see that some of these Fris bie, Charlotte J. "Women and the for Ethnomusicology: scholars regarded Boulton as a threat and jealously guarded 7 Roles and Contributions from Fonnation through Incorporation (1952-1961)." In Nettl, Bnmo and Philip V Bohlman, eds. Comparative Musicology and the of Music: Essays on the History of Ethnomusicology. Chicago, Press, 1991. Harrington, John P. Letter to Boulton, April 11, 1935. Herzog, George. Letter to Boulton, Feb. 23, 1933. __. Letter to Boulton, Sept. 11,1933. __. Letter to Boulton, Sept. 21, 1933. __. Letter to Boulton, Dec. 21, 1933. Lee, Dorothy Sara. Native North American Music and Oral Data: A Catalogue of Sound Recordings, 1893-1976. Bloomington, IN: Indiana University Press, 1979. Leland, Waldo G. Letter to Fay-Cooper Cole, Nov. 17, 1932. __. Letter to Boulton, Feb. 1, 1933. McInnes, Graham. Letter to Boulton, Aug. 19, 1941. McMullen V Letter to Boulton, Nov. 5, 1936. Myers, Helen. Ethnomusicology: Historical and Regional Studies. London: Macmillan, 1993. Robbins, LeRoy. Letter to Boulton, April 16, 1942. Wetherald, R.P. Letter to Boulton, Dec. 23, 1940.

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