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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproduction Further reproduction prohibited without prohibited permission. without permission. Order Number 1332435

Justin Holland: The guitar’s black pioneer

Banks, William Ashton, M.A.

The American University, 1987

Copyright ©1987 by Banlcs, William Ashton. All rights reserved.

U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106

F------Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproduction Further reproduction prohibited without prohibited permission. without permission. JUSTIN HOLLAND: THE GUITAR'S BLACK PIONEER by William A. Banks

submitted to the

Faculty of the College of Arts and Sciences

of The American University

in Partial Fulfillment of

The Requirements for the Degree

of

Master of Arts

in

Music

Signatures of Committee:

Chairman:

/ £

Dean of (the College

December 4, 1987 Date

1987 The American University Washington, D.C. 20016 (fill

THE AMERICAN UNIVERSITY LIBRARY

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © COPYRIGHT

BY

WILLIAM A. BAMS

1987

ALL RIGHTS RESERVED

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. JUSTIN HOLLAND: THE GUITAR'S BLACK PIONEER

BY

WILLIAM A. BANKS

ABSTRACT

This study examines the life of Justin Holland (1819~1887), the

first American black man to devote his life to the development of the

classical guitar. Raised in rural Virginia, he later became a nationally

known educator of the guitar. Though he wrote two guitar tutors and

a few compositions, the bulk of his works are guitar arrangements.

Holland's works are cataloged in an appendix consisting of over three

hundred pieces. Modern library holdings are cited at the end of each

entry. Aside from music, Holland's early work in civil rights brought

him worldwide acclaim. His knowledge of three languages brought him

into contact with abolitionist sympathizers in South America and Europe.

ii

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS

ABSTRACT ...... ii

CHAPTER I. INTRODUCTION ...... 1

CHAPTER II. THE EARLY L I F E ...... 5

CHAPTER III. THE YOUNG STUDENT ...... 13

CHAPTER IV. THE OHIO EXPERIENCE ...... 21

APPENDIX ...... 39

SELECTED BIBLIOGRAPHY ...... 83

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I

INTRODUCTION

Justin Holland was born into a free black family early in the

nineteenth century. Raised in a rural farming district of Virginia, he

became a nationally recognized guitarist, teacher, and conq^oser. James

M. Trotter stated in 1881 that Holland's name was a "house-held word.

Today, Holland and his works lie in near obscurity. The small number

of guitarists who are acquainted with Holland have praised his musical

abilities. Peter Danner writes."

Among the most interesting [forgotten guitarists], must figure Justin Holland, perhaps the first black man to dedicate his career to the classical guitar. Holland was among the most influential American guitarists of his generation, and author of an exceptional guitar method.2

Danner is not alone in his praise of Holland. Vahdah Olcott

3ickford, a well-known guitarist, states:

Another guitarist to whom my generation owes much gratitude and esteem is Justin Holland .... He treated the guitar as a real and serious instrument, gave fine musical instruction and acquainted his pupils with music per se. Of course he was thoroughly familiar with the works of the masters, Sor, Carcassi, Guiliani and all the outstanding guitarists of the period. He was a most profuse writer and must be remembered particularly for his excellent method. . . .3

Ijames M. Trotter, Music and Some Highly Musical People (Boston: Lee and Shepard Publishers, 1881; reprint ed., New York: Johnson Reprint Corporation, 1968), p. 121.

^Peter Danner, "American Guitar Music: Some Notes on a Forgotten Repertoire," Creative Guitar International ^ (Fall 1976):h.

^Vahdah Olcott Bickford, "The Guitar in America," The Guitar Review 23 (June 1959)JlT.

1

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Moreover, Aaron Shearer, the nationally known guitar educator,

adds his own accolades:

A method for the guitar by Justin Holland . . . is far superior to any other early American publication. . . . Mr. Holland must have been a singularly serious guitarist and teacher for his time. . . . It is obvious that here was a man who did some original thinking about teaching the guitar. . . .^

It is evident from the passages above that Holland was more than

just a guitar teacher. He was a significant figure in the development

of the guitar literature in America. Based on his few original composi­

tions and his numerous arrangements, it is evident that he made use of

the techniques of the great masters of the guitar. Holland also studied

French, Italian, and Spanish in order to master the European guitar

tutors first-hand.

This study is divided into two principal parts: a biography and

an annotated catalog of Holland's works. The biographical section is

divided into three parts: part one centers on Holland's early years in

Virginia; part two deals with Holland's five-year stay in the Boston

area; and part three follows Holland's musical career in Cleveland, Ohio

to his subsequent death in New Orleans, Louisiana. The annotated catalog

is divided into two parts. Part one lists Justin Holland's works while

part two lists the works of his son, Justin Minor Holland.

There were two principal considerations taken in the preparation

of this thesis. The first centered upon the proper identity of Holland

the author. Writers often confused Justin Holland with his son, Justin

Minor Holland, who also played guitar and compiled arrangements for it.

^Aaron Shearer, "A Review of Early Methods," The Guitar Review 23 (June 1959):2^-25.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. For example, the Biography and Genealogy Master Index 1981-8? Cumulation

conflated every Holland entry in name, date, or periodical.5

The second consideration centered upon locating and cataloging

Holland’s music. Currently, there is no one comprehensive bibliographic

record for identifying American music of the nineteenth century. Because

of the lack of research materials, it was often difficult to determine

the location and authorship of Holland's works. In this regard Richard

J. Wolf, eminent scholar in the field of American music, states:

Although American music has been receiving increasing attention in recent years, the study of it is frequently hampered by lack of an adequate record of the body of music printed during the three cen­ turies that music publishing has been carried on here. This want of documentation is particularly notable for the nineteenth century, a period not far enough removed in time to have attracted biblio­ graphical attention based on antiquarian interest nor recent enough to have benefited from concurrent catalogues and modern methods of bibliographic control.®

With certain alterations, Wolfe's method of cataloging will be used in

this work.

Holland's works are scattered among a number of libraries

through out the United States and England. The bulk of his works are

held in the Library of Congress. Other libraries holding his works

include: Atlanta University Center, Boston Public Library, British

Library, Guitar Foundation of America, Howard University, Johns Hopkins

University, Martin Luther King Library, Tulane University, and University

of Louisville.

5Barbara McNeil, ed., "Justin Holland and Justin M. Holland" in Biography and Genealogy Master Index 1981-85 Cumulation, 5 vols. (Detroit Gale Research Company, 1985), vol. 3, p. 1728.

^Richard J. Wolfe, Secular Music in America 1801-1825, 3 vols. (New York: The New York Public Library, 1 9 6 M , vol. 1, p. xix.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Because of the problems in identifying and locating sheet music

of this period, it is likely that additional works by Holland not cited

in this study will be discovered in the future.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I I

THE EARLY LIFE

Justin Holland was "born on July 29, 1819 in Norfolk County,

Virginia.1 Though some sources name "Norwalk" or "Nowalk" as Holland's

birthplace, Norfolk is the true site.^

3-While there is no source which names Holland's exact birth date, there is a copy of his death certificate on file in New Orleans which supplies the information for the date above;see Lousianna, "New Orleans Health Department Death Certificates Kept by the Recorder of Births, Marriages, and Deaths," Vol. 90, Fol. 1037 (Microfilm), City of New Orleans Public Library. The document states Holland's age at death as sixty-seven years, seven months, and twenty-six days. Using a perpetual calendar for the years 1886-87, one arrives at the July 29 date by counting backward the seven months and twenty-six days from his death on March 2k, 1887.

^There is no evidence that a "Norwalk" or a "Nowalk," Virginia ever existed. Anne T. Richardson, librarian with the Norfolk Public Library System, states that neither place name directories nor old maps could yield the towns mentioned above; see correspondence with Anne T. Richardson, Norfolk Public Library System, Norfolk, Virginia, l6 March 1987. These spurious citations can be traced back to two sources. The first source comes from a biography of guitarists compiled by Philip Bone in 191^. He cited Holland's birthplace as Norwalk, Virginia; see Philip Bone, "Justin Holland," in The Guitar and Mandolin: Biographies of Celebrated Players and Composers (London: Schott & Co., 191*0, p . 1^9 • Later, Domingo Prat incorrectly cited "Norfolk" as "Nowalk;" see Domingo Prat, "Justin Holland," in Diccionario de Guitaristas (Buenos Aires: Casa Romero y Fernandez, [1935J), p. 162. While some later writers have quoted both of these erroneous citations, the words "Norwalk" or "Nowalk" never appear before Bone's first edition of 191^ or Prat's edition of 1935. As late as 1903, Norfolk is cited as the birthplace of Holland; see Agnes Carroll, "Justin Holland," The Negro Music Journal 2 (September 1903):13. The most telling argument for accepting Norfolk as the birth­ place of Holland cernes from his obituary printed in the New Orleans Daily Picayune. The obituary concludes: "Cleveland, 0., and Norfolk, Va. papers please copy;" see the New Orleans Daily Picayune, 25 March 1887. These cities had the most import upon the life of Holland. He lived in Cleveland, and he was born in Norfolk.

5

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Justin Holland had the good fortune to be born into the free

black family of Exum Holland.3 Just how the senior Holland received his

freedom is not known, but it is known that the Tidewater area, which

included Norfolk County, had one of the highest populations of free

blacks in Virginia. According to the 1790 census, sixty-five percent of

the black population was free.^ This large percentage of free blacks was

due primarily to the influence of the Quaker, Methodist, and Baptist

emancipators. Upholding this statement, Tracjl* writes:

. . . during the eighteenth century, Quaker influence gained a respectable foothold in that portion of Virginia which lay south of the James River, and Virginia Quakers had taken a stand against slavery as early as 1770. The emancipating Baptists had a similar influence, although probably neither as widespread, nor as long- lived. 5

The Methodists, in contrast to the Baptist's lack of fervor, worked as

hard as the Quakers to secure the negroes' freedom.^ With this in mind,

it is not surprising to note that the period between 1782 and 1806 saw

the greatest popularity of manumissions for the slaves.f The growth of

manumissions was stayed by the act of May 1, 1806. This law ordered

^Roscoe E. Lewis, dir., The Negro in Virginia (New York: Hastings House, 19^0; reprint ed., New York: Arno Press, 1969), p. 279; James M. Trotter, Music and Some Highly Musical People (Boston: Lee and Separd Publishers, 1881; reprint ed., New York: Johnson Reprint Corpora­ tion, 1968), p. 116.

^John H. Russell, The Free Negro in Virginia, Johns Hopkins University Studies in Historical and Political Science, Series 30, Number 8 (Baltimore: Johns Hopkins Press, 1913; reprint ed., New York: Negro Universities Press, 1969), p. 13.

5Henry Irving Tragle, The Southampton Slave Revolt of 1831: A Compilation of Source Materials (Amherst: The University of Massachu­ setts Press, 1971), p. 15.

^John H. Russell, The Free Negro in Virginia, p. 58.

7Ibid., p. 63 . At this time a slave could be freed in three ways: by act of legislature, by last will and testament, and by deed. Ibid., p. b2.

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every freed slave to leave the state within a year or risk being enslaved

again.8 Since Exum Holland is listed in the 1830 census as a free black

of Norfolk, it is likely that he gained his freedom before 1806.9 There

is evidence, on the other hand, that he may have been born free; his

freedom may have been handed down from a prior generation.^ Contrary

to popular belief, not all blacks who were brought to the United States

were held in perpetual servitude. Some worked for a fixed period of time

and then were released.^ Whatever the means, the Hollands enjoyed what

few blacks had in these times— their freedom.

8lbid., p. 70.

9carter G. Woodson, Free Negro Heads of Families in the United States in 1830 (Washington, DC: The Association for the Study of Negro Life and History, Inc., 1925), p. 18H.

l^In Norfolk Country, all free Negroes and Mulattoes were required bo be registered. This registration occurred during the years: l637-^6, 1686-95, and 1700-1860; see John H. Russell, The Free Negro in Virginia, p. 178. In the Register dated Dec. 25, 1809 to May 19, 1852 an Exum of Holland" is listed as a free born Negro; see Virginia, Register of Free Negros [sic] & Mulattos [sic], Dec. 25, l809~May 19, 1852, Norfolk Co u n t y , (1852). The Exum in the Register is noted in 1823 and again in 1827 as coming from Nansemond County. This fact alone should disassoci­ ate him from the Exum of Norfolk, for by 1801 even a free Negro could not move from one county to another. It should be noted though, that a later act allowed inter-county movement by court approval; see John H. Russell, The Free Negro in Virginia, p. 107. Another fact should be borne in mind. Nansemond County and Norfolk County were very closely linked. Formed side by side, Nansemond was first called Upper Norfolk County; see Raus McDill Hanson, Virginia Place Names (Verona, VA: McClure Press, 1969), p. 1^1. The mere fact that Nansemond County personages were listed in a Norfolk County Register should lead one to believe that there was some close relationship between these counties. Finally, the census of 1830 lists only one Exum Holland in Norfolk and no Exum Holland in Nansemond County; see Carter G. Woodson, Free Negro Heads of Families in the United States in 1830, pp. 183-8^. On the otherhand, one can find "Exum of Holland" in the registry in 1823 and 1827."Exum Holland" is not listed. Therefore, these two personages could be one. The Exum of the registry could have moved to Norfolk County by 1828 and then could have been counted in the 1830 census. The two counties did share the same registry, so a residence in one county or the othermight have been overlooked, confused or even conflated.

Hjohn H. Russell, The Free Negro in Virginia p. l6.

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The Holland family lived on their farm far from the amenities

of the city.-*-2 Simmons and Trotter, contemporary biographers of Justin

Holland, described the farm's solitude, but, unfortunately, did not give

its exact location. Simmons said that the farm was in a "dense forest,"

while Trotter stated that the farm was located "ten miles from any

town."13 Since the County of Norfolk encompassed some four hundred and

eighty square miles, there is little hope of identifying the farm's exact

location.1^

There are only two anecdotes concerning Justin Holland's early

life. Anne T. Richardson, librarian with the Norfolk Public Library

System, gives the reason for this lack of material: "few records were

kept in 1819 and even fewer records on blacks were maintained."15

According to one anecdote, Justin Holland showed a fondness for music.

When he was eight years old, he obtained a song book and improvised

melodies to the words which were written therein.

. . . he often perched himself upon a rail-fence, quite removed from the farm-house and all chance of interruption, where he sang and

l^According to the 1830 census, there were ten people living on the Holland farm. This census does not identify the people or their relationship. There could have been two parents and eight children, or the grandparents might have been present, too; see Carter G. Woodson, Negro Owners of Slaves in the United States in 1830 (n.p.: Association for the Study of Negro Life in America, 192h)t p p . 183-8^.

13wiiiiam J. Simmons, Men of Mark: Eminent, Progressive and Rising (Cleveland: George M. Revell & Co., 1887), p. 381*; James M. Trotter, Music and Some Highly Musical People, p . 116.

l^Richard Edwards, ed., Statistical Gazetteer of the State of Virginia and North Carolina (Richmond, VA: Published for the Proprieter, 1856), p. 325.

•^Correspondence with Anne T. Richardson, Norfolk Public Library System, Norfolk, Virginia, 29 January 1987.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. heartily enjoyed the songs, the music for which this would-he musician extemporized.

This story not only recounts Holland's early love of music, it also tells

of his ability to read. The song book contained words alone.^ A negro

lad of eight years that could read was a rarity in pre-emancipation

Virginia, but, it must be remembered that this was a free black family

and thus enjoyed special privileges. The education of free blacks was

usually secured through the church. Quakers, Methodists, and later,

Baptists again came to the fore as they had when emancipation was the

burning issue in the late eighteenth century.^-8 Apparently there was

little prejudice against the education of the free black from Colonial

times until the active propagation of anti-slavery doctrines.^9 Perhaps

slave owners did not want free blacks reading emancipation propaganda to

their slaves.

Additional evidence of Holland's early love for music is

recounted by Trotter. When Holland was approaching the age of fourteen,

he used to walk five miles each Sunday to his meetinghouse in order to

listen to and to join in the music of the worship service.^0

In 1833, at the age of fourteen, Justin Holland left Virginia and

moved to Boston, Massachusetts. This move is unusual when one considers

the possibility of the senior Holland's need for labor upon his farm.

-^Trotter, a contemporary of Holland, may have personally known the latter. James M. Trotter, Music and Some Highly Musical People, pp. 116-17.

^Ibid., p. 116.

3-8John H. Russell, The Free Negro in Virginia, p. 139, 1^1.

■L^lbid., p. 137.

20james M. Trotter, Music and Some Highly Musical People, p. Il6.

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Holland Is now approaching manhood, and the vigor of this young man would

certainly have been an asset to his father. There are some biographers

who give young Holland a Romantic artist's reason for leaving. One

states that Holland was "overjoyed at the chance of taking guitar

lessons."21 However, Justin Holland was not introduced to the guitar

until he had been in Boston for at least two y e a r s . 22 Another biographer

cites the lack of musical opportunities and the isolation of his father's

farm as the reason for his e x o d u s . 23 While the second biographer is

closer to the truth, both writers miss the mark. To find the reason for

Holland's departure, one must study the two major slave revolts of 1800

and 1831, and observe their effect upon the white and black populace,

especially in the realm of education.

The slave revolt of 1800, called the Gabriel Insurrection after

its leader, influenced whites to think of the dangers of a partial sub­

jection of a servile race. ^ While no free black was directly impli­

cated, the revolt had its beginning during social gatherings where free

blacks were permitted to associate with s l a v e s . 25 As a direct result of

the insurrection, the white population curtailed the education of the

free black.26 Since many free blacks could read, they represented a

21ldndsay Patterson, ed., The Negro in Music and Art (New York: Publishers, Inc., n.d.), p. 177.

22justin Holland was captivated by the guitar when he first heard it played in Boston's Lion Theatre; see James M. Trotter, Music and Some Highly Musical People, p. 117. Since the Lion Theatre did not open until January 11, 1836, Justin Holland could not have come to Boston in order to study the guitar; see Charles M. Cashin, Boston Theatres and Halls Past and Present (Boston: Winthrop B. Jones, 1907), p. PTJ7

23James M. Trotter, Music and Some Highly Musical People, p. Il6.

2^John H. Russell, The Free Negro in Virginia, pp. 6U-65.

25ibid., p. 65. 26IMd>j p . il*o.

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potential threat in that they could relay information contained in anti­

slavery literature to black slaves who could not read.

The suppression of the free black's education did not abate but

increased in severity as the years progressed. The act of April 7» 1831

stated that any meeting of free blacks at a schoolhouse or meetinghouse

for the purpose of education was considered an unlawful assembly.^7

The second revolt of 1831 was bloodier than the first. It was

called the Southampton Insurrection, and it was led by Nat Turner.

Fifty-five whites were killed irrespective of their treatment of blacks.

While those associated with the Gabriel Insurrection were content to

punish the evil whites, the participants of the Nat Turner revolt killed

even kindly slave owners.^8 The ferocity of this insurrection was due

to the misguided religious direction of Nat Turner.^9 Even though only

two free blacks were implicated in the plot, the white reaction to the

revolt was to deny to the free black population preachers and teachers

of their own race.30

The white population considered education of the black community

their prime enemy. They considered that an educated free negro would

lead his brethren in revolt against the system of slavery. That such

was not the case is shown by the paucity of the free negroes in the two

uprisings.

27lbid., pp. lU3-^.

28rbid., p. 65; Henry Irving Tragle, The Southampton Slave Revolt of 1831: A Compilation of Source Materials, p. 310.

29nenry Irving Tragle, The Southampton Slave Revolt of 1831: A Compilation of Source Materials, p. xv.

30john H. Russell, The Free Negro in Virginia, pp. l67~8; lMt.

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As a result of these laws banning education to the blacks, many-

free blacks sent their children to the Northern states to be educated.31

It is the author's contention that young Holland was sent to Boston for

this very reason. In 1838 a law was enacted which forbade any negro who

left Virginia in order to receive an education reentry into the state.32

As Holland left in 1833, he did not come under the authority of this law.

In conclusion, a study on the negro in Virginia, sponsored by the Hampton

Institute, upholds this author's contention that Holland left Virginia

because he could not receive a proper education. The study says that

Holland went North for "more education that his hitherto limited oppor­

tunities had allowed him to obtain."33

What-are first perceived as a series of cruel and retaliatory

acts against the black population can be judgedas a boon tothe young

life of Justin Holland. The musical world would eventually benefit from

this displacement.

33-Ibid., p. l M . 32ibid.

33Rcscoe E. Lewis, dir., The Negro in Virginia, p. 279.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I I I

THE YOUNG STUDENT

Justin Holland arrived alone in Boston in the latter part of

1833.1 As discussed in chapter one, Holland came north in order to

increase his chances for a proper education. Why Holland chose the

Boston area as a place of residence is the next question to he answered.

The answer is related, again, to the "black and white controversy of the

South.

Along with the retaliatory moves against free blacks’ educational

possibilities mentioned in chapter one, free Negroes also had to contend

with forced deportation. There were white organizations such as the

Virginia Colonization Society which tried to send free blacks back to

Africa.^ These societies procured from the Virginia legislature an

annual appropriation of eighteen thousand dollars for five years to

accomplish their ends.3 In the author’s view, such conditions needed

^Every source but one states that Justin Holland went to Boston alone; a statement, by H. C. Boyer alledging that: "His [Holland's] family [underline mine] moved to Boston," is likely erroneous. It is quite certain from the weight of evidence that young Holland went to Boston alone; see Horace Clarence Boyer, "A Portfolio of Music: The New England Afro-American School," The Black Perspective in Music It (July 1976) :2lh. William J. Simmons states that Holland was fourteen when he went to Boston. William J. Simmons, Men of Mark, p. 385. Bone further states that he arrived in Boston in 1833; see Philip J. Bone, "Justin Holland" in The Guitar and Mandolin, p. 1^9* If Holland's birthday actually occurred on July 29, then his journey to Boston must have taken place between August and December of 1833.

^John H. Russell, The Free Negro in Virginia, pp. 73- 7*t.

3Ibid., p. Ik.

13

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to be changed. It was in Boston that the black and white population

took a stand against these injustices.

In 1831 the forces of emancipation in Boston rallied under the

leadership of William Lloyd Garrison, a white emancipator. On January

1, 1831 he published the first edition of the Liberator, a newspaper

advocating the immediate abolition of slavery.*4, This newspaper was

well known in the South. 5 In the same year, Garrison organized his New

England Anti-Slavery Society, and in 1832, it issued its "Declaration of

Anti-Slavery Sentiments," thus beginning the abolitionist movement.8

The document was issued from the African Meeting House.T This edifice,

built in 1806, became the social, political, and spiritual center of the

black community.8 The building and its philosophies, therein, not only

met the needs of the black community of Boston, but those of the nation,

too. The black citizens of Boston exerted an influence in national and

political events that far exceeded their numbers. From this center, the

black and the white emancipators confronted racism in an ever widening

circle from the city, to the state, to the n a t i o n . 9

^Martin Rywell, et al., "William Lloyd Garrison," in the Afro- American Encyclopedia, 10 vols. (North Miami, FL: Educational Book Pub- lishers, Inc., 197*0, vol. U, p. 1035-

^The Liberator was well known in Virginia as witnessed by an article written in the Richmond Enquirer, 7 April 1832. Its author was Benjamin W. Leigh who wrote it under the pseudoneum of "Appomattox:" . . . I do say if . . . such an insurrection shall break out, it will be owing, not to . . . another Nat Turner, nor to the seditious practices of negro preachers, nor to the machinations . . . of free blacks in Phila­ delphia, nor to the dissimination of the incendiary writings [underline mine] of the Liberator; see Truman Nelson, Documents of Upheaval: Selec­ tions From William Lloyd Garrison's The Liberator, 1831-1863 (New York: Hill and Wang, 1966), pp. 52-3.

^United States Department of the Interior, nd., "African Meeting House," printed matter, p. [2].

7Ibid. 8Ibid., p. [l]. 9ibid.

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For someone who had just left the racial turmoil of the South,

the city of Boston with its social, political, and religious center would

certainly he a welcome site in which to reside. It is likely, therefore,

that Holland came to Boston because of its renown as an abolitionist

center and its established black community.

Just how long Holland resided in Boston is not known. His stay,

though, was not prolonged for he became a resident of Chelsea, Massachu­

setts a short while after coming to Boston.^ Although all biographers

concur with this statement, it is unfortunate that neither the Boston nor

the Chelsea public records can substantiate these facts. Philip Bergen,

librarian with The Bostonian Society, states that Holland's name does

not occur in the Boston city directories.^ This absence, rather than

denying Holland's residence in Boston, may well corroborate Trotter's

statement concerning the brevity of his stay. Robert Collins, librarian

with the Chelsea Public Library, states that the Chelsea city directories

go back only to I8k6.^ At this time Holland had been absent from the

Boston area for five years. The problem created by Holland's absence

from the city directories is countered by the unanimity of biographers

who state that he did reside in the Boston area.

While certain aspects of Holland's beginning musical career were

addressed in chapter two. the author will now concentrate on the com­

mencement of his musical studies in Boston.

lOjames M. Trotter, Music and Some Highly Musical People, p. 117.

^-Correspondence with Philip Bergen, The Bostonian Society, Bos­ ton, Massachusetts, 2h February 1987.

^Correspondence with Robert Collins, Chelsea Public Library, Chelsea, Massachusetts, 20 January 1987.

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Justin Holland, as stated in chapter two, did not come to Boston

in 1833 in order to study music.■'■3 He did not take up the study of

the guitar until he had heard Signor Mariano Perez play at the Lion

Theatre.^ All of Holland's biographers agree with this statement.

Holland spent atleast two years in the Boston area before studying

music, for the Lion Theatre did not open until January 11, 1836.« x ulx

this in mind, the commencement of his guitar lessons cannot have occurred

before the January date. The terminus for his studies occurred in 18^1

when he left Boston to enroll at Oberlin College.-*-6 This chronology

leaves Holland little time (five years) to mature from a mere novice

into a knowledgeable guitarist. Nonetheless, this author believes that

Holland did, in fact, commence his study of the guitar in 1836.

l^An article in the Indianapolis Freeman, 18 May 1889, indirectly corroborates this fact. It states: The richness and beauty of harmony and melody, and the unsurpassed variety and expression that evolved from the beautiful instrument, by the master performer so charmed Holland that, he decided to give his chief study to the guitar, not that he then dreamed of ever becoming a teacher on the instrument, he wished to learn it simply for his amusement." One may note from the article that Holland had been smitten with what could be called "love at first sight." His actions are not those of a long-time devotee of the guitar, in fact, one may note a hint of capriciousness in his quick desire to study the instrument. In the opinion of the author, the article leads one to believe that the study of music was not the prime force that brought Holland to Boston.

l^James M. Trotter, Music and Some Highly Musical People, p. 117.

15charles M. Cushin, Boston Theatres and Halls Past and Present, p . [ ]. It was proven from the footnote above that Holland had to have left Virginia after July, 1833. If Holland had arrived in Boston in August then two years and four months would have elapsed before the open­ ing of the Lion Theatre. This author can shed no light on this period of his life.

-^Eileen Southern, "Justin Holland," in the Biographical Dic­ tionary of Afro-American and African Musicians (Westport, CT: Greenwood Press, 1982), p. 186.

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Holland could have had his encounter with the guitar on the very

opening of the Lion Theatre. The Boston Daily Evening Transcript of

9 January 1836 printed the preliminary credits for the opening night of

the Lion Theatre.17 Signor Perez was among those listed. The Boston

Morning Post of January 1836 also listed Signor Perez among the per­ formers. ^8 Since the opening of the theater would draw many townspeople,

it is quite likely that Holland may have heard the guitar within the

first few days of the theater's opening.

Holland had several teachers during his musical study in Boston

from 1836 to 18^1. They included Simon Knaebel, William Schubert, "a

Scot named Pollock,"and possibly Mariano P e r e z . 19

Mariano Perez is cited by all of Holland's biographers as the

one who influenced him to take up the study of the guitar. These same

biographers are in disagreement as to whether Holland actually studied

with him. Nothing is known of Perez except that he performed with a

travelling troupe that was visiting Boston.20 This fact would explain

his absence from the Boston city directories.21 Holland's earliest

biographers, stated in the 1880s that Simon Knaebel was Holland's first

teacher.22 The biographers who state that Perez was Holland's teacher

17 Boston Daily Evening Transcript, 9 January 1836.

iSBoston Morning Post, 1^ January 1836.

19james M. Trotter, Music and Some Highly Musical People, pp. 117-8.

20Lindsay Patterson, The Negro in Music and Art, p. 178.

^Correspondence with Philip Bergen, The Bostonian Society, Boston, Massachusetts, 2k February 1987.

22james M. Trotter, Music and Some Highly Musical People, p. 117; William J. Simmons, Men of Mark, p. 385. These sources go back to 1881 and 1887, respectively.

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are all twentieth-century scholars.23 Walter Whittlesey, head of the

Library of Congress Music Department from 1917 to 1921,^ made a

handwritten list of Holland's arrangements on file cards. He also added

some commentary of his own. He stated that Holland studied with Perez,

but that "he soon changed for another, Mr. Simon Knaebel. . . ."^5 it

is not known where he received his information. This author concludes

that the earliest sources which state that Knaebel was Holland's first

teacher should carry the most weight irrespective of Whittlesey's notes.

To this is added the fact that Perez was touring and had no prolonged

stay in Boston.

Holland's first teacher was Simon Knaebel. He was a member of

the Ned Kendall Brass Band,26 tut he was best known as an arranger of

music.27 A program of the Boston Brass Band dated March 11, 1837 shows

2^Eileen Southern, "Justin Holland" in Biographical Dictionary of Afro-American and African Music, p. 186; Domingo Prat, Justin Holland11 in Diccionario de Guitarristas, p. 162; Philip Bone, "Justin Holland" in Guitar and Mandolin, p. 1^9•

“^Nicolas Slonimsky, "Walter Whittlessy" in Baker's Biographical Dictionary of Musicians, 7th ed. (New York: Schirmer Books, 198*0, p. 21+91.

25whittlesey File, n.d.; Walter Whittlesey Papers, Library of Congress, Washington, DC.

26philip Bone, "Justin Holland" in Guitar and Mandolin, p. 1^9. Ned or Edward Kendall was a performer on the keyed bugle. He formed his Boston Brass Band in 1835; see R. E. Sheldon, "Edward Kendall," in The New Grove Dictionary of American Music, 1+ vols., H. Wiley Hitchcock and Stanley Sadie, e d s . (London: Macmillan Press, Ltd., 1986); vol. 2, p. 621. The Brass Band contained fifteen musicians; see Robert Kitchen, "Edward Kendall: America's First Circus Bandmaster," Bandwagon 21/1+ (1977):25. Though the Lion Theatre opening supplies the clue for the commencement of Holland's music studies, the date of the organization of the Brass Band corroborates further the proffered chronology of Holland. Since Holland's teachers are members of the band, the date of his study must be post-1835-

27james M. Trotter, Music and Some Highly Musical People, p. 117.

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three Knaebel arrangements for band.28 Knaebel also wrote arrangements

for parlor music as well. There are two piano arrangements in the

Library of Congress, but sadly, there are no guitar arrangements ex­

tant. 29 Referring to Knaebel's skill as an arranger for guitar, Carroll

states: "Knaebel was well known for his ability to arrange music for the

guitar."30 she further states: "This honor (the ability to arrange

music for the guitar) was afterwards much lavished upon Holland."31

Since Holland is best known for his guitar arrangements, Knaebel must

have had a great influence upon him.

William Schubert, also a member of the Kendall Brass Band, was a

brilliant player of the guitar.32 Holland was his favorite pupil at

the time because of his superior musical ability. He excelled in the

playing of duets with his teacher.33 Though there is scant material

about Schubert, it is likely that he was Holland's most competent teacher

of guitar.

Finally, the "Scot named Pollock" (as he is known in all cita­

tions referring to him) can now be correctly named and identified. He

is George Pollock, a flautist. Justin Holland studied both the guitar

28Harry Wayne Schwartz, Bands of America (New York: Doubleday, 1957; reprint ed., New York: Da Capo Press, 1975), p. ^0.

^9s. Kneabel's "Twelfth Waltz"; S. Knaebel's "Tremont Gallopade."

30Agnes Carroll, "Justin Holland," The Negro Music Journal 1^.

31lbid.

32james M. Trotter, Music and Some Highly Musical People, p. 118.

33indianapolis Freeman 18 May 1889. Unfortunately, little music by Schubert exists. The Library of Congress holds only two items: "A Selection of Progressive Pieces for the Guitar," and "Three Favorite Polkas Arranged for the Guitar."

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and the flute while in Boston.3^ George Pollock was a dry goods

merchant, tut he also played flute for the Philharmonic Society of Boston

from 1817 to 1822.35 Pollock eventually left the dry'goods Business

in order to devote all of his time to music. This career change

occurred in the 1830s according to Philip Bergen, librarian with The

Bostonian Society.36

The years spent in Boston were grueling for the young guitarist.

Since he was not a musician but a student at the time, his support came

from labor apart from music. His musical studies came at the end of a

hard day's work. Trotter states:

During all this time, it must be borne in mind that our zealous young student was unaided by anyone in defraying the great expense incurred in pursuing his studies. He had to depend on his own hard earnings. Besides, he had no time for practice save that taken from the hours usually devoted for sleep.3T

This devoted regime did not begin at once. The author believes that

Holland gradually found that music would become his life's work.

Holland's short biography in the Indianapolis Freeman supports this fact.

The article states: "not that he [Holland] then dreamed of ever becoming

a teacher on the instrument, he wished to learn it simply for his own

amusement."38

As Holland's interest in the guitar grew, he decided to further

his education. He set out for Ohio in 18^1 to enroll at Oberlin College.

3^James M. Trotter, Music and Some Highly Musical People, p. 118.

35h . Earle Johnson, Musical Interludes in Boston 1795-1830 (New York: Columbia Press, 19^3), pp. 126-27.

36correspondence with Philip Bergen, The Bostonian Society, Bos­ ton, Massachusetts, 2k February 1987.

37james M. Trotter, Music and Some Highly Musical People, p. 118.

38indianapolis Freeman, 18 May 1889.

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THE OHIO EXPERIENCE

Justin Holland arrived in Oberlin, Ohio in 181+1, and enrolled

at Oherlin College. Holland felt the need of higher education because

he was "not . . . satisfied with himself."-'- This author proposes that

Holland's excellent musical background gave him the impetus to set a

higher goal for himself. One can see this attitude in his early life,

too. It may be remembered that he went to Boston at fourteen in order

to enhance his limited education.

Though Holland made rapid advancement in school, he did not

complete the degree course.^ He stayed at Oberlin from 181+1 to 181+3,

and he then resumed his studies through part of 181+5 • ^ Though all

biographers agree with this chronology, the Oberlin records cannot

substantiate his stay. Anne G. Pearson, Assistant to the Archivist at

Oberlin College, believes that either Holland was not a full-time stu­

dent or the records of the very early students were incomplete.^

1Agnes Carroll, "Justin Holland," in The Negro Music Journal, p. lU. All of Holland's biographers agree with this date.

^James M. Trotter, Music and Some Highly Musical People, p. 118; Eileen Southern, "Justin Holland, in The New Grove Dictionary of Ameri­ can Music, b vols.; H. W. Hitchock, Stanley Sadie, e d s . (London: MacMillan Publishers, Ltd., 1986), vol. 2, p. 1+10.

^Eileen Southern, "Justin Holland," in Biographical Dictionary of Afro-American and African Musicians, p. 186.

^Correspondence with Anne G. Pearson, Oberlin College, Oberlin, Ohio, ll+ January 1987. 21

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The missing year from the above chronology (18HU) was an eventful

one for Holland. He wrote a book and travelled to Mexico. There is some

disagreement regarding the facts pertaining to this trip.

Eileen Southern merely states that Holland travelled to Mexico.5

Philip Bone elaborates further by stating that Holland went to Mexico so

that he could become familiar with the Spanish language.^ With this

knowledge, he read and studied the guitar methods of Sor and Aguado.?

It is surprising that Bone is the first to mention this trip in his 191^

biography of guitarists. Holland's earliest biographers, Simmons and

Trotter, are silent concerning the Mexican trip.

The book that Holland wrote was more widely known than his

Mexican journey. Both early and late biographers refer to it.

There are three problems associated with this book. The first

problem is concerned with the identification of the book's contents.

Simmons said that the book was on choral reform while Trotter stated

that it was on moral reform.8 Simmons further complicated the matter

by stating that the book was written in 18^1.9 in the author's opinion,

Trotter's statement may carry more weight since the subject of moral

reform is apropos to Holland's later anti-slavery stand.

5lbid.

^Philip J. Bone, "Justin Holland" in Guitar and Mandolin, p. 1^9.

Tlbid.

^William J. Simmons, Men of Mark, p. 386; James M. Trotter, Music and Some Highly Musical People, p. 118.

9william J. Simmons, Men of Mark, p. 386. Simmons obviously influenced the entry in Rywell's twentieth-century encyclopedia for he is the only early source which holds to an 18^1 date; see Martin Ryvell, et al., "Justin Holland," in Afro-American Encyclopedia, vol. U, p. 1213.

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Second, the early evidence is unclear as to the length of the

hook. Simmons and Trotter stated that the book had three hundred and

twenty-four pages,while a later entry in the Indianapolis Freeman

stated that the book contained one hundred and twenty pages.^ This

author considers the weight of the earlier evidence and sides with the

longer pagination.

Third, the book is cited by some as being written entirely by

Holland, while others said that it was co-authored. Considering the

length of the work in relation to the Mexican trip of that same year,

Trotter's position that Holland was a co-author has more validity. ^

Justin Holland came back to Oberlin in 18^5- -*-3 There he married

the former Delphine Howard Minor of Louisiana,I** and later in that year,

they moved to Cleveland, Ohio.-*-5

Cleveland, Ohio in the l8^0s contained almost nine thousand

people,and must have been a musically satisfying environment for

Holland. The cultural climate had matured greatly since the 1820s where

^William J. Simons, Men of Mark, p. 386; James M. Trotter, Music and Some Highly Musical People, p. 118.

•^Indianapolis Freeman, 18 May 1889.

-*-2james M. Trotter, Music and Some Highly Musical People, p. 118.

l^Eileen Southern, "Justin Holland," Biographical Dictionary of Afro-American and African Musicians, p. 186.

-^Philip J. Bone, "Justin Holland," Guitar and Mandolin, p. lk9. While Bone mentions Holland's return to Oberlin and his subsequent marriage, he does not cite his wife's maiden name. Her name is found in her obituary written in a New Orleans, Louisiana newspaper; see New Orleans Daily Picayune, 20 April 1902. Her place of birth is noted in an Ohio census. The photocopy of which is held by The Western Reserve Library; see Ohio Census: Cuyahoga County, Cleveland i860, Roll 952, Ward 6, p. 38.

15rbid. ^-^Indianapolis Freeman, 18 May 1889.

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travelling troupes, giving impromptu shows in makeshift accommodations,

were the only sources of diversion.^7 With the opening of the Ohio Canal

in 1825, the Forest City could bring in better performers.-1-® By 1835

the city showed that it could support a dramatic company by booking the

Trowbridge Troupe for a month-long engagement. 19 in 18^5 the city

attracted world reknown performers such as the Norwegian violinist, Ole

Bull.20

Upon moving to Cleveland, Justin Holland began searching for em­

ployment .21 When it was discovered that he could play the guitar, he re­

ceived applications to give music lessons.22 The career of a music

instructor did not "seize him" until he had been approached by the would-

be students.2® Some of these students belonged to the first families of

Cleveland.2^ It was his teaching credo that opened many doors to him

which otherwise would have been closed. Holland states:

I adopted as a rule of guidance for myself, that I would do full justice to the learner in my efforts to impart to him a good know­ ledge of the elementary principles of music, and a correct system of fingering [on the guitar], as practiced by, and taught in the works of, the best masters in Europe. I also decided that in my intercourse as a teacher I would preserve the most cautious and

-^Marion Cole, "Theatrical and Musical Entertainment in Early Cleveland: 1796-185^," M.A. Thesis, American Cultural Program, Western Reserve University, 1958, p. 66.

l8Ibid., p. 67. iS’lbid., p. 27.

20Ibid., p. 3b.

2-krames M. Trotter, Music and Some Highly Musical People, p. 118.

22Ibid.

2®Agnes Carroll, "Justin Holland," in The Negro Music Journal, p. lU.

2itIbid., p. 15. Among those who Justin Holland taught was a Mrs. Briggs, the wife of one of Massachusetts' ex-governors.

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circumspect demeanor, considering the relation a mere business one that gave me no claims upon my pupil's attention or hospitality be­ yond what any ordinary business matter would give. I am not aware, therefore, that anyone has ever had cause to complain of my demeanor, or that I have been in any case presumptive.25

Holland shunned concert work preferring to devote his time to the

teaching of the guitar.26 While he may have preferred teaching, certain

racial attitudes in Cleveland may have kept him from the concert hall.27

Justin Holland's reputation as an arranger for the guitar

developed slowly. His first arrangements were written for his students,

alone, but because of the demand that these pieces created, he began to

publish his works.28 The year 181+8 is given as the commencement of his

publishing endeavors.29

This same year saw other changes in the life of Holland. His

first son, Justin M. Holland, was born.80 Senior Holland was also

25James M. Trotter, Music and Some Highly Musical People, p. 119.

^Cleveland Plain Dealer, 21 March 1971.

27one may be referred to an incident which pictures the racial turmoil of Cleveland. William H. Day wrote an article in the Cleveland Daily True Democrat which brought attention to a partition erected in the Cleveland Theatre which separated the black patrons from the white; see Cleveland Daily True Democrat, b September 1851. On the other hand, the concert activity may have been completely taken over by the only other concert guitarist of Cleveland— a Signor Martinez. He is known to have concertized from 181+2 to 1851; see Marion Cole, "Theatrical and Musical Entertainment in Early Cleveland," pp. 79, 83, 85-6, 91j 98, 100, and 102.

28Eileen Southern, "Justin Holland," in The New Grove Dictionary of American Music, vol. 2, p. 1+10.

29william J. Simmons, Men of Mark, p. 387. Justin Holland wrote arrangements and guitar tutors for some of the most prestigious music publishing houses in America. The list of publishers includes: J. L. Peters, S. Brainard & Sons, D. P. Fauld, Louis Tripp, John Church, and Oliver Ditson. There is also a mysterious "publishing house in Michigan" mentioned only by Trotter, Music and Some Highly Musical People, p. 122.

30ohio, Census: Cuyahoga County, Cleveland (1850), Roll 672, Ward 1, p. 3l+3. It may be noted that the civil servant entered the

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■becoming involved in the anti-slavery movement in Cleveland.31 The

Cleveland Daily True Democrat of April 25, 18^8 published a notice

calling the Colored Americans of Cleveland to a meeting that afternoon.

The committee was to discuss the late revolution in France. Justin

Holland was one of the signatories to that notice.32 Two days later,

the same paper printed the resolutions of that meeting.33 Holland was

the secretary of the organization. The four resolutions were as follows:

resolution one hailed the abolition of slavery and the efforts of the

French government in the amelioration of the working class; resolution

two called for the United States to follow the examples of Mexico and

France and abolish slavery in whatever form; resolution three recommended

national black conferences which would work for the end of slavery; and

resolution four called for a black contingent of revellers to march in

a parade on April 28 celebrating the late events in France.3^ Resolution

four directly involved Justin Holland in its implementation. The

Committee of Arrangements (for the parade) must have denied the blacks

incorrect name for Mrs. Holland. He wrote Josephine instead of Delphine. The census also notes master Justin M. Holland as being two years old, hence the 18^8 birthdate. The Ohio census of i860 allows the reader to observe the growing Holland family. In 1853 Minor Holland was born. Later, two daughters were born: Lavinica in 1857 and Justina in 1859; see Ohio, Census: Cuyahoga County, Cleveland (i860), Roll 952, Ward 6, p. 38. At least one more daughter was born— Clara Monteith Holland, There is no date of birth cited; see Maud Cuney-Hare, Negro Musicians and Their Music (Washington, DC: The Associated Publishers, Inc., 1936), p. 207N.

3lRussell H. David, Memorable Negroes in Cleveland’s Past (Cleveland: The Western Reserve Historical Society, 1969), p. 15.

32paily True Democrat, 25 April 18^8.

33paily True Democrat, 27 April 18^8.

3^Ibid.

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entrance to the festivities.35 in answer to this rebuff. Justin Holland,

acting as secretary, sent off a note to the parade's chairman, an A.

Stewart. The letter is cited below:

Mr. Stewart:- Sir:— Will the Committee of Arrangements object to, or take any measures to prevent such of the Colored Americans of Cleveland as desire to do so, from walking with the American delega­ tion in the contemplated procession of Friday evening? Very respectfully* J. Holland^

Without answering yes or no, Stewart stated that he had no objection to

the blacks who wanted to march. He was wary of the militant abolition­

ists who would make the parade a political platform. 3T

From the letter above, it is shown that Holland was a respectful

and articulate champion of freedom. It is not surprising that the Colored

Americans of Cleveland chose him as secretary of the organization.

In 1853 Holland and four other black gentlemen were appointed

delegates to the National Convention of Colored Men.38 Resolution three,

which cited the need for a national black conference was brought to

fruition by the attendance of five men. It may also be noted that

Holland (secretary when the resolution was made) still commanded respect

as a leader some five years later. It is not out of the question, there­

fore, that Holland became a driving force within the delegation to the

national convention.

During this time Holland developed as a linguist. Realizing

that many guitar tutors were accessible to him, he took up the study of

35ibid. 36iMd.

3?lMd.

38cieveland Daily True Democrat, 15 June 1853.

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French, Italian, and S p a n i s h . 39 Not only would these languages allow

him to increase his knowledge of the guitar literature, hut also they

would open the door to a most surprising diplomatic enterprise in the

service of the Masonic Lodge.

Justin Holland joined the Prince Hall Masonic Lodge, circa 1861-

62. He became a Master Mason in 1862 in the Eureka Lodge No. lU,

Cleveland, Ohio.^® It is not surprising that Holland, who was deeply

interested in the black cause, joined this organization, for the Prince

Hall Masonic Lodge had "a long history of involvement with the fight

for black civil rights.

The black lodge was founded by Prince Hall, a black Methodist

minister, on July 3, 1775-^ A charter was granted to Hall from the

English Grand Lodge, thus legitimizing the black Amercian l o d g e s . ^3 The white Masonic lodges in America did not accept the legtimacy of the black

lodges. The whites claimed that the Prince Hall movement was a spurious

39james M. Trotter, Music and Some Highly Musical People, p. 119.

^Charles H. Wesley, The History of the Prince Hall Grand Lodge of Free and Accepted Masons of the State of Ohio: 18^9~1971 (Washington, DC: The Associated Publishers for the Association for the Study of Negro Life and History, 196l), p. 73. Justin Holland also assisted in forming the Excelsior Lodge, No. 11 of Cleveland in 1865; see James M. Trotter, Music and Some Highly Musical People, p . 129•

^William A. Muraskin, Middle-Class Blacks in a White Society: Prince Hall Free Masonry in America (Berkely: University of California Press, 1975), p. 193.

^%illiam H. Grimshaw, Official History of Free Masonry Among the Colored People in North America (New York: Broadway Publishing Com­ pany, 1903; reprint ed., n.p.: Negro Universities Press, 1969), p. 72. Holland may have been impressed with the common background that he shared with Hall. Both men (as youths) were thrown upon their own resources in Boston— Holland from Virginia and Hall from Barbados; see Ibid., p. 69.

^3william A. Muraskin, Middle-Class Blacks in a White Society, p. 196.

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organization.^ With this in mind, it is noted that the Prince Hall

Lodge had a twofold battle ahead of it. 'The first was centered on

recognition of the English charter, and the second was centered on the

acceptance of their r a c e . ^5 This study will address only the latter

problem.

The first black lodge in Ohio was organized in 18^7.^ In the

ensuing years, the racial problem between the black and white lodges

became acute. For example, William T. Boyd of the Grand Lodge of Colored

Masons of Ohio petitioned the white Grand Lodge in 1865 to end the racial

inharmony of having two lodges.^7 On the other hand, the racial problem

found in America was not as acute in the European countries, so as

Muraskin states, "throughout their history Prince Hall Masons have worked

to establish connections with the European Grand Lodges."^8 The object of

this alliance was racial equality. To confirm this statement, Muraskin

continues, "the importance of striking down the caste line has always

been prominent."^9 in order to open up a dialogue with the European

and South American lodges, the Prince Hall Mason needed a member who

could converse in several languages. Justin Holland with his command of

French, Italian, and Spanish fit this criterion.

^Ibid.

^ibid.

^william H. Grimshaw, Official History of Free Masonry Among the Colored People in North America, p. 206.

^Ibid., p. 207.

^william A. Muraskin, Middle-Class Blacks in a White Society, p. 197.

^ i M d .

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Holland served his lodge as a Junior Warden and Worshipful

Master, and from 1875 to 1876 he was elected Deputy Grand Master. He

also served as Grand High Priest in his Royal Arch Chapter.50 His most

distinguished service, however, was rendered in the development of

foreign relations from 1871 to 1883.51 He was instrumental in trans­

lating letters from and writing letters to Peru, France, Italy, and

Hungary.52 He was also appointed as representative of the Grand Lodge

of Ohio for the Grand Orient of Peru.53 it is little wonder that the

Grand Lodge of Ohio gave kudos to him in several addresses.5^ His work

in the lodge was noted even before his diplomatic efforts. In 1866 he

was feted and given a gold watch for his valuable work.55 His Masonic

work was not only recognized in America but also in Europe. Per

FrelTnaurer, the Masonic periodical published in Vienna, printed a short

paragraph concerning Holland's accomplishments. This article, not cited

by any of Holland's biographers, is translated in its entirety below:

As an upright comrade, brother Justin Holland stands by his side [another Mason cited earlier in the text], a man of restless eager­ ness and full of devotion for the freemasonry and for the equality and acceptance cf the colored lodges. At present he is in his 57th year of life, sprightly and fre n though he had to come up with his own living since he was twelve /ears old and had to fight with all those prejudices and despicable /.ess to which, at that time, everybody in America was subjected to and still is whose skin contained a

50charles H. Wesley, The History of the Prince Hall Grand Lodge of Free and Accepted Masons of the State of Ohio, p. 73.

51lbid.

52ibid., pp. 73, 77, 78, and 79-

53ibid., p. 75.

5^James M. Trotter, Music and Some Highly Musical People, p. 129.

55ibid., p. 130.

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little bit more color than of those unjust 'whites.' Only with difficulty could he enjoy the first instruction, but that did not prevent him from learning several languages, later, in such a way that he speaks and writes them readily, a fact that gives brother Holland a special value for the works and correspondences of the Grand Lodge of Ohio. In the year of 1862 he participated in the Freeman's Association in Ohio and helped to found a new lodge in Cleveland in 1865, in which he was secretary, then Junior Warden and finally Worshipful Master [v. St.]. In the Grand Lodge many of the excelling works, constitution, administration of justice and many more important works were borne of his quill pen. The services that he had accomplished in the most lauding and flattering way— 1875 brother Holland was elected Deputy Grand Master, a rank that he still occupies with an exceptional eagerness.5°

Justin Holland's association with the Masons continued until his

death. In 1886 he was still concerned with the lodge and the morals of

its members when he wrote:

To whom it may concern! Have we a boodle gang among us? Over $600 embezzled by the boodle gang. . . . Shall our grand lodge and grand chapter be converted into a brotherhood of thieves, office seekers and boodlers? . . .57

In closing, Trotter noted "the skill and zeal he [Holland] had often

displayed in serving a cause founded on the noble principles of faith,

hope, and charity."58

Though Holland was successful in his musical and humanitarian

endeavors, he was forever stalked by financial problems unitl the publi­

cation of his guitar tutors through Peters and Ditson.59 One may

5%ermann Beigel, ed., "Das GrossLeamtem-Collegium der Farbigem Grosslodge von Ohio in Amerika," Der Freimaurer 2 (February 1877):1^. This article was translated by Ms. Anna-Maria Eicke of Darmstadt, West Germany. The translation was made in Washington, DC from May U-6, 1987.

57Gordon R- Williams, et al., "Justin Holland," The National Union Catalogue Pre-1956 Imprints, 75^ vols. (Chicago: The American Library Association, 1968), vol. 251, p. 37^.

58james M. Trotter, Music and Some Highly Musical People, p. 130.

59The position that Peters and Ditson saved Holland from his financial problems is upheld from the following anecdote as found in James M. Trotter.. Music and Some Highly Musical People, pp. 125-6. "One

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observe his circumstances by the story below:

He [Holland] always had a horror of asking for credit or a loan. At a certain time he found himself out of real money [underline mine]. It was Sunday, and he had not the 'wherewith* to get his breakfast on Monday morning. He had always lived retired, forcing intimacy with none, and generally mingling only where business called him. He therefore did not feel intimate enough with any one to borrow, nor did he feel like asking anywhere for credit. He had, however, a small job of writing that had been sent in, for which, when done, he was to receive about twenty-five dollars. Here was Mr. Holland's resource. He began his work about seven o'clock Sunday evening . . . he continued his labors until . . . eight o'clock [Monday morning] he took the work to his patron, and before nine returned with . . . good material for breakfast.®®

While Holland may have found himself in precarious financial

circumstances at times, he was never poor. The census of i860 cites

his assets at three thousand dollars.6l This amount, while somewhat

substantial for the time, may not have been in accessible fimds, hence

the term "real money" in the story above.62

day, in 186H, Mr. Holland went into a large music-store (not in Cleveland) to purchase an instrument. The salesman present seeming disposed— no doubt on account of his color— to give him no attention whatever, he quietly left, and made his purchase elsewhere. He has since been employed by, and has received large sums of money from, that very firm, as a writer of music for them." From the text it is noted that the unfortunate event occurred in 1861* a good ten years before his tutor was published. He did not work for that firm then, so states the article. Since the snub did not occur in Cleveland, S. Brainard is eliminated. The only two national publishing houses that are left are those of Peters and Ditson. These are the two main publishers for one of his tutors. It may also be ascertained from the material above, that Holland's secure years date from 187^— the year of publication for his guitar tutor.

6oIbid., p. 125.

6l0hio, Census: Cuyahoga County, Cleveland (i860), Roll 952, Ward 6, p. 38.

62The Sonneck Society has provided a table for estimating the value of a dollar from 1800 to the present. Using this table as a guide, the buying power of Holland's three thousand dollars would be thirty- seven thousand eight hundred dollars as of June, 1987; see Gary A. Green, "Understanding Past Currency in Modern Terms," The Sonneck Society Bulletin 13 (Summer 1987):^8.

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Holland's Comprehensive Method for the Guitar was published by

J. L. Peters in 187^, and it sold for three dollars and twenty-five

cents.63 The first reference to this work is seen in a column in the

Cleveland Plain Dealer of December, 1868:

For several months, Mr. Justin Holland, who has long enjoyed an honorable fame as a teacher of the guitar, a performer upon that instrument, and a successful musical author, has been engaged upon a book of instruction for the guitar. The work was undertaken at the suggestion of Mr. J. L. Peters, the widely-known music-publisher of New York City, who has purchased the book, and will publish it at once; Mr. Holland having so nearly finished it, that the first portion can be put to press immediately. The inspection; and he submitted it to several prominent musical critics and guitarists, all of whom expressed themselves highly pleased with it. Mr. Dressier, of 'The United States Musical Review,' published at New York, says, 'I have carefully and thoroughly examined this new method for the guitar, and must confess that it is already, in its present state, the best in this country,— the most thorough, explicit, pro­ gressive, agreeable, and satisfactory work ever written in this country or in Europe.' Higher praise than this a book could not receive. The method is very elaborate, and contains many points not heretofore touched on in works of the kind. Mr. Holland's abilities as a composer of music, and his skill as a performer upon the guitar, render him preeminently qualified to write such a work; and supplying, as it will, a want long felt, it will achieve popularity at once, we firmly believe.

The tutor had been in progress for "several months" before the

appearance of the newspaper column, and "nearly finished," but the actual

publication date occurred six years later! There must have been some

major revisions by the company as well as by the author. Holland

recounts the lengthy and painstaking work that such a tutor as his

required:

When, in writing my first book, I came to the subject 'Harmonics,' I found myself at a loss as to how to explain these tones; not as to how to produce them myself, but to give a correct theory of their

63f . Leypoldt, The American Catalogue: Authors and Titles, July 1, 1876 (n.p.: R. R. Bowker, Co., 1880; reprint ed., New York: Petersmith, 19^1), p. 3^9-

^Cleveland Plain Dealer, 2k December 1868.

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production. I searched in vain through a multitude of musical works, not knowing or thinking of anywhere else to look. I stopped for several weeks, and began a series of observations to aid me but my eyes, fingers, and ears, and a knowledge of the fact that the vibra­ tions of a string were doubled in number for every octave of ascent in pitch of tone. I thus discovered for true theory of the harmonic tones to be the vibrations of a single string in a number of equal sections, more or less, and all at the same time; and that their production was at the pleasure of the operator as he desired higher or lower tones. Having fully verified my discoveries, I then cor­ rected the erroneous theory on this subject of the great guitarist, F. Sor. I learned afterwards that the subject was discussed and ex­ plained in some scientific works that treated on acoustics.

From the passage above, it may be seen that what Holland lacked

in formal education he made up in determined experimentation. His re­

search into the realm of harmonics was well rewarded in the correction of

Sor.

In 1876 Holland published another tutor through S. Brainard and

Sons. It was entitled Holland's Modern Method for the Guitar, and it

sold for two dollars and fifty cents.^6

The guitar tutors brought Justin Holland national attention. The

firm of S. Brainard's Sons gave him and their competitor's tutor much de­

served praise. A letter sent to James M. Trotter, Holland's biographer

praises the composer:

S. Brainard's Sons's Music-Publishing House, Cleveland, 0., April 2, 1877 Dear Sir,— . . .Mr. Justin Holland is one of our finest practical and theoretical musicians. He has written two large methods for the guitar, besides being the composer and arranger of a large amount of guitar music, both vocal and instrumental. He is a refined and educated gentleman of very modest and unpretending character, but is a thorough musician and student. Yours, S. Brainard's Sons.0 '

65James M. Trotter, Music and Some Highly Musical People, p. 12k.

66f . Leypoldt, The American Catalogue: Authors and Titles, July 1, 1876, p. 3U9.

6 7James M. Trotter, Music and Some Higly Musical People, p. 126.

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The esteem in which Holland was held was not limited to a parti­

san following. Even competitors lauded his works.

In 1877 the Musical World printed an article ahout Holland.

While extolling the brilliance of the man, the article cited both Der

Freimaurer and the forthcoming book by Trotter:

Again, we would mention Mr. Justine [sic] Holland, teacher of the guitar, and composer of music for this instrument. Mr. Holland is a great lover of art, a gentleman of culture, who reads fluently several languages, and whose labors are highly esteemed by publishers as well as by lovers of the guitar. From "Per Freimaurer," a monthly published in Vienna, Austria, we learn that Mr. Holland is now in his fifty-seventh year. He lives in Cleveland, where he enjoys the patronage of the lovers of music irrespective of color. Mr James M. Trotter of Boston is now engaged in gathering materials for a book, which is to set forth the musical doings of colored musicians in this country, in which a sketch of Mr. Holland's life will be given. The book will, so we learn, appear some time next winter.®”

Holland is now at the apex of his musical career. At fifty-seven he is

referred to as a "house-hold name."69

Justin Holland lived in Virginia, Massachusetts, and Ohio, and

may have travelled occasionally. At least one trip was made to Kansas.

Trotter wrote: "A few years ago, on his return from a visit to New

Orleans, he stopped at Leavenworth, Kan."TO While at Leavenworth,

Holland was the subject of a newspaper editorial:

We had the pleasure of a visit yesterday from Professor J. Holland of Louisiana, who is an eminent music teacher and writer of thirty years' practical experience. He purposes locating in Leavenworth, and giving instructions on the guitar, flute, and piano. He has made an especial study of the guitar, and has written a work on it which is pronounced the best in print by competent critics. We need just such a man as the professor in this city, and are glad he has come among us, and hope he may receive liberal patronage.T1

67james M. Trotter, Music and Some Highly Musical People, p. 126.

68carl Mertz, ed., "Music Among the Colored People," Musical World lU (October, 1877):1^9.

69james M. Trotter, Music and Some Highly Musical People, p. 121.

T°Ibid., pp. 126-7. Tllbid., p. 127.

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Although the article stated that Holland wanted to relocate in

Leavenworth, Trotter said that the editor was mistaken as to Holland's

intentions.72 He never wished to reside there.

Though the date and the name of the newspaper are lacking, this

author will try to place the following event in Holland's life. From

Trotter's excerpt one learns that Holland visited New Orleans before

going to Leavenworth. Since his wife came from Louisiana (leaving rela­

tives, no doubt), and his son, Justin Minor Holland, lived in New Orleans

from 1867 onward, one need not conjure up reasons fro the visit.73

Trotter gave a clue in this quote above as to the date of the visit when

he said: "A few years ago. . . . Trotter's book was published in

1878; therefore, one must count backwards the few years from that date.

The newspaper article also hold two clues. The first clue deals with

the commencement of Holland's musical career. The paper stated that

Holland already had "... thirty years' practical experience on the

guitar.75 if 0ne takes the year 18^5 (the first year of teaching in

Cleveland) as the first year of practical experience, then 1875 would

be the year of the visit. The second clue deals with the guitar tutor

men’cioned by the paper. It will be noted that there is only one method

cited, not two. The Peters tutor was published in 187^ while the

Brainard tutor came out in 1876. The intervening year of 1875 finds

?2ibid.

^^From Justin Minor Holland's obituary it is learned that he lived in New Orleans for fifty years until his death in 1917. Counting back fifty years, one learns that J. M. Holland arrived in 1867; see New Orleans Times Picayune, 27 October 1917.

T^James M. Trotter, Music and Some Highly Musical People, p. 126.

T5rbid.

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Holland with only one hook, thus upholding the newspaper's entry. The

author, judging from the evidence of Trotter and the newspaper, must

posit 1875 as the year of the visit.^6

The facts concerning the end of Holland's life are almost as

sparse as for the beginning. It is assumed from his biographies that

he continued his Masonic and musical duties until his sickness in 1886.

It was noted above that he remained as a driving force in his Masonic

activities until 1881. He formed the Cleveland Guitar Club from his

advanced guitar pupils in July 188^.77 The club gave a recital which

was well received in December of that year.78 According to the city

directories, Holland was also teaching mandolin along with the guitar,

flute, and piano.79

Holland continued teaching until October 1886 when his health

f a i l e d . 80 He travelled south in December of that year in order to be

with his son in New Orleans.81 On March 2ki 1887 (at 2:52 P.M.) he died

^There is a bank book from New Orleans in the Cuney-Hare collec­ tion of the Atlanta University Library. It belonged, so the Library says to Justin Holland. Upon further inspection, the bank book was found to belong to Justin Holland's son, Justin Minor Holland. At first, the book with year-long dates of transactions for 1873-^ was a tempting device by which to substantiate Justin Holland's visit.

TfPhilip J. Bone, "Justin Holland" in Guitar and Mandolin, p. 150.

T8ibid.

79cieveland Directory: Year Ending July, 1885 (Cleveland: J. B. Savage and B. D. Annewalt, 1885), p. 190; Trotter said that Holland was considered a fine flautist and pianist as well as a guitarist; seeJames M. Trotter, Music and Some Highly Musical People, p. 128.

80philip J. Bone, "Justin Holland" in Guitar and Mandolin, p. 150.

81-From Holland's death certificate, it is learned that he had lived in New Orleans for four months until his death. Counting back the four months, one comes up with December 1886. This is the date of his last arrival in New Orleans; see Louisiana, "New Orleans Health De­ partment Death Certificates," Vol. 90, Fol. 1037.

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of "brain fever" in his son's house.82 a. local newspaper printed the

following notice:

The many friends and pupils of Professor Justin Holland will learn with great sorrow of his death in New Orleans, Louisiana, on Thursday, March 2k. For several years he had been in delicate health, and late last fall went South in the hope of finding a cure by change of climate. But congestion of the brain, the result of a slight cold, set in, and in his exhausted physical condition, soon ended his life. He was sixty-seven years and eight months of age. Professor Holland has made Cleveland his home for years, and sought in this city to create and maintain a love for the guitar and guitar music such as had never been here before. Time can tell how great was his success, but he stood foremost among the members of his profession, as his name is more widely known than any other American guitarist. As a man, when one came to know him, the old professor possessed a heart flowing over with love for his pupils, and no favor was too great to be asked. He will be sadly missed in musical circles here, and it will be many years before Cleveland possesses another guitarist so gifted, so educated and so able to arouse a love for one of the noblest musical instruments.83

One cannot add anything to these words but Trotter's closing

remarks upon Holland's life. "What a busy, what a useful, honorable

life have we been following!"8^

Serbia.; New Orleans Times Democrat, 25 March 1887.

83cieveland Plain Dealer, 31 March 1887.

8^James M. Trotter, Music and Some Highly Musical People, p. 130.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX

AN ANNOTATED LIST OF HOLLAND'S WORKS

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This appendix consists of an annotated list of Justin Holland's

compositions and arrangements. The manner in which the entries are cited

is similar to the format established by Richard J. Wolfe in Secular Music

in America 1801-182$, 3 vols. (New York: The New York Public Library,

1961+).

In this study, as with Wolfe, the entry is divided into two

parts. Part one consists of the information found on the title page.

This information is cited verbatum and includes: the title of the work;

the series title; the price, and the imprint data. The series title is

indicated with the word "series" in brackets. The imprint data includes

the place, publisher, and date of publication.

Part two consists of the annotation. The information supplied

in this part is not necessarily cited verbatum. The annotation includes:

the name of the composer and/or arranger, instrumentation, pagination,

plate number, and library holdings. The format of the annotation is

described below.

The composer is cited first and then the arranger's name follows.

If the composer is not named, the arranger is cited, alone. The instru­

mentation is cited next. Most of Holland's compositions have been

classified by his publishers for "guitar" and "guitar and voice." The

rest of Holland's works consist of duets for guitar, with flute, violin,

or piano. The pagination and plate numbers follow. Finally, the library

holdings are given for any extant copy of music. Since there is no

modern edition of Holland's works, these holdings are of utmost impor­

tance to the musicologist. A key to the library sigla is found below.

If a piece has not been found, it is cited as "copy unlocated."

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All entries follow the format cited above except for the pieces

identified only through catalogs. These pieces are treated differently.

The title is cited first. The imprint data is entered next along with

the price of the music. Then, the siglum for the catalog plus the page

number on which that title resides are given. The annotation follows.

The sigla for the catalogs follow those of the libraries below.

There will be instances when the reader may see the same title

cited two or more times. The author has cited each piece separately, if

it had two publishing companies or if it was written for different in­

strumentation .

Finally, the author must provide a solution to this study's one

vexing problem— the possible conflation of Holland senior and his son.

The author separates the two guitarists by observing the use of the

middle initial, "M.," by the son.-'- While this distinction holds true

for most of the musical entries, there is some confusion presented by

an S. Brainard catalog of 1891.^ Songs listed under Justin Holland in

the catalog are cited as Justin M. Holland's on the music. The author,

then, has included a separate annotated list for all pieces by Justin

M. Holland. Titles listed in the son's section may also appear in the

father's because of the lack of the middle initial in either the catalog

or the music.

^Throughout his life Justin Holland, Sr. never used a middle name. His son, on the other hand, was given his mother's maiden name, "Minor," as a middle name. His arrangements, therefore, are noted by the name Justin M. Holland.

^The Musician's Guide: A Descriptive and Carefully Graded Cata­ logue of Standard and Popular Sheet Music and Books, Winter Edition (Chicago: S. Brainard's Sons Co., 1891)> p. 67.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A Key to the Library Sigla

A U l ) ...... Atlanta University Center

BRI ...... British Library

BRL ...... Boston Public Library

DCPL ...... Martin Luther King Library

DHU ...... Howard University

DLC ...... Library of Congress

GFA ...... Guitar Foundation of America

JHE ...... Johns Hopkins University

KLM ...... University of Louisville

LRU ...... Tulane University

A Key to the Catalog Sigla

BMTC ...... Board of Music Trade of the United States of America, Complete Catalogue of Sheet Music and Musical Works, 1870, Frederic Freedman, gen. ed. (Reprint ed., New York: Da Capo Press, 1973).

CGCB ...... Complete General Catalogue of Sheet Music and Music Book (Chicago: The S . Brainard's Sons Co., n .d .).

MG ...... The Musicians Guide: A Descriptive and Carefully Graded Catalogue of Standard and Popular Sheet Music and Music Books, Winter Edition (Chicago: S. Brainard's Sons Co., 1891)■

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. k3

An Annotated List of Music Composed and Arranged by

Justin Holland

After the Opera. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 23^.

Arranged for guitar and voice by Holland. Copy unlocated.

Ah, I Have Sighed To Rest Me. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 30 cents. Cleveland, S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

Ah, Those Chimes So Sweetly Stealing, n.p., Published by Louis Tripp, n.d. Pr. 20 cents. BMTC, p. 260.

Arranged for the guitar and voice by Holland. Copy unlocated.

Ah, Yes Thy Spell Too Fast. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Weber. Arranged for the guitar by Holland. Copy unlocated.

Allie Darling. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 23^.

Arranged for the guitar and voice by Holland. Copy unlocated.

All Thy Heart or None. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 23^.

Arranged for the guitar and voice by Holland. Copy unlocated.

And He's Got the Money, Too. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 23^+.

Arranged for the guitar and voice by Holland. Copy unlocated.

An Andante.

Composed for the guitar by Holland. It is included in the appendix to James Trotter, Music and Some Highly Musical People (Boston: Lee and Shepherd, Publishers, 1881; reprint ed., New York: Johnson Reprint Corporation, 1968), pp. 26-20. DLC.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IrA

Angel's Serenade. [Series]: Gems for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Sons, 283 Superior St., 1866.

Composed by Kinkel. Arranged for the guitar by Holland. 3 pp: Title page plus 2 plates numbered 12521-2. Facsimile in Peter Danner's "Return With Us Now: 'The Soundboard's' Featured Facsimile" in Soundboard 3(1976):28~31. DLC.

Annie Clare. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 23^.

Arrranged for the guitar and voice by Holland. Copy unlocated.

Annie Laurie. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Dorn. Arranged for the guitar by Holland. Copy unlocated.

Answer to "Wait for the Wagon." n.p., Published by Louis Tripp, n.d. Pr. 20 cents. BMTC, p. 260.

Arranged for the guitar and voice by Holland. Copy unlocated.

At the Gate I Wait for Thee. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 23^.

Arranged for the guitar and voice by Holland. Copy unlocated.

Ave Maria. [Series]: The Musical Album. A Choice Collecion of New Guitar Songs. Pr. 20 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

Away with Care and Sorrow. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. BMTC, p. 26l. CGCB, p. 23^.

Arranged for the guitar and voice by Holland. Copy unlocated.

Barbe Bleue. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. hO cents. Chicago, S. Brainard's Sons, 1868.

Composed by Offenbach. Arranged for the guitar by Holland. (See also Blue Beard. Fantasy). Copy unlocated.

Barber of Seville. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas. Arranged for the Guitar by Justin Holland. Pr. Uo cents. Chicago, S. Brainard's Sons, 1868.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1+5 Composed by Rossini. Arranged for the guitar by Holland. 5 pp: Title page, plus 3 plates numbered 1251+7.3. DLC.

Battle Cry of Freedom. [Series]: New Gems for Guitar. By Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Baumbach. Arranged for the guitar by Holland. Copy unlocated.

The Battle Prayer. [Cleveland, Published by S. Brainard and Sons?], 1861+.

Arranged for the guitar and voice by Holland. BRI.

Beggar Student Waltz. [Series]: New Gems for Guitar. By Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Arranged for the guitar by Holland. Copy unlocated.

Beautiful Blue Violets. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, 23l+.

Arranged for the guitar and voice by Holland. Copy unlocated.

Bell Flower Schottische. [Series]: New Gems for Guitar. By Justin Holland. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Sidney. Arranged for the guitar by Holland. Copy unlocated.

Belle Helene. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas. Arranged for the Guitar by Justin Holland. Pr. i+0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Offenbach. Arranged for the guitar by Holland. Copy unlocated.

Billy Grimes, The Drover. Cited in Fourth Catalogue of New and Popular Music (Louisville: D.P. Faulds and Co., [18-]). Pr. 25 cents.

Arranged for the guitar and voice by Holland. Copy unlocated.

Bird of Beauty, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 261. CGCB, p. 23b. (Cited as "Birds of Beauty.").

Arranged for the guitar and voice by Holland. Copy unlocated.

Blue Alsation Mountains. [Series]: New Gems for Guitar. By Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885-

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1+6

Composed by Adams. Arranged for the guitar by Holland. Copy unlocated.

Blue Alsation Mountains. [Series]: New Gems for Guitar. By Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Adams. Arranged for the guitar and voice by Holland. Copy unlocated.

Blue Beard. Fantasie. n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 21k.

Arranged for guitar by Holland. (See also Barbe Bleue). Copy unlocated.

Bohemian Girl. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas. Arranged for the Guitar by Justin Holland. Pr. 1+0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Balfe. Arranged for the guitar by Holland. Copy unlocated.

Bo-Peep. [Series]: New Gems for Guitar. By Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rosabel. Arranged for the guitar and voice by Holland. Copy unlocated.

A Boy's Best Friend is His Mother. [Series]: New Gems for Guitar. By Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Williams. Arranged for the guitar and voice by Holland. 5 pp. Title page plus 3 plates numbered 15992=3. DLC.

Breezes of the Night Waltzes. [Series]: New Gems for Guitar. By Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Lamothe. Arranged for the guitar by Holland. Copy unlocated.

Bright Things Can Never Die. n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 26l.

Arranged for the guitar and voice by Holland. Copy unlocated.

Brightest Eyes, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 261.

Arranged for the guitar and voice by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ^7 Cantilena. [Series]: The Musical Album. A Choice Collection of New Guitar Sons. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

Captain Jinks. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 23^.

Arranged for the guitar and voice by Holland. Copy unlocated.

Carcassi's Grand Waltz. [Series]: Gems for the Guitar by Justin Holland. Pr, 30 cents. Chicago, The S. Brainard's Sons Co., 1866.

Composed by Carcassi. Guitar fingerings supplied by Holland. 5 pp.: Title page plus 3 plates numbered 1210^-3. DLC.

Carnival of Venice. [Series]: Gems for the Guitar by Justin Holland. Pr. iiO cents. Cleveland, Published by S. Brainard and Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. 7 pp.: Title page plus 6 plates numbered 2871.6. DLC.

Castles in the Air. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 20 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

The Celebrated Spanish Retreat. Guitar. By Justin Holland. Pr. 30 cents. Chicago, The S. Brainard's Sons Co., 1863.

Arranged for the guitar by Holland. 5 pp•: Title page plus 3 plates numbered 11^13-3. DLC.

Cera Alba Waltz, n.p., Published by S. Brainard , n.d. Pr. 50 cents. BMTC, p. 275.

Arranged for the guitar by Holland. Copy unlocated.

Champagne Charlie, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC., p. 262.

Arranged for the guitar and voice by Holland. Copy unlocated.

Chant Bohemian. [Series]: Matinee Musicale. Favorite Melodies Arranged for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., [186-].

Arranged for the guitar by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 48

Charity. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Glover. Arranged for the guitar by Holland. Copy unlocated.

Charming Waltz. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 35 cents. Cincinnati, Published by J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Click-Click Waltz. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Mollenhaupt. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered l6l43=3. DLC.

Colleen Avarra. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Vernor. Arranged for the guitar and voice by Holland. Copy unlocated.

Colored Orphan Boy. Cited in Fourth Catalogue of New and Popular Music (Louisville: D. P. Faulds & Co., [18“ J). Pr. 25 cents.

Arranged for the guitar and voice by Holland. Copy unlocated.

Coming Step March. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 40 cents. Cincinnati, Published by J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Coon Schottische. [Series]: New Gems for the Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Putnam. Arranged for the guitar by Holland. Copy unlocated.

Corn Flower Waltzes. Chicago, Published by S. Brainard's Sons, n.d. Pr. 60 cents. CGCB, p. 239.

Arranged for the guitar by Holland. Copy unlocated.

Crispino Waltz. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. b9 Crown Diamonds, n.p., Published by J. L. Peters, n.d. Pr. ^0 cents. BMTC, p. 279.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Danish Dance, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 275.

Arranged for the guitar by Holland. Copy unlocated.

Dearest Spot. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Wrighton. Arranged for the guitar [and voice?] by Holland. Copy unlocated.

Dearest Spot on Earth. [Series]: Matinee Musicale. Favorite Melodies Arranged for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., [186— ]).

Arranged for the guitar by Holland. Copy unlocated.

Delpheine Schottische. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 239.

(Composed?) and arranged for the guitar by Holland. Delpheine was the name of Holland's wife. Copy unlocated.

Delta Kappa Epsilon March. Arranged for the guitar by Holland. It is included in The Guitarist; A Collection of Waltzes, Marches, Gallops, Jigs, etc. John Church Co.'s Musical Library, Vol. VII (n.p., John Church & Co., c. 1885), pp. 66-6 9 .

U pp.: H plates numbered 1586. KLM.

Dimpled Hands. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rosabel. Arranged for the guitar and voice by Holland. Copy unlocated.

Dixie's Land with Variations for the Guitar. Published by Oliver Ditson Company, 189^-

Arranged for the Guitar by Holland. 5 pp.: No title page (unlocated) but 5 plates numbered O.B. 88-579^^-5. Author's collection (photocopy). BRI.

Don Juan. [Series]. Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. ^0 cents. Chicago, S. Brainard's Sons, 1868.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 50

Composed by Mozart. Arranged for the guitar by Holland. Copy unlocated.

Do They Think of Me at Home, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 262.

Arranged for the guitar and voice by Holland. Copy unlocated.

Down by the River-side, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 262.

Arranged for the guitar and voice by Holland. Copy unlocated.

Don't Give Up the Old Friends. [Series]: New Gems for the Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rutledge. Arranged for the guitar and voice by Holland. Copy unlocated.

Don't Let the Roses Listen. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, 235.

Arranged for the guitar and voice by Holland. Copy unlocated.

Down in a Coal Mine. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 235.

Arranged for the guitar and voice by Holland. Copy unlocated.

Down the Burn, Davy, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 262.

Arranged for the guitar and voice by Holland. Copy unlocated.

Dream Faces. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Hutchison. Arranged for the guitar and voice by Holland. Copy unlocated.

Dreaming. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Wellings. Arranged for the guitar and voice by Holland. Copy unlocated.

Elenore, or When the Silver Moon is Beaming. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 235.

Arranged for the guitar and voice by Holland. Copy unlocated.

Elfin Waltzes. [Series]: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 51

Arranged for the guitar hy Holland. Copy unlocated.

Elisie D'Amore [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. hO cents. Chicago, S. Brainard's Sons, 1868.

Composed by Donizetti. Arranged for the guitar by Holland. Copy unlocated.

Ernani. [Series]: Boquet [sic] of Melodies Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. kO cents. Chicago, S. Brainard's Sons, 1868.

Composed by Verdi. Arranged for the guitar by Holland. Copy unlocated.

Evangeline. Cleveland, Published by S. Brainard & Co., n.d.

Arranged for the guitar and voice by Holland. 5 pp.: Title page plus 3 plates numbered 1380-3. GFA.

Evangeline March. [Cited on title page]: Favorite Compostions of Justin Holland for the Guitar. Pr. 20 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed and arranged for the guitar by Holland. 3 pp.: Title page plus 2 plates numbered 11737.2. DLC.

Evening Star Waltzes. [Series]: Winter Evenings. Six arrangements for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857.

Arranged for the guitar by Holland. Copy unlocated.

Fairyland Waltz. [Series]: Gems for the Guitar by Justin Holland. Pr. 20 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Father's at Sea Polka. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 40 cents. Cincinnati, Published by J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Faust. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 40 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Gounod. Arranged for the guitar by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 52

Faust Waltz. [Cited on title page]: Favorite Compositions of Justin Holland for the Guitar. Pr. 20 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed by Gounod. Arranged for the guitar by Holland. 3 pp.: Title page plus 2 plates numbered 117^8-2. DLC.

Faust Waltz, n.p., Published by J. L. Peters., n.d. Pr. kO cents. BMTC, p. 279.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Faust March. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Faust March and Chorus, n.p., Published by J. L. Peters, n.d. Pr. kO cents. BMTC, p. 279-

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Favorita. n.p., Published by J. L. Peters, n.d. Pr. i)-0 cents. BMTC, p. 279.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Favorite. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 1|0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Donizetti. Arranged for the guitar by Holland. Copy unlocated.

Fedora Waltzes. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Bucalossi. Arranged for the guitar by Holland. Copy unlocated.

Fest March. [Series]: Winter Evenings. Six arrangements for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., Superior St., [18-].

Composed by Gung'l. Arranged for the guitar by Holland. 3 pp.: Title page plus 2 pages unnumbered. DLC.

Fille Du Regiment. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. ^0 cents. Chicago, S. Brainard's Sons, 1868.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 53

Composed by Donizetti. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 125^9*3. DLC.

La Fille Du Regiment, n.p., Published by J. L. Peters, 1863.

Composed by Donizetti. Arranged for two guitars by Holland. U pp.: No title page (unlocated) but U plates numbered 3660.L. Author's collection (photocopy).

Fille du Regiment, n.p., Published by J. L. Peters, n.d. Pr. Uo cents. BMTC, p. 279.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Five O'clock in the Morning, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 263.

Arranged for the guitar and voice by Holland. Copy unlocated.

Flitting Away. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Hopkins. Arranged for the guitar and voice by Holland. Copy unlocated.

Flower Song. "Faust." n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 263.

Arranged for the guitar and voice by Holland. Copy unlocated.

Flowret Forget Me Not, Gavotte. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Giese. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 16038=3. DLC.

Flowers of Melody, n.p., Published by S. Brainard & Sons, 1863.

Arranged for the guitar by Holland. BRI.

Flowers of Spring Waltz. [Series]: Matinee Musicale. Favorite Melodies Arranged for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., [186-]

Arranged for the guitar by Holland. Copy unlocated.

Flying Trapeze. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 235.

Arranged for the guitar and voice by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 5U

Fra Diavolo. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. bO cents. Chicago, S. Brainard's Sons, 1868.

Composed by Auber. Arranged for the guitar by Holland. 5pp.: Title page plus 3 plates numbered 12559-3. DLC.

Fra Diavolo. n.p., Published by J. L. Peters, n.d. Pr. bo cents. BMTC, p. 279-

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Freischutz. n.p., Published by J. L. Peters, n.d. Pr. IrO cents. BMTC, p. 279-

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Der Freischutz. n.p., Published by J. L. Peters, 1863.

Composed by Weber. Arranged for two guitars by Holland, k pp.: No title page (unlocated) but k plates numbered 3673.b. Author's collection (photocopy).

Gems from "La Perichole." n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 276.

Arranged for the guitar by Holland. Copy unlocated.

Gertrude's Dream Waltz. [Cited on title page]: FavoriteCompositions of Justin Holland for the Guitar. Pr. 20 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed by Beethoven. Arranged for the guitar by Holland. 3 pp.: Title page plus 2 plates numbered 1 1 7 5 1 - 2 .

Going to Market. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Diehl. Arranged for the guitar and voice by Holland. Copy unlocated.

Gondellied. [Series]: Matinee Musical. Favorite Melodies Arranged for the Guitar by Justin Holland. Pr. 35 cents. Cleveland, Published by S . Brainard & Co., [186-].

Arranged for the guitar by Holland. Copy unlocated.

Good Bye. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Tosti. Arranged for the guitar and voice by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 55

Good Bye, Charlie. Chicago, published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 235.

Arranged for the guitar and voice by Holland. Copy unlocated.

Grande Duchesse. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 1+0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Offenbach. Arranged for the guitar by Holland. Copy unlocated.

Grave of Ben Bolt. Cited in Fourth Catalogue of New and Popular Music (Louisville: D. P. Faulds & Co., [18-]). Pr. 25 cents.

Arranged for the guitar and voice by Holland. Copy unlocated.

Guard's Waltz. [Series]: Gems for the Guitar by Justin Holland. Pr. 35 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed by Godfrey. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 2095-3. DLC.

The Guard's Waltz, [n.p., Published by (S. Brainard?), n.d. Pr. 50 cents].

Arranged for two guitars by Holland. 1+ pp.: No title page (unlocated) but 1+ plates numbered 2276.k. Cited in BMTC, p. 279. Author's collection (photocopy).

Guard's Waltz. Chicago, Published by S. Brainard's Sons, n.d. Pr. 50 cents. CGCB, p. 2k0.

Arranged for the guitar and piano by Holland. Copy unlocated.

Hark I Hear an Angel Sing. [Series]: Summer Evenings. A collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard's Sons, 1858.

Composed by Shrival. Arranged for the guitar by Holland. Copy unlocated.

Harum Schrum Galop. [Series]: Gems for the Guitar. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Haunted Stream, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 261+.

Arranged for the guitar and voice by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 56

Heart Bowed Down, n.p., Published by S. Brainard, n.d. Pr. 35 cents. BMTC, p. 26k.

Arranged for the guitar and voice by Holland. Copy unlocated.

Heavenly Thoughts. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. Uo cents. Cincinnati, Published by J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Heavenward March. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. HO cents. Cincinnati, Published by J. L. Peters, 1867.

Composed by Vilbre. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 2117-3. DLC.

Her Bright Smile. [Series]: Gems for the Guitar by Justin Holland. Pr. 20 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed and arranged for the guitar by Holland. 3 pp.: Title page plus 2 plates numbered 12106-2. DLC.

Her Bright Smile Haunts Me Still, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 26U.

Arranged for the guitar and voice by Holland. Copy unlocated.

Hidden Voices. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 235.

Arranged for the guitar and voice by Holland. Copy unlocated.

Hilda Waltzes. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed by Godfrey. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 209^-3. DLC.

Hilda Waltzes. Chicago, Published byS. Brainard's Sons, n.d.Pr. 50 cents. CGCB, p. 2h0.

Arranged for two guitars by Holland. Copy unlocated.

Hilda Waltzes. Chicago, Published byS. Brainard's Sons, n.d.Pr. 50 cents. CGCB, p. 2^0.

Arranged for guitar and piano by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 57

Holland’s Comprehensive Method for the Guitar: Containing the Elements of Music, Full Illustrations of the Fingering for Both Hands, Complete Instructions for the Acquisition of Knowledge of Time and of the Instrument; with All the Necessary Lessons and Examples to Facilitate Their Application. Also, A Choice of Music Suitable for Practice and the Acquisition of a High Order of Execution. Composed and Compiled from the Best European Works by Justin Holland With Additions. Boston: Oliver Ditson Company, 1888, 176 pp.

AUU, BRL, DHU, LRU.

Holland's Modern Method for the Guitar; being an improvement on all other methods for this instrument in progressive arrangement, adaptation and simplictiy, and containing the best selections from Carcassi, Carulli, Sor, Mertz, Giuliani, Aguado, and other celebrated composers. The whole edited and compiled by Justin Holland. Cleveland, published by S. Brainard's Sons, 1876. 128 pp. [Pr. 1 dollar and 50 cents].

DLC.

How Can I Leave Thee, n.p., Published by S. Brainard, n.d. Pr. 20 cents. BMTC, p. 261+.

Arranged for the guitar and voice by Holland. Copy unlocated.

I Heard the Wee Bird Singing. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 235.

Arranged for the guitar and voice by Holland. Copy unlocated.

I Stand on Memory's Golden Shore. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885•

Composed by Webster. Arranged for the guitar and voice by Holland. Copy unlocated.

If Papa Were Only Ready. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 235*

Arranged for the guitar and voice by Holland. Copy unlocated.

I'll Pray for Thee, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 265.

Arranged for the guitar and voice by Holland. Copy unlocated.

I'm a Merry Zingara. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 35 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Balfe. Arranged for the guitar and voice by Holland. 7 pp.: Title page plus 6 plates numbered 327-3. DLC.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 58

I'm the Merriest Girl Out. n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 265.

Arranged for the guitar and voice by Holland. Copy unlocated.

In Happy Moments, n.p., Published by S. Brainard, n.d., Pr. 20 cents. BMTC, p. 265.

Arranged for the guitar and voice by Holland. Copy unlocated.

In the Gloaming. [Series]: New Gems for the Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885-

Arranged for the guitar by Holland. Copy unlocated.

In the Gloaming. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Harrison. Arranged for the guitar and voice by Holland. Copy unlocated.

It is Better to Laugh, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 276.

Arranged for the guitar by Holland. Copy unlocated.

Ivy Leaf Waltz. [Series]: Gems for the Guitar by Justin Holland. Pr. 20 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed by Brainard. Arranged for the guitar by Holland. 3 pp.: Title page plus 2 plates numbered 12013-2. DLC.

Jacob Gets the Mitten, n.p., Published by Louis Tripp, n.d. Pr. 30 cents. BMTC, p. 266.

Arranged for theguitar and voice by Holland. Copy unlocated.

Jennie Wright, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 266.

Arranged for the guitar and voice by Holland. Copy unlocated.

John Anderson My Joe. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Arranged for the guitar by Holland. Copy unlocated.

Juanita, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 266.

Arranged for the guitar and voice by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 59 Kathleen Mavoureen. n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 266.

Arranged for the guitar and voice by Holland. Copy unlocated.

Kitty Moore. [Series]: Summer Evenings. A Collection of Favorite Melodies j. 027 Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Deming. Arranged for the guitar and by Holland. Copy unlocated.

Kutschke, (Heel and Toe) Polka. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Stasny. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered l6l68=3. DLC.

Last Waltzes of a Lunatic. [Series]: Matinee Musicale. Favorite Melodies for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., [186-].

Arranged for the guitar by Holland. Copy unlocated.

Laura May. n.p.- Published by S. Brainard, n.d. Pr. 20 cents.

Arranged for the guitar and voice by Holland. Copy unlocated.

Little Beauty Waltz. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 35 cents. Cincinnati, Published by J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Little Clara Lee. Chicago, Published by S. Brainard's Sons, n.d. Pr. 35 cents. CGCB, p. 236.

Arranged for the guitar and voice by Holland. Copy unlocated.

Little Maggie May. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 236.

Arranged for the guitar and voice by Holland. Copy unlocated.

Little Ones at Home. Chicago, Published by S. Brainard's Sons, n.d. Pr. J+0 cents. CGCB, p. 236.

Arranged for the guitar and voice by Holland. Copy unlocated.

Little Rogues Waltz. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 25 cents. Cincinnati, Published by J. L, Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 6o

Long Weary Day. n.p., Published hy S. Brainard, n.d. Pr. 30 cents. BMTC, p. 267.

Arranged for the guitar and voice hy Holland. Copy unlocated.

Love, I Will Love You Ever. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Bucalossi. Arranged for the guitar and voice by Holland. Copy unlocated.

Love's Response Polka. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 35 cents. Cincinnati, Published by J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Lucia D'i Lamermoor. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. ho cents. Chicago, S. Brainard's Sons, 1868.

Composed by Donizetti. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 125^6.3. DLC.

Lucrezia. n.p., Published by J. L. Peters, n.d., Pr. HO cents. BMTC, p. 280.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Lucrezia Borgia. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 1*0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Donizetti. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 12576.3. DLC.

Mabel Waltzes. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed by Godfrey. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 2097-3. DLC.

Mabel Waltzes. Chicago, Published by S. Brainard's Sons, n.d. Pr. 50 cents. CGCB, p. 2^+0.

Arranged for two guitars by Hollanu. Copy unlocated.

Mabel Waltzes. Chicago, Published by S. Brainard's Sons, n.d. Pr. 50 cents. CGCB, p. 2h0.

Arranged for the guitar and piano by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 6i

Madoline. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Uuii/ar' Arranged hy Justin Holland. Pr. 25 cents. Cleve­ land, Published by S. Brainard & Co., 1858.

Composed by Cherry. Arranged for the guitar by Holland. 5 pp.: Title page plus k plates numbered 323-3. DLC.

Maggies Secret, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 267.

Arranged for the guitar and voice by Holland. Copy unlocated.

Maid of the Mill, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 267.

Arranged for the guitar and voice by Holland. Copy unlocated.

Maiden's Prayer. [Series]: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857.

Arranged for the guitar by Holland. Copy unlocated.

Make Me No Grandy Chaplet, n.p,, Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 277*

Arranged for the guitar by Holland. Copy unlocated.

Mandolina. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Langly. Arranged for the guitar by Holland. 5 pp.! Title page plus 3 plates numbered 16019=3. DLC.

Maniac Waltzes, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 277-

Arranged for the guitar by Holland. Copy unlocated.

Mannola. n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 267.

Arranged for the guitar and voice by Holland. Copy unlocated.

March Brilliante. Chicago, S. Brainard's Sons Co., 1891. Pr. 30 cents. MG, p. 67.

Arranged for two guitars by Holland. Copy unlocated.

Marching Through Georgia March. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 62

Composed by Mack. Arranged for the guitar hy Holland. Copy unlocated.

Maritana. n.p., J. L. Peters, n.d. Pr. UO cents. BMTC, p. 279*

Arranged for the guitar and violin or flute hy Holland. (See also There Is a Flower that Bloometh. "Maritana"). Copy unlocated.

Martha. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar hy Justin Holland. Pr. 1*0 cents. Chicago, S. Brainard's Sons, 1868.

Composed hy Flotow. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 12537.3. DLC.

Maryland and Pestal's Melody, n.p., Published hy S. Brainard, n.d. Pr. 20 cents. BMTC, p. 277.

Arranged for the guitar hy Holland. Copy unlocated.

Marseilles Hymn, n.p., Published hy S. Brainard, n.d. Pr. 30 cents. BMTC, p. 267.

Arranged for the guitar and voice hy Holland. (See also Marsellaise, Varied). Copy unlocated.

Marseillaise, Varied. [Series]: Winter Evenings. Six Arrangements for the Guitar hy Justin Holland. Pr. 35 cents. Cleveland, Published hy S . Brainard & Co., Superior St., 1857.

Arranged for the guitar hy Holland. (See also Marseilles Hymn). Copy unlocated.

Masaniello. n.p., Published hy J. L. Peters, n.d. Pr. ^0 cents. BMTC, p. 280.

Arranged for the guitar and violin or flute hy Holland. Copy un­ located.

Meen Fun Waltz. [Series]: Choice Melodies for the Guitar hy Justin Holland. Pr. 25 cents. Cincinnati, Published hy J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Meet Me in the Lane. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 30 cents. Cleveland, S. Brainard & Sons, 203 Superior St.. 1866.

Arranged for the guitar and voice hy Holland. Copy unlocated.

The Milwaukee Fire. [Series]: New Gems for Guitar hy Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 63

Composed by Kelley. Arranged for the guitar and voice by Holland. Copy unlocated.

Mollies's Dream Waltz, n.p., Published by S. Brainard, n.d. Pr. 35 cents. BMTC, p. 277.

Arranged for the guitar by Holland. Copy unlocated.

Morning Star Waltz. [Series]: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857.

Arranged for the guitar by Holland. Copy unlocated.

Mother Hear the Angels Singing. Chicago, Published by S. Brainard's Sons, n.d. Pr. 25 cents. CGCB, p. 236.

Arranged for the guitar and voice by Holland. Copy unlocated.

My Dear Old Home. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Sons, 1858.

Composed by Ward. Arranged for the guitar by Holland. Copy unlocated.

My Love Polka. [Series]: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Pr. 15 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857.

Arranged for the guitar by Holland. Copy unlocated.

My Pretty Blanche. Cited in Fourth Catalogue of New and Popular Music (Louisville: D. P. Faulds & Co., [18~]). Pr. 25 cents.

Arranged for the guitar and voice by Holland. Copy unlocated.

My Queen Waltzes. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Coote, Jr. Arranged for the guitar by Holland. 5 pp.: Title page plus U plates numbered 16039=^. DLC.

Natalien Waltzes. [Cited on title page]: Favorite Compositions of Justin Hollad for the Guitar. Pr. 30 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed by Labitzky. Arranged for the guitar by Holland. U pp.: Title page plus 3 plates numbered 11823. DLC.

National Guard's Grand March. [Series]: New Gems for the Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885«

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 6k

Composed by Kieffer. Arranged for the guitar hy Holland. 5 pp.: Title page plus 3 plates numbered l6l67-3. DLC.

Nearer My God to Thee. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons. 1885.

Arranged for the guitar by Holland. Copy unlocated.

Never Court But One. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Crosby. Arranged for the guitar by Holland. Copy unlocated.

New Coon in Town. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885-

Composed by Putnam. Arranged for the guitar and voice by Holland. Copy unlocated.

Newport. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Persley. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 piates numbered I599'’+=3. DLC.

Nina May. Chicago, Published by S. Brainard's Sons, n.d. Pr. 25 cents. CGCB, p. 236.

Arranged for the guitar and voice by Holland. Copy unlocated.

Nora Darling Don't Believe Them. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 236.

Arranged for the guitar and voice by Holland. Copy unlocated.

Norma. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. U0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Bellini. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 1258^.3. DLC.

Norma. Nos. 1 and 2. n.p., Published by J. L. Peters. Pr. 1+0 cents each. BMTC, p. 280.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Numbers 7 and lU of the Series: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Cleveland, [Published by S. Brainard Co.?], 1863.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 65 Arranged for the guitar by Holland. A title page of the series cited above in the DLC lists the titles by number. The edition only lists the first six titles, so further numbers could not be checked at this time for their corresponding titles. BRI.

SLeron. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. Uo cents. Chicago, S. Brainard's Sons, 1868.

Composed by Weber. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 12560.3 DLC.

Oberon. n.p., Published by J. L. Peters, n.d. Pr. HO cents. BMTC, p. 280. BMTC, p. 280.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

0 As Fair As Poet's Dreaming (Lacrezia Borgia). Chicago, Published by S. Brainard's Sons, n.d. Pr. 35 cents. CGCB, p. 236.

Arranged for the guitar and voice by Holland. Copy unlocated.

0 Summer Night, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 269.

Arranged for the guitar and voice by Holland. Copy unlocated.

0 Would I Were a Bird, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 269-

Arranged for the guitar and voice by Holland. Copy unlocated.

0 Ye Tears. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. BMTC, p. 269. CGCB, p. 238.

Arranged for the guitar and voice by Holland. Copy unlocated.

Oh Sing That Melody Again. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Arranged for the guitar by Holland. Copy unlocated.

Only At Home. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 237.

Arranged for the guitar and voice by Holland. Copy unlocated.

Only to See Thee Darling. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rosabel. Arranged for the guitar by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 66

Only Waiting. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

Over Sticks and Stones Galop. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Over the Summer Sea. n.p., Published by S. Brainard, n.d. Pr. 20 cents. BMTC, 269.

Arranged for the guitar and voice by Holland. Copy unlocated.

Palm Branches. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885•

Composed by Faure. Arranged for the guitar and voice by Holland. Copy unlocated.

Pansy Blossom Waltz. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rosabel. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 16032=3. DLC.

Parting Waltzes, n.p., Published by Brainard, n.d. Pr. 50 cents. BMTC, p. 279.

Arranged for two guitars by Holland. Copy unlocated.

Parting Waltzes. Chicago, Published by S. Brainard's Sons, n.d. Pr. 50 cents. CGCB, p. 2kl.

Arranged for two guitars by Holland. Copy unlocated.

Parting Waltzes. Chicago, Published by S. Brainard's Sons, n.d. Pr. 50 cents. CGCB, p. 2^1.

Arranged for the guitar and voice by Holland. Copy unlocated.

Pauline Polka. Cited in Fourth Catalogue of New and Popular Music (Louisville: D. P. Faulds & Co., [l8~]). Pr. 10 cents.

Arranged for the guitar and voice by Holland. Copy unlocated.

Peek-a-Boo. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885-

Composed by Rosabel. Arranged for the guitar and voice by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 67

Peek-a-Boo Waltz. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885-

Composed hy Rosable. Arranged for the guitar by Holland. Copy unlocated.

Pearls of Dew Waltz. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 35 cents. Cincinnati, Published by J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Pearls of Dew Mazurka. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed by Leduc. Arranged for the guitar by Holland. ^ pp.: Title page plus 3 plates numbered 12178-3. DLC.

Peri Waltzes. [Cited on title page]: Favorite Composition of Justin Holland for the Guitar. Pr. 30 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed by D'Albert. Arranged for the guitar by Holland. *r pp.: Title page plus 3 plates numbered 11822. DLC.

La Perichole. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. *+0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Offenbach. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 1318^.3 DLC.

Poor Old Joe. Chicago, Published by 3. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 237.

Arranged for the guitar and voice by Holland. Copy unlocated.

Le Postilion D'Armour. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Premier Amour Redowa. [Series]: Gems for the Guitar by Justin Holland. Pr. 20 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed by Wallerstein. Arranged for the guitar by Holland. 3 pp.: Title page plus 2 plates numbered ll62k.2. DLC.

Prima Donna Waltz. Cited in Fourth Catalogue of New and Popular Music (Louisville: D. P. Faulds & Co., [18-]). Pr. 10 cents.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. V

68

Arranged for the guitar and voice by Holland. Copy unlocated.

The Primrose. [Series]: Gems for the Guitar by Justin Holland. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Puritani. [Series]: Boquet[sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 40 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Bellini. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 12590.3. DLC.

Red, White and Blue and Slow Waltz. [Cited on title page]: Favorite Compositions of Justin Holland for the Guitar. Pr. 20 cents. Chicago, The S. Brainard's Sons Co., 1871.

Arranged for the guitar by Holland. 3 pp.: Title page plus 2 plates numbered 11802.

Rigoletto. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. kO cents. Chicago, S. Brainard's Sons, 1868.

Composed by Verdi. Arranged for the guitar by Holland. 5pp.: Title page plus 3 plates numbered 12561.3. DLC.

Ripple. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Sidney. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered l6l42=3. DLC.

Rochester Schottisch. [Series]: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857-

Composed by Ruliston. Arranged for the guitar by Holland.5 pp.: Title page plus 3 plates numbered 3^0-3. DLC.

Romantic Polka. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203Superior St., 1866.

Composed by Brainard. Arranged for the guitar by Holland.4 pp.: Title page plus 3 plates numbered 12014-3. DLC.

Romeo and Juliett. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 40 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Gounod. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 12638.3. DLC.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 69

Rover Waltz. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885-

Composed by Rosabel. Arranged for the guitar by Holland. Copy unlocated.

Sack Waltz. [Cited on title page]: Favorite Compositions of Justin Holland for the Guitar. Pr. 20 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed by Metcalfe. Arranged for the guitar by Holland. 3 pp.: Titie page plus 2 plates numbered 117^7-2. DLC.

Safe Within Thy Little Bed. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 237.

Arranged for the guitar and voice by Holland. Copy unlocated.

Sailing March. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Arranged for the guitar by Holland. Copy unlocated.

Sailing. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Marks. Arranged for the guitar and voice by Holland. 5 pp.: Title page plus 3 plates numbered l6lW=3. DLC.

Scenes That Are Brightest, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 270.

Arranged for the guitar and voice by Holland. Copy unlocated.

Sea Foam Waltz. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Secret Love, Gavotte. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Resch. Arranged for the guitar by Holland. 5 pp.: Title page plus 4 plates numbered 16033“^. DLC.

See-Saw Waltz. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rosabel. Arranged for the guitar by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TO

See-Saw Waltz Song. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rosabel. Arranged for the guitar and voice by Holland. 5 pp.: Title page plus U plates numbered l6020=k. DLC.

Shells of Ocean. [Series]: Matinee Musicale. Favorite Melodies Arranged for the Guitar by Justin Holland. Pr. 35 cents. Cleveland, Published by S. Brainard & Co., [l8- ].

Arranged for the guitar by Holland. Copy an located.

Shells of Ocean. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Cherry. Arranged for the guitar by Holland. Copy un­ located .

Shells of Ocean, Varied. [Series]: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Pr. 35 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857.

Arranged for the guitar by Holland. Copy unlocated.

Ship That Never Returned. [Series]: New Gems for Guitar by Juj.tin Holland. Pr. 35 cents. Cleveland and Chicago, Brainard's 7«ns, 1885.

Composed by Work. Arranged for the guitar and voice by Holland. Copy unlocated.

Sicilian Mariners Hymn. [Series]: Matinee Musicale. Favorite Melodies Arranged for the Guitar by Justin Holland. Pr. 35 cents. Cleveland, Published by S. Brainard & Co., [186-].

Arranged for the guitar by Holland. Reproduced in its entirity in the article by Horace C. Boyer, "A Portfolio of Music: The New England Afro-American School," The Black Perspective in Music (July, 1976):232-236. DCPL.

Silver Wave Barcarolle. [Cited on title page]: Favorite Compositions of Justin Holland for the Guitar. Pr. 30 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed by Allen. Arranged for the guitar by Holland. 1+ pp.: Title page plus 3 plates numbered 11755-3. DLC.

Silvery Waves. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed by Wyman. Arranged for the guitar by Holland, k pp .: Title page plus 3 plates numbered 12205-3. DLC.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 71

Sinbad March. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by DeVere. Arranged for the guitar by Holland. Copy unlocated.

Sing, Birdie, Sing, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 270.

Arranged for the guitar and voice by Holland. Copy unlocated.

Sing to Me Softly. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 25 cents Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Composed by Eastburn. Arranged for the guitar and voice by Holland. 3 pp.: Title page plus 2 plates numbered 2101-2. JHE.

Soldier's Chorus in "Faust." n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 278.

Arranged for the guitar by Holland. Copy unlocated.

Somebody's Darling. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 25 cents. Cleveland, S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

Someone to Love, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 271.

Arranged for the guitar and voice by Holland. Copy unlocated.

Something to Love Me. n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 271.

Arranged for the guitar and voice by Holland. Copy unlocated.

Sonnambula. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. U0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Bellini. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 12562.3. DLC.

Sonnambula. n.p., Published by J. L. Peters, n.d. Pr. ^0 cents. BMTC, p. 280.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 72 Sounds From Home. [Cited on title page]: Favorite Compositions of Justin Holland for the Guitar. Pr. 30 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed by Gung'l. Arranged for the guitar by Holland. ^ pp.: Title page plus 3 plates numbered 11821. DLC.

Spanish March. Arranged for Guitar by Holland. Pr. 30 cents. Chicago, The S. Brainard's Sons Co., 1863.

Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 11^12-3. DLC.

Spanish March. Brainard's Guitar Folio, Vocal and Instrumental. Two New Volumes of Choice Guitar Music. One vocal and one instrumental. 100 pages each. Pr. 50 cents. [As advertised in MG].

Arranged for the guitar by Holland. Copy unlocated.

Spanish Fandango, n.p., Published by S. Brainard & Co., 1856.

Arranged for the guitar by Holland. 3 pp.: No title page but 3 plates numbered 1228.3. DLC.

Spanish Fandango. [Series]: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857.

Arranged for the guitar by Holland. Copy unlocated.

Sparking Sunday Night. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Crosby. Arranged for the guitar by Holland. Copy unlocated.

Starlight Waltz. [Cited on title page]: Favorite Compositions of Justin Holland for the Guitar. Pr. 30 cents. Chicago, The S. Brainard's Sons Co., 1871.

Composed by Brainard. Arranged for the guitar by Holland. 1 pp.: Title page plus 3 plates numbered 11739-3. DLC.

Stephanie Gavotte. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Czibuika. Arranged for the guitar by Holland. 5 pp.: Title page plus h plates numbered 15990=^. DLC.

Still I Love Thee. Chicago, Published by S. Brainard's Sons, n.d. Pr. i+0 cents. CGCB, p. 237.

Arranged for the guitar and voice by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 73

Storm-bird Gallop. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Storm Bird Galop. Chicago, Published by S. Brainard's Sons, n.d. Pr. 50 cents. CGCB, p. 2^2.

Arranged for two guitars by Holland. Copy Unlocated.

Storm Bird Galop. Chicago, Published by S. Brainard's Sons, n.d. Pr. 50 cents. CGCB, p. 2^2.

Arranged for the guitar and piano by Holland. Copy unlocated.

Strangers Yet. Chicago, Published by S. Brainard's Sons, n.d. Pr. 25 cents. CGCB, p. 237.

Arranged for the guitar and voice by Holland. Copy unlocated.

Sweetheart. Bird Song, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 271.

Arranged for the guitar and voice by Holland. Copy unlocated.

Sweet Memories of Thee. Brainard's Guitar Folio, Vocal and Instrumental. Two New Volumes of Choice Guitar Music. One vocal and one instrumental. 100 pages each. Pr. 50 cents. [As advertised in MG].

Arranged for the guitar by Holland. Copy unlocated.

Sweet Memories, Variations. [Series]: Winter Evenings. Six Arrangements for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., Superior St., 1857.

Arranged for the guitar by Holland. Copy unlocated.

Sweet Roses Waltz. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rosabel. Arranged for the guitar by Holland. Copy unlocated.

Sweet Roses. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Rosabel. Arranged for the guitar and voice by Holland. Copy unlocated.

Sweet Thoughts Mazurka. [Series]: Gems for the Guitar by Justin Holland. Pr. 20 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 7H

Composed and arranged for the guitar by Holland. 3 pp.: Title page plus 2 plates numbered 117^0-2. DLC.

Sweet Tyrolean Airs. Chicago, Published by S. Brainard's Sons, n.d. Pr. 20 cents. CGCB, p. 2^2.

Arranged for the guitar by Holland. Copyunlocated.

Take Back the Heart. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 237.

Arranged for the guitar and voice by Holland. Copy unlocated.

Ten Thousand Miles Away. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 237.

Arranged for the guitar and voice by Holland. Copy unlocated.

Then You'll Remember Me. n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 271.

Arranged for the guitar and voice by Holland. Copy unlocated.

There Is a Flower That Bloometh. "Maritana." n.p., Published bv S. Brainard, n.d. Pr. 20 cents. BMTC, p. 272.

Arranged for the guitar and voice by Holland. (See also Maritana). Copy unlocated.

Thou Art So Near, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 272.

Arranged for the guitar and voice by Holland. Copy unlocated.

Thou'lt Yet Be Mine. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

Three Landler Waltzes. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. Copy unlocated.

Three Waltzes, n.p., Published by Louis Tripp, n.d. Pr.20 cents. BMTC, p. 278.

Arranged for the guitar by Holland. Copy unlocated.

'Tis the Last Rose of Summer. Brainard's Guitar Folio, Vocaland Instrumental. Two New Volumes of Choice Guitar Music. One vocal and one instrumental. 100 pages each. Pr. 50 cents. [As advertised in MG].

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 75

Arranged for the guitar by Holland. Copy unlocated.

'Tis the Last Rose of Summer. [Series]: Winter Evenings. Six arrangements for the Guitar by Justin Holland. Pr. 35 cents. Cleveland, Published by S. Brainard & Co, Superior St., 1857.

Arranged for the guitar by Holland. Cited in BMTC, p. 266 as "Last Rose of Summer." Pr. 30 cents. Copy unlocated.

Traviata. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 1*0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Verdi. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 12562.3. DLC.

La Traviata. n.p., Published by J. L. Peters, 1863.

Composed by Verdi. Arranged for two guitars by Holland. H pp.: No title page (unlocated) but k plates numbered 3661.1*. Author's collection (photocopy).

Triviata. n.p., Published by J. L. Peters, n.d. Pr. 1*0 cents. BMTC., p. 280.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Trcvatore. [Series]: Boquet [sic] of Melodies. Selection from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 1*0 cents. Chicago, S. Brainard's Sons, 1863.

Composed by Verdi. Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 12581.3. DLC.

Trovatore. n.p., Published by J. L. Peters, n.d. Pr. 1*0 cents. BMTC, p. 280.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

True Heart, Farewell. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Macy. Arranged for the guitar and voice by Holland. Copy unlocated.

T'was But a Dream. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Lyons. Arranged for the guitar by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 76

Twenty Years Ago. n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 272.

Arranged for the guitar and voice by Holland. Copy unlocated.

Twilight Mazurka. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 1+0 cents. Cincinnati, Published by J. L. Peters, 1867.

Arranged for the guitar by Holland. Copy unlocated.

Two Airs from Lucrezia. [Series]: Matinee Musicale. Favorite Melodies Arranged for the Guitar by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., [186-].

Arranged for the guitar by Holland. Copy unlocated.

Under the Beautiful Star. Chicago, Published by S. Brainard’s Sons, n.d. Pr. 30 cents. CGCB, p. 238.

Arranged for the guitar and voice by Holland. Copy unlocated.

Valley of Chamouni. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Glover. Arranged for the guitar by Holland. Copy unlocated.

Vespres Siciliennes. n.p., Published by J. L. Peters, n.d. Pr. 1+0 cents. BMTC, p. 280.

Arranged for the guitar and violin or flute by Holland. Copy unlocated.

Walter's Wooing, n.p., Published by S. Brainard, n.d. Pr. 25 cents. BMTC, p. 272.

Arranged for the guitar and voice by Holland. Copy unlocated.

Wandering Jew Waltz. [Series]: Gems for the Guitar by Justin Holland. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar by Holland. 5 pp.: Title page plus 3 plates numbered 2268=3. DLC.

Water Cresses. [Series]: New Gems for Guitar by Justin Holland. Pr. 30 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by LaForte. Arranged for the guitar and voice by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 77

Water Drop Sehottische. [Series]: New Gems for Guitar "by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard'sSons, 1885.

Composed by Kolbe. Arranged for the guitar by Holland. Copy unlocated.

Webster's Funeral March. [Series]: Gems for the Guitar by Justin Holland. Pr. 20 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Transcribed by Holland. 3 pp.: Title page plus 2 plates numbered 1738 2. DLC.

We'd Better Bide a Wee. Chicago, Published by S. Brainard's Sons, n.d. Pr. 25 cents. CGCB, p. 238.

Arranged for the guitar and voice by Holland. Copy unlocated.

Weep for the Loved, n.p., Published by Louis Tripp, n.d. Pr. 20 cents. BMTC, p. 273.

Arranged for the guitar and voice by Holland. Copy unlocated.

Weep No More Darling. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 238.

Arranged for the guitar and voice by Holland. Copy unlocated.

When My Rover Comes Again. [Series]: New Gems for Guitar by Justin Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1885.

Composed by Coe. Arranged for the guitar and voice by Holland. Copy unlocated.

When the Band Begins to Play. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 238.

Arranged for the guitar and voice by Holland. Copy unlocated.

When the Silver Moon is Beaming, n.p., Published by S. Brainard, n.d. Pr. 30 cents. BMTC, p. 273.

Arranged for the guitar and voice by Holland. Copy unlocated.

When We Went a Gleaning. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

Where the Grass Grows Green. Chicago, Published by S. Brainard's Sons, n.d. Pr. 25 cents. CGCB, p. 238.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 78

Arranged for the guitar and voice by Holland. Copy unlocated.

Why Was I Looking Out. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 25 cents. Cleveland, S. Brainard & Sons, 203 Superior St., 1866.

Arranged for the guitar and voice by Holland. Copy unlocated.

Will You Come to an Isle. [Series]: Summer Evenings. A Collection of Favorite Melodies for the Guitar Arranged by Justin Holland. Pr. 25 cents. Cleveland, Published by S. Brainard & Co., 1858.

Composed by Lyons. Arranged for the guitar by Holland. Copy unlocated.

William Tell. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. kO cents. Chicago, S. Brainard's Sons, 1868.

Composed by Rossini. Arranged for the guitar by Holland. 5 PP* + Title page plus 3 plates numbered 12591.3. DLC.

Won't You Tell Me Why, Robin, n.p., Published by S. Brainard, n.d. Pr. 25 cents. BMTC, p. 273.

Arranged for the guitar and voice by Holland. Copy unlocated.

Your Mission. [Series]: The Musical Album. A Choice Collection of New Guitar Songs. Pr. 30 cents. Cleveland, Published by S. Brainard & Sons, 203 Superior St., 1886.

Arranged for the guitar and voice by Holland. Copy unlocated.

Zampa. [Series]: Boquet [sic] of Melodies. Selections from Favorite Operas Arranged for the Guitar by Justin Holland. Pr. 1+0 cents. Chicago, S. Brainard's Sons, 1868.

Composed by Bellini. Arranged for the guitar by Holland. 5 PP -• Title page plus 3 plates numbered 12585.3. DLC.

Zanetta. Chicago, Published by S. Brainard's Sons, n.d. Pr. 30 cents. CGCB, p. 2U2.

Arranged for the guitar by Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 79

An Annotated List of Music Composed and Arranged By

Justin M. Holland

Battle-Cry of Freedom. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Composed by Baumbach. Arranged for the guitar by J. M. Holland. Copy unlocated.

Beggar Student Waltz. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Arranged for the guitar and voice by J. M. Holland. Copy unlocated.

Bell Flower Schottische. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Composed by Sidney. Arranged for the guitar by J. M. Holland. Copy unlocated.

Blue Alsatian Mountains. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Composed and arranged for the guitar and voice by J. M. Holland. Copy unlocated.

Blue Alsatian Mountains. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?]-

Composed and arranged for the guitar by J. M. Holland. Copy unlocated.

Breezes of Night Waltzes. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887 ?]•

Composed by Lamothe. Arranged for the guitar by J. M. Holland. Copy unlocated.

Collen Avarra. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Composed by Vernor. Arranged for the guitar and voice by J. M. Holland. Copy unlocated.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 80

Coon Schottische. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1877? ].

Composed by Putnam. Arranged for the guitar by J. M. Holland. Copy unlocated.

Don't Give Up the Old Friends. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons. [1877?].

Composed by Rutledge. Arranged for the guitar and voice by J. M. Holland. Copy unlocated.

Fedora Waltzes. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1887.

Composed by Bucalosi. Arranged for the guitar by J. M. Holland. 7 pp.: Title page plus 6 plates numbered 16235=6. DLC.

Flories Waltz. [Series]: Choice Melodies for the Guitar by Justin Holland. Pr. 25 cents. Cincinnati, Published by J. L. Peters, 1867.

Composed by Kinkel. Arranged for the guitar by Justin M. Holland. 3 pp.: Title page plus 2 plates numbered 2396.2 DLC.

Going to Market. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Clevelandand Chicago, S. Brainard's Sons, [1877?].

Composed by Diehl. Arranged for the guitar and voice by J. M. Holland. Copy unlocated.

Good Bye. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1877?].

Composed by Tosti. Arranged for the guitar and voice by J. M. Holland. Copy unlocated.

Good-bye Sweet Rose. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1887.

Composed by Frank L. Moir with words by William Boosey. Arranged for the guitar and voice by J. M. Holland. 5 pp.: Title page plus 3 plates numbered 1621*8=^. DLC.

I Stand on Memory's Golden Shore. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1887.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 81

Composed by Webster. Arranged for the guitar by J. M. Holland. 6 pp.: Title page plus 1 plate numbered 2l6=^ and it plates numbered l62l6=U. DLC.

Kutschke (Heel and Toe) Polka. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1877?].

Composed by Stasny. Arranged for the guitar by J. M. Holland. Copy unlocated.

National Guard's Grand March. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Composed by Kieffer. Arranged for the guitar by J. M. Holland. Copy unlocated.

New Coen in Town. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Composed by Putnam. Arranged for the guitar and voice by J. M. Holland. Copy unlocated.

Rover Waltz. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S.Brainard's Sons, [1887?].

Composed by Rosabel. Arranged for the guitar by J. M. Holland. Copy unlocated.

Sailing March. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Composed and arranged for the guitar by J. M. Holland. Copy unlocated.

Sinbad. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S.Brainard's Sons, 1887.

Composed by Aubrey De Vere. Arranged for the guitar by J. M. Holland. 5 pp.: Title page plus 3 plates numbered 16211=3. DLC.

Sweet Roses Waltz. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1887.

Composed by Rosabel. Arranged for the guitar by J. M. Holland. 5 pp.: Title page plus 3 plates numbered 16212=3. DLC.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Water Cresses. [Series]: Choice Compositions for the Guitar hy Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, [1887?].

Composed by LaForte. Arranged for the guitar and voice by J. M. Holland. Copy unlocated.

Water Drop Schottisch. [Series]: Choice Compositions for the Guitar by Justin M. Holland. Pr. 35 cents. Cleveland and Chicago, S. Brainard's Sons, 1887-

Composed by F. Kolbe. Arranged for the guitar by J. M. Holland. 5 pp.: Title page plus 3 plates numbered 16213=3. DLC.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY

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