{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Musicals\u0026f%5Blevel%5D%5B%5D=Collection","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Musicals\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":3,"first_page?":true,"last_page?":true}},"data":[{"id":"viw_repositories_2_resources_8292","type":"collection","attributes":{"title":"Hallelujah, Baby! Playscript, 1967","creator":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_8292#creator","type":"document_value","attributes":{"value":"Styne, Jule, 1905-1994","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_8292#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eHallelujah Baby Musical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_8292#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_8292","ead_ssi":"viw_repositories_2_resources_8292","_root_":"viw_repositories_2_resources_8292","_nest_parent_":"viw_repositories_2_resources_8292","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_8292.xml","title_filing_ssi":"Hallelujah, Baby! Playscript","title_ssm":["Hallelujah, Baby! Playscript"],"title_tesim":["Hallelujah, Baby! Playscript"],"unitdate_ssm":["circa 1967"],"unitdate_other_ssim":["circa 1967"],"normalized_date_ssm":["1967"],"normalized_title_ssm":["Hallelujah, Baby! Playscript, 1967"],"text":["Hallelujah, Baby! Playscript, 1967","SC 01571","/repositories/2/resources/8292","Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","English"],"collection_title_tesim":["Hallelujah, Baby! Playscript, 1967"],"collection_ssim":["Hallelujah, Baby! Playscript, 1967"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01571","/repositories/2/resources/8292"],"unitid_tesim":["SC 01571","/repositories/2/resources/8292"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Styne, Jule, 1905-1994"],"creator_ssim":["Styne, Jule, 1905-1994"],"creator_persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased from Clouds Hill books with funds from the Francis Randolph Howard Endowment, 2018."],"access_subjects_ssim":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"access_subjects_ssm":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Linear Feet"],"extent_tesim":["0.03 Linear Feet"],"date_range_isim":[1967],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eHellelujah, Baby! Playscript, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Hellelujah, Baby! Playscript, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eHallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","\u003cp\u003eFirst Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.\u003c/p\u003e","\u003cp\u003eACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.\u003c/p\u003e","\u003cp\u003eKen Mandelbaum- Theguidetomusicaltheater.com \u003c/p\u003e","\u003cp\u003eThe Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com"],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_coll_ssim":["Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_ssim":["Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:03:51.294Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_8292","ead_ssi":"viw_repositories_2_resources_8292","_root_":"viw_repositories_2_resources_8292","_nest_parent_":"viw_repositories_2_resources_8292","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_8292.xml","title_filing_ssi":"Hallelujah, Baby! Playscript","title_ssm":["Hallelujah, Baby! Playscript"],"title_tesim":["Hallelujah, Baby! Playscript"],"unitdate_ssm":["circa 1967"],"unitdate_other_ssim":["circa 1967"],"normalized_date_ssm":["1967"],"normalized_title_ssm":["Hallelujah, Baby! Playscript, 1967"],"text":["Hallelujah, Baby! Playscript, 1967","SC 01571","/repositories/2/resources/8292","Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","English"],"collection_title_tesim":["Hallelujah, Baby! Playscript, 1967"],"collection_ssim":["Hallelujah, Baby! Playscript, 1967"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01571","/repositories/2/resources/8292"],"unitid_tesim":["SC 01571","/repositories/2/resources/8292"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Styne, Jule, 1905-1994"],"creator_ssim":["Styne, Jule, 1905-1994"],"creator_persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-","Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased from Clouds Hill books with funds from the Francis Randolph Howard Endowment, 2018."],"access_subjects_ssim":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"access_subjects_ssm":["Musicals","Race in musical theater","Musical theater","Civil rights movements","Women's rights--United States"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Linear Feet"],"extent_tesim":["0.03 Linear Feet"],"date_range_isim":[1967],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eHellelujah, Baby! Playscript, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Hellelujah, Baby! Playscript, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eHallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green\u003c/p\u003e","\u003cp\u003eFirst Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.\u003c/p\u003e","\u003cp\u003eACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.\u003c/p\u003e","\u003cp\u003eKen Mandelbaum- Theguidetomusicaltheater.com \u003c/p\u003e","\u003cp\u003eThe Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Hallelujah Baby\nMusical in 2 Acts, Prologue and 6 scenes: Book by Arthur Laurents: Music by Jules Styne: Lyrics by Betty Comden and Adolph Green","First Performed at the Martin Beck Theatre, Broadway - 26 April, 1967 (293 perfs)\nPreviews began on April 6, 1967.\nSynopsis:\nACT I\nFrom underneath an open umbrella, Georgina, an attractive, contemporary Black woman, appears and greets us. She tells us that while the show we are about to see will cover sixty years, she will always remain twenty-five - \"That's nice for a girl,\" she states. Georgina's mother, her fiancé Clem and her devoted friend Harvey will also remain the same age throughout the show.\nIn the 1900s, Georgina and Momma are employed as maids on a Southern plantation. Momma tries to convince Georgina that she should be content with her lot in life. But Georgina wants more. Boyfriend Clem, a Pullman porter, arrives and explains how the down payment on a home for Georgina and him was lost when white cops confiscated his poker game winnings.\nHarvey, a young white theatrical producer, hires Georgina to play a maid in a Civil War play, despite the fact that Black people and whites are not allowed to appear on stage together. Georgina finds she prefers playing a maid to actually being one and is more determined than ever not to go back to the kitchen.\nIn the twenties, Harvey manages a Harlem nightclub where Georgina performs as one of several \"Congo Cuties\" and Clem works as a waiter. A foreign prince, who doesn't understand the bigoted local bylaws prohibiting Georgina from joining him at his table, starts a fight, and when a brawl ensues, Georgina and Clem are fired, and Harvey resigns in support of his friends. Clem resolves to pull himself together and make Georgina proud.\nOnce more Georgina and Momma are maids and Clem sports a Pullman uniform. All three ironically acknowledge that it pays to keep one's place and fulfil the expectations of white people about how black people are supposed to behave. Then the stock market crashes, and the three find themselves out of work again.\nTo escape the bread lines of the '30s, Georgina returns to the stage, taking on the role of a witch in a politically correct, voodoo version of Macbeth, sponsored by the Federal Theatre. Considered subversive, the show is shut down and Clem, Harvey and a friend named Mary attempt to cheer Georgina up. Clem is drawn to the Communist cause, where they call him \"comrade,\" not \"boy.\" Georgina declares that this is not the solution to their problems: \"Nobody can help you and me but you and me.\" They clash, Clem walks out, and Georgina expresses the irony of her situation.\nHarvey makes Georgina aware of his feelings for her, but neither has come far enough along for a relationship. Alone, Georgina realises that, although she's better than ever, she's not much closer to her dreams than she was at the beginning. She resolves to be the best she can be.","ACT II\nIt's the '40s and Georgina is doing her bit for the war effort by performing with a USO troop, while Clem has become a sergeant and Harvey a second lieutenant. All three members of this triangle are too confused about their feelings and too full of pride to act\nGeorgina quits the show when the integrated company is not permitted to play before integrated audiences. After an incident in which Harvey attempts to join Clem and Georgina in the back of a bus, Georgina decides that fighting for one's principles doesn't always pay off. She'll have to find a different route to her dreams.\nIt's the '50s, and Georgina has finally broken through, singing and dancing out her jubilation on the mirrored stage of a chic supper club. Clem, now a civil rights activist, is unhappy with Georgina's new acceptance values and tells her to \"get out of your little room and connect.\" Meanwhile, club manager Harvey proposes to Georgina, aware that, in spite of her estrangement from Clem, she may always be Clem's lady. Momma tells Clem and Harvey that no one is more surprised by Georgina's success than her Momma.\nAt a party where Georgina is the sole non-white, Momma arrives to deliver Georgina's evening bag. Georgina's friend mistakes Momma for Georgina's maid, and Georgina breaks down. She realises she has been \"driving tight and tiny for myself,\" and resolves to \"sing for everyone's supper - not just my own\".\nAs the '60s arrive, Georgina and Momma are about to move into a posh New York apartment that Harvey has arranged for them. Clem, who wants no more of smugly tolerant white society, convinces Georgina that this is still not the right place for them. Clem and Georgina move on together. At least they will have each other until things change and the weather's better.","Ken Mandelbaum- Theguidetomusicaltheater.com","The Musical was nominated for 9 Tony awards in 1968 and won 5 including Best Musical, Best Composer and Lyricist, Best Actor, Best Actress, Best Featured Actress, and four individual awards for Best Producer of a Musical.  \nSource, ibdb.com"],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"persname_ssim":["Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_coll_ssim":["Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"names_ssim":["Special Collections Research Center","Styne, Jule, 1905-1994","Laurents, Arthur","Purchase- Clouds Hill Books","Green, Adolph","Comden, Betty","Uggams, Leslie","Hayman, Lillian, 1922-1994","Hooks, Robert, 1937-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T23:03:51.294Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_8292"}},{"id":"vifrem_repositories_2_resources_21","type":"collection","attributes":{"title":"Jean Slater Edson Papers, 1929/1984","creator":{"id":"https://arvasarchive.org/catalog/vifrem_repositories_2_resources_21#creator","type":"document_value","attributes":{"value":"Edson, Jean Slater","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifrem_repositories_2_resources_21#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe Jean Slater Edson papers span 3 boxes that contain her original music manuscripts, programs or news clippings that she was featured in, correspondence regarding her personal life and music, a vinyl of her original music, and other miscellaneous items that pertain to her. The dated materials span 1929 to 1984. Although the majority of her compositions are undated, most of her dated works were created during her time as a teacher at Mary Washington College. Additionally, most correspondence and publications in this collection are in reference to the publishing process for some of Jean Slater Edson's musical works while she was residing in the Northern Virginia/DC area. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifrem_repositories_2_resources_21#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifrem_repositories_2_resources_21","ead_ssi":"vifrem_repositories_2_resources_21","_root_":"vifrem_repositories_2_resources_21","_nest_parent_":"vifrem_repositories_2_resources_21","ead_source_url_ssi":"data/oai/MW/repositories_2_resources_21.xml","title_ssm":["Jean Slater Edson Papers"],"title_tesim":["Jean Slater Edson Papers"],"unitdate_ssm":["1929-1984"],"unitdate_inclusive_ssm":["1929-1984"],"normalized_date_ssm":["1929/1984"],"normalized_title_ssm":["Jean Slater Edson Papers, 1929/1984"],"text":["Jean Slater Edson Papers, 1929/1984","MSS.0009","/repositories/2/resources/21","Composition (Music)","Organ music, Arranged","Keyboard instrument music, Arranged","Musicals","The collection is arranged in 5 series: 1) Musical Compositions, 2) Correspondence, 3) Printed Materials, 4) Unpublished Materials, and 5) Audio-Visual and Ephemera. The bulk of the collection consists of Professor Edson's written music, which has been arranged into sub-series to reflect the nature of the compositions and instrumentation.","Material is arranged alphabetically except in a few instances where arrangement by date was more appropriate.","Jean Slater Edson was an associate professor of music and physics at Mary Washington College, which has since been renamed the University of Mary Washington. Born on December 22, 1906, as Jean Slater, she grew to be equally interested in science and music. This passion led her to pursue both topics in higher education. Jean Slater began her education by obtaining a liberal arts degree from Vassar College, a Bachelor of Music with a minor in both science and math. From there, she pursued a Master of Arts of Music at Columbia University, where she also studied physics and earned a music fellowship abroad in Vienna, Austria. Jean Slater became Associate Professor of Music at Mary Washington College in 1947. After her first thirteen years of teaching there, she was additionally hired as a part-time professor of physics. Later, she would evenly split her time between her organ studio and physics labs at MWC. During her time at MWC, she married Andrew W. Edson and garnered the name that she would be known by today and in history: Jean Slater Edson. Likewise, some accounts and records of her refer to her as \"Mrs. Andrew W. Edson,\" denoting her status as married. Despite teaching at MWC, Edson was also an active member of the American Guild of Organists, which she held an Associate Degree and a Choir Master degree within. She retired from teaching at MWC in 1972 and died due to declining health on September 19, 1985.","In addition to her research for physics, Edson also researched music and wrote composition pieces of a large variety. Her most well-known non-composition work is her book, Organ Preludes: An Index to Compositions on Hymn Tunes, Chorales, Plainsong Melodies, Gregorian Tunes, and Carols. Edson wrote this with other organ players, like herself, in mind; she wanted other organists to have a good reference to the vast world of the instrument's repertoire. Her book outlines and cross-indexes over 3,000 different organ pieces for this purpose, and it was published by Scarecrow Press in 1970. Regarding compositional music, her two most popular pieces among the Fredericksburg community are those that she dedicated to Dr. Grellet C. Simpson, MWC Chancellor from 1956 to 1974. The first one titled \"Fanfare on G.C.S.\" for organ was composed for Dr. Simpson's inauguration, and the other one, titled \"From Age to Age\" for women's choir and organ, was composed for the tenth-year anniversary of his position. Other notable compositions by her include \"Missa Universalis,\" a work for men's choir, solo baritone, and organ that was commissioned and premiered by the Dartmouth College Glee Club, which had nearly fifty members at that time.","Sources:","MWC Today. \"In Memory of Jean Slater Edson.\" Winter 1986, 10. Accessed October 30, 2020.","U of Mary Washington.","The Bullet. \"MW College Will Offer Physics Major Next Year.\" February 19, 1960, 5. Accessed","October 30, 2020. U of Mary Washington","The Bullet. \"Mrs. Edson is Composer.\" November 16, 1963, 3. Accessed October 30, 2020. U of Mary Washington","The Jean Slater Edson papers span 3 boxes that contain her original music manuscripts, programs or news clippings that she was featured in, correspondence regarding her personal life and music, a vinyl of her original music, and other miscellaneous items that pertain to her. The dated materials span 1929 to 1984. Although the majority of her compositions are undated, most of her dated works were created during her time as a teacher at Mary Washington College. Additionally, most correspondence and publications in this collection are in reference to the publishing process for some of Jean Slater Edson's musical works while she was residing in the Northern Virginia/DC area.","Of particular interest is a collection of letters written by her while she was conducting research across Europe to complete her Organ Preludes publication. These letters are addressed to both the family of MWC's former Chancellor, Dr. Simpson, and MWC's first archivist, Barbara Alden, and they document her journey through Germany, Denmark, and England. Some other items that are of note are the score and papers surrounding her large-scale work Missa Universalis, which include correspondence, a performance program, a newspaper article, and various other documents that denote Jean Slater Edson's creative process for the piece as well as its public reception.","University of Mary Washington Special Collections and University Archives","Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W.","Contains songs written in German, French, and Russian."],"collection_title_tesim":["Jean Slater Edson Papers, 1929/1984"],"collection_ssim":["Jean Slater Edson Papers, 1929/1984"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS.0009","/repositories/2/resources/21"],"unitid_tesim":["MSS.0009","/repositories/2/resources/21"],"repository_ssm":["University of Mary Washington"],"repository_ssim":["University of Mary Washington"],"creator_ssm":["Edson, Jean Slater"],"creator_ssim":["Edson, Jean Slater"],"creator_persname_ssim":["Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W."],"creator_corpname_ssim":["University of Mary Washington Special Collections and University Archives"],"creators_ssim":["Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W.","University of Mary Washington Special Collections and University Archives"],"acqinfo_ssim":["The first documented instance of a donation to this collection was on May 19, 1971, when Mary Washington College associate professor Jean Slater Edson donated recital programs as well as her organ arrangement of the University of Mary Washington's \"Alma Mater.\" The next series of donations occurred about ten years later and were given by Barbara Alden, Jean Slater Edson's friend and MWC's archivist at the time. On May 16, 1983, Alden donated some letters addressed to her from Mrs. Slater Edson; on November 01, 1984, she donated a revised score of Jean Slater Edson's original piece \"From Age to Age\"; and then on September 23, 1985, shortly after Mrs. Slater Edson's passing, she donated more correspondence.","There exists correspondence dated August 16, 1999, where James Baker, the then conductor of the Mary Washington College and Community Orchestra, writes about how he would like to donate some \"materials (original music compositions [of Edson's]… [that] came my way from the basement of Dr. G. C. Simpson.\""],"access_subjects_ssim":["Composition (Music)","Organ music, Arranged","Keyboard instrument music, Arranged","Musicals"],"access_subjects_ssm":["Composition (Music)","Organ music, Arranged","Keyboard instrument music, Arranged","Musicals"],"has_online_content_ssim":["false"],"extent_ssm":["3 Linear Feet 2 upright legal-size document boxes (Box 1 and 2) and one flat storage box (Box 3). All oversize material is located in Box 3."],"extent_tesim":["3 Linear Feet 2 upright legal-size document boxes (Box 1 and 2) and one flat storage box (Box 3). All oversize material is located in Box 3."],"date_range_isim":[1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in 5 series: 1) Musical Compositions, 2) Correspondence, 3) Printed Materials, 4) Unpublished Materials, and 5) Audio-Visual and Ephemera. The bulk of the collection consists of Professor Edson's written music, which has been arranged into sub-series to reflect the nature of the compositions and instrumentation.\u003c/p\u003e","\u003cp\u003eMaterial is arranged alphabetically except in a few instances where arrangement by date was more appropriate.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in 5 series: 1) Musical Compositions, 2) Correspondence, 3) Printed Materials, 4) Unpublished Materials, and 5) Audio-Visual and Ephemera. The bulk of the collection consists of Professor Edson's written music, which has been arranged into sub-series to reflect the nature of the compositions and instrumentation.","Material is arranged alphabetically except in a few instances where arrangement by date was more appropriate."],"bioghist_html_tesm":["\u003cp\u003eJean Slater Edson was an associate professor of music and physics at Mary Washington College, which has since been renamed the University of Mary Washington. Born on December 22, 1906, as Jean Slater, she grew to be equally interested in science and music. This passion led her to pursue both topics in higher education. Jean Slater began her education by obtaining a liberal arts degree from Vassar College, a Bachelor of Music with a minor in both science and math. From there, she pursued a Master of Arts of Music at Columbia University, where she also studied physics and earned a music fellowship abroad in Vienna, Austria. Jean Slater became Associate Professor of Music at Mary Washington College in 1947. After her first thirteen years of teaching there, she was additionally hired as a part-time professor of physics. Later, she would evenly split her time between her organ studio and physics labs at MWC. During her time at MWC, she married Andrew W. Edson and garnered the name that she would be known by today and in history: Jean Slater Edson. Likewise, some accounts and records of her refer to her as \"Mrs. Andrew W. Edson,\" denoting her status as married. Despite teaching at MWC, Edson was also an active member of the American Guild of Organists, which she held an Associate Degree and a Choir Master degree within. She retired from teaching at MWC in 1972 and died due to declining health on September 19, 1985. \u003c/p\u003e","\u003cp\u003eIn addition to her research for physics, Edson also researched music and wrote composition pieces of a large variety. Her most well-known non-composition work is her book, \u003ci\u003eOrgan Preludes: An Index to Compositions on Hymn Tunes, Chorales, Plainsong Melodies, Gregorian Tunes, and Carols\u003c/i\u003e. Edson wrote this with other organ players, like herself, in mind; she wanted other organists to have a good reference to the vast world of the instrument's repertoire. Her book outlines and cross-indexes over 3,000 different organ pieces for this purpose, and it was published by Scarecrow Press in 1970. Regarding compositional music, her two most popular pieces among the Fredericksburg community are those that she dedicated to Dr. Grellet C. Simpson, MWC Chancellor from 1956 to 1974. The first one titled \"Fanfare on G.C.S.\" for organ was composed for Dr. Simpson's inauguration, and the other one, titled \"From Age to Age\" for women's choir and organ, was composed for the tenth-year anniversary of his position. Other notable compositions by her include \"Missa Universalis,\" a work for men's choir, solo baritone, and organ that was commissioned and premiered by the Dartmouth College Glee Club, which had nearly fifty members at that time. \u003c/p\u003e","\u003cp\u003eSources: \u003c/p\u003e","\u003cp\u003e\u003ci\u003eMWC Today\u003c/i\u003e. \"In Memory of Jean Slater Edson.\" Winter 1986, 10. Accessed October 30, 2020. \u003c/p\u003e","\u003cp\u003eU of Mary Washington. \u003c/p\u003e","\u003cp\u003e\u003ci\u003eThe Bullet\u003c/i\u003e. \"MW College Will Offer Physics Major Next Year.\" February 19, 1960, 5. Accessed \u003c/p\u003e","\u003cp\u003eOctober 30, 2020. U of Mary Washington \u003c/p\u003e","\u003cp\u003e\u003ci\u003eThe Bullet\u003c/i\u003e. \"Mrs. Edson is Composer.\" November 16, 1963, 3. Accessed October 30, 2020. U of Mary Washington \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jean Slater Edson was an associate professor of music and physics at Mary Washington College, which has since been renamed the University of Mary Washington. Born on December 22, 1906, as Jean Slater, she grew to be equally interested in science and music. This passion led her to pursue both topics in higher education. Jean Slater began her education by obtaining a liberal arts degree from Vassar College, a Bachelor of Music with a minor in both science and math. From there, she pursued a Master of Arts of Music at Columbia University, where she also studied physics and earned a music fellowship abroad in Vienna, Austria. Jean Slater became Associate Professor of Music at Mary Washington College in 1947. After her first thirteen years of teaching there, she was additionally hired as a part-time professor of physics. Later, she would evenly split her time between her organ studio and physics labs at MWC. During her time at MWC, she married Andrew W. Edson and garnered the name that she would be known by today and in history: Jean Slater Edson. Likewise, some accounts and records of her refer to her as \"Mrs. Andrew W. Edson,\" denoting her status as married. Despite teaching at MWC, Edson was also an active member of the American Guild of Organists, which she held an Associate Degree and a Choir Master degree within. She retired from teaching at MWC in 1972 and died due to declining health on September 19, 1985.","In addition to her research for physics, Edson also researched music and wrote composition pieces of a large variety. Her most well-known non-composition work is her book, Organ Preludes: An Index to Compositions on Hymn Tunes, Chorales, Plainsong Melodies, Gregorian Tunes, and Carols. Edson wrote this with other organ players, like herself, in mind; she wanted other organists to have a good reference to the vast world of the instrument's repertoire. Her book outlines and cross-indexes over 3,000 different organ pieces for this purpose, and it was published by Scarecrow Press in 1970. Regarding compositional music, her two most popular pieces among the Fredericksburg community are those that she dedicated to Dr. Grellet C. Simpson, MWC Chancellor from 1956 to 1974. The first one titled \"Fanfare on G.C.S.\" for organ was composed for Dr. Simpson's inauguration, and the other one, titled \"From Age to Age\" for women's choir and organ, was composed for the tenth-year anniversary of his position. Other notable compositions by her include \"Missa Universalis,\" a work for men's choir, solo baritone, and organ that was commissioned and premiered by the Dartmouth College Glee Club, which had nearly fifty members at that time.","Sources:","MWC Today. \"In Memory of Jean Slater Edson.\" Winter 1986, 10. Accessed October 30, 2020.","U of Mary Washington.","The Bullet. \"MW College Will Offer Physics Major Next Year.\" February 19, 1960, 5. Accessed","October 30, 2020. U of Mary Washington","The Bullet. \"Mrs. Edson is Composer.\" November 16, 1963, 3. Accessed October 30, 2020. U of Mary Washington"],"scopecontent_html_tesm":["\u003cp\u003eThe Jean Slater Edson papers span 3 boxes that contain her original music manuscripts, programs or news clippings that she was featured in, correspondence regarding her personal life and music, a vinyl of her original music, and other miscellaneous items that pertain to her. The dated materials span 1929 to 1984. Although the majority of her compositions are undated, most of her dated works were created during her time as a teacher at Mary Washington College. Additionally, most correspondence and publications in this collection are in reference to the publishing process for some of Jean Slater Edson's musical works while she was residing in the Northern Virginia/DC area. \u003c/p\u003e","\u003cp\u003eOf particular interest is a collection of letters written by her while she was conducting research across Europe to complete her \u003ci\u003eOrgan Preludes\u003c/i\u003e publication. These letters are addressed to both the family of MWC's former Chancellor, Dr. Simpson, and MWC's first archivist, Barbara Alden, and they document her journey through Germany, Denmark, and England. Some other items that are of note are the score and papers surrounding her large-scale work \u003ci\u003eMissa Universalis\u003c/i\u003e, which include correspondence, a performance program, a newspaper article, and various other documents that denote Jean Slater Edson's creative process for the piece as well as its public reception. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Jean Slater Edson papers span 3 boxes that contain her original music manuscripts, programs or news clippings that she was featured in, correspondence regarding her personal life and music, a vinyl of her original music, and other miscellaneous items that pertain to her. The dated materials span 1929 to 1984. Although the majority of her compositions are undated, most of her dated works were created during her time as a teacher at Mary Washington College. Additionally, most correspondence and publications in this collection are in reference to the publishing process for some of Jean Slater Edson's musical works while she was residing in the Northern Virginia/DC area.","Of particular interest is a collection of letters written by her while she was conducting research across Europe to complete her Organ Preludes publication. These letters are addressed to both the family of MWC's former Chancellor, Dr. Simpson, and MWC's first archivist, Barbara Alden, and they document her journey through Germany, Denmark, and England. Some other items that are of note are the score and papers surrounding her large-scale work Missa Universalis, which include correspondence, a performance program, a newspaper article, and various other documents that denote Jean Slater Edson's creative process for the piece as well as its public reception."],"corpname_ssim":["University of Mary Washington Special Collections and University Archives"],"persname_ssim":["Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W."],"names_coll_ssim":["Simpson, Grellet C., 1909-1997"],"names_ssim":["University of Mary Washington Special Collections and University Archives","Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W."],"language_ssim":["Contains songs written in German, French, and Russian."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":118,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:44.668Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifrem_repositories_2_resources_21","ead_ssi":"vifrem_repositories_2_resources_21","_root_":"vifrem_repositories_2_resources_21","_nest_parent_":"vifrem_repositories_2_resources_21","ead_source_url_ssi":"data/oai/MW/repositories_2_resources_21.xml","title_ssm":["Jean Slater Edson Papers"],"title_tesim":["Jean Slater Edson Papers"],"unitdate_ssm":["1929-1984"],"unitdate_inclusive_ssm":["1929-1984"],"normalized_date_ssm":["1929/1984"],"normalized_title_ssm":["Jean Slater Edson Papers, 1929/1984"],"text":["Jean Slater Edson Papers, 1929/1984","MSS.0009","/repositories/2/resources/21","Composition (Music)","Organ music, Arranged","Keyboard instrument music, Arranged","Musicals","The collection is arranged in 5 series: 1) Musical Compositions, 2) Correspondence, 3) Printed Materials, 4) Unpublished Materials, and 5) Audio-Visual and Ephemera. The bulk of the collection consists of Professor Edson's written music, which has been arranged into sub-series to reflect the nature of the compositions and instrumentation.","Material is arranged alphabetically except in a few instances where arrangement by date was more appropriate.","Jean Slater Edson was an associate professor of music and physics at Mary Washington College, which has since been renamed the University of Mary Washington. Born on December 22, 1906, as Jean Slater, she grew to be equally interested in science and music. This passion led her to pursue both topics in higher education. Jean Slater began her education by obtaining a liberal arts degree from Vassar College, a Bachelor of Music with a minor in both science and math. From there, she pursued a Master of Arts of Music at Columbia University, where she also studied physics and earned a music fellowship abroad in Vienna, Austria. Jean Slater became Associate Professor of Music at Mary Washington College in 1947. After her first thirteen years of teaching there, she was additionally hired as a part-time professor of physics. Later, she would evenly split her time between her organ studio and physics labs at MWC. During her time at MWC, she married Andrew W. Edson and garnered the name that she would be known by today and in history: Jean Slater Edson. Likewise, some accounts and records of her refer to her as \"Mrs. Andrew W. Edson,\" denoting her status as married. Despite teaching at MWC, Edson was also an active member of the American Guild of Organists, which she held an Associate Degree and a Choir Master degree within. She retired from teaching at MWC in 1972 and died due to declining health on September 19, 1985.","In addition to her research for physics, Edson also researched music and wrote composition pieces of a large variety. Her most well-known non-composition work is her book, Organ Preludes: An Index to Compositions on Hymn Tunes, Chorales, Plainsong Melodies, Gregorian Tunes, and Carols. Edson wrote this with other organ players, like herself, in mind; she wanted other organists to have a good reference to the vast world of the instrument's repertoire. Her book outlines and cross-indexes over 3,000 different organ pieces for this purpose, and it was published by Scarecrow Press in 1970. Regarding compositional music, her two most popular pieces among the Fredericksburg community are those that she dedicated to Dr. Grellet C. Simpson, MWC Chancellor from 1956 to 1974. The first one titled \"Fanfare on G.C.S.\" for organ was composed for Dr. Simpson's inauguration, and the other one, titled \"From Age to Age\" for women's choir and organ, was composed for the tenth-year anniversary of his position. Other notable compositions by her include \"Missa Universalis,\" a work for men's choir, solo baritone, and organ that was commissioned and premiered by the Dartmouth College Glee Club, which had nearly fifty members at that time.","Sources:","MWC Today. \"In Memory of Jean Slater Edson.\" Winter 1986, 10. Accessed October 30, 2020.","U of Mary Washington.","The Bullet. \"MW College Will Offer Physics Major Next Year.\" February 19, 1960, 5. Accessed","October 30, 2020. U of Mary Washington","The Bullet. \"Mrs. Edson is Composer.\" November 16, 1963, 3. Accessed October 30, 2020. U of Mary Washington","The Jean Slater Edson papers span 3 boxes that contain her original music manuscripts, programs or news clippings that she was featured in, correspondence regarding her personal life and music, a vinyl of her original music, and other miscellaneous items that pertain to her. The dated materials span 1929 to 1984. Although the majority of her compositions are undated, most of her dated works were created during her time as a teacher at Mary Washington College. Additionally, most correspondence and publications in this collection are in reference to the publishing process for some of Jean Slater Edson's musical works while she was residing in the Northern Virginia/DC area.","Of particular interest is a collection of letters written by her while she was conducting research across Europe to complete her Organ Preludes publication. These letters are addressed to both the family of MWC's former Chancellor, Dr. Simpson, and MWC's first archivist, Barbara Alden, and they document her journey through Germany, Denmark, and England. Some other items that are of note are the score and papers surrounding her large-scale work Missa Universalis, which include correspondence, a performance program, a newspaper article, and various other documents that denote Jean Slater Edson's creative process for the piece as well as its public reception.","University of Mary Washington Special Collections and University Archives","Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W.","Contains songs written in German, French, and Russian."],"collection_title_tesim":["Jean Slater Edson Papers, 1929/1984"],"collection_ssim":["Jean Slater Edson Papers, 1929/1984"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS.0009","/repositories/2/resources/21"],"unitid_tesim":["MSS.0009","/repositories/2/resources/21"],"repository_ssm":["University of Mary Washington"],"repository_ssim":["University of Mary Washington"],"creator_ssm":["Edson, Jean Slater"],"creator_ssim":["Edson, Jean Slater"],"creator_persname_ssim":["Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W."],"creator_corpname_ssim":["University of Mary Washington Special Collections and University Archives"],"creators_ssim":["Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W.","University of Mary Washington Special Collections and University Archives"],"acqinfo_ssim":["The first documented instance of a donation to this collection was on May 19, 1971, when Mary Washington College associate professor Jean Slater Edson donated recital programs as well as her organ arrangement of the University of Mary Washington's \"Alma Mater.\" The next series of donations occurred about ten years later and were given by Barbara Alden, Jean Slater Edson's friend and MWC's archivist at the time. On May 16, 1983, Alden donated some letters addressed to her from Mrs. Slater Edson; on November 01, 1984, she donated a revised score of Jean Slater Edson's original piece \"From Age to Age\"; and then on September 23, 1985, shortly after Mrs. Slater Edson's passing, she donated more correspondence.","There exists correspondence dated August 16, 1999, where James Baker, the then conductor of the Mary Washington College and Community Orchestra, writes about how he would like to donate some \"materials (original music compositions [of Edson's]… [that] came my way from the basement of Dr. G. C. Simpson.\""],"access_subjects_ssim":["Composition (Music)","Organ music, Arranged","Keyboard instrument music, Arranged","Musicals"],"access_subjects_ssm":["Composition (Music)","Organ music, Arranged","Keyboard instrument music, Arranged","Musicals"],"has_online_content_ssim":["false"],"extent_ssm":["3 Linear Feet 2 upright legal-size document boxes (Box 1 and 2) and one flat storage box (Box 3). All oversize material is located in Box 3."],"extent_tesim":["3 Linear Feet 2 upright legal-size document boxes (Box 1 and 2) and one flat storage box (Box 3). All oversize material is located in Box 3."],"date_range_isim":[1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in 5 series: 1) Musical Compositions, 2) Correspondence, 3) Printed Materials, 4) Unpublished Materials, and 5) Audio-Visual and Ephemera. The bulk of the collection consists of Professor Edson's written music, which has been arranged into sub-series to reflect the nature of the compositions and instrumentation.\u003c/p\u003e","\u003cp\u003eMaterial is arranged alphabetically except in a few instances where arrangement by date was more appropriate.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in 5 series: 1) Musical Compositions, 2) Correspondence, 3) Printed Materials, 4) Unpublished Materials, and 5) Audio-Visual and Ephemera. The bulk of the collection consists of Professor Edson's written music, which has been arranged into sub-series to reflect the nature of the compositions and instrumentation.","Material is arranged alphabetically except in a few instances where arrangement by date was more appropriate."],"bioghist_html_tesm":["\u003cp\u003eJean Slater Edson was an associate professor of music and physics at Mary Washington College, which has since been renamed the University of Mary Washington. Born on December 22, 1906, as Jean Slater, she grew to be equally interested in science and music. This passion led her to pursue both topics in higher education. Jean Slater began her education by obtaining a liberal arts degree from Vassar College, a Bachelor of Music with a minor in both science and math. From there, she pursued a Master of Arts of Music at Columbia University, where she also studied physics and earned a music fellowship abroad in Vienna, Austria. Jean Slater became Associate Professor of Music at Mary Washington College in 1947. After her first thirteen years of teaching there, she was additionally hired as a part-time professor of physics. Later, she would evenly split her time between her organ studio and physics labs at MWC. During her time at MWC, she married Andrew W. Edson and garnered the name that she would be known by today and in history: Jean Slater Edson. Likewise, some accounts and records of her refer to her as \"Mrs. Andrew W. Edson,\" denoting her status as married. Despite teaching at MWC, Edson was also an active member of the American Guild of Organists, which she held an Associate Degree and a Choir Master degree within. She retired from teaching at MWC in 1972 and died due to declining health on September 19, 1985. \u003c/p\u003e","\u003cp\u003eIn addition to her research for physics, Edson also researched music and wrote composition pieces of a large variety. Her most well-known non-composition work is her book, \u003ci\u003eOrgan Preludes: An Index to Compositions on Hymn Tunes, Chorales, Plainsong Melodies, Gregorian Tunes, and Carols\u003c/i\u003e. Edson wrote this with other organ players, like herself, in mind; she wanted other organists to have a good reference to the vast world of the instrument's repertoire. Her book outlines and cross-indexes over 3,000 different organ pieces for this purpose, and it was published by Scarecrow Press in 1970. Regarding compositional music, her two most popular pieces among the Fredericksburg community are those that she dedicated to Dr. Grellet C. Simpson, MWC Chancellor from 1956 to 1974. The first one titled \"Fanfare on G.C.S.\" for organ was composed for Dr. Simpson's inauguration, and the other one, titled \"From Age to Age\" for women's choir and organ, was composed for the tenth-year anniversary of his position. Other notable compositions by her include \"Missa Universalis,\" a work for men's choir, solo baritone, and organ that was commissioned and premiered by the Dartmouth College Glee Club, which had nearly fifty members at that time. \u003c/p\u003e","\u003cp\u003eSources: \u003c/p\u003e","\u003cp\u003e\u003ci\u003eMWC Today\u003c/i\u003e. \"In Memory of Jean Slater Edson.\" Winter 1986, 10. Accessed October 30, 2020. \u003c/p\u003e","\u003cp\u003eU of Mary Washington. \u003c/p\u003e","\u003cp\u003e\u003ci\u003eThe Bullet\u003c/i\u003e. \"MW College Will Offer Physics Major Next Year.\" February 19, 1960, 5. Accessed \u003c/p\u003e","\u003cp\u003eOctober 30, 2020. U of Mary Washington \u003c/p\u003e","\u003cp\u003e\u003ci\u003eThe Bullet\u003c/i\u003e. \"Mrs. Edson is Composer.\" November 16, 1963, 3. Accessed October 30, 2020. U of Mary Washington \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jean Slater Edson was an associate professor of music and physics at Mary Washington College, which has since been renamed the University of Mary Washington. Born on December 22, 1906, as Jean Slater, she grew to be equally interested in science and music. This passion led her to pursue both topics in higher education. Jean Slater began her education by obtaining a liberal arts degree from Vassar College, a Bachelor of Music with a minor in both science and math. From there, she pursued a Master of Arts of Music at Columbia University, where she also studied physics and earned a music fellowship abroad in Vienna, Austria. Jean Slater became Associate Professor of Music at Mary Washington College in 1947. After her first thirteen years of teaching there, she was additionally hired as a part-time professor of physics. Later, she would evenly split her time between her organ studio and physics labs at MWC. During her time at MWC, she married Andrew W. Edson and garnered the name that she would be known by today and in history: Jean Slater Edson. Likewise, some accounts and records of her refer to her as \"Mrs. Andrew W. Edson,\" denoting her status as married. Despite teaching at MWC, Edson was also an active member of the American Guild of Organists, which she held an Associate Degree and a Choir Master degree within. She retired from teaching at MWC in 1972 and died due to declining health on September 19, 1985.","In addition to her research for physics, Edson also researched music and wrote composition pieces of a large variety. Her most well-known non-composition work is her book, Organ Preludes: An Index to Compositions on Hymn Tunes, Chorales, Plainsong Melodies, Gregorian Tunes, and Carols. Edson wrote this with other organ players, like herself, in mind; she wanted other organists to have a good reference to the vast world of the instrument's repertoire. Her book outlines and cross-indexes over 3,000 different organ pieces for this purpose, and it was published by Scarecrow Press in 1970. Regarding compositional music, her two most popular pieces among the Fredericksburg community are those that she dedicated to Dr. Grellet C. Simpson, MWC Chancellor from 1956 to 1974. The first one titled \"Fanfare on G.C.S.\" for organ was composed for Dr. Simpson's inauguration, and the other one, titled \"From Age to Age\" for women's choir and organ, was composed for the tenth-year anniversary of his position. Other notable compositions by her include \"Missa Universalis,\" a work for men's choir, solo baritone, and organ that was commissioned and premiered by the Dartmouth College Glee Club, which had nearly fifty members at that time.","Sources:","MWC Today. \"In Memory of Jean Slater Edson.\" Winter 1986, 10. Accessed October 30, 2020.","U of Mary Washington.","The Bullet. \"MW College Will Offer Physics Major Next Year.\" February 19, 1960, 5. Accessed","October 30, 2020. U of Mary Washington","The Bullet. \"Mrs. Edson is Composer.\" November 16, 1963, 3. Accessed October 30, 2020. U of Mary Washington"],"scopecontent_html_tesm":["\u003cp\u003eThe Jean Slater Edson papers span 3 boxes that contain her original music manuscripts, programs or news clippings that she was featured in, correspondence regarding her personal life and music, a vinyl of her original music, and other miscellaneous items that pertain to her. The dated materials span 1929 to 1984. Although the majority of her compositions are undated, most of her dated works were created during her time as a teacher at Mary Washington College. Additionally, most correspondence and publications in this collection are in reference to the publishing process for some of Jean Slater Edson's musical works while she was residing in the Northern Virginia/DC area. \u003c/p\u003e","\u003cp\u003eOf particular interest is a collection of letters written by her while she was conducting research across Europe to complete her \u003ci\u003eOrgan Preludes\u003c/i\u003e publication. These letters are addressed to both the family of MWC's former Chancellor, Dr. Simpson, and MWC's first archivist, Barbara Alden, and they document her journey through Germany, Denmark, and England. Some other items that are of note are the score and papers surrounding her large-scale work \u003ci\u003eMissa Universalis\u003c/i\u003e, which include correspondence, a performance program, a newspaper article, and various other documents that denote Jean Slater Edson's creative process for the piece as well as its public reception. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Jean Slater Edson papers span 3 boxes that contain her original music manuscripts, programs or news clippings that she was featured in, correspondence regarding her personal life and music, a vinyl of her original music, and other miscellaneous items that pertain to her. The dated materials span 1929 to 1984. Although the majority of her compositions are undated, most of her dated works were created during her time as a teacher at Mary Washington College. Additionally, most correspondence and publications in this collection are in reference to the publishing process for some of Jean Slater Edson's musical works while she was residing in the Northern Virginia/DC area.","Of particular interest is a collection of letters written by her while she was conducting research across Europe to complete her Organ Preludes publication. These letters are addressed to both the family of MWC's former Chancellor, Dr. Simpson, and MWC's first archivist, Barbara Alden, and they document her journey through Germany, Denmark, and England. Some other items that are of note are the score and papers surrounding her large-scale work Missa Universalis, which include correspondence, a performance program, a newspaper article, and various other documents that denote Jean Slater Edson's creative process for the piece as well as its public reception."],"corpname_ssim":["University of Mary Washington Special Collections and University Archives"],"persname_ssim":["Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W."],"names_coll_ssim":["Simpson, Grellet C., 1909-1997"],"names_ssim":["University of Mary Washington Special Collections and University Archives","Edson, Jean Slater","Simpson, Grellet C., 1909-1997","Raplee, Elizabeth Virginia","Berkowitz, Albert M., 1921-2015","Edson, Andrew W."],"language_ssim":["Contains songs written in German, French, and Russian."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":118,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:44.668Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifrem_repositories_2_resources_21"}},{"id":"viw_repositories_2_resources_9841","type":"collection","attributes":{"title":"Mint Theater Company records, 2022/2023","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9841#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eMint Theater Company was formed at William \u0026amp; Mary by Anya Ruzicka, William \u0026amp; Mary (W\u0026amp;M) class 2025, in 2022. 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