Young and Matured Henry Cowell with his music note.
 
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Acknowledgements

Gertrude Lippincott and Marian Van Tuyl graciously supplied scores and much- needed information. Gerry Ostrove moved all the way from Boston (where she had helped me with a couple of Improper Bostonians) to Washington, just in time to save me from being rendered two-dimensional by that hideous compact shelving in the cellar at LC. David Nicholls, an English friend and co-Coweller, managed to dig up the five kiddie pieces (no. 446) from the lower depths of-give up?- Cambridge University Library.

"LC" leads my stream of consciousness more directly to institutions. Sam Dennison and colleagues at the Free Library of Philadelphia have been exceedingly helpful, Sam amplifying his fine 1979 catalog of the Fleisher Collection; it contains a great many HC works in copies of one kind or another, and Sam has data cards supplemen- tal to LC and NYPL. Don Gillespie represents a different kind of institution, the C. F. Peters Corp., but to me he and his colleagues (Hi, Evelyn Hinrichsen!) have been extremely helpful librarians. The CC at NYPL is under the immediate jurisdic- tion of Richard Jackson, whom I thank for much good advice and many favors; but since the staff there play musical chairs ever so often I have also profited from the kind expertise of Jean Bowen and others, including my longtime friend and Notes sidekick, Frank Campbell, with his and my Notes successor, Suki Sommer. I also send a wave of thanks to Judy Sachinis, now departed NYPL but earlier my shep- herdess with the CC when at NYPL on an I.S.A.M. project to organize the collection.

As to LC itself, what can I say to my friends and ex-colleagues except to thank them for all their help of many different kinds (including getting me in and out of all those locked cages!). Marilyn Dekker was my CC assistant in the earlier days, and I thank her especially; but also Bill Parsons and Elmer Booze and Wayne Shirley among many others. Betty Auman and Sandra Key gave valuable front-office sup- port. To Jon Newsom I owe deep gratitude, for his own help and also as stand-in for the late Don Leavitt, who supported this project very materially from the beginning.

When Wiley Hitchcock went to Brooklyn College some sixteen years ago, I thought the idea of his Institute for Studies in American Music was a good one, but it never occurred to me that I might become involved so pleasantly with it. What began as a clutch of scribbled 3x5 slips for Sidney Cowell has grown into something more, and that is Wiley Hitchcock's doing. He and I have not always thought alike on catalog policy matters. Having reached a certain age and achieved a mature degree of irresponsibility-having, if you want to know the truth, become fed up to the gills working on dry-as-dust "reference tools" of one kind and another-I found myself constantly impelled toward the kind of catalog Mark Twain might
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Acknowledgements