Jean Eichelberger Ivey papers
- approximately 1923-2005
- Ivey, Jean Eichelberger (Person)
Conditions Governing Access
Conditions Governing Use
Copyrights held by Ivey at the time of her death have been transferred to the Peabody Institute of the Johns Hopkins University. All requests for permission to publish or perform Ivey's works must be submitted in writing to the archivist of the Arthur Friedheim Library at firstname.lastname@example.org.
20 Cubic Feet (58 boxes)
Biographical / Historical
Born in 1923 to Joseph S. Eichelberger and Mary Elizabeth Pfeiffer, Jean B. Eichelberger Ivey attended high school at the Academy of Notre Dame in Washington, D.C. She then earned a Bachelor of Arts degree in 1944 from Trinity College in Washington and a Master of Music in piano in 1946 from the Peabody Conservatory. She studied composition with Wayne Barlow at the Eastman School of Music, first during a 1948 summer session, and later while earning her Master of Music in composition in 1956. In the late 1940s and 1950s she taught music theory at Trinity College, the Peabody Conservatory, and the Catholic University of America. As a concert pianist, she gave recitals in Mexico in 1957-1958 and in Germany and Austria in 1958. While on tour, she met and married Fred Ivey, an American living in Germany. (Their marriage ended in divorce in 1974.) Upon returning to the United States and living in New Orleans and then Wichita, Kansas, Jean Ivey grew interested in electronic music, particularly after attending a lecture in 1963 by Milton Babbitt and Vladimir Ussachevsky. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972.
At the 1967 Peabody Conservatory Summer Session, Ivey presented a workshop on electronic music, using her own tape recorders and borrowed equipment, for an audience of school music teachers. She then persuaded the Conservatory to purchase its own equipment and launch the Peabody Electronic Music Studio in 1969, the first such studio at a conservatory. Ivey directed the studio (later renamed the Computer Music Studio) and the computer music composition program at Peabody until her retirement in 1997, earning tenure in 1976 and serving as an adviser to dozens of composers over the years. She published many articles on music and her experience establishing the studio, including her 1970 article for the Proceedings of the American Society of University Composers, "An Electronic Music Studio at a Conservatory." For most of her time as a professor at Peabody, Ivey commuted to Baltimore from her home in New York City.
As a composer, Ivey's early works were entirely acoustic and mostly tonal and neoclassical in style. Beginning in the 1960s she began to incorporate serialism and compose electronic music, most of which combined electronic sounds with live musicians. Pinball, a work of musique concrète for tape, was written to accompany a 1967 short film of the same name by Wayne Sourbeer. A 1973 recording for Folkways Records, Music by Jean Eichelberger Ivey for Voices, Instruments, and Tape, features three works for electronics and live musicians, plus her Cortege for Charles Kent, a purely electronic piece that was the first to be composed in the Peabody Electronic Music Studio. Testament of Eve (1976), a monodrama for voice, orchestra, and tape, and The Birthmark (1981-1982), an opera, were set to Ivey's own texts. Other major works include her Hera, Hung from the Sky (1973) for mezzo-soprano, chamber ensemble, and tape; Sea-Change (1979) for orchestra and tape; Notes toward Time (1983) for mezzo-soprano, flute, and harp; and Voyager (1987) for cello and orchestra.
Ivey has been the subject of a half-hour television documentary (A Woman Is... a Composer, 1973) and two graduate studies: The Vocal Works of Jean Eichelberger Ivey by Rose Marie Muennich (Ph.D. dissertation, Michigan State University, 1983) and Jean Eichelberger Ivey: Current Research and Interviews with Former Colleagues and Students by Heather Woodworth (M.M. thesis, Peabody Conservatory, 2010). The approximately 25 recordings Woodworth digitized for her research portfolio are part of the Jean Eichelberger Ivey papers.
Scope and Contents
Series 1: Scores, approximately 1940-2000
Subseries 1.A: Songs
Subseries 1.B: Opera
Subseries 1.C: Choral music
Subseries 1.D: Chamber music
Subseries 1.E: Piano music
Subseries 1.F: Orchestral music
Subseries 1.G: Electronic music
Subseries 1.H: Musical sketches
Series 2: Writings and collected documentation, approximately 1932-2000
Subseries 2.A: Notebooks
Subseries 2.B: Poetry and short fiction
Subseries 2.C: School assignments and course notes
Subseries 2.D: Teaching materials
Subseries 2.E: Articles and collected research
Subseries 2.F: Technical manuals and programming notes
Subseries 2.G: Day planners
Series 3: Correspondence, approximately 1945-2000
Subseries 3.A: Personal
Subseries 3.B: Professional
Series 4: Programs, clippings, and publicity, 1940-1999
Subseries A: Programs
Subseries B: Clippings and publicity
Series 5: Photographs, approximately 1923-2005
Series 6: Diplomas and honors, approximately 1928-1988
Series 7: Sound and moving image recordings, 1954-2000
Physical Characteristics and Technical Requirements
Immediate Source of Acquisition
Existence and Location of Copies
Processed by Andrea Morris (2017-2018), Esther Witbeck (2018-2019), Matt Testa (2018-2020), and multiple archives staff members (approximately 2000-2016).
Audiovisual digitization processing by Laura Carskadden and Matt Testa, 2021-2022. Audiovisual digitization by Heather Woodworth in 2009-2010 and by George Blood LP in 2021.
- Electronic music
- Johns Hopkins University. Peabody Institute
- Women composers
- clippings (information artifacts)
- concert programs
- lecture notes
- manuscripts (documents)
- open reel audiotapes
- scores (documents for music)
- sound recordings
- video recordings