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Warburg refers to Zuckerkandl’s rejection of the definition of Judaism as responsible for reconciliation, peace, and justice on p. 122 of Die Weltgemeinschaft der Juden. Warburg agrees with this notion but considers it does not address the issue of a lack of leadership in the Jewish community. Warburg asks if he should send the copy back to Zuckerkandl or if he can keep it. He then alludes to a future meeting with Zweig, during which they will discuss this problem, among other things. Back of the letter reads “Weltgem d. Juden.”

Letter from Zuckerkandl to Frau Staudinger telling her that he was shortlisted for a Guggenheim fellowship, but the results will be delayed until mid-April. Asking for advice as he had not planned past mid-March, when the results were supposed to be announced.

Item is a promotional photograph of conductor Raffi Armenian.

Item is a promotional photograph of baritone Peter Barnes.

Schulmeister introduces himself to Zuckerkandl, suggesting that he may know him either through Zuckerkandl's sister or as editor of Wort und Wahrheit. Schulmeister explains that he is compiling a book to be entitled Spectrum Austriae, and intends to publish it in German and eventually in English. Schulmeister lists the themes to be discussed in the publication and asks if Zuckerkandl would be interested in covering “Music as the Soul of Austria” ("Die Musik als Seele Österreichs").

Zuckerkandl hesitantly expresses interest in writing for Spectrum Austriae. He explains that he feels it impossible to separate Austrian music from German music and specifies that characteristics of Austrian music are inspired by the landscape of the country. Zuckerkandl further recommends Heinrich Schnitzler, director and teacher of theater history, for work on Spectrum Austriae.

Item is a promotional headshot of John Barnum, the then director of the Royal Conservatory Orchestra.

Böhm responds to a letter forwarded to him by Otto Schulmeister regarding Zuckerkandl's potential contribution to Spectrum Austriae. Böhm agrees with Zuckerkandl's statements but advises Zuckerkandl to avoid presenting the connection to German music in a manner that could be interpreted as political. Böhm invites Zuckerkandl to write for Spectrum Austriae and recommends that he respond directly to Schulmeister.

Item is a promotional headshot of mezzo-soprano Jo-Anne Bentley.

Zuckerkandl responds to Böhm and Schulmeister, agreeing to write an article for Spectrum Austriae. He clarifies that the musical history of Austria is connected to “landscape.” Zuckerkandl requests “a collection of Austrian folksongs” from Schulmeister, which is unavailable to him in the USA.

Schulmeister is sending over preliminary contracts for Zuckerkandl to sign and return. Schulmeister further specifies the content desired for Spectrum Austriae. He asks that Zuckerkandl clarify what kind of folk songs he has in mind and will search for folk song collections in antique stores.

Schulmeister writes to Zuckerkandl asking for an update regarding Zuckerkandl's contribution to Spectrum Austriae. Schulmeister requests that Zuckerkandl provide instructions for any visual materials he would like to include.

Item is a promotional photograph of soprano Lynn Blaser.

Zuckerkandl responds to Schulmeister regarding the status of his contribution to Spectrum Austriae. He also provides a brief project timeline. Zuckerkandl specifies the types of images required for his article. These include portraits of Haydn, Mozart, Beethoven, Bruckner, and Schubert; images of locales related to Beethoven; images of the cities of Vienna, Salzburg, and various locations therein; compositional sketches of Beethoven, Mozart, and Schubert; excerpts from the song "Schönbrunner" [possibly Joseph Lanner, Die Schönbrunner, Op. 200] and a composition by Bruckner.

Item is a program for a concert by Keith Falkner and the Griller String Quartet (Sydney Griller, Jack O'Brien, Philip Burton, Colon Hampton), accompanied by Gerald Moore, piano.

Item is a brochure advertising a Bachelor of Music specialization in music education.

Item is a poster from a concert by Derek Healey and the Cookham Church Choir, whichs included the premiere performance of Healey's Partita '65 as well as some of his settings of anthems, and music by Johann Sebastian Bach, Vivaldi, Boyce, Mozart, Vittoria.

Essay draft that addresses the idea that Beethoven could not write fugues. Compares Beethoven's fugal technique to Bach's, sets out two principal forces (polarity and intensification), and analyses these principles at work, together with the concept of sonata form, in the Grosse Fuge. Light handwritten edits in Zuckerkandl's hand to phrasing; no edits in content.

The memorandum of agreement outlines the terms agreed upon between Zuckerkandl and Princeton University Press. 1. Zuckerkandl grants exclusive rights to publish and 2. guarantees that he is the sole author of the work and the work does not infringe any copyright, contain any unlawful or libelous matter, and does not invade the privacy of any other individual. 3. The Press assumes all publishing and printing expenses. 4. Zuckerkandl agrees not to publish the same or similar material with any other publisher and 5-6. commits to deliver the entire manuscript and associated materials. 7. Both Zuckerkandl and the Press agree to full cooperation in the editing process, as well as in the event of 8. author’s alterations or editing errors. 9. Zuckerkandl agrees to revise subsequent editions and to supply additional material if necessary. 10. The Press provides insurance of materials to the amount provided by Zuckerkandl. 11. Zuckerkandl and the Press agree to a bi-annual royalty payment rate and schedule on U.S. and international sales. 12. Zuckerkandl grants exclusive sales and licensing rights to the Press. 13. Zuckerkandl is entitled to 10 free copies and discounted copies. 14. Zuckerkandl and the Press agree to the terms of termination of contract. 15. Zuckerkandl agrees to present the Press the first offer of publication on his next work. 16. Zuckerkandl and the Press agree to the terms of transfer or assignment of rights to heirs and/or others.

Item is a photograph from an Opera School rehearsal of excerpts from Faust, as performed in the School's first "Evening of Operatic Excerpts" (December 16, 1946). The Faust excerpt (last scene from Act 3) featured Bertrand Rawlyk, Andrew MacMillan, David Hughes, Diana Thomson, Jean Marie Scott, and chorus, and was performed in Hart House Theatre.

Item is a photograph, signed "For W. G. Hall / In sympathetic remembrance and with heartfelt-good wishes / In the Great Wilderness / Feb. 27th Anno MacMillan I.

Item is a promotional headshot of harp student Gianetta Baril.

Item is a promotional headshot of Denis Brott with his cello. Brott was a member of the Orford String Quartet, the Faculty of Music's quartet-in-residence, from 1980 until 1989.

Schulmeister explains to Zuckerkandl that they have decided to include the images from all essays in a single section of the publication and that Zuckerkandl’s requests cannot be met exactly. Schulmeister suggests that Zuckerkandl reconsider his selection of the images, keeping in mind the formatting decisions of the editors.

Zuckerkandl describes the changes he has made to Law and Freedom in the Tonal World (eventually published as The Sense of Music) in light of the reviewers’ comments. He suggests In Search of a Listener’s Knowledge of Music as a new title.

Zuckerkandl references a letter he wrote earlier in June [possibly 1959] outlining ideas for a possible lecture at Eranos [date unspecified] for which he received no answer. Zuckerkandl hopes that he may have an exchange of ideas with Knoll in order to plan for an Eranos lecture. Zuckerkandl is writing to [John] Barrett for the same purpose and has already been in touch with [Vaun] Gillmor from the Bollingen Foundation about this matter. Postscript explains that Zuckerkandl has been looking over previous yearbooks searching for points of interest and references [Adolf] Portmann’s remarks about hearing in the 1953 yearbook as a promising entry point.

Zuckerkandl thanks Fröbe-Kapteyn for the invitation to the upcoming Eranos conference and mentions that he has known about Eranos for twenty years. Zuckerkandl states he has begun work on a second volume of Sound and Symbol [Man the Musician] in which he wishes to discuss musical sound as a vehicle for the self-realization and self-knowledge of man. He proposes a few titles for his 1960 lecture [“Die Tongestalt”, “Wesen und Sinn der Tongestalt”, “Der Mensch im Spiegel der Tongestalt”], asking Fröbe-Kapteyn which one she prefers, or whether he should think of a different title.

Fröbe-Kapteyn approves of Zuckerkandl’s title for the 1960 lecture [unspecified, likely “Die Tongestalt”]. Zuckerkandl asks to have his lecture placed somewhere in the middle of the conference so he has an opportunity to absorb the atmosphere and the ideas of the other lecturers. He considers this important to the development of his own work.