The materials linked on this page were kindly made available by the archives of the Wells-Rapp Center for Mallet Percussion Research at Kutztown University, Kutztown, Pennsylvania, where the hard copies of these electronic files are housed.

Folder 5.4.3
A letter from Guatemalan composer Jorge Sarmientos to Mederic Fitzpatrick, Vida Chenoweth’s personal representative, covering the former’s notes for her impending performance of his “Estampa #5 Cakchiquel.”

Folder 5.4.4
A letter from composer Eugene Ulrich to publisher James Moore covering the enclosure of the former’s settings of “Come, Sweet Death” and “O Sacred Head, Now Wounded” for solo marimba, which were sent at Vida Chenoweth’s request.

Folder 5.4.5
A letter from composer James Ulrich to Vida Chenoweth covering the enclosure of five of his settings for marimba.

Folder 5.4.6
A list of photographs (location unknown) of Vida Chenoweth’s marimba career and her association with Darlene Bee in New Guinea, New Zealand, and elsewhere.

Folder 5.5.1
Notices of royalties received by Vida Chenoweth for her marimba compositions.

Folder 5.7.4
Vida Chenoweth’s analysis of the music of the Mota of Vanuatu.

Folder 5.8.1
Vida Chenoweth’s memoriam for her sister Vera’s funeral and a quote from a New York Times article by Edward Rothstein.