The Recording Academy Increases Grant Giving by 20 Percent and Awards More Than $650,000 in Grants for 2004.

Entertainment Editors

SANTA MONICA, Calif.--(BUSINESS WIRE)--March 24, 2004

Monies Will Go to 21 Projects Supporting Archiving & Preservation Programs, and Research Efforts Related to the Impact of Music on Human

Development and Musicians' Health Issues

The Recording Academy(R) announced today that more than $650,000 will be presented to 21 projects in the form of Recording Academy grants. This represents a 20 percent increase in funding as compared to the previous year. Now in its 17th year, the Academy grant program funds projects that advance archiving and preservation of America's recorded sound/music heritage and research efforts related to music and its effect on the medical and occupational well-being of the music professional, as well as on early childhood and human development.

"The Recording Academy grant program continues to acknowledge and award a wide range of preservation projects and medical research programs that help to enhance an individual's quality of life," said Academy President Neil Portnow. "These efforts not only protect our nation's rich cultural legacy but also benefit the health and wellness of musicians, children and the public at large. The Academy is committed to supporting programs that advocate the educational and therapeutic effects of music, as well as those that preserve our country's prolific musical history. We applaud the endeavors of our grant recipients, and we are pleased to help them achieve their goals."

These grants will benefit a broad spectrum of projects from research in order to evaluate the effectiveness of music therapy (combined with traditional medical care) to help managing asthma in children and preserving recorded sound by Latin salsa masters such as Tito Puente, Celia Cruz, "Machito" Grillo, Eddie Palmieri, Johnny Pacheco, and Willie Colon.

The Academy's National Professional Education Committee determines grant recipients based on criteria such as merit, uniqueness of project and the ability to accomplish intended goals. The deadline each year for submitting grant applications is October 1. Applications for 2005 will be available at www.grammy.com/grant.pdf after May 1, 2004.

2004 GRANT RECIPIENTS

Archiving & Preservation

Archive of Contemporary Music (New York, N.Y.)

To evaluate the condition and selectively catalog and provide electronic access to the Archive's collection of approximately 32,000 ethnic American, Native American, Central American, South American, Caribbean, and African Diaspora music recordings. ($34,825)

Archives of Appalachia (Johnson City, Tenn.)

To preserve and digitize the Bonnie Lou and Buster Moore Collection (1968-1982), which includes the only existing recordings of the "Bonnie Lou and Buster Show" a country music and comedy program produced in Knoxville, Tennessee, but syndicated and shown on stations throughout the south and in some Midwestern states. ($16,615)

Archives of Cajun and Creole Folklore (Lafayette, La.)

To preserve the unique collections of the Archives on Cajun and Creole Folklore, which include field recordings that provide an intimate glimpse into the past by featuring musicians talking and playing in their own homes. In some cases they are joined by some of the younger musicians of the day, including Michael Doucet. ($31,800)

Association for Cultural Equity (New York, N.Y.)

To preserve and catalog the core part of the Alan Lomax archival collection of audio, video and photographs made by Lomax in the field from the 1940s to the 1980s. The Archive includes a rare collection of audio and video footage, photographs, papers and research documenting folk music and dance from the U.S., African-American Diaspora, and other world cultures. ($40,000)

Brandeis University (Waltham, Mass.)

To preserve the Brandeis University Electronic Music Collection, which includes a series of pioneering sound recordings made at the University's Electronic Music Studio in the 1960s. The collection includes works by James Tenney and Ivan Vandor, Frederic Rzewski, Mauricio Kagel and Robert Voss. ($5,060)

Center for Documentary Studies (Durham, N.C.)

To preserve, catalog, and provide public access to 418 reel-to-reel audio recordings made by photographer W. Eugene Smith in a New York City jazz loft from 1957 to 1964. The recordings contain sessions with Thelonious Monk, Zoot Sims, Bill Evans, Roy Haynes, Charles Mingus, Lee Konitz, Ornette Coleman and Roland Kirk. The tapes also include historic rehearsals by Monk and collaborator Hall Overton, a loft resident, in preparation for concerts. ($49,880)

Center for Southern Folklore (Memphis, Tenn.)

To digitize the Center's multimedia archives documenting hundreds of musicians from the Memphis Delta region. Blues greats such as B.B. King and Memphis Slim join blues artists, fife-makers, fiddlers, country, jazz and gospel quartets and many others who have been recorded by Center staff in performances or in interviews at the Center, on the Center's television show, or in musicians' homes and workplaces. ($40,000)

Naropa University (Boulder, Colo.)

To reformat 100 hours of recordings, which consist primarily of readings and lectures by leading members of the post-World War II U.S. literary avant-garde from the Jack Kerouac School of Disembodied Poetics at Naropa University. The project focuses on the connection between poetry and music, and supports preservation of source material, cataloguing and making the material accessible on the Internet. ($40,000)

New York Public Library for the Performing Arts (New York, N.Y.)

To clean, transfer, and label 22 two-inch quadraphonic videos to more appropriate formats on beta cam, digibeta, and DVD. These videos include non-commercially issued rehearsals, master classes, and interviews with the American tenor Jan Peerce. ($14,226)

Other Minds (San Francisco, Calif.)

To archive, catalog, and disseminate the materials that comprise the KPFA music archives. This analog audio collection of 5,000 tapes represents more than 3,500 hours of performances and original, live conversations and interviews with many of the most innovative creators and practitioners of 20th Century New Music, such as Aaron Copland, Steve Reich and Frank Zappa. ($40,000)

Pacifica Foundation/Pacifica Radio Archives (Berkeley, Calif.)

To preserve and make accessible heritage recordings, which date from the 1950s to the present. The archives include original compositions by Lou Harrison, meditations on blues and feminism by Angela Davis, and interviews with Paul Robeson, to name a few. ($39,790)

Pennsylvania Radio Associates, Inc. (Chester Springs, Pa.)

To preserve and restore audio archive of interviews and documentary radio programs with many pioneers of electronic and modern music, such as Wendy Carlos, Robert Moog, Philip Glass, and Pierre Henry, among others. ($27,000)

Raices, a Program of Boys and Girls Harbor, Inc. (New York, N.Y.)

To archive, preserve, and duplicate the recorded sound portion of the Raices Latin Music Collection. These materials include performances, historic concerts, and oral histories by such legendary Latin masters as Tito Puente, Celia Cruz, "Machito" Grillo, Eddie Palmieri, Johnny Pacheco, and Willie Colon. ($40,000)

Starr-Gennett Foundation, Inc. (Richmond, Ind.)

The Starr-Gennett Foundation will clean, re-house, catalog, and digitally preserve 400 78-rpm phonograph recordings. The collection's broad music range includes "When Francis Dances with Me," "Rondino," "Bring Back My Wandering Boy," and "Kaluah Medley." The 400 recordings will be added to a searchable, online archive. ($38,024)

WBGO, Newark Public Radio, Inc. (Newark, N.J.)

To preserve 1,000 hours of material from a collection of jazz performances and radio programs dating from 1980. The Archive includes all 10 years (four concerts per year) of the Carnegie Hall Jazz Band (1992-2002), musically directed by Jon Faddis. ($40,000)

Instituto Nacional de Musicologia (Buenos Aires, Argentina)

To digitize, preserve and make available the wealth of historical folk music recordings held in the archives of the Institute. The Archive includes records and analog tapes made by the Institute founder, Carlos Vega and his collaborators in Argentina. ($16,910)

Trustees of the University of Pennsylvania (Philadelphia, Pa.)

This project will produce archival transfers of 532 tapes of Philadelphia Orchestra concerts that were broadcast on the Philadelphia radio station WFLN between February 1960 and April 1977. In addition to conductor Eugene Ormandy, the recordings include guest conductors and soloists such as Riccardo Muti, Wolfgang Sawallisch, Zubin Mehta, Sir Georg Solti and Van Cliburn, among others. ($40,000)

World Music Productions, Inc. (Brooklyn, N.Y.)

To preserve and make available online World Music Productions archive of 500 Afropop Worldwide programs hosted by George Collinet and broadcast on public radio since 1988, which include unique field recordings, interviews, rare commercial recordings no longer available, and contextual historical information. Programs include "The African Roots of Rock and Roll," "Gospel Live from Alabama to South Africa," "The Cuban Connection," and historical retrospectives on New York and Puerto Rican salsa, Brazilian samba and others. ($20,000)

Research

Beth Israel Medical Center (New York, N.Y.)

To evaluate the effectiveness of the use of music therapy (wind playing) combined with traditional medical care to help manage asthma in children. ($26,000)

Ithaca College, Department of Physical Therapy (Ithaca, N.Y.)

To examine the relationship between performance anxiety, sympathetic nervous system tone, and music-related injuries. It is hypothesized that musicians experiencing high levels of anxiety demonstrate increased sympathetic tone and are more likely to develop a history of music-related injuries as well as chronic physical complaints. ($12,550)

University of Oregon (Eugene, Ore.)

To study the development of skilled performance in children and adults as they progress from beginners to concert-level artists. The project will specifically study pitch production in cellists and determine the relative importance of visual, auditory and kinesthetic cues for the acquisition of pitch performance accuracy as well as its evolution during skill development. ($45,814)

For more detailed information on grant recipients and their projects, please visit: www.grammy.com/recipients.html.

Established in 1957, the National Academy of Recording Arts & Sciences, Inc., also known as the Recording Academy, is dedicated to improving the quality of life and cultural condition for music and its makers. An organization of musicians, producers and other recording professionals, the Recording Academy is internationally known for the GRAMMY(R) Awards and is responsible for numerous groundbreaking outreach, professional development, cultural enrichment and human service programs.