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Eight (8) volumes of works by other Russian composers.

Contains approximately 50 items such as audio-visual material, letters and photographs related to Eszter Lazar's interviews with Russian and Soviet composers and performers, such as Sergei Prokofiev, David Oistrakh, and Lev Oborin.

Contains approximately 35 items including correspondence, notes and documents of Christopher Francis Palmer (1946-1995), the English composer, arranger and orchestrator who had planned to write a biography of Sergei Prokofiev. The materials are dated from the 1980s and 1990s.

CDs include multiple performances from American Composers Alliance annual music festivals, a performance by the Columbia University Sinfonietta, and two "demo CDs" dubbed from other performances.

Contains professional and personal letters (some with Kazem-Bek's replies) of prominent scholars, writers, composers, and public figures. Arranged alphabetically.

This subseries mainly comprises annotated scores of works by other composers. Many of these score were sample copies, likely sent to Kay during his work at BMI. Some scores are inscribed to Kay, often by the composers themselves. Some scores contain inserts, including notes, bookmarks, and correspondence. In most scores, the printed music itself has been annotated, but others contain notes or labels on the cover.

This subseries consists of four inscribed phonograph records. Two of these are from musicians Cecil Lytle and Wanda Maximilien, the others are from Gennady Rozdesventsky and Tikhon Khrennikov, both of whom were part of the composers exchange in Moscow in 1958.

This subseries consists of general personal correspondence, as well as correspondence from poet Theodore (Ted) Melnechuk and composer George Rochberg.

For many years ESB researched and wrote The Loft Generation, an unpublished memoir of her life as part of the de Kooning-Denby circle of poets, composers and painters (including, the de Koonings, Rudy Burckhardt, Edwin Denby, The Artist's Club, Leo Castelli, John Cage, Elliott Carter, John Ashbery, James Schuyler, Frank O'Hara and Larry Rivers).

Printed and manuscript music, by or associated with composer and violinist Sam Franko (1857-1937), who was Gresser's teacher and friend.

This subseries contains documents related to Beeson's activities as a composer, including activities related to such organizations as the American Academy of Arts and Letters, the American Academy in Rome, the American Society of Composers, Authors and Publishers (ASCAP), the Pulitzer, and the National Endowment for the Arts; composition projects including completed operas as well as aborted opera conceptions; recommendations; delivered lectures; publications; biographical materials on figures in the arts such as Aaron Copland, Benjamin Britten, and Douglas Moore; and correspondence with colleagues in the arts including Paul Henry Lang, Otto Luening, Douglas Moore, William Saroyan, John Updike, Charles Wuorinen, and others. It is organized alphabetically.

This subseries includes photocopies of three of Freeman's manuscript scores: "The Slaying of the Lion,"Voodoo(Act III only), and "Zulu King (Witch Hunt)." It also houses all published scores by Freeman present in the collection. Most of the published scores are originals, but some are in photocopy form. All scores in this subseries are songs, not operas or symphonic works, and many are arrangements of well-known spirituals. Two of the earliest published songs (1896-1897, with only photocopies extant) were also published by a "Harry Freeman" in Chicago – they may have been self-published, or the name may be a coincidence. Two songs from 1925 were published by Valdo Freeman. The songs are arranged chronologically by publication date. Also included are printed scores by other composers. Selections range from Brahms to arrangements of spirituals; the bulk are early-twentieth-century songs by African-American composers such as T.H. Burleigh, W.C. Handy and Noble Sissle. They are arranged alphabetically by the composer's last name.

Subseries II.2 contains recordings of Night Into Day, a show composed of edited highlights of Radio Unnameable, which was broadcast on WBAI during daytime hours between 1966 and 1972.