The records of the Charles Henry Pace Gospel Music Collection exist in various forms such as printer’s plates, negative proofs, and printed music. While the date range of the collection comprises 1927-1958, the bulk of the material dates from 1943-1947.
Care was taken to retain the original order of the collection. The collection is divided into four series and is arranged by type. The series are printer’s plates, negative proofs, printed music, and miscellaneous.
A substantial portion of the collection involves printer’s plates. Consisting of 254 plates, this series provides extensive insight into the Old Ship of Zion Music Company and Charles H. Pace Music Publishers’ operations. The majority of plates consist of pages of music; however, lithographs are also included.
Another significant aspect of the collection concerns negative proofs used for publishing sheet music by the Old Ship of Zion Music Company and Charles H. Pace Music Publishers. This series includes, but is not limited to, songs, title bars, graphics, and business forms. Particular strengths of this series are the complete negative for songs such as "Hold Not Thy Peace", "I Must Tell Jesus All", and "Lead Me All The Way".
The third series consists of printed music; it is subdivided into Pace’s music and other gospel songwriter’s music. Pace’s songs are arranged alphabetically, with the other subseries also organized alphabetically but according to songwriter. Records of particular note are the 208 copies of Pace’s "Roll Memories Roll" and numerous works by Thomas A. Dorsey and Kenneth Morris such as "Wings Over Jordan" and "Till We Meet Again", respectively. The main weakness of this series is the multiple incomplete copies of "Jericho". Moreover, the copyright dates of many songs are unknown.
In addition there is a miscellaneous series that includes a postcard addressed to Pace, dated April 28, 1957, that requests "Divine Love" to be published. There are no personal or business papers included in the collection. However, the collection is quite complete and provides a valuable research tool of not only Charles Henry Pace’s career, but also for demonstrating how the Old Ship of Zion Music Company and Charles H. Pace Music Publishers conducted business.