{"value"=>"<p>These files contain correspondence, memos and photographs documenting the research and public presentations undertaken by ISAM, as well as the Institute's routine activities.</p> <p>The Institute reflected Hitchcock's own interests and therefore did much work in Charles Ives and Henry Cowell studies. It organized and hosted the first Ives Festival and Conference in 1974 and hosted symposia and colloquia regarding both composers, documented by correspondence and promotional material. The collection contains sound recordings of some of these events, including the 1974 Ives Festival and Conference, a 1977 conference on <span class=\"title\">The Phonograph And Our Musical Life</span>, a 1977 Henry Cowell retrospective concert, and various other lectures, colloquia and concerts.</p> <p>The Institute carried out an oral history project on Cowell, and transcripts of these interviews are present, as is correspondence with Sidney Robertson Cowell regarding them. In the 1970s the Institute attempted to organize the Cowell Collection then on deposit at the Music Division of the New York Public Library for the Performing Arts, an effort documented by correspondence and a grant application. (Also see series II.B. for papers on ISAM's monographs series, which included several Cowell-related publications.)</p> <p>A frequent correspondent of Hitchcock and ISAM was Peter Garland, the founder/editor of Soundings press. In addition to Garland/ISAM correspondence, the series contains a folder of reproductions of correspondence between Garland and the composer Conlon Nancarrow over the course of at least 17 years. (See series I.D. for more correspondence with Garland regarding the Henry Cowell unpublished songs project.)</p> <p>Other portions of series II.A. include correspondence with visiting lecturers, research fellows and research assistants, as well as candidates for all these positions who never came to ISAM due to funding, scheduling or other reasons. Some of the correspondence in the papers is from staff at ISAM other than Hitchcock, such as research assistant Rita Mead or Carol Oja, who became Director following Hitchcock's retirement. There are also papers, correspondence and photographs documenting the history and organization of the Institute, as well as correspondence between the Institute, the Brooklyn College Conservatory of Music, and other units of CUNY.</p>"}