{"value"=>"<p>This series contains scores, sketches, sketchbooks, notes and computer code printout for Randall's compositions. Although he wrote for a variety of instrumental settings including chamber groups, brass and woodwind quintets, string quartets, and solo instruments, Randall remains best known for his pioneering work with computer sound synthesis and composition. Works for computer realization (or that have a component of computer realization) date from the mid-1960s to the early 1970s. For these pieces, Randall regarded the computer coding (using either the Music IV or Fortran languages) to be more accurate representations of the music than sound recordings made at the time of creation. Folder contents for these compositions can include preliminary written notes and sketches, followed by code printout, but in some cases only code printout exists.</p> <p>The composition with the most documentation is <span class=\"title\">Lyric Variations for Violin and Computer</span> (1965-1968). The piece contains 20 variations, and there are written sketches and final scores for the violin part, preliminary notes and sketches for the computer component, and extensive code printout. Randall made multiple attempts at achieving the sound he wanted, and several different code printouts exist for each variation. Randall's notes in pen on the first page of printout usually designate the variation in question. The first few lines of code also provide clues to identification, as they list Randall as author and have a field for title. Randall also wrote titles in ink along the stacked sides of the printout.</p> <p>Another piece for computer with extensive code printout is <span class=\"title\">Eakins</span> (1965), which was composed for a film about the artist Thomas Eakins. Other works for computer include <span class=\"title\">Bell</span> (1966), <span class=\"title\">Bessel3</span> (1973), <span class=\"title\">Chanrev1</span> (1968), <span class=\"title\">Connect</span> (1965), <span class=\"title\">Horsehigh</span> (1971), <span class=\"title\">Oddrev1</span> (1968), and <span class=\"title\">Prelude 1A</span> and <span class=\"title\">2A</span> (1965). Many of these have only code printout.</p> <p>Five pieces for computer composed in 1965 are labeled as having been recorded on \"Tanglewood tape 7/65.\" The five are <span class=\"title\">Connect</span>, <span class=\"title\">Prelude 1A</span> and <span class=\"title\">2A</span>, <span class=\"title\">Section</span>, and <span class=\"title\">Toronto1</span>.</p> <p>Randall's works for acoustic instruments and/or voice date from his student days to the early 2000s. Earlier pieces include <span class=\"title\">Piano Sonata</span> (1944-1946), <span class=\"title\">Suite for Piano</span> (1953), <span class=\"title\">Rodeo for Solo Violin</span> (1951), <span class=\"title\">Dance for Woodwind Quintet</span> (1953), <span class=\"title\">Quartet</span> (for woodwinds, 1953), <span class=\"title\">Choral Pieces</span> (1955-1956), <span class=\"title\">Fugues</span> (1955-1956), and <span class=\"title\">Five Monologues for Cello</span> (1955).</p> <p>After his computer work of the early 1970s, Randall spent several years on the Troubador Project (1977-1980). These are collections of traditional European songs, but they also contain his adaptations of them for voice. His piano/keyboard works include <span class=\"title\">…such words as it were vain to close…</span> (1977); the <span class=\"title\">GAP</span> series (1993-2002), a set of eight pieces, published separately or in small collections; and <span class=\"title\">9 Salon Pieces for Yamaha DX-100</span> (1996). His later compositions used unusual instrumental combinations: <span class=\"title\">Svejk</span> (1995-1996) is for violin and marimba; and <span class=\"title\">Shouldn't We Talk</span> (2002-2003) is for baritone saxophone, drums and percussion.</p> <p>Randall's sketchbooks span his career from the late 1950s to 2006 (there are no books from the 1980s). They appear at the end of the series and often contain preliminary work on compositions found elsewhere in the series. They were stored in binders and some have dividers with titles. Three untitled/unidentified pieces also appear at the end of the series.</p> <p>There is one piece in the series not composed by Randall. This is <span class=\"title\">Genwot Spectray</span> by Hubert S. Howe (1965), written for computer.</p>"}