{"value"=>"<p>Randall's personal files primarily hold his writings, theoretical notes and analyses. They also have a small quantity of correspondence and concert programs.</p> <p>The writings consist of drafts, manuscripts and rejected content for articles and essays, some of which were published. These include the essays \"How Music Goes,\" \"Tonality,\" and \"Halloween '82;\" the essay collection <span class=\"title\">Compose Yourself: A Manual for the Young</span>; music reviews published in the <span class=\"title\">Cleveland Plain Dealer</span>; an interview transcript with the composer Giacinto Scelsi; manuscripts of \"Three Lectures To Scientists\" (published in <span class=\"title\">Perspectives of New Music</span>); an undelivered speech titled Boston; descriptions for courses Randall taught at Princeton; and papers written while Randall was a student at Columbia and Harvard. The essay \"A Discovery on Livy\" concerns the Russian composer Sergei Taneiev.</p> <p>Randall's notes are primarily concerned with his work on computer sound production, but also include theoretical topics (Pitch Systems, Instrumental Overtone Spectra, Harmony Exercises), as well as his notes on a <span class=\"title\">Symphony</span> by Andrew Imbrie. The content of the notes varies. The folders can include written musical analyses and sketches, mathematical formulae, musical exercises and lecture notes, and written computer programming or code printout. They mostly do not contain textual explanations (folder titles were derived from envelopes the notes were contained in).</p> <p>The analyses include examinations of music by Milton Babbitt, Elliot Carter, Brahms, Haydn, Debussy, and Stockhausen.</p> <p>The correspondence includes letters from Aaron Copland, Otto Luening and the American Society of University Composers, and a rejected program proposal for the 1986 New Music America festival. The programs are for concerts at Princeton featuring Randall's music.</p>"}