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{"value"=>"<p>This series, spanning from 1950 to 2019, comprises materials from Hays' professional musical training, composition and multimedia projects, organizational affiliations, and various writing assignments. The series reflects the intersection of her personal and professional lives as a feminist activist and artist through her projects and correspondence. Hays' professional career is represented through musical score drafts; her collection of sheet music; correspondence with Sidney Cowell and 20th-century composers; notebooks, address and composition books; day planners; essays on musicians and music; newspaper and magazine clippings; sound and video files; and sound and video recordings.</p> <p>The series is arranged alphabetically by project or type.</p> <p>The bulk of the series is comprised of manuscript and printed score drafts; correspondence with lyricists, and individuals and organizations that commissioned Hays' works; concert programs; notes; performer résumés; notebooks; composer explanation and direction pages for musicians and performers; libretto drafts; and some research materials, sound recordings, and photographs from various composition and multimedia projects. There are over ninety projects present in the collection, including the operas <span class=\"title\">Bella</span> (2013-2016), <span class=\"title\">The Bee Opera</span> (2003), <span class=\"title\">The Glass Woman</span> (1989-1993), and <span class=\"title\">Our Giraffe</span> (2006-2008); the radio dramas <span class=\"title\">Dream in Her Mind</span> (1995), featuring eleven actors, six vocalists, and a sampling electronic keyboard; and <span class=\"title\">Mapping Venus</span> (1996-2012), created out of material from <span class=\"title\">Dream in Her Mind</span>; and <span class=\"title\">TOOWHOPERA, A CANTATERA</span> (2009). The projects <span class=\"title\">Southern Voices</span> (1981); <span class=\"title\">M.O.M. 'n P.O.P.</span> (1984), a multimedia performance using music for three pianos; <span class=\"title\">Sensevents</span> (1977); <span class=\"title\">Celebration of NO</span> (1983); and <span class=\"title\">Sound Shadows</span> (1990), a multimedia performance involving music for oboe, didjeridu, keyboard, percussion, and using film, a dancer, an actress, and an audio tape, are well represented in the series. Projects dated after 1985 occasionally hold audio logs, scores for tape, and sound recordings and files created or co-created by Ries.</p> <p>The sound files and recordings in this series often overlap with Ries' work. Ries often mixed sound files from Hays' composition and multimedia projects with various unrelated projects, thus sound files from Hays' composition and multimedia projects can be found in Series II.</p> <p>Throughout her career, Hays often reused and revised elements of her composition and multimedia projects; the container list signifies interrelated and altered projects through notes.</p> <p>Most of the correspondence in the series recounts the early years of Hays' professional career when she was interpreting the works of other 20th-century composers. These letters, dated 1971 to 1989, include correspondence from İlhan Mimaroğlu, John Cage, Tom Johnson, Carlo de Incontrera, Russell Peck, and Morton Feldman. The letters discuss her piano performances and interpretations of their works. Of note is Hays' correspondence with Sidney Cowell about Henry Cowell's music. Hays often interfiled her correspondence with flyers, programs, research articles and interviews, photographs, press clippings, and personal notes.</p> <p>Hays' collection of 20th-century composer sheet music includes primarily published and a few unpublished scores. Some unpublished scores were sent to her directly from the composer. Hays interfiled the sheet music associated with an individual composer with music catalogs. Some sheet music is annotated. While the annotations indicate that Hays used some of the scores for performances, it is unclear when and where Hays performed individual pieces. The series also carries correspondence from Hermann Steinbeis, a supportive friend whose family Hays often stayed with when she was performing near Brukmühl, Germany. Hays' compositions \"Exercises für Bruckmühl I-IV\" (1974), <span class=\"title\">Characters</span> (1978), <span class=\"title\">Harmony: harmonie in die bleierne Zeit</span> (circa 1982), and \"Lullabye, for Elizabeth Steinbeis\" (1979) were written for or dedicated to members of the Steinbeis family. The series also features letters written by school children about Hays' piano performances and a synthesizer demonstration.</p> <p>The series records Hays' involvement in organizing and advocating for the 1975 and 1976 concert series Meet the Women Composer through correspondence, clippings, flyers, programs, tickets, signed contracts, and a list of the composers. There is correspondence from her work as a coordinator for the First National Congress on Women in Music. Correspondence, legal and financial documents, reports, and meeting minutes disclose her time as the president of Southern Pitch Incorporated.</p> <p>Hays preserved some drafts and a copy of her essay \"Swashbuckler in Exile\" on musician Maurice Weddington; a copy of <span class=\"title\">Touching Sound: Living Lullabies</span> (2012, 2016); the educational book, <span class=\"title\">Sound Symbol Structures</span> (1974); compositions and directions written for Silver Burdett Company; as well as various unpublished short stories, essays, poems, and music reviews.</p>"}