{"value"=>"<p>The project descriptions in subseries VI.C. date from 1965 to the 2000s, and cover assorted compositions, installations, performances, research projects, and talks. Many of these descriptions were also used for grant and fellowship applications, but were filed separately. Accordingly, some resumes, biographies, and application materials accompany these files. Project descriptions are both handwritten and typed, and typically feature Amacher's annotations and corrections. Files are arranged chronologically, but were not grouped together by Amacher by title or project. The descriptions for numerous projects are generally found together in a single folder, and often reappear in later files with updated or edited texts.</p> <p>The project descriptions held in this subseries include <span class=\"title\">Tone and Place</span>, <span class=\"title\">Long Distance Music</span>, <span class=\"title\">Listening At Boundary: A Scenario from Sound Saga</span>, <span class=\"title\">Everything-in-Air</span>, <span class=\"title\">No More Miles</span>, <span class=\"title\">Living Sound</span>, \"Psychoacoustic Phenomena in Musical Composition: Some Features of a Perceptual Geography,\" <span class=\"title\">Rare and Unusual Atmospheres</span>, \"Immersive Aural Architectures,\" and \"Petra.\" There are also descriptions present for both <span class=\"title\">Music For Sound-Joined Rooms</span> and <span class=\"title\">Mini-Sound Series</span> that address the installations as a whole, as well as general notes about both ongoing projects.</p>"}