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{{Wikipedia|Harry Partch|Genesis of a Music}}
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
'''Harry Partch''' (June 24, 1901 – September 3, 1974) was an American composer, performer, theorist and instrument maker. He worked mostly with custom-built instruments tuned to various scales in [[11-limit]] [[just intonation]].
: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2011-08-17 02:49:30 UTC</tt>.<br>
: The original revision id was <tt>246426709</tt>.<br>
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<h4>Original Wikitext content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">**Harry Partch** (June 24, 1901 &amp;ndash; September 3, 1974) was an [[United States|America]]n [[composer]] and [[musical instrument|instrument]] creator. He was one of the first twentieth-century composers to work extensively and systematically with [[microtonality|microtonal]] [[scale (music)|scale]]s, writing much of his [[music]] for [[custom-made instruments]] that he built himself, tuned in 11-[[limit (music)|limit]] ([[Harry Partch's 43-tone scale|43-tone]]) [[just intonation]].


==Early life and career==
He is also known for his book ''Genesis of a Music'', first published in 1949.
Partch was born on June 24, 1901 in [[Oakland, California]] soon after his parents, both [[Presbyterian]] [[missionary|missionaries]], fled the [[Boxer Rebellion]] in China.  He spent his childhood in small, remote towns in Arizona and New Mexico, where he heard and sang songs in Mandarin, Spanish, and American Indian languages.


As a child, he learned to play the [[clarinet]], [[harmonium]], [[viola]], piano, and [[guitar]]. He began to compose at an early age, using the [[Equal temperament#Twelve-tone equal temperament|equal-tempered]] [[chromatic scale]], the tuning system most common in Western music. However, Partch grew frustrated with what he felt were imperfections of the standard system of [[musical tuning]], believing that this system was unsuitable for reflecting the subtle melodic contours of dramatic speech and, as a result, he burned all of his early works.
== See also ==
* [[Harry Partch related scales]]
* [[Harry Partch's 43-tone scale]]


Interested in the potential musicality of [[Speech communication|speech]], Partch invented and constructed instruments that could underscore the intoning voice, and he developed musical notations that accurately and practically instructed players as to how to play the instruments. His first such instrument was the ''Monophone'', later known as the ''Adapted [[viola]]''.
== External links ==
* [http://www.corporealmeadows.com/ Corporeal Meadows - The Legacy of Harry Partch]
* [http://www.tonalsoft.com/sonic-arts/partch.htm "Harry Partch"] on [[Sonic Arts]]
* [http://tonalsoft.com/enc/p/partch.aspx "Harry Partch"] on the [[Tonalsoft encyclopedia]]


Partch secured a grant that allowed him to go to [[London]] to study the history of tuning systems and text-setting. In Dublin &lt;ref name=Dublin&gt;[http://prosoidia.com/oedipal-opera/ Oedipal Opera]&lt;/ref&gt;, he met the [[poet]] [[William Butler Yeats]] with the intention of gaining Yeats' permission to write an [[opera]] based on the poet's translation of [[Sophocles]]' ''[[Oedipus the King]]''. In his opera, Partch transcribed the inflections of actors from the Abbey Theatre reciting lines from Sophocles' play, and Partch performed this music on his Monophone while intoning "By the Rivers of Babylon".  Yeats responded enthusiastically, saying, "A play done entirely in this way, with this wonderful instrument, and with this type of music, might really be sensational", and he gave Partch's idea his blessing.
{{DEFAULTSORT:Partch, Harry}}


Partch then set out to build more instruments with which to realize his burgeoning opera. However, after his grant money ran out, he was forced to return to the U.S., which was at the height of the Depression. There, he lived as a [[hobo]], traveling around on [[train]]s and taking casual work where he could find it. He continued in this way for ten years, chronicling his experiences in a journal named ''Bitter Music''. The entries frequently included overheard bits of everyday vernacular [[Speech communication|speech]], wherein Partch transcribed the speaker's [[pitch (music)|pitch]]es on [[musical stave]]s. This technique, which had been used earlier by the [[Florentine Camerata]], [[Berlioz]], [[Mussorgsky]], [[Debussy]], [[Schoenberg]], [[Leoš Janáček]] and others (and would be later used by [[Steve Reich]]), was to become a standard approach to vocal scoring in Partch's work.
[[Category:Harry Partch| ]] <!-- Main article -->
 
[[Category:People]]
In 1941, Partch wrote ''Barstow'', a work whose text comes from eight pieces of [[graffiti]] Partch had spotted on a highway railing in [[Barstow, California]]. The piece, originally for voice and guitar, was transcribed several times throughout the composer's life as his collection of instruments grew.
[[Category:Composers]]
 
[[Category:Instrument makers]]
[[File:Partchdiamond.svg|thumb|right|225px|The [[tonality diamond|11-limit tonality diamond]], part of the basis for Partch's [[microtonality|microtonalism]]]]
[[Category:Musicians]]
 
[[Category:Theorists]]
In 1943, after receiving a grant from the Guggenheim Foundation, Partch was able to dedicate more time to music. He returned to his ''Oedipus Project'', although the executors of Yeats' estate refused to grant him permission to use Yeats' translation, and he had to make his own; a recording with Yeats' translation has since been released, Yeats' text having passed into the [[public domain]].&lt;ref name=innova405&gt;[http://www.innova.mu/artist1.asp?skuID=96 Innova 405]&lt;/ref&gt; While living briefly in [[Ithaca, New York]],&lt;ref&gt;Gilmore p.145&lt;/ref&gt; he began work on ''US Highball'', a musical evocation of riding the rails as a Depression-era hobo.
 
In 1949, a book Partch had been working on since 1923 was eventually published as ''[[Genesis of a Music]]''. It is an account of his own music with discussions of music theory and music instrument design. Today, it is considered a standard text of microtonal music theory and takes his concept of "Corporeality", the fusion of all art forms with the body, as its central focus.
 
He went on to write the "dance satire" ''The Bewitched'' and ''Revelation in the Courthouse Park'', a work based in large part on [[Euripides]]' ''[[The Bacchae]]''. ''Delusion of the Fury'' (1969) is considered by some{{Who|date=July 2008}} as his greatest work.
 
Partch is famous for his [[Harry Partch's 43-tone scale|43-tone scale]], even though he used many different scales in his work and the number of divisions is theoretically infinite. He created and maintained his own record label, "Gate 5",&lt;!--What date was it established?--&gt; to release recordings of his works and generate income. Towards the end of his life, [[Columbia Records]] made recordings of some of his works, including ''Delusion of the Fury'', which helped increase public attention to his work. He remains a somewhat obscure figure, but is well-known to experimental musicians (especially those interested in microtonality) and instrument-builders, and he is considered by many{{Who|July 2008|date=March 2009}} to be one of the most significant composers of the 20th century.
 
==Personal life==
Partch, an uncle of the cartoonist [[Virgil Partch]],&lt;ref&gt;[http://books.google.com/books?id=ADuyy0FeFfwC&amp;pg=PA38&amp;dq=virgil+%22harry+partch%22&amp;lr=&amp;as_drrb_is=q&amp;as_minm_is=0&amp;as_miny_is=&amp;as_maxm_is=0&amp;as_maxy_is=&amp;num=100&amp;as_brr=0&amp;cd=17#v=onepage&amp;q=virgil%20%22harry%20partch%22&amp;f=false Williams, Jonathan. ''A Palpable Elysium: Portraits of Genius and Solitude'', David R. Godine, 2002.]&lt;/ref&gt; was [[Infertility|sterile]], probably due to childhood [[mumps]], and most of his romantic relationships were with men.&lt;ref name="gilmore"&gt;{{citation |title=Harry Partch: A Biography |first=Bob |last=Gilmore |year=1998 |publisher=Yale University Press |isbn=0300065213}}&lt;/ref&gt; He died on [[September 3]], [[1974 in music|1974]] in [[San Diego, California]] from a [[myocardial infarction|heart attack]].
 
==Awards and honors==
In 1974, Partch was inducted into the Hall of Fame of the Percussive Arts Society, a music service organization promoting percussion education, research, performance and appreciation throughout the world.&lt;ref&gt;[http://www.pas.org/About/HOFMain.cfm Percussive Arts Society: Hall of Fame]&lt;/ref&gt; In 2004, ''U.S. Highball'' was selected by the [[Library of Congress]]'s [[National Recording Preservation Board]] as "culturally, historically, or aesthetically significant".&lt;ref&gt;[http://www.loc.gov/rr/record/nrpb/ Library of Congress: National Recording Preservation Board]&lt;/ref&gt;
 
==Instruments==
[[File:Harry Partch Institute-6.jpg|thumb|left|200px|Part of the keyboard of the Chromalodeon]]
 
Harry Partch's desire to use a different system of tuning inspired him to modify existing instruments and create new ones. He was, in his own words, "a philosophic music-man seduced into carpentry".
 
His adapted instruments include the Adapted Viola (a [[viola]] fitted with a [[cello]] neck which extends the range by a fourth, and has changeable bridges to allow triple-stops to be sustained) and three Adapted Guitars:  a guitar with the equal tempered frets replaced by a complex system of justly tuned frets, a guitar tuned in octaves, or 2/1's, played by moving a pyrex rod along the strings, much like a slide guitar, and a 10-string fretless guitar played in a similar manner to his other fretless guitar, but with a wildly different tuning.
 
He re-tuned the reeds of several [[reed organ]]s and labeled the keys with a color code. The first one was called the ''Ptolemy'', in tribute to the ancient music theorist [[Claudius Ptolemaeus]], whose musical scales included ratios of the 11-limit, as Partch's did. The others were called ''Chromelodeons'', a [[portmanteau]] of ''chrome'' (meaning "color") and ''[[melodeon (organ)|melodeon]]''.
 
[[File:Harry Partch Institute-8.jpg|thumb|250px|right|Boo II on display at a Harry Partch Institute open house]]
[[File:Harry Partch Institute-3.jpg|thumb|right|250px|Quadrangularis Reversum]]
 
&lt;!----&gt;
Partch also designed and built many instruments from raw materials:
 
* The Diamond Marimba is a [[marimba]] with keys arranged in a physical manifestation of the 11-limit [[tonality diamond]].
* The Quadrangularis Reversum inverted the key layout of the Diamond Marimba with sets of alto-range auxiliary keys on either side.
* The 11-key Bass Marimba and the 4-key Marimba Eroica have more traditional linear layouts, and are very low in pitch.  The Eroica's range extends well below that of the concert piano.
* The Mazda Marimba is made of [[Mazda (light bulb)|Mazda light bulbs]] and named after the Zoroastrian god [[Ahura Mazda]].
* The Bamboo Marimbas, nicknamed "Boo" and "Boo II", are marimbas made of [[bamboo]], using the concept of a tongued resonator to produce the tones.
* The Cloud Chamber Bowls is a set of pyrex bowls from a [[cloud chamber]], suspended in a frame.
* The Spoils of War is a collection of several instruments, including more Cloud Chamber Bowls, artillery shell casings, metal whang-guns, and several wooden tones.
* The Gourd Tree and Cone Gongs are two separate instruments often played by the same player.  The gourd tree is a bough of [[eucalyptus]] supporting several singing bowls attached to gourd resonators.  The cone gongs are two fuel tank nose-cones, mounted on a stand low to the ground.
* The Zymo-Xyl (from the Greek words for "fermentation" and "wood") is a [[xylophone]] augmented with tuned liquor bottles and hubcaps. (Partch lamented that there was no Greek word for "hubcaps".)
* The Kitharas (named after the Greek [[kithara]]) are large upright stringed instruments, tuned by sliding [[pyrex]] rods underneath the strings, and played with fingers or a variety of plectra. Their sound is one of the most unmistakable in Partch's music.
* The Harmonic Canons (from the same root as ''[[Kanun (instrument)|qanún]]'') are 44-stringed instruments with complex systems of bridges.  They are tuned differently depending on the piece, and are played with fingers or picks, or in some cases, unique mallets.
 
In 1990, [[Dean Drummond]]'s [[Newband]] became custodians of the original Harry Partch instrument collection, and the group frequently performs with and commissions new pieces for Partch's instruments.
 
The instruments have been housed in the Harry Partch Instrumentarium at [[Montclair State University]] in [[Montclair, New Jersey]] since 1999.  In 2004, the instruments crossed campus into the newly constructed Alexander Kasser Theater, which provides a large studio space in the basement.  Concerts by Newband and MSU's Harry Partch Ensemble may be viewed several times a year in this hall.
 
Many people have duplicated partial sets of Partch instruments including John Schneider, director of Microfest.&lt;ref&gt;[http://www.microfest.org Microfest]&lt;/ref&gt;  His West Coast ensemble includes replicas of the Kithara, Surrogate Kithara, Cloud-Chamber Bowls, Adapted Guitars, Adapted Viola, Diamond Marimba, Bass Marimba, Chromelodeon, and two Harmonic Canons.
 
==In popular culture==
*A [[Beck]] song called "Harry Partch", a tribute to the composer and his "Corporeal" music, employs Partch's 43-tone scale.&lt;ref&gt;Beck.com&lt;/ref&gt;&lt;ref&gt;[http://www.americansongwriter.com/2009/11/beck-salutes-harry-partch/ Beck salutes Harry Partch]&lt;/ref&gt;
*[[Evan Dara]] writes about Partch from the viewpoint of a fictional professor in his novel ''The Lost Scrapbook''&lt;ref&gt;pg. 260-265, first ed.&lt;/ref&gt;
*In his novel ''[[The Crack in Space]]'', novelist [[Philip K. Dick]] refers to Partch (misspelled as "Parch") as "the great mid-twentieth century composer", and specifically mentions the ''Spoils of War''.
 
==Discography==
;Albums
*''The World of Harry Partch'' ([[Columbia Masterworks]] MS 7207 &amp; MQ 7207, 1969, out of print) "Daphne of the Dunes", "Barstow", and "Castor &amp; Pollux", conducted by Danlee Mitchell under the supervision of the composer.
*''Delusion of the Fury'' (LP [[Columbia Masterworks]] M2 30576, 1971; CD [[Innova]] 406, 2001) "Delusion of the Fury", conducted by Danlee Mitchell under the supervision of the composer and "EXTRA: A Glimpse into the World of Harry Partch", composer introduces and comments on the 27 unique instruments built by him.
*''Enclosure II'' (early speech-music works) (Innova 401)&lt;ref&gt;[http://www.innova.mu/artist1.asp?skuID=94 Innova 401]&lt;/ref&gt;
*''Enclosure V'' ("On a Greek Theme") (Innova 405)&lt;ref name=innova405 /&gt;
*''Enclosure VI'' ("Delusion of the Fury") (Innova 406)&lt;ref&gt;[http://www.innova.mu/artist1.asp?skuID=97 Innova 406]&lt;/ref&gt;
*''The Seventeen Lyrics of Li Po'' (Tzadik, 1995). ASIN B000003YSU.
*''Revelation In The Courthouse Park'' ([[Tomato Records]] TOM-3004, 2003)
 
;Videos
*''Enclosure I'' (Innova 400, VHS) Four films by Madeline Tourtelot&lt;ref&gt;[http://www.innova.mu/artist1.asp?skuID=93 Innova 400]&lt;/ref&gt;
*''Enclosure IV'' (Innova 404, VHS) "Delusion", "Music of HP" &lt;ref&gt;[http://www.innova.mu/artist1.asp?skuID=95 Innova 404]&lt;/ref&gt;
*''Enclosure VII'' (Innova 407, DVD) "Delusion", "Dreamer", Bonus Album, "Revelation"&lt;ref&gt;[http://www.innova.mu/artist1.asp?skuID=263 Innova 407]&lt;/ref&gt;
*''Enclosure VIII'' (Innova 399, DVD) Four Films by Madeline Tourtelot: "Music Studio," "Windsong," "U.S. Highball," and "Rotate the Body in All Its Planes," with "The Music of Harry Partch" KEBS-TV documentary, "Barstow" and "Castor and Pollux".&lt;ref&gt;[http://innova.mu/artist1.asp?skuID=312 Innova 399]&lt;/ref&gt;
*''Musical Outsiders: An American Legacy - Harry Partch, Lou Harrison, and Terry Riley''. Directed by Michael Blackwood. (1995)
 
[[File:Harry Partch instrument-Gourd Tree.jpg|thumb|right|225px|Part of the Gourd Tree]]
[[File:Harry Partch Institute-4.jpg|thumb|right|225px|Close-up of the Eucal Blossom showing tonality ratios]]
 
==See also==
*[[Experimental musical instrument]]
 
== References ==
;Bibliography
*Blackburn, Philip (1998). ''Harry Partch: Enclosure III''. Saint Paul: Innova. ISBN 096565690X.&lt;ref&gt;[http://www.innova.mu/artist1.asp?skuID=244 Innova 402]&lt;/ref&gt;
*Gilmore, Bob (1998). ''Harry Partch, A Biography,'' New Haven: Yale University Press.
*Partch, Harry (1974). ''Genesis of a Music''. New York: Da Capo Press. ISBN 030680106X.
*Partch, Harry (1991). ''Bitter Music: Collected Journals, Essays, Introductions and Librettos,'' Champaign: University of Illinois Press.
 
;Notes
{{Reflist}}
 
==External links==
{{Commons category}}
*[http://www.harrypartch.com Harry Partch Information Center]
*[http://www.corporeal.com/ Corporeal Meadows: Harry Partch an American Original]
*[http://www.musicmavericks.org/features/feature_partch.html American Mavericks: Harry Partch's Instruments - playable with explanations and musical examples]
*[http://www.newband.org/ Newband Home Page]
*[http://artofthestates.org/cgi-bin/composer.pl?comp=142 Art of the States: Harry Partch - Three works by the composer]
*[http://innova.mu/show_collection.aspx?collection=Harry%20Partch Enclosures Series: Harry Partch's archives published as book, film and audio from innova]
*[http://www.avantgardeproject.org/agp57/index.htm Downloadable audio from the out-of-print LP "The World of Harry Partch"]
*[http://www.loc.gov/rr/record/nrpb/nrpb-2004reg.html 2004 Selections, National Recording Preservation Board of The Library of Congress]
*[http://www.pas.org/About/HofDetails.cfm?IFile=partch PAS Hall of Fame listing for Harry Partch]
*[http://acousmata.com/post/83551265/a-son-in-search-of-his-fathers-face Listen to an excerpt from Partch's "Delusion of the Fury" at Acousmata music blog]
*{{imdb title|0663945}}
*{{Find a Grave|19868210}}
 
</pre></div>
<h4>Original HTML content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;Harry Partch&lt;/title&gt;&lt;/head&gt;&lt;body&gt;&lt;strong&gt;Harry Partch&lt;/strong&gt; (June 24, 1901 &amp;amp;ndash; September 3, 1974) was an &lt;a class="wiki_link" href="/United%20States"&gt;America&lt;/a&gt;n &lt;a class="wiki_link" href="/composer"&gt;composer&lt;/a&gt; and &lt;a class="wiki_link" href="/musical%20instrument"&gt;instrument&lt;/a&gt; creator. He was one of the first twentieth-century composers to work extensively and systematically with &lt;a class="wiki_link" href="/microtonality"&gt;microtonal&lt;/a&gt; &lt;a class="wiki_link" href="/scale%20%28music%29"&gt;scale&lt;/a&gt;s, writing much of his &lt;a class="wiki_link" href="/music"&gt;music&lt;/a&gt; for &lt;a class="wiki_link" href="/custom-made%20instruments"&gt;custom-made instruments&lt;/a&gt; that he built himself, tuned in 11-&lt;a class="wiki_link" href="/limit%20%28music%29"&gt;limit&lt;/a&gt; (&lt;a class="wiki_link" href="/Harry%20Partch%27s%2043-tone%20scale"&gt;43-tone&lt;/a&gt;) &lt;a class="wiki_link" href="/just%20intonation"&gt;just intonation&lt;/a&gt;.&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:27:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc0"&gt;&lt;a name="x-Early life and career"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:27 --&gt;Early life and career&lt;/h2&gt;
Partch was born on June 24, 1901 in &lt;a class="wiki_link" href="/Oakland%2C%20California"&gt;Oakland, California&lt;/a&gt; soon after his parents, both &lt;a class="wiki_link" href="/Presbyterian"&gt;Presbyterian&lt;/a&gt; &lt;a class="wiki_link" href="/missionary"&gt;missionaries&lt;/a&gt;, fled the &lt;a class="wiki_link" href="/Boxer%20Rebellion"&gt;Boxer Rebellion&lt;/a&gt; in China.  He spent his childhood in small, remote towns in Arizona and New Mexico, where he heard and sang songs in Mandarin, Spanish, and American Indian languages.&lt;br /&gt;
&lt;br /&gt;
As a child, he learned to play the &lt;a class="wiki_link" href="/clarinet"&gt;clarinet&lt;/a&gt;, &lt;a class="wiki_link" href="/harmonium"&gt;harmonium&lt;/a&gt;, &lt;a class="wiki_link" href="/viola"&gt;viola&lt;/a&gt;, piano, and &lt;a class="wiki_link" href="/guitar"&gt;guitar&lt;/a&gt;. He began to compose at an early age, using the &lt;a class="wiki_link" href="/Equal%20temperament#Twelve-tone equal temperament"&gt;equal-tempered&lt;/a&gt; &lt;a class="wiki_link" href="/chromatic%20scale"&gt;chromatic scale&lt;/a&gt;, the tuning system most common in Western music. However, Partch grew frustrated with what he felt were imperfections of the standard system of &lt;a class="wiki_link" href="/musical%20tuning"&gt;musical tuning&lt;/a&gt;, believing that this system was unsuitable for reflecting the subtle melodic contours of dramatic speech and, as a result, he burned all of his early works.&lt;br /&gt;
&lt;br /&gt;
Interested in the potential musicality of &lt;a class="wiki_link" href="/Speech%20communication"&gt;speech&lt;/a&gt;, Partch invented and constructed instruments that could underscore the intoning voice, and he developed musical notations that accurately and practically instructed players as to how to play the instruments. His first such instrument was the ''Monophone'', later known as the ''Adapted &lt;a class="wiki_link" href="/viola"&gt;viola&lt;/a&gt;''. &lt;br /&gt;
&lt;br /&gt;
Partch secured a grant that allowed him to go to &lt;a class="wiki_link" href="/London"&gt;London&lt;/a&gt; to study the history of tuning systems and text-setting. In Dublin &amp;lt;ref name=Dublin&amp;gt;[&lt;!-- ws:start:WikiTextUrlRule:260:http://prosoidia.com/oedipal-opera/ --&gt;&lt;a class="wiki_link_ext" href="http://prosoidia.com/oedipal-opera/" rel="nofollow"&gt;http://prosoidia.com/oedipal-opera/&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:260 --&gt; Oedipal Opera]&amp;lt;/ref&amp;gt;, he met the &lt;a class="wiki_link" href="/poet"&gt;poet&lt;/a&gt; &lt;a class="wiki_link" href="/William%20Butler%20Yeats"&gt;William Butler Yeats&lt;/a&gt; with the intention of gaining Yeats' permission to write an &lt;a class="wiki_link" href="/opera"&gt;opera&lt;/a&gt; based on the poet's translation of &lt;a class="wiki_link" href="/Sophocles"&gt;Sophocles&lt;/a&gt;' ''&lt;a class="wiki_link" href="/Oedipus%20the%20King"&gt;Oedipus the King&lt;/a&gt;''. In his opera, Partch transcribed the inflections of actors from the Abbey Theatre reciting lines from Sophocles' play, and Partch performed this music on his Monophone while intoning &amp;quot;By the Rivers of Babylon&amp;quot;.  Yeats responded enthusiastically, saying, &amp;quot;A play done entirely in this way, with this wonderful instrument, and with this type of music, might really be sensational&amp;quot;, and he gave Partch's idea his blessing.&lt;br /&gt;
&lt;br /&gt;
Partch then set out to build more instruments with which to realize his burgeoning opera. However, after his grant money ran out, he was forced to return to the U.S., which was at the height of the Depression. There, he lived as a &lt;a class="wiki_link" href="/hobo"&gt;hobo&lt;/a&gt;, traveling around on &lt;a class="wiki_link" href="/train"&gt;train&lt;/a&gt;s and taking casual work where he could find it. He continued in this way for ten years, chronicling his experiences in a journal named ''Bitter Music''. The entries frequently included overheard bits of everyday vernacular &lt;a class="wiki_link" href="/Speech%20communication"&gt;speech&lt;/a&gt;, wherein Partch transcribed the speaker's &lt;a class="wiki_link" href="/pitch%20%28music%29"&gt;pitch&lt;/a&gt;es on &lt;a class="wiki_link" href="/musical%20stave"&gt;musical stave&lt;/a&gt;s. This technique, which had been used earlier by the &lt;a class="wiki_link" href="/Florentine%20Camerata"&gt;Florentine Camerata&lt;/a&gt;, &lt;a class="wiki_link" href="/Berlioz"&gt;Berlioz&lt;/a&gt;, &lt;a class="wiki_link" href="/Mussorgsky"&gt;Mussorgsky&lt;/a&gt;, &lt;a class="wiki_link" href="/Debussy"&gt;Debussy&lt;/a&gt;, &lt;a class="wiki_link" href="/Schoenberg"&gt;Schoenberg&lt;/a&gt;, &lt;a class="wiki_link" href="/Leo%C5%A1%20Jan%C3%A1%C4%8Dek"&gt;Leoš Janáček&lt;/a&gt; and others (and would be later used by &lt;a class="wiki_link" href="/Steve%20Reich"&gt;Steve Reich&lt;/a&gt;), was to become a standard approach to vocal scoring in Partch's work.&lt;br /&gt;
&lt;br /&gt;
In 1941, Partch wrote ''Barstow'', a work whose text comes from eight pieces of &lt;a class="wiki_link" href="/graffiti"&gt;graffiti&lt;/a&gt; Partch had spotted on a highway railing in &lt;a class="wiki_link" href="/Barstow%2C%20California"&gt;Barstow, California&lt;/a&gt;. The piece, originally for voice and guitar, was transcribed several times throughout the composer's life as his collection of instruments grew.&lt;br /&gt;
&lt;br /&gt;
&lt;div class="objectEmbed"&gt;&lt;img src="/i/file_not_found.png" width="32" height="32" alt="File Not Found" /&gt;&lt;div class="notfound"&gt;&lt;b&gt;File Not Found&lt;/b&gt;&lt;/div&gt;&lt;/div&gt;, part of the basis for Partch's &lt;a class="wiki_link" href="/microtonality"&gt;microtonalism&lt;/a&gt;]]&lt;br /&gt;
&lt;br /&gt;
In 1943, after receiving a grant from the Guggenheim Foundation, Partch was able to dedicate more time to music. He returned to his ''Oedipus Project'', although the executors of Yeats' estate refused to grant him permission to use Yeats' translation, and he had to make his own; a recording with Yeats' translation has since been released, Yeats' text having passed into the &lt;a class="wiki_link" href="/public%20domain"&gt;public domain&lt;/a&gt;.&amp;lt;ref name=innova405&amp;gt;[&lt;!-- ws:start:WikiTextUrlRule:261:http://www.innova.mu/artist1.asp?skuID=96 --&gt;&lt;a class="wiki_link_ext" href="http://www.innova.mu/artist1.asp?skuID=96" rel="nofollow"&gt;http://www.innova.mu/artist1.asp?skuID=96&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:261 --&gt; Innova 405]&amp;lt;/ref&amp;gt; While living briefly in &lt;a class="wiki_link" href="/Ithaca%2C%20New%20York"&gt;Ithaca, New York&lt;/a&gt;,&lt;!-- ws:start:WikiTextRefRule:0:&amp;amp;lt;ref&amp;amp;gt;Gilmore p.145&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-1" class="reference"&gt;&lt;a href="#cite_note-1"&gt;[1]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:0 --&gt; he began work on ''US Highball'', a musical evocation of riding the rails as a Depression-era hobo. &lt;br /&gt;
&lt;br /&gt;
In 1949, a book Partch had been working on since 1923 was eventually published as ''&lt;a class="wiki_link" href="/Genesis%20of%20a%20Music"&gt;Genesis of a Music&lt;/a&gt;''. It is an account of his own music with discussions of music theory and music instrument design. Today, it is considered a standard text of microtonal music theory and takes his concept of &amp;quot;Corporeality&amp;quot;, the fusion of all art forms with the body, as its central focus.&lt;br /&gt;
&lt;br /&gt;
He went on to write the &amp;quot;dance satire&amp;quot; ''The Bewitched'' and ''Revelation in the Courthouse Park'', a work based in large part on &lt;a class="wiki_link" href="/Euripides"&gt;Euripides&lt;/a&gt;' ''&lt;a class="wiki_link" href="/The%20Bacchae"&gt;The Bacchae&lt;/a&gt;''. ''Delusion of the Fury'' (1969) is considered by some&lt;tt&gt;Who|date=July 2008&lt;/tt&gt; as his greatest work. &lt;br /&gt;
&lt;br /&gt;
Partch is famous for his &lt;a class="wiki_link" href="/Harry%20Partch%27s%2043-tone%20scale"&gt;43-tone scale&lt;/a&gt;, even though he used many different scales in his work and the number of divisions is theoretically infinite. He created and maintained his own record label, &amp;quot;Gate 5&amp;quot;,&amp;lt;!--What date was it established?--&amp;gt; to release recordings of his works and generate income. Towards the end of his life, &lt;a class="wiki_link" href="/Columbia%20Records"&gt;Columbia Records&lt;/a&gt; made recordings of some of his works, including ''Delusion of the Fury'', which helped increase public attention to his work. He remains a somewhat obscure figure, but is well-known to experimental musicians (especially those interested in microtonality) and instrument-builders, and he is considered by many&lt;tt&gt;Who|July 2008|date=March 2009&lt;/tt&gt; to be one of the most significant composers of the 20th century.&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:29:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc1"&gt;&lt;a name="x-Personal life"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:29 --&gt;Personal life&lt;/h2&gt;
Partch, an uncle of the cartoonist &lt;a class="wiki_link" href="/Virgil%20Partch"&gt;Virgil Partch&lt;/a&gt;,&lt;!-- ws:start:WikiTextRefRule:2:&amp;amp;lt;ref&amp;amp;gt;[http://books.google.com/books?id=ADuyy0FeFfwC&amp;amp;pg=PA38&amp;amp;dq=virgil+%22harry+partch%22&amp;amp;lr=&amp;amp;as_drrb_is=q&amp;amp;as_minm_is=0&amp;amp;as_miny_is=&amp;amp;as_maxm_is=0&amp;amp;as_maxy_is=&amp;amp;num=100&amp;amp;as_brr=0&amp;amp;cd=17#v=onepage&amp;amp;q=virgil%20%22harry%20partch%22&amp;amp;f=false Williams, Jonathan. ''A Palpable Elysium: Portraits of Genius and Solitude'', David R. Godine, 2002.]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-2" class="reference"&gt;&lt;a href="#cite_note-2"&gt;[2]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:2 --&gt; was &lt;a class="wiki_link" href="/Infertility"&gt;sterile&lt;/a&gt;, probably due to childhood &lt;a class="wiki_link" href="/mumps"&gt;mumps&lt;/a&gt;, and most of his romantic relationships were with men.&amp;lt;ref name=&amp;quot;gilmore&amp;quot;&amp;gt;&lt;tt&gt;citation |title=Harry Partch: A Biography |first=Bob |last=Gilmore |year=1998 |publisher=Yale University Press |isbn=0300065213&lt;/tt&gt;&amp;lt;/ref&amp;gt; He died on &lt;a class="wiki_link" href="/September%203"&gt;September 3&lt;/a&gt;, &lt;a class="wiki_link" href="/1974%20in%20music"&gt;1974&lt;/a&gt; in &lt;a class="wiki_link" href="/San%20Diego%2C%20California"&gt;San Diego, California&lt;/a&gt; from a &lt;a class="wiki_link" href="/myocardial%20infarction"&gt;heart attack&lt;/a&gt;.&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:31:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc2"&gt;&lt;a name="x-Awards and honors"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:31 --&gt;Awards and honors&lt;/h2&gt;
In 1974, Partch was inducted into the Hall of Fame of the Percussive Arts Society, a music service organization promoting percussion education, research, performance and appreciation throughout the world.&lt;!-- ws:start:WikiTextRefRule:4:&amp;amp;lt;ref&amp;amp;gt;[http://www.pas.org/About/HOFMain.cfm Percussive Arts Society: Hall of Fame]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-3" class="reference"&gt;&lt;a href="#cite_note-3"&gt;[3]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:4 --&gt; In 2004, ''U.S. Highball'' was selected by the &lt;a class="wiki_link" href="/Library%20of%20Congress"&gt;Library of Congress&lt;/a&gt;'s &lt;a class="wiki_link" href="/National%20Recording%20Preservation%20Board"&gt;National Recording Preservation Board&lt;/a&gt; as &amp;quot;culturally, historically, or aesthetically significant&amp;quot;.&lt;!-- ws:start:WikiTextRefRule:6:&amp;amp;lt;ref&amp;amp;gt;[http://www.loc.gov/rr/record/nrpb/ Library of Congress: National Recording Preservation Board]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-4" class="reference"&gt;&lt;a href="#cite_note-4"&gt;[4]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:6 --&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:33:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc3"&gt;&lt;a name="x-Instruments"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:33 --&gt;Instruments&lt;/h2&gt;
&lt;div class="objectEmbed"&gt;&lt;img src="/i/file_not_found.png" width="32" height="32" alt="File Not Found" /&gt;&lt;div class="notfound"&gt;&lt;b&gt;File Not Found&lt;/b&gt;&lt;/div&gt;&lt;/div&gt;&lt;br /&gt;
&lt;br /&gt;
Harry Partch's desire to use a different system of tuning inspired him to modify existing instruments and create new ones. He was, in his own words, &amp;quot;a philosophic music-man seduced into carpentry&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
His adapted instruments include the Adapted Viola (a &lt;a class="wiki_link" href="/viola"&gt;viola&lt;/a&gt; fitted with a &lt;a class="wiki_link" href="/cello"&gt;cello&lt;/a&gt; neck which extends the range by a fourth, and has changeable bridges to allow triple-stops to be sustained) and three Adapted Guitars:  a guitar with the equal tempered frets replaced by a complex system of justly tuned frets, a guitar tuned in octaves, or 2/1's, played by moving a pyrex rod along the strings, much like a slide guitar, and a 10-string fretless guitar played in a similar manner to his other fretless guitar, but with a wildly different tuning.&lt;br /&gt;
&lt;br /&gt;
He re-tuned the reeds of several &lt;a class="wiki_link" href="/reed%20organ"&gt;reed organ&lt;/a&gt;s and labeled the keys with a color code. The first one was called the ''Ptolemy'', in tribute to the ancient music theorist &lt;a class="wiki_link" href="/Claudius%20Ptolemaeus"&gt;Claudius Ptolemaeus&lt;/a&gt;, whose musical scales included ratios of the 11-limit, as Partch's did. The others were called ''Chromelodeons'', a &lt;a class="wiki_link" href="/portmanteau"&gt;portmanteau&lt;/a&gt; of ''chrome'' (meaning &amp;quot;color&amp;quot;) and ''&lt;a class="wiki_link" href="/melodeon%20%28organ%29"&gt;melodeon&lt;/a&gt;''.&lt;br /&gt;
&lt;br /&gt;
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&lt;div class="objectEmbed"&gt;&lt;img src="/i/file_not_found.png" width="32" height="32" alt="File Not Found" /&gt;&lt;div class="notfound"&gt;&lt;b&gt;File Not Found&lt;/b&gt;&lt;/div&gt;&lt;/div&gt;&lt;br /&gt;
&lt;br /&gt;
&amp;lt;!----&amp;gt;&lt;br /&gt;
Partch also designed and built many instruments from raw materials:&lt;br /&gt;
&lt;br /&gt;
&lt;ul&gt;&lt;li&gt;The Diamond Marimba is a &lt;a class="wiki_link" href="/marimba"&gt;marimba&lt;/a&gt; with keys arranged in a physical manifestation of the 11-limit &lt;a class="wiki_link" href="/tonality%20diamond"&gt;tonality diamond&lt;/a&gt;.&lt;/li&gt;&lt;li&gt;The Quadrangularis Reversum inverted the key layout of the Diamond Marimba with sets of alto-range auxiliary keys on either side.&lt;/li&gt;&lt;li&gt;The 11-key Bass Marimba and the 4-key Marimba Eroica have more traditional linear layouts, and are very low in pitch.  The Eroica's range extends well below that of the concert piano.&lt;/li&gt;&lt;li&gt;The Mazda Marimba is made of &lt;a class="wiki_link" href="/Mazda%20%28light%20bulb%29"&gt;Mazda light bulbs&lt;/a&gt; and named after the Zoroastrian god &lt;a class="wiki_link" href="/Ahura%20Mazda"&gt;Ahura Mazda&lt;/a&gt;.&lt;/li&gt;&lt;li&gt;The Bamboo Marimbas, nicknamed &amp;quot;Boo&amp;quot; and &amp;quot;Boo II&amp;quot;, are marimbas made of &lt;a class="wiki_link" href="/bamboo"&gt;bamboo&lt;/a&gt;, using the concept of a tongued resonator to produce the tones.&lt;/li&gt;&lt;li&gt;The Cloud Chamber Bowls is a set of pyrex bowls from a &lt;a class="wiki_link" href="/cloud%20chamber"&gt;cloud chamber&lt;/a&gt;, suspended in a frame.&lt;/li&gt;&lt;li&gt;The Spoils of War is a collection of several instruments, including more Cloud Chamber Bowls, artillery shell casings, metal whang-guns, and several wooden tones.&lt;/li&gt;&lt;li&gt;The Gourd Tree and Cone Gongs are two separate instruments often played by the same player.  The gourd tree is a bough of &lt;a class="wiki_link" href="/eucalyptus"&gt;eucalyptus&lt;/a&gt; supporting several singing bowls attached to gourd resonators.  The cone gongs are two fuel tank nose-cones, mounted on a stand low to the ground.&lt;/li&gt;&lt;li&gt;The Zymo-Xyl (from the Greek words for &amp;quot;fermentation&amp;quot; and &amp;quot;wood&amp;quot;) is a &lt;a class="wiki_link" href="/xylophone"&gt;xylophone&lt;/a&gt; augmented with tuned liquor bottles and hubcaps. (Partch lamented that there was no Greek word for &amp;quot;hubcaps&amp;quot;.)&lt;/li&gt;&lt;li&gt;The Kitharas (named after the Greek &lt;a class="wiki_link" href="/kithara"&gt;kithara&lt;/a&gt;) are large upright stringed instruments, tuned by sliding &lt;a class="wiki_link" href="/pyrex"&gt;pyrex&lt;/a&gt; rods underneath the strings, and played with fingers or a variety of plectra. Their sound is one of the most unmistakable in Partch's music.&lt;/li&gt;&lt;li&gt;The Harmonic Canons (from the same root as ''&lt;a class="wiki_link" href="/Kanun%20%28instrument%29"&gt;qanún&lt;/a&gt;'') are 44-stringed instruments with complex systems of bridges.  They are tuned differently depending on the piece, and are played with fingers or picks, or in some cases, unique mallets.&lt;/li&gt;&lt;/ul&gt;&lt;br /&gt;
In 1990, &lt;a class="wiki_link" href="/Dean%20Drummond"&gt;Dean Drummond&lt;/a&gt;'s &lt;a class="wiki_link" href="/Newband"&gt;Newband&lt;/a&gt; became custodians of the original Harry Partch instrument collection, and the group frequently performs with and commissions new pieces for Partch's instruments.&lt;br /&gt;
&lt;br /&gt;
The instruments have been housed in the Harry Partch Instrumentarium at &lt;a class="wiki_link" href="/Montclair%20State%20University"&gt;Montclair State University&lt;/a&gt; in &lt;a class="wiki_link" href="/Montclair%2C%20New%20Jersey"&gt;Montclair, New Jersey&lt;/a&gt; since 1999.  In 2004, the instruments crossed campus into the newly constructed Alexander Kasser Theater, which provides a large studio space in the basement.  Concerts by Newband and MSU's Harry Partch Ensemble may be viewed several times a year in this hall.&lt;br /&gt;
&lt;br /&gt;
Many people have duplicated partial sets of Partch instruments including John Schneider, director of Microfest.&lt;!-- ws:start:WikiTextRefRule:8:&amp;amp;lt;ref&amp;amp;gt;[http://www.microfest.org Microfest]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-5" class="reference"&gt;&lt;a href="#cite_note-5"&gt;[5]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:8 --&gt;  His West Coast ensemble includes replicas of the Kithara, Surrogate Kithara, Cloud-Chamber Bowls, Adapted Guitars, Adapted Viola, Diamond Marimba, Bass Marimba, Chromelodeon, and two Harmonic Canons.&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:35:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc4"&gt;&lt;a name="x-In popular culture"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:35 --&gt;In popular culture&lt;/h2&gt;
*A &lt;a class="wiki_link" href="/Beck"&gt;Beck&lt;/a&gt; song called &amp;quot;Harry Partch&amp;quot;, a tribute to the composer and his &amp;quot;Corporeal&amp;quot; music, employs Partch's 43-tone scale.&lt;!-- ws:start:WikiTextRefRule:9:&amp;amp;lt;ref&amp;amp;gt;Beck.com&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-6" class="reference"&gt;&lt;a href="#cite_note-6"&gt;[6]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:9 --&gt;&lt;!-- ws:start:WikiTextRefRule:11:&amp;amp;lt;ref&amp;amp;gt;[http://www.americansongwriter.com/2009/11/beck-salutes-harry-partch/ Beck salutes Harry Partch]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-7" class="reference"&gt;&lt;a href="#cite_note-7"&gt;[7]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:11 --&gt;&lt;br /&gt;
*&lt;a class="wiki_link" href="/Evan%20Dara"&gt;Evan Dara&lt;/a&gt; writes about Partch from the viewpoint of a fictional professor in his novel ''The Lost Scrapbook''&lt;!-- ws:start:WikiTextRefRule:12:&amp;amp;lt;ref&amp;amp;gt;pg. 260-265, first ed.&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-8" class="reference"&gt;&lt;a href="#cite_note-8"&gt;[8]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:12 --&gt;&lt;br /&gt;
*In his novel ''&lt;a class="wiki_link" href="/The%20Crack%20in%20Space"&gt;The Crack in Space&lt;/a&gt;'', novelist &lt;a class="wiki_link" href="/Philip%20K.%20Dick"&gt;Philip K. Dick&lt;/a&gt; refers to Partch (misspelled as &amp;quot;Parch&amp;quot;) as &amp;quot;the great mid-twentieth century composer&amp;quot;, and specifically mentions the ''Spoils of War''.&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:37:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc5"&gt;&lt;a name="x-Discography"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:37 --&gt;Discography&lt;/h2&gt;
;Albums&lt;br /&gt;
*''The World of Harry Partch'' (&lt;a class="wiki_link" href="/Columbia%20Masterworks"&gt;Columbia Masterworks&lt;/a&gt; MS 7207 &amp;amp; MQ 7207, 1969, out of print) &amp;quot;Daphne of the Dunes&amp;quot;, &amp;quot;Barstow&amp;quot;, and &amp;quot;Castor &amp;amp; Pollux&amp;quot;, conducted by Danlee Mitchell under the supervision of the composer.&lt;br /&gt;
*''Delusion of the Fury'' (LP &lt;a class="wiki_link" href="/Columbia%20Masterworks"&gt;Columbia Masterworks&lt;/a&gt; M2 30576, 1971; CD &lt;a class="wiki_link" href="/Innova"&gt;Innova&lt;/a&gt; 406, 2001) &amp;quot;Delusion of the Fury&amp;quot;, conducted by Danlee Mitchell under the supervision of the composer and &amp;quot;EXTRA: A Glimpse into the World of Harry Partch&amp;quot;, composer introduces and comments on the 27 unique instruments built by him.&lt;br /&gt;
*''Enclosure II'' (early speech-music works) (Innova 401)&lt;!-- ws:start:WikiTextRefRule:14:&amp;amp;lt;ref&amp;amp;gt;[http://www.innova.mu/artist1.asp?skuID=94 Innova 401]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-9" class="reference"&gt;&lt;a href="#cite_note-9"&gt;[9]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:14 --&gt;&lt;br /&gt;
*''Enclosure V'' (&amp;quot;On a Greek Theme&amp;quot;) (Innova 405)&amp;lt;ref name=innova405 /&amp;gt;&lt;br /&gt;
*''Enclosure VI'' (&amp;quot;Delusion of the Fury&amp;quot;) (Innova 406)&lt;!-- ws:start:WikiTextRefRule:16:&amp;amp;lt;ref&amp;amp;gt;[http://www.innova.mu/artist1.asp?skuID=97 Innova 406]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-10" class="reference"&gt;&lt;a href="#cite_note-10"&gt;[10]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:16 --&gt;&lt;br /&gt;
*''The Seventeen Lyrics of Li Po'' (Tzadik, 1995). ASIN B000003YSU.&lt;br /&gt;
*''Revelation In The Courthouse Park'' (&lt;a class="wiki_link" href="/Tomato%20Records"&gt;Tomato Records&lt;/a&gt; TOM-3004, 2003)&lt;br /&gt;
&lt;br /&gt;
;Videos&lt;br /&gt;
*''Enclosure I'' (Innova 400, VHS) Four films by Madeline Tourtelot&lt;!-- ws:start:WikiTextRefRule:18:&amp;amp;lt;ref&amp;amp;gt;[http://www.innova.mu/artist1.asp?skuID=93 Innova 400]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-11" class="reference"&gt;&lt;a href="#cite_note-11"&gt;[11]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:18 --&gt;&lt;br /&gt;
*''Enclosure IV'' (Innova 404, VHS) &amp;quot;Delusion&amp;quot;, &amp;quot;Music of HP&amp;quot; &lt;!-- ws:start:WikiTextRefRule:20:&amp;amp;lt;ref&amp;amp;gt;[http://www.innova.mu/artist1.asp?skuID=95 Innova 404]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-12" class="reference"&gt;&lt;a href="#cite_note-12"&gt;[12]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:20 --&gt;&lt;br /&gt;
*''Enclosure VII'' (Innova 407, DVD) &amp;quot;Delusion&amp;quot;, &amp;quot;Dreamer&amp;quot;, Bonus Album, &amp;quot;Revelation&amp;quot;&lt;!-- ws:start:WikiTextRefRule:22:&amp;amp;lt;ref&amp;amp;gt;[http://www.innova.mu/artist1.asp?skuID=263 Innova 407]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-13" class="reference"&gt;&lt;a href="#cite_note-13"&gt;[13]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:22 --&gt;&lt;br /&gt;
*''Enclosure VIII'' (Innova 399, DVD) Four Films by Madeline Tourtelot: &amp;quot;Music Studio,&amp;quot; &amp;quot;Windsong,&amp;quot; &amp;quot;U.S. Highball,&amp;quot; and &amp;quot;Rotate the Body in All Its Planes,&amp;quot; with &amp;quot;The Music of Harry Partch&amp;quot; KEBS-TV documentary, &amp;quot;Barstow&amp;quot; and &amp;quot;Castor and Pollux&amp;quot;.&lt;!-- ws:start:WikiTextRefRule:24:&amp;amp;lt;ref&amp;amp;gt;[http://innova.mu/artist1.asp?skuID=312 Innova 399]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-14" class="reference"&gt;&lt;a href="#cite_note-14"&gt;[14]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:24 --&gt;&lt;br /&gt;
*''Musical Outsiders: An American Legacy - Harry Partch, Lou Harrison, and Terry Riley''. Directed by Michael Blackwood. (1995)&lt;br /&gt;
&lt;br /&gt;
&lt;div class="objectEmbed"&gt;&lt;img src="/i/file_not_found.png" width="32" height="32" alt="File Not Found" /&gt;&lt;div class="notfound"&gt;&lt;b&gt;File Not Found&lt;/b&gt;&lt;/div&gt;&lt;/div&gt;&lt;br /&gt;
&lt;div class="objectEmbed"&gt;&lt;img src="/i/file_not_found.png" width="32" height="32" alt="File Not Found" /&gt;&lt;div class="notfound"&gt;&lt;b&gt;File Not Found&lt;/b&gt;&lt;/div&gt;&lt;/div&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:39:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc6"&gt;&lt;a name="x-See also"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:39 --&gt;See also&lt;/h2&gt;
*&lt;a class="wiki_link" href="/Experimental%20musical%20instrument"&gt;Experimental musical instrument&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:41:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc7"&gt;&lt;a name="x-References"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:41 --&gt; References &lt;/h2&gt;
;Bibliography&lt;br /&gt;
*Blackburn, Philip (1998). ''Harry Partch: Enclosure III''. Saint Paul: Innova. ISBN 096565690X.&lt;!-- ws:start:WikiTextRefRule:26:&amp;amp;lt;ref&amp;amp;gt;[http://www.innova.mu/artist1.asp?skuID=244 Innova 402]&amp;amp;lt;/ref&amp;amp;gt; --&gt;&lt;sup id="cite_ref-15" class="reference"&gt;&lt;a href="#cite_note-15"&gt;[15]&lt;/a&gt;&lt;/sup&gt;&lt;!-- ws:end:WikiTextRefRule:26 --&gt;&lt;br /&gt;
*Gilmore, Bob (1998). ''Harry Partch, A Biography,'' New Haven: Yale University Press.&lt;br /&gt;
*Partch, Harry (1974). ''Genesis of a Music''. New York: Da Capo Press. ISBN 030680106X.&lt;br /&gt;
*Partch, Harry (1991). ''Bitter Music: Collected Journals, Essays, Introductions and Librettos,'' Champaign: University of Illinois Press.&lt;br /&gt;
&lt;br /&gt;
;Notes&lt;br /&gt;
&lt;tt&gt;Reflist&lt;/tt&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextHeadingRule:43:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc8"&gt;&lt;a name="x-External links"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:43 --&gt;External links&lt;/h2&gt;
&lt;tt&gt;Commons category&lt;/tt&gt;&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:262:http://www.harrypartch.com --&gt;&lt;a class="wiki_link_ext" href="http://www.harrypartch.com" rel="nofollow"&gt;http://www.harrypartch.com&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:262 --&gt; Harry Partch Information Center]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:263:http://www.corporeal.com/ --&gt;&lt;a class="wiki_link_ext" href="http://www.corporeal.com/" rel="nofollow"&gt;http://www.corporeal.com/&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:263 --&gt; Corporeal Meadows: Harry Partch an American Original]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:264:http://www.musicmavericks.org/features/feature_partch.html --&gt;&lt;a class="wiki_link_ext" href="http://www.musicmavericks.org/features/feature_partch.html" rel="nofollow"&gt;http://www.musicmavericks.org/features/feature_partch.html&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:264 --&gt; American Mavericks: Harry Partch's Instruments - playable with explanations and musical examples]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:265:http://www.newband.org/ --&gt;&lt;a class="wiki_link_ext" href="http://www.newband.org/" rel="nofollow"&gt;http://www.newband.org/&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:265 --&gt; Newband Home Page]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:266:http://artofthestates.org/cgi-bin/composer.pl?comp=142 --&gt;&lt;a class="wiki_link_ext" href="http://artofthestates.org/cgi-bin/composer.pl?comp=142" rel="nofollow"&gt;http://artofthestates.org/cgi-bin/composer.pl?comp=142&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:266 --&gt; Art of the States: Harry Partch - Three works by the composer]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:267:http://innova.mu/show_collection.aspx?collection=Harry%20Partch --&gt;&lt;a class="wiki_link_ext" href="http://innova.mu/show_collection.aspx?collection=Harry%20Partch" rel="nofollow"&gt;http://innova.mu/show_collection.aspx?collection=Harry%20Partch&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:267 --&gt; Enclosures Series: Harry Partch's archives published as book, film and audio from innova]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:268:http://www.avantgardeproject.org/agp57/index.htm --&gt;&lt;a class="wiki_link_ext" href="http://www.avantgardeproject.org/agp57/index.htm" rel="nofollow"&gt;http://www.avantgardeproject.org/agp57/index.htm&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:268 --&gt; Downloadable audio from the out-of-print LP &amp;quot;The World of Harry Partch&amp;quot;]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:269:http://www.loc.gov/rr/record/nrpb/nrpb-2004reg.html --&gt;&lt;a class="wiki_link_ext" href="http://www.loc.gov/rr/record/nrpb/nrpb-2004reg.html" rel="nofollow"&gt;http://www.loc.gov/rr/record/nrpb/nrpb-2004reg.html&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:269 --&gt; 2004 Selections, National Recording Preservation Board of The Library of Congress]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:270:http://www.pas.org/About/HofDetails.cfm?IFile=partch --&gt;&lt;a class="wiki_link_ext" href="http://www.pas.org/About/HofDetails.cfm?IFile=partch" rel="nofollow"&gt;http://www.pas.org/About/HofDetails.cfm?IFile=partch&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:270 --&gt; PAS Hall of Fame listing for Harry Partch]&lt;br /&gt;
*[&lt;!-- ws:start:WikiTextUrlRule:271:http://acousmata.com/post/83551265/a-son-in-search-of-his-fathers-face --&gt;&lt;a class="wiki_link_ext" href="http://acousmata.com/post/83551265/a-son-in-search-of-his-fathers-face" rel="nofollow"&gt;http://acousmata.com/post/83551265/a-son-in-search-of-his-fathers-face&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:271 --&gt; Listen to an excerpt from Partch's &amp;quot;Delusion of the Fury&amp;quot; at Acousmata music blog]&lt;br /&gt;
*&lt;tt&gt;imdb title|0663945&lt;/tt&gt;&lt;br /&gt;
*&lt;tt&gt;Find a Grave|19868210&lt;/tt&gt;&lt;!-- ws:start:WikiTextReferencesRule:288: --&gt;&lt;hr class="references" /&gt;&lt;ol class="references"&gt;
&lt;li id="cite_note-1"&gt;&lt;a href="#cite_ref-1"&gt;^&lt;/a&gt; Gilmore p.145&lt;/li&gt;
&lt;li id="cite_note-2"&gt;&lt;a href="#cite_ref-2"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://books.google.com/books?id=ADuyy0FeFfwC&amp;amp;pg=PA38&amp;amp;dq=virgil+%22harry+partch%22&amp;amp;lr=&amp;amp;as_drrb_is=q&amp;amp;as_minm_is=0&amp;amp;as_miny_is=&amp;amp;as_maxm_is=0&amp;amp;as_maxy_is=&amp;amp;num=100&amp;amp;as_brr=0&amp;amp;cd=17#v=onepage&amp;amp;q=virgil%20%22harry%20partch%22&amp;amp;f=false" rel="nofollow"&gt;http://books.google.com/books?id=ADuyy0FeFfwC&amp;amp;pg=PA38&amp;amp;dq=virgil+%22harry+partch%22&amp;amp;lr=&amp;amp;as_drrb_is=q&amp;amp;as_minm_is=0&amp;amp;as_miny_is=&amp;amp;as_maxm_is=0&amp;amp;as_maxy_is=&amp;amp;num=100&amp;amp;as_brr=0&amp;amp;cd=17#v=onepage&amp;amp;q=virgil%20%22harry%20partch%22&amp;amp;f=false&lt;/a&gt; Williams, Jonathan. ''A Palpable Elysium: Portraits of Genius and Solitude'', David R. Godine, 2002.]&lt;/li&gt;
&lt;li id="cite_note-3"&gt;&lt;a href="#cite_ref-3"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.pas.org/About/HOFMain.cfm" rel="nofollow"&gt;http://www.pas.org/About/HOFMain.cfm&lt;/a&gt; Percussive Arts Society: Hall of Fame]&lt;/li&gt;
&lt;li id="cite_note-4"&gt;&lt;a href="#cite_ref-4"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.loc.gov/rr/record/nrpb/" rel="nofollow"&gt;http://www.loc.gov/rr/record/nrpb/&lt;/a&gt; Library of Congress: National Recording Preservation Board]&lt;/li&gt;
&lt;li id="cite_note-5"&gt;&lt;a href="#cite_ref-5"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.microfest.org" rel="nofollow"&gt;http://www.microfest.org&lt;/a&gt; Microfest]&lt;/li&gt;
&lt;li id="cite_note-6"&gt;&lt;a href="#cite_ref-6"&gt;^&lt;/a&gt; Beck.com&lt;/li&gt;
&lt;li id="cite_note-7"&gt;&lt;a href="#cite_ref-7"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.americansongwriter.com/2009/11/beck-salutes-harry-partch/" rel="nofollow"&gt;http://www.americansongwriter.com/2009/11/beck-salutes-harry-partch/&lt;/a&gt; Beck salutes Harry Partch]&lt;/li&gt;
&lt;li id="cite_note-8"&gt;&lt;a href="#cite_ref-8"&gt;^&lt;/a&gt; pg. 260-265, first ed.&lt;/li&gt;
&lt;li id="cite_note-9"&gt;&lt;a href="#cite_ref-9"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.innova.mu/artist1.asp?skuID=94" rel="nofollow"&gt;http://www.innova.mu/artist1.asp?skuID=94&lt;/a&gt; Innova 401]&lt;/li&gt;
&lt;li id="cite_note-10"&gt;&lt;a href="#cite_ref-10"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.innova.mu/artist1.asp?skuID=97" rel="nofollow"&gt;http://www.innova.mu/artist1.asp?skuID=97&lt;/a&gt; Innova 406]&lt;/li&gt;
&lt;li id="cite_note-11"&gt;&lt;a href="#cite_ref-11"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.innova.mu/artist1.asp?skuID=93" rel="nofollow"&gt;http://www.innova.mu/artist1.asp?skuID=93&lt;/a&gt; Innova 400]&lt;/li&gt;
&lt;li id="cite_note-12"&gt;&lt;a href="#cite_ref-12"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.innova.mu/artist1.asp?skuID=95" rel="nofollow"&gt;http://www.innova.mu/artist1.asp?skuID=95&lt;/a&gt; Innova 404]&lt;/li&gt;
&lt;li id="cite_note-13"&gt;&lt;a href="#cite_ref-13"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.innova.mu/artist1.asp?skuID=263" rel="nofollow"&gt;http://www.innova.mu/artist1.asp?skuID=263&lt;/a&gt; Innova 407]&lt;/li&gt;
&lt;li id="cite_note-14"&gt;&lt;a href="#cite_ref-14"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://innova.mu/artist1.asp?skuID=312" rel="nofollow"&gt;http://innova.mu/artist1.asp?skuID=312&lt;/a&gt; Innova 399]&lt;/li&gt;
&lt;li id="cite_note-15"&gt;&lt;a href="#cite_ref-15"&gt;^&lt;/a&gt; [&lt;a class="wiki_link_ext" href="http://www.innova.mu/artist1.asp?skuID=244" rel="nofollow"&gt;http://www.innova.mu/artist1.asp?skuID=244&lt;/a&gt; Innova 402]&lt;/li&gt;
&lt;/ol&gt;&lt;!-- ws:end:WikiTextReferencesRule:288 --&gt;&lt;/body&gt;&lt;/html&gt;</pre></div>

Latest revision as of 09:24, 30 October 2024

English Wikipedia has articles on:

Harry Partch (June 24, 1901 – September 3, 1974) was an American composer, performer, theorist and instrument maker. He worked mostly with custom-built instruments tuned to various scales in 11-limit just intonation.

He is also known for his book Genesis of a Music, first published in 1949.

See also

External links

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