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| | Harry Partch Biography |
 | | Partch's early compositions, dating from the 1930's, are all vocal, with small instrumental accompaniments. | | | It is difficult to separate the unique sounds of Partch's music from the strange and beautiful instruments that give all his works their special qualities. | | | Harry labored his whole life on his own vision, knowing it would never be embraced as a musical fashion. |
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http://www.composerjohnbeal.com/Partch.html
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| | Harry Partch |
| | It was during the period of the 1920's th the early 30's that Partch began to establish his ideas on music. | | | This book discusses Partch's philosophies of music, intonation, construction of his instruments and his fourty-three note tone scale. | | | Traveling the country Partch built more of his adapted instruments and composed pieces that represented his experiences as a hobo. |
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http://cctr.umkc.edu/user/amcdonald/partch.html
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| | Harry Partch - |
| | Partch went on to write The Bewitched, a sort of cross between a ballet and an opera and Revelation in the Courthouse Park, a work based in large part on Euripides' The Bacchae. | | | Partch set about building more instruments to realise his opera with. | | | Due to peculiarities of media reporting, Partch is famous for his 43-tone scale, even though he used many different scales in his work. |
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http://psychcentral.com/psypsych/Harry_Partch
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| | Harry Partch |
| | Partch is perhaps best known as a great American eccentric -- the composer who lived as a hobo (during a period he called his "personal Great Depression") and who built his own orchestra of instruments that play in "Just Intonation," a microtonal system that assigns 43 tones to the octave rather than 12. | | | Partch kept scrapbooks all his life, and Enclosure Three is a sort of "scrapbook of scrapbooks," made up of letters, reviews, performance programs, lecture notes, personal photos, and even receipts. | | | What the newly available materials make clear is that though Partch's personal eccentricities may have been even more outrageous than anyone knew, his music is more subtle than most of us thought. |
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http://www.bostonphoenix.com/archive/music/97/12/18/HARRY_PARTCH.html
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| | American Mavericks: Harry Partch's Instruments |
| | By 1969, the year he recorded "Delusion of the Fury," Harry Partch had designed 27 new instruments, all to be played on stage at the same time in a spatial ritual theater. | | | These instruments were made to be beautiful in sound, vision, and "magical purpose." They were tuned according to the natural overtone series, "Just Intonation" Some, like the Chromelodeon, had as many as 43 tones in a single "octave." He made particular instruments for specific needs in his compositions, not the other way around. | | | Harry Partch playing his instrument, Kithara II (Photo: Danlee Mitchell) |
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http://musicmavericks.publicradio.org/features/feature_partch.html
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| | Newband Instrumentarium |
| | The Harry Partch Instrument Collection includes all of the instruments built by the composer-inventor during the period 1930-1974, as well as several instruments replicated by the Harry Partch Foundation between 1974 and 1984 and several replications by Newband since 1990. | | | Partch built his first canon in 1945, and continued to refine the instrument into the 70's. | | | Partch had essentially completed this instrument by 1945. |
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http://www.newband.org/instruments.htm
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| | Alan Shaw |
| | Partch's belief in "vital words" in music was only part of his larger belief in corporeality, and in his later works he seems to have relied more on other means to achieve it--the visual appeal of the instruments, the physicality of the performers, the tone colors of the music itself. | | | Partch's practice, on the other hand, when he sets words to music, is to follow the prose rhythms of the text; there is no attempt to compose the words themselves to the desired musical rhythm, which was what the Greeks did. | | | More importantly, he chose not to: the irregular rhythms of free verse and prose, the use of "found" texts and other "nonpoetic" materials, were essential to his art. |
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http://www.altx.com/ebr/ebr5/partch.htm
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| | Art of the States: Delusion of the Fury [excerpts] |
| | In 1930, Partch destroyed almost all of his previous music and began to compose and perform his first 'monophonic' works. | | | He returned to the US a year later in the midst of the Great Depression, and spent the next nine years as a hobo, travelling across the country by rail and recording his experiences, all the while continuing to compose and build new instruments. | | | Throughout the 1920's Partch experimented with modifying instruments and developed his treatise Exposition of Monophony. |
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http://www.artofthestates.org/cgi-bin/piece.pl?pid=199
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| | American Mavericks: Harry Partch's World |
| | Partch made particular instruments for specific needs in his compositions. | | | By 1969, the year he recorded "Delusion of the Fury," Partch had designed 27 new instruments, all to be played on stage in a spatial ritual theater. | | | Some, like the Chromelodeon, had as many as 43 tones in a single "octave." But more than this, he designed the instruments to be "corporeal." To Partch, corporeal meant to involve the whole body—the whole person—in the art. |
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http://musicmavericks.publicradio.org/features/essay_partchworld.html
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| | why is Harry Partch important? |
| | Partch's legacy comes down to us in the form of his music, his writings, his goals and his ideas. | | | Partch's insight offered just intonation composers a way to add the same kind of zest and spice to their music that Bach and Handel had added to theirs. | | | states that Partch went to New York in search of funding and craftsmen to "adapt" a trio of string instruments to his just intonation pitches, it's clear that by 1934 Partch had realized the impracticality of the idea. |
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http://sonic-arts.org/mclaren/partch/important.htm
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| | HurdAudio: Hall of Heroes: Harry Partch |
| | This is a strong parallel to Partch's aesthetic stance that western music lost its way when tonal syntax became codified in the wake of J.S. Bach. | | | Partch worked toward a rediscovery of Bacchanalian revelry. | | | I've read, re-read and then read again his Genesis of a Music, Bitter Music, Bob Gilmore's excellent Harry Partch: A Biography and the incredible scrapbook of material in Philip Blackburn's Harry Partch: Enclosure 3. |
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http://hurdaudio.blogspot.com/2004/12/hall-of-heroes-harry-partch.html
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| | Harry Partch - Enclosures 2, 5 & 6 |
| | Partch remarked before his death that he considered his work to be a kind of letter to the world, and his final composition would be an enclosure, an after-thought, a gift to the world to complete the message. | | | Harry Partch (1901 &; 1974) was a true American original; a stubborn free-thinker and inventor, who considered any kind of limitation &; not only in music or the other arts– to be the ultimate deadly sin. | | | In 1930 Harry Partch ceremonially set fire to all the traditional musical scores he’d written, and ventured into un-traveled territory, as he started developing and building his own instruments. |
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http://home.swipnet.se/sonoloco2/Rec/Innova/partch.html
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| | Harry Partch |
| | The Society aims to publicise, to inform, to be a European focus for interest in Harry Partch, and to encourage European performances of Partch's music, by performers committed to the Partch aesthetic. | | | This means that you can now have your own copy of 7 out of the 8 films made of Harry Partchís music with his direct involvement and listed in Genesis of a Music. | | | Until SONY come through and reissue the (acclaimed) Delusion of the Fury recording they made back in 1970 (as Columbia Records), this is the only way to hear Harry Partchís last major work, widely regarded as very much the culmination of his lifeís efforts. |
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http://partch.edition.net/199711.html
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| | Harry Partch - Uncyclopedia |
| | Partch, whose parents died in a freak accordion accident, attracted attention from the musical world when he was born with a strange clef-shaped birthmark on his face. | | | Using these powers and instruments he himself created Partch works tirelessly to defeat the evil Lord Equaltemperamort, when he's not getting into mischief with his pals and sneaking out to satisfy his Jelly Belly cravings. | | | Harry Partch and the Genesis of a Music |
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http://uncyclopedia.org/wiki/Harry_Partch
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| | Harry Partch - Classical music composer |
| | Harry Partch describes his creativity as: "I have never been involved with the development of modern or avant-garde music. | | | Original American composer; influenced by no one nor any musical genre or tradition. | | | David Lamb, Joan Jeanrenaud, Anonymous, Jack Body, John Cage, John Dowland, Hildegard of Bingen, Kassia, David Lamb, Guillaume de Machaut, Moondog (Louis Thomas Hardin), Arvo Part, Harry Partch, Perotin, Henry Purcell, Recorded Sound, Alfred Schnittke, Swedish Traditional |
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http://www.classical-composers.org/cgi-bin/ccd.cgi?comp=partch
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| | Harry Partch - MP3, links, discography |
| | Corporeal Meadows is about the life and works of Harry Partch - iconoclastic American composer, theorist, instrument builder, raconteur, big-time crank and one-time hobo. | | | About the life and works of the iconoclastic American composer, theorist, instrument builder, raconteur, big-time crank and one-time hobo. | | | Created by people who knew and worked with him, aiming to share information, examine Partch's creative output, help with a historical perspective, track current events, and make an attempt to extend the artist's spirit. |
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http://cooking.erp-volga.com/music/Harry_Partch.html
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| | Harry Partch -- his online home IS Corporeal Meadows |
| | First off, not a concer per se but a broadcast: If one desired the opportunity to hear a 4-hour radio special devoted to the life and work of Harry Partch, one could be satisfied in a few hours. | | | Tonight, from 10:00 PM to 2:00 AM (PST), radio station KFJC (out of Foothill College in the California Bay area, 89.7 FM) will do just that, including interviews (some taped, some live, like the one with me) with people who knew and worked with Partch, and/or were influenced by him. | | | If you have tried to contact us recently and have not received a reply please write us again - the direct address is HPF@corporeal.com |
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http://www.corporeal.com/cm_main.html
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| | Harry Partch |
| | Partch wrote several stage works, including, in 1952, music for William Butler Yeats's adaptation of Sophocles' | | | He designed and built string, keyboard, and percussion instruments to play the music composed from this scale and his iconoclastic book | | | Oakland, Calif. Highly individualistic and largely self-taught, Partch rejected many of the traditions of Western music. |
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http://www.factmonster.com/ce6/people/A0837737.html
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| | Artist Page |
| | the lot is a treasure trove of early sketches and intimate moments that invite us to rethink Partch’s significance. | | | This 4-CD collection of archival Partch recordings includes works from the 1930’s and ‘40’s. |
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http://innova.mu/artist1.asp?skuID=94
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| | Harry Partch early works |
| | of Harry Partch."Contents: Delusion of the Fury, Instrument demonstrations and explanations by their creator. | | | The Dreamer That Remains: Performed by an ensemble conducted by Jack Logan: Harry Partch: Intoning Voice, Narrator Mark Hoffman: Brash Musician Danlee Mitchell: Second Musician Jon | | | Commercial Recordings From the Music of Harry Partch: |
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http://www.freewebs.com/sleeveblog/harry1.html
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| | Harry Partch |
| | During and after the Great Depression, he was a hobo and itinerant worker and rode the trains, keeping a musical notebook of his experiences, which he later set to music. | | | He began to first adapt guitars and violas to play his music, and then began to build new instruments in a new microtonal tuning system. | | | Between 1930 and 1972, he created one of the most amazing bodies of sensually alluring and emotionally powerful music of the 20th century: music dramas, dance theater, multi-media extravaganzas, vocal music and chamber music---mostly all performed on the instruments he built himself. |
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http://www.harrypartch.com/aboutpartch.htm
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| | SJSU School of Music & Dance - Harry Partch |
| | Technology, and perhaps a more sensitized community triggered by access to global musics, is now providing the artist with the interest and the means to disturb the patrimony of standardization which Partch originally challenged over 72 years ago. | | | SJSU School of Music and Dance - Harry Partch | | | This page is in honor of and in tribute to Harry Partch and is intended to serve as a research resource for his work and a invitation to others to take a step outside. |
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http://www.music.sjsu.edu/links/partch
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| | Amazon.ca: Enclosure Two - Harry Partch [Import]: Music |
| | From his juvenilia (a wonderful song he wrote at 18) to a 45-minute segment of his wake in 1974, the first steps towards exploring Partch's sparkling works fully are made here. | | | The Use of English in Serious Music - Harry Partch | | | Lamenting the whole time how text in music had become detached from the language of everyday life, Partch ran music alongside newsboys' cries and hobos' diaries, following the forms, cadence, and dynamics of speech, rather than the other way around. |
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http://www.amazon.ca/exec/obidos/ASIN/B000004AF9
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| | Harry Partch |
| | Once you're there, you can read many articles, sample some of the recordings, view photos of Harry Partch (as well as his instruments), and keep up to date with current publications and concert info. | | | Produced in association with the Harry Partch Foundation, Corporeal Meadows gives you a broad picture of Partch as composer, inventor, philosopher and artist. | | | It's a new time, and the possibility exists that Harry Partch is right for this time. |
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http://thorin.adnc.com/~jszanto
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| | Genesis of a Music - Compare Prices & Reviews at Smarter |
| | 'Harry Partch's pioneering theoretical investigations of tuning and his practical application of these investigations to instruments of his own construction show him to be a composer of remarkable and enduring individuality. | | | Partch's perseverance without widespread support or recognition during most of his lifetime has always struck me as particularly... |
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http://www.smarter.com/books-1/product/genesis_of_a_music-673701
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| | Harry Partch |
| | Harry Partch Archive at San Jose State University School of Music and Dance | | | Harry Partch - A Poet's View, by Alan Shaw |
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http://faculty.washington.edu/~kendo/partch.html
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| | Alibris: Harry Partch |
| | Rejecting the equal temperament and concert traditions that have dominated western music, Harry Partch adopted the pure intervals of just intonation and devised a 43-tone-to-the-octave scale, which in turn... |
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http://www.alibris.com/search/books/author/Harry_Partch
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| | Rhapsody Music: Download, Listen, Play & Burn Harry Partch |
| | Click here to start listening to Harry Partch and thousands of other artists FREE for 14 days with Rhapsody Unlimited. | | | Rhapsody Music: Download, Listen, Play and Burn Harry Partch |
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http://www.real.com/dmm/rhapsody/artist/?artistid=38680
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| | Find in a Library: The music of Harry Partch |
| | Find in a Library: The music of Harry Partch | | | by Harry Partch; Freda Pierce; John Garvey; Harry Partch; Ben Johnston; Betty Johnston; Donald Pippin; Harry Partch; Harry Partch; Harry Partch; Harry Partch; Harry Partch; Harry Partch; University of Illinois Musical Ensemble. | | | WorldCat is provided by OCLC Online Computer Library Center, Inc. on behalf of its member libraries. |
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http://worldcatlibraries.org/wcpa/ow/c006cd6e8e037f04a19afeb4da09e526.html
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| | Sonic Arts resources on Harry Partch |
| | If you're interested in Harry Partch or his work, be sure to visit his "internet home", Corporeal Meadows. | | | An Examination of Partch's Li-Po Lyric "The Intruder" | | | An Examination of Partch's comparison of Equal Temperaments |
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http://sonic-arts.org/partch.htm
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| | Enclosure Two: Harry Partch |
| | partch harry 20partch 20i 20blue final 20fantasy am |
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http://www.dunpender.co.uk/Enclosure-Two-Harry-Partch-B88-7AF-888-9.html
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| | Classical Net - Basic Repertoire List - Partch |
| | Use of text, images, or any other copyrightable material contained in these pages, without the written permission of the copyright holder, except as specified in the Copyright Notice, is strictly prohibited. | | | And on the Seventh Day, Petals Fell in Petaluma | | | Classical Net - Basic Repertoire List - Partch |
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http://www.classical.net/music/comp.lst/partch.html
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| | Harry Partch, Dean Drummond / Newband CD () - SHOP.COM |
| | All other designated trademarks, copyrights and brands are the property of their respective owners. | | | You might try modifying your search term or selecting one of the department links below. | | | Harry Partch, Dean Drummond / Newband CD () - SHOP.COM |
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http://www.shop.com/op/aprod-p29056425
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Topic: Harry Partch